Subplot

A subplot is a secondary plot string that runs parallel to the main plot
throughout the course of the story. But it is not its own entity. A subplot
must always serve the main plot. Its character and story elements and arcs
are there to be woven into the main plot, enhancing the overall story
A workable subplot adds dimensionally to a script. Subplots give the
protagonist an opportunity to smell to flowers, to fail in love, to enjoy a
hobby, to learn something new. Subplots are usually relationships stories,
whereas the plot is usually an action story.

- A good subplot pushes to plotline, often changing the plot’s direction.

- The plot and subplot then interweave. A good subplot not only pushes
the plotline, it also intersects it. Subplot aren’t free floating, and they
aren’t detours – they’re connected to the plot.
o A good subplot carries a story’s theme. The plot is what the film
is about, but a subplot shows what the film is really about. Many
times writers write scripts because of their interests in the
significant of their subplots.
o Subplots can be about almost anything. Often they’re the love
story that tells us something about the nature of love.
Sometimes they carry important individual themes of identity,
integrity, agreed, or “finding oneself.”
o Sometimes a subplot reveals a character’s vulnerability.
o A subplot can show us the transformation of characters. It can
show us the beat-by-beat development of a character’s identity,
self-esteem, or self-confidence, it can help us see why and how a
character changes.
Many times, subplots are the most interesting part of a film because they
add dimension to the story. Sometimes a subplot is what we remember most
about the film, what moves us, what interests us. However, without a well-
structured plotline, subplots won’t work, so both need to be attended to
carefully.

How many subplots Do You Need?

Most films will have at least one or two subplots. Some films may have as
many as five or six. If a film has no subplots, it’s in danger of being too
linear, without dimension. If it has too many, they can muddle the script as
well as take time away from the development of the “A” story which is the
main plot, and the “B” story, which is the main subplot.
Subplots can work well to complicate a storyline that may be too predictable.
If you want to great many twists and turns in your script, look to subplots to
help you. If you want a good deal of development of the main plot, you’ll
want fewer subplots, since the most subplots you have, the most time is
spent away from the main story.

How Much Time Does a Subplot Take?

The plot usually is given the most screen time because it’s the main story,
the story that gives direction and momentum to your script. This is certainly
true in almost all mystery, detective, thriller, action-adventure, and sci-fi
moyles, where it takes considerable time to develop the plot, build the
excitement, and set up and pay off information or clues.
Occasionally, a subplot or a combination of subplots may take more screen
time than the plot.
Keep Your Subplots Focused
Your subplots should always, ultimately, relate back to the main purpose and
drive of the story.
So ask yourself questions about the purpose of your subplots:
.How does this subplot support the story’s themes?
. How does this subplot alter the main plot for the better?

.What does this subplot convey that couldn’t be conveyed in a more

condensed way (for example, within one scene)?
.What does your subplot add in terms of characterization?

There is admittedly a tricky balance in finding a subplot that can exist on its
own two feet, and one that develops a life of its own. The latter could
potentially distract from the main plot.
A subplot can also have a tonal purpose. However, this tonal purpose needs
to come alongside a narrative purpose.
A subplot purely to change the tone (for example, comedic) will feel
transparent for an audience. It needs to also be adding something to the
themes, characterization or main story.

The Different Genres/Tones of Subplots

Subplots can have many different purposes. And even within that purpose
there can be a multitude of layers. These subplots will often overlap and the
perfect subplot may even cover all bases.
Still, let’s look at the different ways subplots might break down.
 1. A romantic/love interest subplot.
This is perhaps the most common type of subplot.
-A romantic/love interest subplot will setup a different side of the
protagonist It will show them in relation to a loved one.
-This doesn’t necessarily have to be romantic. It could be a family member,
for example.
-The strong feelings this character elicits from the protagonist will help add
tension, raise the stakes and add character depth.
-A love interest will make the protagonist more vulnerable.
For example, in an action movie, a romantic subplot will often overlap with
the main plot by thrusting the love interest into peril.
A classic example would be a villain capturing a love interest, the protagonist
further motivated to defeat this villain as the stakes have become personal
(if they weren’t already).
In a drama, a romantic/love interest subplot might raise the stakes
for the protagonist, providing a barometer for their actions.
-But they might also add context and characterization to the characters
(protagonist or supporting).
- This might help the audience better empathize with the characters.
For example, a subplot about a protagonist’s childhood/background might
help us better understand their present situation. In this way, a subplot can
also help bolster the script’s theme.
It can be common for a love interest to seem a hollow vessel
for the protagonist‘s desires, however.
It’s vital that the love interest is a fully fleshed out character in their own
right, with their own distinct character arc. Otherwise, their presence will feel
two-dimensional and transparent.
2. Mirror Subplot
A mirror subplot occurs when a secondary conflict mirrors the main conflict
but doesn’t match it. Your main character will usually learn a valuable lesson
from a mirror subplot, which will help them resolve their own issue. For
example, in a rom-com, a mirror subplot could be the main character’s best
friend also falling in love at the same time, but her/his love interest turns out
to be a two-timing so-and-so. This may help your main character lookout for
all the signs of infidelity in her/his own potential conquest.

