The Thing and the Other Thing: Adding a Subplot to Your Novel

By Michelle Barker

If you’ve hit a wall in your novel because your great idea isn’t panning out quite the way you’d imagined, there’s a good chance that what you’re missing is a subplot. A successful novel is quite often the intersection of two good ideas—not just one. 

As Tony Earley put it, “Every story is about the thing and the other thing.” 

A subplot is a secondary storyline that complements the main plot of your novel. It is particularly useful for pacing, because it can either add breathing room where you need it or increase the tension. It can also develop your theme by adding layers to the story, and it can add complexity to your protagonist by developing a facet of their character that might not otherwise get attention. You can also use a subplot to give your characters conflicting goals, thus making the outcome of the story more uncertain. 

Often, a subplot will explore a side character or an emotional thread. For example, in The Hunger Games, the romance between Katniss and Peeta adds emotional complexity and tension. Éowyn’s arc in The Lord of the Rings is another strong subplot: she seeks glory in battle, disguises herself to fight, defeats the Witch-king, and finds healing and purpose beyond war. Her journey mirrors some of the major themes in the book and impacts the main conflict but her arc is woven into the main plot rather than existing separately. 

So, a subplot serves to intensify the main conflict. It intersects it and complicates it in some way.

Parallel Storyline: Same Same?

No. 

A parallel storyline is a second major story in the novel, complete in its own right. It is a main storyline that forms part of a unified whole. In a novel with parallel storylines, there’s no way to point to one of them and say it is supplementary or lesser than. Each could stand alone, but together they create deeper resonance. 

Consider Anthony Doerr’s novel, Cloud Cuckoo Land. With five disparate characters, all of whom have their own narrative goals and related plots, and three storylines that seem to have nothing in common (other than an ancient Greek manuscript), it might be tempting to call one or more of these storylines a subplot until you try to decide: which one? They all carry equal weight in the story which makes them parallel storylines rather than subplots.

“Does My Novel Really Need a Subplot?”

That depends. Generally, in anything longer than a short story, something extra is needed to shake up the straight-shot trajectory. But as is often the case in fiction, there are plenty of excellent exceptions to this rule: The Old Man and the Sea, Of Mice and Men, and Animal Farm all function very well without either a subplot or a parallel storyline. But it’s worth noting that these works are also short. Middle-grade novels often don’t have a subplot either, but they’re also shorter and tend to be simpler given the age of the reader. 

If you’re writing an action-packed story, a subplot’s reflective structure will give the reader a moment to catch their breath. If your aim is to create mystery and intrigue, a subplot will ensure that you’re not giving the reader a straight shot from problem to solution. And the reality is, without a subplot or a parallel storyline, your novel likely will have a fairly straightforward trajectory, which means it will risk being predictable.

The Other Thing: Typical Subplot Choices

When it comes to considering a subplot, there are several possibilities:

• a romantic interest
• a character who pops up inconveniently from the past (though this could also be a plot complication without an arc)
• a storyline involving a secondary character that creates complications for the protagonist
• a family issue that adds emotional layers to the story (if there is an arc to it)
• a secondary problem that your protagonist must solve (or that they create now that they’ve embarked on solving the first problem)

The list is endless.

But . . .

There is one thing you don’t want in a subplot: distraction. A subplot should not be misconstrued as permission to meander. It should never lead the reader away from your theme or down a garden path to nowhere. Instead, aim to create a subplot that supports your primary plot. A subplot should happen because of (rather than in spite of) the main story. It’s not designed chiefly to increase the word count. It’s supposed to add something new to the story that illustrates or embellishes theme or complicates your protagonist’s life in some way. In fact, an ideal subplot creates or amplifies the obstacles in the main storyline—but it also creates cohesion. It belongs. 

Indeed, the subplot should be connected to the climax and/or resolution of your novel. Consider Katniss and Peeta’s romance in The Hunger Games. It is “only” a subplot, but it’s also what makes their survival possible. In The Lord of the Rings, Éowyn’s battle with the Witch-King doesn’t directly help Frodo dispose of the ring, but it definitely contributes to him reaching Mount Doom. Had she not defeated the Witch-King, there’s a good chance Frodo wouldn’t have succeeded.

Structuring a Subplot

There are many ways to build a subplot into your novel. 

