Weaving Subplots into the Main Plot

To the Point:

• Every scene and piece of dialogue must have a point

• Everything, including subplots, serves to develop and drive the main plot forward

• Timing is essential when tying in and off subplots during the final climax

• Deciding where to reinsert subplots can temporarily turn your brain to mush. Although uncomfortable, this isn’t immediately fatal.

• Creating sneaky, calculated chaos in the climax is the goal

The Main Plot

The main plot. This is the book. It is the main river that courses through the landscape of the story and what carries the reader to The Point.

Your plot can present or argue a certain point of view or belief. It can showcase the importance of virtues like perseverance and loyalty. On the other hand, it can reveal the various consequences of power hunger, selfishness, or determination to accomplish a goal without considering moral implications. This ultimate purpose can be shown in dialogue and/or action.

One of the few key rules I am emphatic about in writing is: every scene, every piece of dialogue must have a point—even if it’s just banter or a passing greeting between characters. That said, the point may not be obvious at first.

Examples:

• Dialogue can serve to establish character camaraderie or rivalry

• Conversation or describing character moods sets the tone of a scene or situation (such as lulling the reader or character into false security)

The “every piece of dialogue must have a point” applies to every scene, including fights and chases. These are good for showcasing or increasing a character’s skills. The purpose of character conversation and everything else is to advance the main plot and build everything to the final climax.

The Subplots

Subplots are great for developing secondary characters. Keep in mind that, like everything else, subplots must also drive the main plot.

Here’s an example:

1) Secondary Character B breaks away from the main character, perhaps with another sub-character or two. They may follow a side lead in an investigation, acquire an item necessary for the main character’s plan, and so on. Now, let’s say they experience an exciting event such as a battle with a cool beastie or an operator on the antagonist’s team. The point and purpose could be to: a) gradually increase the character’s combat skills, which will play an important role in the final climax, b) obtain an item essential for advancing the main plot, or c) introduce a new threat to the protagonist and his plans (which increases tension). D) You may also strengthen the character’s endearing traits to deepen reader attachment, which makes it more emotionally devastating when they’re killed off later (the character, not the reader).

Tying It All In

Timing is everything, especially if you have multiple subplots and characters reconverging into the main plot’s final, epic climax. This creates chaos, the challenge to you as the author. Tying in and off each subplot must happen in a coherent manner—even though it may look like chaos to the reader. This is actually what you want: sneaky, calculated chaos. Unpredictable pandemonium for the reader that really possesses an underlying current of order and perfect planning on behalf of the writer.

Example time!

» The protagonist has already led the main forces into combat against the antagonist and his or her forces. The scene has been allowed to develop until a certain point (determined by you). Maybe the good guys are losing the advantage or something dire or unexpected is actively occurring.

o   Important note: whatever you do, don’t drag out the climax opener, as I call it, too long. Otherwise, it will go stale, and you’ll lose momentum.

»  Now, cue the entrance and subsequent end of Subplot 1. Let’s say, an important secondary character appears with reinforcements or is the reinforcement. Or maybe the main character thought this person was dead. Let’s just hope that, in the main character’s shock of the moment, he isn’t bludgeoned during his distraction from the fight.

» A good show in a climax is the duel of the second-in-command characters. A fight to the death between the righthand man of the pro- and antagonist. This also ensures that the main character and antagonist are on a level playing or fighting field.

» Let’s say this new segment of scenes is unfolding and keeping the pace and tension. Now is a good time to bring in Subplot #2, if you have it. It could be the appearance of another secondary character, which ties off the subplot and again pushes the main plot and climax forward.

If you have more than 2 subplots, you can bring two or three in simultaneously. I do this at the end of Parallel, Book One, Part Three: Transform during the final, climax battle. Doing this adds a fresh burst of chaotic energy into the mix.

Once you’ve finished introducing your subplots, you propel everything to its final conclusion. Technically, you can tie off subplots after the climax and when things are calming. I generally like the downswing of the story to feel like a deep breath. If you have a sequel, Part II, or Part III, then you can leave a subplot unconcluded and use it as a cliffhanger.

Methods for Keeping Everything Ordered and Timed

Deciding the order of events in the climax and when to tie in a subplot can give your brain a major cramp. It’s okay. That’s normal. You’re working a complex problem.

Sorting subplots is where your outline is of vital use. Look it over as a whole. As it all simmers in your mind, scribble in the subplot summaries in pencil or use sticky notes where these subplots start and end.

Exactly how you write your outline determines how easily it is to adjust subplot locations.

For example, I outline like this:

Chapter 1: Title

• Brief bullets

• About

• What happens

• In this chapter, including vital dialogue exchanges

Chapter 2: Title

• And so on

This format allows my brain to more fully visualize and hold what happens in its working memory. It also allows me to easily adjust order of events, including subplots.

I think that’s it for this post. Remember: everything in the story forms and drives the main plot. I don’t usually tell people what to do so directly in their creative endeavors. However, in writing, this is vital. A wandering main plot or dead-end subplot makes me frown like a child whose parent has forgotten to pick them up from school. These writing crimes are most displeasing, least of all because the story loses momentum. So: a point every scene and word must have!

Until our next meeting: go forth and write…and try not to cry too much. It can mess up your keyboard.

~Jo

Random Endnote

Working on an outline or trying to time critical events and subplots? Does it feel like staring at a foreign language while your brain tries to decipher a single familiar word? Does that brain feel like it’s about to catch fire or begin oozing out of your ears? That’s completely normal. You’ll be okay. So far, I’ve recovered from all of these mental stressors and side effects many times. You may need to take a little break and eat a snack. I don’t usually advocate eating a lot of sugar in one’s diet, but a handful of M&Ms or chocolate chips can give your brain a brief energy kick to help your strenuous efforts.