Most stories have the potential for more than
one storyline or plot, and that can produce a rich tapestry as long as the threads
are chosen well and woven properly.
A basic definition of plot is what happens
in a story, or, more precisely, the main events. The bigger events, whose
impact is usually on the main characters, form the main plot. The lesser events,
whose impact is more on secondary characters, form the subplot, of which there
may be more than one. When revising your story, one question to consider is: Does
the subplot overshadow the plot?
If this is the case, the reason may lie in the strength, or
lack thereof, of the main characters. If so, consider how to strengthen
the main characters. If they’re right for the story as-is, look closer at the
secondary characters. They may be more integral to the overall work than first
appeared. If so, consider changing the balance of characters and storylines. Selecting
new narrative threads can create an entirely new design.
Share your writing
journey and queries on plot and subplot with Word for Words. Happy writing!
Continuously Published Since 2008 Jon Landau — Music Critic, Manager, Record Producer
Showing posts with label Subplots. Show all posts
Showing posts with label Subplots. Show all posts
Friday, February 5, 2016
Wednesday, February 22, 2012
Do the Twist: Plots, Subplots and Story
Keep your main story in focus |
- Plot: Does your plot move forward at a good pace, and progress in a way that is satisfying, slowing for the important events, and picking up speed for the less important?
- Subplot(s): Even short fiction can have a subplot, but does the secondary story overshadow or confuse the main story? It should enhance it, either by contrast or comparison.
- Story: Is the story engaging, immediate, original?
Tip: Make two columns: one for the main plot and one for the subplot (you can add a column for each subplot). In each column, list the main events, or plot points. Compare the columns to see whether the events in your subplot(s) garner more interest than those in your main plot. If they overshadow the main story, consider what your main story really is.
Happy writing!
Wednesday, March 9, 2011
Twist of Fate: When Your Story Takes an Unexpected Turn
Ever have a spurt of inspiration reveal a new dimension of your plot or story? It could be a brave new adventure or a step off a cliff into the abyss. Here's a second post on how to vet inspiration — for plot twists and subplots.
As is true for character-related inspiration, it's common to uncover new subplots — as well as plot threads, changes and twists — in draft two. In draft one, you're still getting to know the characters and the story they tell, so many problems will resolve by the end of the draft, or in the second. But what about those persistent problems and your idea for a twist or subplot? Disaster of disasters — you may even decide to change the plot entirely halfway through or earlier. How do you know what will work and what won't?
Many writers can follow a plot through its meanderings without an outline. Some can follow more than one. But if your story is complex — and even if it's not — you may want to record your idea in an outline or a tree diagram. It's the best way to see how the idea will "flesh out," literally. Plot shifts often arise from changes in characters. They mature faster, into different people or in different directions than you thought. Now your plot can't contain them. It's too thin, not compelling enough to fit who your people are becoming. And the more I learn, the more I believe characters drive plot, or should, rather than the reverse.
Here's an example. A woman returns to Barcelona for business and family obligations. She dreads the trip because her grandfather, with whom she was close as a child, has dementia. On the surface, the story is about the woman confronting the reality that life in the land of her youth is no longer what it was, a la You Can't Go Home Again. However, when the woman boards a train to the Mediterranean, she meets a young artist who reminds her of another creative type she met years earlier. Does she engage in conversation with this younger man and leave it at that? Probably not. Tracing her decision to have an affair, presumably to avoid the sadness of her family situation, could bring her full circle to realize she can't expect anyone to "create" life for her, that her life is her responsibility, as are her choices and their consequences. A difficult lesson, but one that makes the outcome more valuable because of the cost involved. Here, it's important to understand why the woman makes one choice instead of another, even if the writer doesn't include all the details.
As an editor, I get queries from writers asking whether their idea for an initial plot, a plot twist or a subplot will work. I rarely say no outright, even to the most outrageous concepts. Why? Because the exercise of following inspiration — even when it doesn't lead to an idea that works for that particular story — can yield two things: writing experience and an idea for another story.
Nobody wants to spend hours, days, weeks or longer following a dead end, so it's good to reap the benefits of following a new trail without getting hopelessly lost. It's analogous to following a real-life woodland path; so are the caveats.
As is true for character-related inspiration, it's common to uncover new subplots — as well as plot threads, changes and twists — in draft two. In draft one, you're still getting to know the characters and the story they tell, so many problems will resolve by the end of the draft, or in the second. But what about those persistent problems and your idea for a twist or subplot? Disaster of disasters — you may even decide to change the plot entirely halfway through or earlier. How do you know what will work and what won't?
Many writers can follow a plot through its meanderings without an outline. Some can follow more than one. But if your story is complex — and even if it's not — you may want to record your idea in an outline or a tree diagram. It's the best way to see how the idea will "flesh out," literally. Plot shifts often arise from changes in characters. They mature faster, into different people or in different directions than you thought. Now your plot can't contain them. It's too thin, not compelling enough to fit who your people are becoming. And the more I learn, the more I believe characters drive plot, or should, rather than the reverse.
Here's an example. A woman returns to Barcelona for business and family obligations. She dreads the trip because her grandfather, with whom she was close as a child, has dementia. On the surface, the story is about the woman confronting the reality that life in the land of her youth is no longer what it was, a la You Can't Go Home Again. However, when the woman boards a train to the Mediterranean, she meets a young artist who reminds her of another creative type she met years earlier. Does she engage in conversation with this younger man and leave it at that? Probably not. Tracing her decision to have an affair, presumably to avoid the sadness of her family situation, could bring her full circle to realize she can't expect anyone to "create" life for her, that her life is her responsibility, as are her choices and their consequences. A difficult lesson, but one that makes the outcome more valuable because of the cost involved. Here, it's important to understand why the woman makes one choice instead of another, even if the writer doesn't include all the details.
And that's the key to the decision-making process — understanding your characters well enough to know why they make one choice instead of another.
Although creating a plot tree, outline or diagram can be scary — it's difficult to face the fear of your story spiraling out of control, which is what a new idea can feel like — going through the exercise will show you, literally, the consequences of your decisions in a much shorter time span, certainly than if you were to rewrite your piece for each new idea. Instead, you can diagram (a plot tree allows you to include subplots) the idea — or outline it if you need to "see" more detail — and see where it takes you.
As I write this, it's clear more needs to be said on the subject of subplots and plot twists, so I'll continue the discussion in my next post.
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