[Link] Subplot
Parallel subplots often merge, but they focus on two different stories. Both
plots help to dramatize each other and can be used to compare and contrast
different issues. Two characters can have a separated but related storyline
that helps compliment the other and add depth to your story.
A parallel plot reinforces the main plot. These characters don’t necessarily
have to meet each other or directly influence each other’s lives, but their
stories should connect in some way. They should have similar themes or
ideas running throughout.

4. A comedic subplot.
This will be a subplot intended to lighten the mood. Within a comedy it might
also provide a different variety of comedy for the audience.
One tone of comedy throughout the plot might become wearing. A different
tenor of comedic tone will help freshen up the comedy as the audience
receives it.
This is also dependent on the genre of the story and its intended audience.
- Badly timed and ill-conceived comedic relief in a drama with
serious
thematic resonance will potentially prove very jarring for an
audience.
 - But a story for a wide audience without any comic relief might
prove
The key is to make sure the comedy is stemming from the right place. Does
it have relevance still to the main plot? Is it in keeping with the tone of the
story overall, whilst also adding something fresh? wearing in its
portentousness.

5. A thematic subplot.
This will be a subplot that helps bolster the main point the script is trying to
make. Think of this as backing up an argument with multiple examples.
 If a story has a central thesis, then more than just one
example
proving the thesis in action will help its validity.
 A theme will be more all the more convincing the larger
picture given of it.
At its most extreme, a thematic subplot might be one that at first seemingly
has little to do with the main plot.
 However, in illuminating the same themes that the primary
plot is touching on, this subplot justifies its existence within
the story.

6. A character background subplot.

Character depth can be bolstered by giving the audience insights into why
the characters are the way they are.
What are the experiences/people/places that have shaped them?
 This might be achieved typically, for example, by flashbacks.
 Or it may by be achieved by a simultaneous narrative
running alongside the primary narrative.
This background context will help give the audience a clearer picture of the
present narrative.
  It might give them clues as to where the story is going.
 Or it might help give an understanding of the story’s
purpose.
If the narrative is a puzzle, then insights into a character’s background might
help in stitching the pieces together. It might make everything, suddenly,
make sense.

7. Antagonist subplot
This subplot follows the antagonist’s point of view (POV), either depicting
how they became a villain or else providing dramatic irony and hinting at
future danger

8. Meddling/Complicating subplot
A secondary character (or a group of them) creates problems for the main
plot, either on purpose or accidentally, and complicates the storyline.
Subplots that complicate the situation for your protagonist are great ‘in
action’ plot points to keep the viewers.
For example, say your protagonist has arranged to meet their love
interest at Grand Central Station when the clock strikes midnight, a
complicating subplot could be their demanding job that causes them to work
late, adding tension and higher stakes regarding reaching the station on
time.

9. Conflict subplot
Conflict subplots seek to do what they say on the tin – add conflict and
tension in your movie. They’re also a brilliant vehicle for in-depth
characterization as they allow you to show how a character overcomes
certain conflicts.
Be cautious about how, and where, in the story conflict subplots interact with
the main plot because they have the potential to slow the main plot
down. This type of subplot focuses on moments or characters that are
opposed to the main character and their main plot goals.

This may be a subplot that follows the antagonist and acts in direct conflict
with your main plot. It could also manifest through two different characters
with different (and likely opposing) goals and values, each narrating a
portion of the movie as co-main characters.

10. Expository Subplot

Expository subplots are a great way of adding in backstories – such as a
character’s past or childhood, which explains the main plot. These subplots
exist to explain something to the viwer—either to further their understanding
of the themes of the movie, to reveal an important fact or truth, or provide
an opportunity to pause for a moment and allow a deeper understanding or
evolution of a secondary character.

Do be careful with this one though. Don’t throw in everything about your
character (i.e., what he or she ate for breakfast in 1975 or the name of their
childhood best friend’s dog), only the information that your viwer needs
to know and what is significant in driving the main plot forward.

11. Foil Subplot

A foil character in a movie is used by writers to contrast or reflect another
character – often your protagonist – by highlighting their traits, appearance,
personality or morals. In literature, a foil can take the form of an antagonist,
but that isn’t always the case.
A foil is a character archetype that is the opposite of the protagonist.
Similarly, a foil subplot shows a character working against the protagonist,
who may or may not also be a foil character. Most often, this happens when
you want to show the antagonist’s point of view.

