Sub-Plots

So far we've dealt with variations on the basic, single plot. A sub-plot is a second plot, running alongside the main plot, but subservient to it. There are a number of reasons why a narrative might need a sub-plot: they can add depth and colour to a relatively straight-forward primary narrative, they can allow a writer to develop characters who would otherwise get very little screen-time, they can be used to heighten tension in a main plot line either by breaking up the narrative or by revealing information that the perspective characters in the main line don't have access to, and they can allow a writer to keep characters “alive” within a work after they have finished their dealings with the primary plot.

The rules for developing a sub-plot are much the same as the rules for developing a primary plot: you still need a perspective character who will function as the Hero, and you still need a primary relationship that will define the type of sub-plot. One thing to keep an eye on here is that relationships in a sub-plot will shift from relationships in the main plot; if the sub-plot is from the perspective of the main-line Hero's Lover, then the Villain of the main plot will, if he appears in the sub-plot, be her Nemesis, the Villain's Lieutenant will be the Ball and Chain, the Sidekick the Hapless Lover, and so forth.

This doesn't mean that you have to exploit all of these possible relationships. Neither Legolas nor Gimli ever serves as the Hapless Lover in the Arwen Romance sub-plot – Aragorn's sidekicks are not required to fall hopelessly, and unrequitedly, in love with his Lover, because they simply aren't involved in that sub-plot at all. It is necessary, however, to keep the shift in perspective in mind: writers must be aware that if they are writing a sub-plot scene, there will likely be a change in the way that imported main-line characters behave towards one another; those trying to analyze works will find that they are less easily confused if they first untangle the various plot lines, and then try to sort out the archetypes.

So far we have been speaking about sub-plots that take place on the same square as the main plot, and which include the same characters. This is not, however, the only possible kind of sub-plot. Many longer works contain more than one plot, on more than one square. In such cases there may be plots that have practically no bearing on one another: the sub-plot about Count Vasili's machinations to get ahold of the Buzukhov money has less than nothing to do with Prince Andrew's romance with Natasha; the jealous love triangle between Eponine, Marius and Cosette has only a glancing effect on Javert's enduring obsession with the capture of Jean-Valjean. On the other hand, two parallel plots on two adjacent squares might have several important intersections: the Red Square Han Solo/Princess Leia love story interacts frequently with the Yellow Square conflict between Luke Skywalker and Darth Vader. Still, there is something superficial about these interactions; although the characters are in the same place, at the same time, dealing with the same obstacles, their plot-lines and the meaning of those obstacles within their archetypal struggle, remain largely distinct.

One of the risks with any sub-plot is underdevelopment. A well-established sub-plot, with its own interesting conflicts, tensions, and development -- its own beginning, middle, and conclusion -- will enrich any narrative. A sub-plot that doesn't seem to go anywhere, that comes out of nowhere, or that doesn't resolve (or, worse yet, is resolved by a needless deus ex machina) is an irrelevant and unnecessary complication.

The second risk is to introduce a sub-plot that does not in some way contribute to the main plot or plots. A sub-plot is, by definition, subordinate. However its action resolves, the resolution should feed back into the main plot-line in the same way that a tributary river feeds into the main stream. Merry and Pippin's adventures with Treebeard must be made relevant by the battle at Isengard; Schmendrik's quest to become a real magician must contribute to the Last Unicorn's ability to confront the Red Bull. If this is not accomplished, the sub-plot will seem unnecessary, and there is even a risk that readers will skip it in order to get back to the real action of the story.

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