![]() ![]() More importantly, you’re missing all kinds of opportunities to let readers get to know the characters better-and, hopefully, sympathize with them and root for them in their overall quest. But if you tighten that focus to the point you exclude every other possible aspect of the character’s life, you’re missing a lot of good stuff. A story needs a tight focus on the primary plot. Without subplots, you’re likely to end up with not only a very short book, but also one that’s one-dimensional. The trick is to choose subplots wisely and use them to reinforce pertinent character traits and themes. In our escaped convict example, we’re likely to learn a lot of interesting things about the protagonist through his interactions with both his old flame and the little boy. Subplots deepen the scope of your story and allow you to explore more facets of both your character and your setting. However, the longer and more complicated answer is, yes, you do need subplots. In fact, too many subplots or the wrong kind of subplots can easily water down your main plot and theme and end up distracting readers. So, second question: Do you need subplots? ![]() It’s something that if you deleted it, the main plot itself would change little, if at all. In short, a subplot is something generally unrelated to the thrust of the main plot. Subplots might include his renewed rocky relationship with an old flame or his cover as a Little League coach who becomes a mentor to a young player with a bad family life. If your story is about an escaped convict who’s trying to prove his innocence, your main plot is going to be his escape, his evasion of capture, and his attempts to find the evidence that will clear his name. In a nutshell, a subplot is just a miniature plot that features a sideline story. But what exactly are they? And does your story really need subplots? ![]()
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