Before I jump into talking about the subplots in the Oliver/Sophia story, I want to talk about subplots in general. Weaving subplots into your story is a delicate process. You want them to enhance the story and not overwhelm it. So, think balance.

Here’s how I look at subplots for my stories. First, I identify the main plot. I have a clear picture of the central conflict or theme of my story. This is the core around which all of the subplots will revolve. Once I have that main plot, I take a hard look at my characters and their backgrounds and start building from there.

I try to pick subplots that add depth to the characters, create additional conflict, while, at the same time, revealing necessary background information to the reader without offering that in an info dump. One thing to remember is that each subplot has to be strong enough to stand on its own, but also tie back to the main story.

Now, I need to determine the connect to the main plot. How do I want to bring it out? It could be through shared characters, similar themes, or events that impact both the main plot and the subplot. Whatever it is, the connection must be there in order for you to have a cohesive story. Trust me when I say that random subplots don’t work.

I’ve been asked, “So, how do I know how much ‘space’ my subplot needs in the story?” This is a great question, but one that doesn’t have a definitive answer. I can’t say, “You should dedicate only 20,000 words to your subplot.” Or “25% of the story should be subplots.” Here’s where that balance comes into play.

Subplots shouldn’t overshadow the main plot, but should be significant enough to keep the reader wanting to know more about that story line. That may not be super helpful, but it’s true nevertheless. Just keep in mind that the subplot shouldn’t take up as much space as the main story.

Once you have your main plot and your subplot ideas, it’s time to introduce them naturally into your story. You can use transitions that might involve a change in point of view, a new chapter, or a shift in setting to bring forward the subplot. I find myself thinking about the characters’ lives and what they could be doing when the subplot rears its head.

For example, in Serial Burn, the story I just turned in, I had my hero, FBI Special Agent Nathan Carlisle, at a church fire. While there, his phone rings and it’s his brother. Here is where readers get their first taste of this subplot—the relationship between the brothers and the raging conflict that is obvious immediately. Nathan isn’t interested in talking to his brother for more reasons than one. Now, I don’t go into a lot of detail here; but through their conversation and Nathan’s internal dialogue, I’m able to reveal to the reader that there’s a story here.

This is a seamless way to do that. It’s a natural transition from the main plot—the fire—to the personal life of one of the main characters. Then we go back to the main plot where the heroine asks him if he’s okay, and he waves off the call. Of course that sparks her interest, and later she asks him about it.

One really important thing to remember about subplots: Resolve them. LOL. This may seem like a silly thing to say, but it’s so important to wrap things up before you end the story. The resolution can be tied into the climax of the main plot or can occur just before or after the main resolution. However you decide to do it, it must be natural and make sense.

What are your thoughts on subplots? Think about your story. Can you say that your subplots run seamlessly through your story? Are they connected to the main plot?

Thanks for stopping in.