#10: Plot: Subplot

Everyone working on novels will be glad to hear this section deals completely with you. A novel must have at least one subplot; otherwise all you have written is a really long short story. As Levin puts it: "A novel is not only longer than a short story, it's wider." (Get That Novel Written 67)

Remember the definition of a plot? A plot is a series of causally related events that emerge from a series of ever-intensifying conflicts and prove a premise at the end. A subplot must follow this definition too, proving the same premise that the main plot does. But it's smaller because it takes less space in the novel and it serves the main plot.

Are you limited to only one subplot? No, you can add as many as you think the story can hold. Some novels end up with two plots of nearly equal size with subplots with subplots of their own. Anna Karenina's subplot dealing with Levin (discussed in Writing Tutorial #8) covers as many pages as the main plot. My story Reunions has one main plot concerning Exhaust's takeover of the Fury and three subplots dealing with Throttle and Charley's romance, Modo and Sparks's relationship, and Vinnie and Tala's romance. It all depends on what you want to do. I like to give each of the bros and Charley the same time as the others. The only thing to remember is that the subplot cannot be events thrown in to take up space. They must connect to the plot in some fashion to make the novel a concise whole. There are three different types of subplots: the plot-linked, premise-bound, and social context.

The plot-linked subplots drive the main plot forward by their events. It is also the most intrinsic to write. It usually arises out of the character's agendas. For example in Family, Friends, and Foes, I have included scenes of Limburger and the other villain planning the attacks on the good guys. One of the reasons to show these scenes was so it didn't look like I manipulated events arbitrarily. But it created a subplot that moved the main plot forward, and foreshadowed what troubles will soon affect the good guys.

Levin's subplot in Anna Karenina is a premise-bound subplot. These subplots do not have to intersect with the main plot as often as a plot-linked subplot would. The premise in Anna's plot is adultery leads to death. Levin's plot is the trials of a new marriage that end with his religious conversion. Its premise is that fidelity leads to salvation and proves the main premise by offering an opposite truth.

Social context is a subplot provided by the setting of the novel. Historical novels are the best example. Gone With the Wind is set during the United States' Civil War and that conflict provides action in several key scenes. A Tale of Two Cities is set during the French Revolution, for the same reasons. Can you use social context as a subplot for a fanfic? Why not? The war on Mars can be social context and so can aliens living on Earth.

Homework: Start plotting your subplots. Interweave your main plot with them. Beware of using too many coincidences. Readers like for everything to be connected, but it must relate in a believable fashion or otherwise the readers will cry foul.