How to Write Subplots (WITH EXAMPLES!) | Fiction Writing Advice
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- เผยแพร่เมื่อ 10 มิ.ย. 2024
- Learn how to write SUBPLOTS with confidence. Includes examples (and some spoilers) from Game of Thrones, The Walking Dead, Star Wars, Indiana Jones, Spider-Man 2, and more!
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Credit to SkyDilen for my video intro.
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I've seen this video before but didn't quite understand it at the time, but now I got a better hang of what subplots do when it involves the internal conflict's ingredients like Want or Need. There is one other thing I wanted to point out (mainly with multi-povs, but it doesn't have to be), is though subplots aren't always directly related, subplots explore related Lies believed by the Protagonist or the other supporting cast, and typically is what tugs at what I call(based on Abbie Emmon's breakdown) is “Misbeliefs” and they are these struggles at every turn the character is torn between the personal Lie and Truth they believe.
Now, what subplots do is they not only challenge that Want or Need over the course of the story, they should also be steering the character arc you've selected for your story based on their Misbeliefs. So, for example, let's talk about Han talking with Leia at occasions in A New Hope; he's pulled by their early romantic subplot to test whether he fights for the rebellion and follow this chic he likes, or stay a “scruffy-looking nerf herder” as Leia puts it, or to stay a scoundrel all his days. His conversation with Luke and Obi-Wan, those are his main plot in setting up who he is at the beginning and end, but what subplots do is add on those additional moments of layers characters have, and bring about in their Misbeliefs the additional grapple between their perceived Lie and Truth tugging as each plot point moves along, and subplots serve to make the arc more of a bellcurve so they get their Need or Want because of that Truth and Lie pull to shape their Misbeliefs from say, for Han, the false base Lie, “I do it for the price and myself”, curves and shapes him in Misbeliefs(modified Lie with nuggets of Truth to attain the Need) over to dropping that after his conversation with Luke to the Truth he realizes, where “I'll help the rebellion, it's the right thing to do” and his subplot with Leia completes when he earns the medal with Leia, after he “proves” his Need by helping Luke defeat Vader off his tail, so he can complete the trench run.
Just an example. I just wanted to touch upon these other things you're not talking about that I've noticed and learned to pick up on because these ingredients do matter and go hand-hand in deciding the actions/reactions characters take on their journey, and their character arc. These all make up their internal conflict's ingredients.
*Edit* The equation goes like this: Flaw(External) and Want(Internal) vs Fear(of the current plot point) > Misbelief(modified Lie, to justify why they do/don't act this way). Flaws are an external extension we see of the Want, brought about on because of what it is they're going after, and Fear drives them to justify a Misbelief instead because it keeps them in the comfort of their personal Lie. That's how characters grow over the course of an arc, and typically subplots add more variations of this(more plot points of this equation), generating new ideas of Misbeliefs to bring them as explained for this example, Positive Change Arc, or personal Lie to Truth. So subplots also must reflect that; you don't just select "positive” or “negative” subplots, you actually want to pick the right subplots that drive the plot and the specific character’s arc forward. That's how you keep it coherent and not a sprawling mess. So, I hope this helps (and this is a topic I'd like to see touched upon in greater detail because, _nobody_ talks about it or overlook how crucial subplots and these concepts are). Both plot and character arc go together, and a lot of books I do read make that mistake of “plot first” or “insert paragraphs of internal monologue narration” and then there's no story. There must be a balance. And you need to know how those internal conflict ingredients work so you can be selective on when to be “explicit and on-the-nose” or “implicit and everything's subtext”. **Layer it in before you get carried away in the writing** cause otherwise, you'll lose track and then look at the mess you've done.
I'm sorry I ramble a bit, but, these are my running thoughts after pain and struggle which I'm sure you're familiar with by now. Writing is ****** and ****** and yeah you get my point. When things are left out because our writer brain doesn't think about it at the time we go, “why didn't I see that!” and then you gotta go back, fix those mistakes, do the rewrite, yeah. Now you see why you should make that internal conflict ingredients video Brandon, because it'd help a lot of writers out there and this is kind of a start on the ideas (but I'm sure you know things I haven't thought of) and what should be expected of a video like that. It's hard, it's more advanced and “theory-based”, but it's more of a necessity before writers actually sit down to start writing because it forces us to think about “what type of story do I want to make?”. Because once you've picked it, you gotta stick with it or try something else.
Phenomenal comment. No joke, this is probably the best one I've received on my channel.
Your analysis is spot-on, and I'm tempted to do a video on how to weave the main plot with subplots based on this input (and an "Internal Conflict Ingredients" video isn't a bad idea either).
For now, I'm gonna pin this comment. Thanks for taking the time to write this up.