This subplot could involve an ally who goes their own way, taking actions
counterproductive to the protagonist’s goals or adding a new [Link]
uniting theme is that the foil character and their journey shine a spotlight on
your main character and their journey.

Foil subplots work in similar ways by literally foiling the plans of your main
character. So, for example, your movie could show two different characters
tackle the same problem in completely different ways, which at its core helps
the viewer identity the key personal traits of your protagonist and their
narrative.

12. Bookend Subplot

A Bookend subplot essentially frames the main narrative –it`s introduced at
the outset and then pretty much left alone until near the end when it`s

resolved as part of main plot.

A real ‘oh yeah ” satisfying moment

13. Nemesis Subplots

When we think of nemeses, we often think of the antagonist of a story.
However, sometimes the protagonist has a more personal nemesis. This
could be a professional rival, the third leg of a love triangle, or a childhood
bully.

The Timing of Subplots

Timing the inclusion and pace of your subplots right is important.
Subplots are there, after all, to make the story more interesting overall.
Therefore, if plot and subplots start/peak/conclude at the same time, you are
wasting their potential. That’s putting all eggs in one basket.
For example, in a movie…
 a subplot might typically start just after the main plot,
protagonist and story world is set up.
 It will peak when there is a lag in the primary plot, often
within the second act.
 And it might then end after the main plot is concluded,
wrapping up the story and its themes. Alternatively, it could
be resolved before the conclusion of the main plot.

However, subplots are flexible.

The most important thing is that momentum is continually being generated
throughout the screenplay. Where one plot reaches some kind of
achievement, for example, there should still be conflict elsewhere to be
resolved.
Continual rising and falling of dramatic momentum is likely what will keep
audiences interested.
The subplots are the cogs that keep the wheel spinning.

The Structure of Subplots

Just as the plot has a beginning, a middle, and an end, so too does a subplot.
A good subplot also has a clear setup, turning points, developments and a
payoff at the end. Sometimes the turning points of a subplot reinforce the
plotline by occurring right before or right after the plot’s turning points.
The subplot’s turning points might be clustered around the plot’s turning
points, reinforcing what might have been weak turning points in the plot.
 - A subplot’s turning point might occur in the middle of Act Two or Act
Three. This gives a film extra twists and propels it into the second act,
while its subplots’ turning points can offer extra story twists partway
through an act.
- Sometimes a subplot doesn’t even begin until the plot’s first turning
point.
- The intersection of a subplot and the plot would look something like
this (we will call the plot the “A” story and the relationship sub plot the
“B” story:

Subplot Problems
Subplots are responsible for many script problems. These problems seem to
fall into several categories.
1-First of all, many sub points lack structure. They ramble, they’re
unfocused. They disorient the audience, which doesn’t know what the story
is really about or what’s going on. They are episodic rather than part of a
strong narrative line.

2-Sometimes a film has problems because the subplot does not

integrate with or intersect the plot, so it doesn’t seem to have any
bearing on the story. Although the subplot might be interesting, it seems to
float, unconnected to anything else happening in the story. Sometimes
there’s no resolution and no payoff.
3-Some films have problems because of a misplaced subplot. Instead of
carrying it throughout the story, interwoven with the plot, sometimes the
subplot is played first. As a result, the plotline begins long after we have
become convinced that the subplot is our main story.
Application
As you work with your subplot, separate it from your main storyline so that
you can clearly see how it works.
By separating your subplot and plotlines, you can see how you’ve structured
each one of them. Look for the setup of the subplot. Clarify what happens in
Act One, Act Two, and Act Three. Usually it’s more difficult to see clearly the
structure of subplot line. You may need to ask yourself. “What is the
development of this subplot?” once you know that, trace the development
back to where it begins. That is probably your first turning point. Then see
where the development takes another turn. Is there a place where the
subplot becomes more urgent or move intense? If so, this might be the
second turning point. Make sure that once the plot’s climax has occurred, the
climaxes of the subplot(s) happen quickly.

Questions to Ask Yourself about Your Script

Making your subplot work is one of the most important writing tasks. Ask
yourself the following questions as you tighten and clarify your rewrite:
- Do I need this subplot? Does it add to my story? Does it interest the
story? Does it dimensionalize the story?
- How many subplots do I have? If I have more than three or four, are
there any that I can cut in order to give more focus to the plotline and
the “B” and “C” stories?
- Do I have a clear structure for each subplot, with a clear setup, clear
turning points, and a clear climax, particularly for the “B” and “C”
stories?
- Does my subplot resolution occur close to the climax of the plot?
- Are some of my subplots small but without turning points? If so, do
they still go through at least two acts? Do they have a sense of a
beginning – middle –end?