How do I know when to include subplots?
Disclaimer: This is not a duplicate of this question. That question deals with subplots being necessary to a story's success, and also loosely how to create them. This question is aimed at knowing when to include subplots, and how many I need. If any.
Let me open by saying that I design my novels extensively before ever writing the first draft. I create my characters and design my plot (amongst other important things), and then write. However, I've recently discovered that I haven't been including subplots in my stories. This leads me to the question below:
How do I know when I need subplots? How do I know which subplots I need to create?
Looking at answers about subplots on this site and others, the general idea of a subplot seems to be that it can show other sides of your characters, making them more real to the reader. It can advance or effect the plot, sending it in different directions. I've even heard one suggestion that it can reinforce the theme on a more personal level.
The point is, you could create a large number of subplots. You could have one for every main, secondary, and tertiary character, a handful to mix up the main plot, and one or two to support the theme. But if you do that, you're going to have way too many subplots.
Your novel has a main plot, a main road it's trying to take. You don't want too many sideroads, because then the main road becomes obsolete. It's no longer the main road. It's just another side-road.
So, to repeat the question, knowing that, how do I decide what to create subplots about? Is there some line I can draw somewhere? Is it at the number of subplots? Perhaps the types of things the plots are about?
How do you know when to include subplots, and how many?
2 answers
You could think of a subplot like a side dish to a meal. It provides contrasting or complementary flavours that enhance the overall dining experience.
How many side dishes are too many? When they overwhelm or confuse the senses? How many are too few? When the main dish grows dull and monotonous without them?
These are matters of taste. You tell by tasting. Does the dish need something? Is it being overwhelmed? Use your tastebuds.
In terms of plot mechanics (someone had to go to Aix to pick up a widget while the main party goes to Ghent) the subplot can be disposed on in a sentence ("We sent Tom and Fred to Aix to pick up a widget. They met up with us later at the inn in Ghent.") or it can be narrated in full over several chapters. Both will satisfy the mechanical requirements of the plot. Deciding whether to narrate it, therefore, comes down to whether it is necessary to balance the taste of the meal. Will their tale provide the reader with a delicious counterpoint to the main tale, or will it be a weary slog of redundant flavors.
An experienced cook no doubt develops a good sense of when they are going to need to add a side dish as they are designing the meal. A less experienced cook will definitely need to cook and taste and try different things before they develop the sensibility to know in advance what will be needed to produce the perfect balance of tastes that will make a memorable meal.
In short: it is a matter of taste, not plot mechanics, and you may actually have to sit down and write the thing in order to tell how much subplot it needs.
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Subplots are forms of a story that are used to lead in important pieces of information for your overarching story. Think of subplots as the bricks that build your wall, (the entire arc).
Subplots are just generally the stories that lead to more information, a certain character's background, information about how to solve a puzzle, background on the worlds history. Think of subplots as stories that exist within the overall plot of your book.
This post was sourced from https://writers.stackexchange.com/a/27323. It is licensed under CC BY-SA 3.0.
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