@@WriterBrandonMcNulty Oh? Your welcome :) There's a few things I wanted to add, but I felt I should I give a leeway first. In a screenwriting article I found(there's videos on TH-cam too in it), it breaks this down further(they didn't mention the “positive or negative” types of subplots I figured here), but there's two types of subplots: B-stories and subplots. They go over the structure of these additional storylines, how many beats it should mainly hit(even if there's more or less scenes than beats), how they can integrate into scenes pushing the A/main storyline so you're being efficient on using basic proactive and reactive scenes for handling multiple storylines.
I'll add how I figured how to make your storyline “unpredictable” understanding basic inner conflict ingredients and plot/scene structure, so you can **layer** conflict within scenes to make it that way. What I call “proactive/reactive” moments within proactive/reactive scenes itself. In skeleton scenes I had wrote, I noticed my characters essentially live their lives and break typical scene structure based on how they feel(or how their internal conflict manifests on the outside too) by switching inside their “dilemma” beat in a reactive scene for example, they'll try to convince another character present in the scene toward a proactive goal they want/have in mind as the scene's new temporary goal, but they're quickly reminded when things don't go as planned and brought into a “freeze” state, and continue the concurrent reactive scene's beats to complete it because of the quickly escalated conflict and setback proactive scene beats.
I'll add more information about some of these topics later when I have more of the information noted down to package it, so I'm leaving ya aware of them here(there's others too, like how to write more implicit dialogue by just using punctuation; picked that up through subtitles simply).
@@gamewriteeye769 Awesome, I'd like to know more about how they distinguish Subplots from B-Story
@@WriterBrandonMcNulty More about subplots, how it relates to internal conflict ingredients, subplot functions and structure, and juggling storylines. **Subplots Theory**
Subplots are secondary plots to supporting the main plot. What is important to distinguish is the Want vs Need before tackling a subplot you might want to add to your main plot. A Want is “chasing a false happiness” and “often selfish or misguided”. A Need “brings true happiness” and “often requires sacrifice”. There are two types of subplots and you must select the right ones for the story's character arc and plot. Subplots challenge characters either to succumb to their Flaw if it’s negative to bring them toward their Want or overcome their Flaw to bring them toward their Need(and develop a Strength over the Flaw). Both subplots and main plots work together to bring the character closer to completing their arc you’ve chosen for the story as characters must CHOOSE to respond to subplot lessons, also known as Misbeliefs which challenge their character Lie from theirs to bring them closer toward their Need to wield the Truth they Need to complete their character arc. This in tandem helps to enhance the main plot and the characters.
Subplots are one of the threads supporting your main/A plot. There can be more than one and can interact in crossover scenes of the A-plot. Subplots have their own supporting characters besides the protagonist or antagonist. Do note, also consider subplots when you’re writing/outlining your cast of characters and what role you’re giving them, whether you include their povs or not into the story. Because adding them adds more subplots for them too, and you have to figure out their A-plot as to how it’s going to interact with the main A-plot using the focus character(s)/protagonists because if they’re a lesser character, depending on the type we’ll go through later, you should consider how they’ll be integrated since they are not the main characters and shouldn’t have as much screen/page time.
But this is why we have two types of subplots: usually B-stories involve your main character, whereas subplots do not. Think of the “crossover” scenes with subplots in the straight line of a rope: they’re added to create knots of increasing tension surrounding the A-plot to drive more conflict in pushing the Misbeliefs of your character at each turn(especially during Act 2, the trial-and-error phase), because what you introduce your character Lie/Truth at the start of the story with(during their Opening Image or at least before the Inciting Incident occurs) should push toward the opposite end of their character arc in Act 3, ending the Climax(where the Need appears, the collective of the character’s Misbeliefs) and Closing Image with either the character Lie/Truth they learn as a result of seeing the aspect of the broader Lie/Truth(you can also think of this as the story world’s Lie/Truth they believe). Bear in mind these two types of Truth and Lie connect and contribute to the overall story but they do differ.
Briefly, the character Truth/Lie is their understanding of the story world's Truth/Lie. It's not the same idea but related as an accepted interpretation/belief before the story began(more on character Ghosts another time).
Subplots run parallel to the A-story and usually are their own story. B-stories run concurrently with the A-plot/main story and often develop with it. The B-story is your character’s secondary motivation or mission. In other words, they contain additional character Truths/Lies related to what your main characters will learn in their time of Need by the end of Act 3. This also means adding these as secondary direct/indirect things you could start the main character’s story with as the thing the character Wants(or add it later as Misbeliefs pile on to shift their character’s dynamic in Act 2). Like if Indiana Jones wanted to get the Ark, but also has to reconcile his relationship with Marion. The B-story could be a personal problem the character needs to fix or it might be an emotional hurdle. I suggest trying to connect these with what they Want as their “Flaw” is the external extension shown of what the character Wants(be it scene goal related-this can be smaller needs in it such as in a survival story, they need to obtain water, or Rocky indirectly needing emotional support when ice-skating with a romantic subplot character-or contributing to the larger plot goal of what they Want-Rocky wanting to win against Apollo in the boxing match).