Explore different aspects of the protagonist’s life: In Eleanor Oliphant is Completely Fine, Gail Honeyman uses the subplot of Eleanor’s fantasy-based infatuation with a musician to contrast it with her genuine and deepening friendship with Raymond, her colleague. 

Explore the same theme from different angles: Jane Austen does this in Pride and Prejudice. The main relationship in the novel is between Elizabeth Bennet and Mr. Darcy. But Austen uses Charlotte’s marriage to Mr. Collins to illustrate a pragmatic (rather than romantic) choice of partner, and she allows Lydia to run off with Mr. Wickham to show us its opposite.

Case Study: Éowyn’s subplots in Lord of the Rings

Éowyn’s character arc in The Lord of the Rings actually splits into two subplots, one involving finding her true purpose and the other becoming an unrequited love arc with Aragorn.

Stasis: Éowyn is introduced in The Two Towers as a noblewoman of Rohan, the niece of King Théoden. She is strong-willed and brave but constrained by societal expectations.

Main Subplot

• Narrative Goal: She longs to escape her role as Théoden’s caretaker and go to war with the men to prove herself.
• Rising Action: She disguises herself as a man and rides into battle with the Rohirrim.
• Key Intersection with Main Plot (and part of the relationship arc): When Théoden and Aragorn prepare for war, she expresses her frustration at being left behind. She wants to be with Aragorn. However, he doesn’t return her love.
• Point of No Return: When Aragorn departs for the Paths of the Dead, Éowyn disguises herself as a man and rides to war with the Rohirrim.
• All-Is-Lost Moment: She confronts the Witch-King of Angmar. When Théoden is mortally wounded, she refuses to abandon him and stands against the seemingly invincible enemy.
• Climax: In a moment of defiance, Éowyn reveals herself as a woman—(“No man can kill me,” says the Witch-King)—and kills him.
• Key Intersection with Main Plot: The Witch-King’s death is crucial to the main battle, weakening Sauron’s forces and contributing to the eventual victory at Minas Tirith.
• Resolution: Éowyn is taken to the Houses of Healing where she recognizes that her desire for glory in battle was misguided. She chooses healing instead, signaling a shift from seeking death in battle to embracing life and restoration.

Sub-Subplot

·         Inciting Incident: Éowyn falls in love with Aragorn, creating a further inspiration to go into battle. This is the beginning of the “unrequited love” arc.

·         Rising Action: She tries to follow him to the Paths of the Dead, but he rejects her and encourages her to find strength in herself, which she does by riding into battle disguised as a man.

·         Climax: After the battle, when she goes to the Houses of Healing, she meets Faramir and is able to let go of her obsession with Aragorn to find true love and healing.

Éowyn’s arc is considered a subplot rather than a parallel storyline because:

·         It supports the main plotline.

·         It intertwines with the main characters.

·         Her character arc resolves before the ultimate climax at Mount Doom.

·         The main storyline in The Lord of the Rings belongs to Frodo.

If Your Subplot Becomes an Invasive Species . . .

Sometimes the subplot you intended as a side story takes over and chokes out the main plot. Don’t panic. It’s possible that the subplot is the story you really wanted to tell in the first place. This happens most commonly when you start digging into your protagonist’s backstory and realize that the better conflict happened fifty years ago. Yes, it means rewriting the whole novel—but if that’s the story you really want to tell, then it’s worth the effort.In Conclusion

A subplot is not meant to be busywork. It must serve a purpose. If it’s trivial or inconsequential, your reader will feel like the story is treading water or rambling pointlessly. 

Note, as well, that the role of a subplot can change depending on the genre. In a mystery, the subplot can involve a second investigation that ends up shedding light on, or intersecting in some way with, the main one. In a romance, the main external conflict eventually pales in importance to the romance subplot which turns out to be the real story, turning the structure upside down. 

The best subplots add layers, create obstacles, resolve internal conflicts, and enrich the main storyline. They create depth rather than merely taking up space.

Michelle Barker is an award-winning author and poet. She is the co-author of two craft books: Immersion and Emotion: The Two Pillars of Storytelling and Story Skeleton: The Classics. Her fiction, non-fiction, and poetry have appeared in literary reviews worldwide. She has published three YA novels (one fantasy and two historical fiction), a historical picture book, and a chapbook of poetry. Michelle holds a BA in English literature (UBC) and an MFA in creative writing (UBC). Many of the writers she’s worked with have gone on to win publishing contracts and honours for their work. Michelle lives and writes in Vancouver, Canada.