While working on last week’s post about subplots, I had several digressions that didn’t quite fit in the final version. That happens on most any topic I write about here. I wound up taking those sentences, fragments, and so on, dropped them in a new post with a temporary title “The next time I write about subplots.” This post is not made from those fragements. I started trying to expand them into a full-fledged post this weekend, but it wound up being just a few short paragraphs. So I thought maybe I could use those small points as an anchor for a post where I would include links to advice other people have given about subplots.
So while I was gathering some links, I hit on this one post entitled “How to Add Subplots to Your Novel.” When I saw the title, I thought, “Someone has some advice for people who can’t think up subplots. Brilliant!”
Except that wasn’t what the article was about at all. It’s a good article, don’t get me wrong. It explains what subplots are and the purpose they serve in a novel–basically the same info I wrote about last week. There is some additional advice about mistakes to avoid when weaving the subplot around your main plot and so forth, but nothing for the person who realizes their story needs the extra depth of subplots, but can’t figure out what the subplots should be. As I said, it’s a great article, just with a misleading title. The title should have been something like, “How to Properly Use Subplots in Your Novel Once You Think Them Up.”
Clearly, I need to write about this! First, though, I should admit that I’m having to do some reverse-engineering to write this. My problem has never been thinking up subplots, it has always been restraining myself form using all of them that pop into my head. My subconscious just churns them out by the gross, but I have a good idea of how it does this. Because of that overabundance, I have often been asked by members of Writers’ groups and other people reading drafts questions such as, “Why did you add this sequence in?”
My flip first answer was, “I didn’t add it! It’s just there.” What I meant by that is, when I think about all the characters in my story, I always think about things they are doing throughout their day and who are the imporant people in their lives. For instance: one supporting character runs a deli that she and her husband own. Her husband works as a handyman with a number of clients mostly in their neighborhood, including helping with the business, but she’s the one who runs it. She hires and supervises the staff, makes decisions about where to buy ingredients, designs the menu, and so forth. She also has a sister who she doesn’t always see eye-to-eye with, especially when it comes to religious matters. Her husband, unbeknownst to most of the family, is secretly one of the Elders of the Brotherhood of Chaos. She refers to these activities as her husband “taking care of some lodge nonsense again.”
I could keep going on and on about this supporting character who isn’t even directly involved in the main plot of the novel where she was introduced. All of those details I mentioned about the other people in her life, the business, et cetera, each has potential for subplots. Her deli is where one of the important conversations one of the protagonists has early in the book takes place. Her son is another of the protagonists (this novel has three protagonists).
Even though her first involvement in the novel is that conversation I mentioned, that isn’t why I created her. I was figuring out who my main characters were, and when I was looking at the third protagonist, I asked myself who was important in his life, and started jotting down ideas. Once I had a few sentences about her and her husband, I moved on. I was doing a similar exercise for another protagonist who runs an antique shop, and was wondering what other businesses share the same road, and I immediately thought of the deli-running character. Which gave me a connection between two of the protagonists.
So, if you are stuck for subplots:
- For every character in your story, jot down the names of a few people important to them (this doesn’t have to be loved ones), a few facts about their life that have nothing to do with the main plot, and at least one ongoing activitiy (it can be as simple as “goes to work every day”)
- For the characters who have significant roles in the main plot, think about times that they are not on center stage, and ask yourself what were they doing when they were gone. And don’t settle for, “Well, she has to retrieve the holy relic from the monastery then meet back up with the others.” Right. So who does she meet on the way? How does she get there? Where does she eat? What could happen that might delay her?
- Think like an actor in a stage play: when the character is on stage but not the center of attention, what is the character doing? If two of your supporting characters are having lunch while the protagonist consults an oracle, what do those supporting characters talk about?
Not all of these things will be subplots. If you tried to make all of them subplots, it will look like one of my first drafts. But that’s where most subplots come from: answering the questions about what else is going on in the lives of your characters and their neighbors and friends and enemies outside of the main plot.