B-stories align with the themes/Truths of your story. Another example: The Wizard of Oz, Dorothy’s A-story is to find the wizard and get home, but the B-story becomes about helping Oz and her new friends.
In theory, subplots add new dimensions/connections toward your script/story to deepen the theme/Truth. You don’t want so many they distract from the main plot, but lots of times they can support what’s happening on the main pages. In feature writing, subplots usually introduce themselves in the 2nd Act. That’s when we see characters in different directions and we see the story expand. In TV, we might see subplots from the very first scenes(Act 1), especially sitcoms, because they need them to move the plot along. In a novel’s case, what this means is you could introduce your subplots in Act 1 and see it develop before Act 2 even starts, depending on the type you’re writing by length and genre.
@@WriterBrandonMcNulty **Subplots structure** Now, in the structure of subplots, we’ll consider an example by the TH-cam channel “Lessons From The Screenplay” using the title “Hidden Figures” to explain “The Power Of Subplots”. It involves three female characters and how they unite under one theme/Truth of symbolizing “change” using smaller stories to form one larger cohesive story.
A subplot is a secondary story that receives less screen time and emphasis than the main plot. They aren’t the A-plot but intersect. In Robert Mckee’s Story, “If a subplot doesn’t thematically contradict or resonate the Controlling Idea(overarching main theme/broader Truth of the story world), if it doesn’t setup the intro of the main plot Inciting Incident, or complicate the action of the main plot, if it merely runs alongside, it’ll split the story down the middle and destroy its effect(or muddle the plot).” Essentially, subplots enhance the main plot(and remember that plot is first determined in structure by your character’s arc; they'll go on a specific journey you set for them, and there’s five different types of that according to K.M. Weiland’s Creating Character Arcs).
When he says they “resonate the theme of the main plot”, this means structurally, what’re the hoops your character must go through in relation to the subplots?(remember when they intersect, they’re presenting their Misbeliefs of one another, creating the change further from their base character Lie/Truth at the start of the story towards its destination in Act 3, via the type of character arc they’re undergoing; are you keeping track of what these Misbeliefs will be to create this “slider” effect from character Lie to Truth?).
In Hidden Figures, all three characters center on the theme of “respect and equality”. Like we mentioned, subplots “flesh out the story world” because subplots come to interact with the character’s worldview(their Misbelief they’ll equate to in the situation). Remember this “shorthand web”?
Want(Internal) and Flaw(External) vs Fear > Misbelief(modified character Lie/Truth of the current plot point).
LFTS explains this further as “subplots create a sense of thematic unity, and provide a more powerful and detailed picture of the obstacles inherent in the story world”.
Story beats for subplots and when they should occur: same basic elements as the A-plot, but with fewer beats(like Fun and Games) and turning points(like Break Into Two/Three and Midpoint). While the typical three-act story structure has 10 main beats/plot points, subplots halve that with 5:
- desire
- inciting incident
- conflict and struggle
- climax
- and resolution(visuals in the video).
They all happen at different points and there’s flexibility between when each beat occurs with the main plot beats to create momentum. They use its conflict and struggle at when and where to keep the audience engaged. Momentum means there’s always something new to maintain said engagement. They can happen at any point but each one contributes new plotlines that support or enhance that of the main plot.
The “symbols of change” are smaller things that contribute to representing the main theme/broader Truth/Lie of the story world; images, objects, actions, character thoughts, etc(I mentioned these in your STC vid). What they do is contribute to enforcing the Misbeliefs that characters develop over the course of the story, whether external, or internal, or even both. John Truby mentions this as “starting with a feeling and creating a symbol that will cause that feeling in the audience. You then repeat the symbol, changing it slightly”. In the example, they use objects like a cup of coffee and documents which the subplot character interacts with the main character to progress the plot of classified information, and after its beats within scenes completes, it creates a change for the main character to get closer to her character Truth being shown externally of the story world’s Truth of attaining the respect and equality she deserves. Both character Truths of respect and equality being represented explicitly through the supporting cast’s actions and dialogue.
So wherever subplots and B-stories conclude their resolution beat, they convey a change, to progress the main plotline further and the larger main theme/broader Truth that must be learned by the story world and particularly the characters themselves. Robert Mckee reinforces this more as “screenwriting is the art of making the mental physical; visuals for inner conflict…images of character choice and action to indirectly/implicitly express the thoughts and feelings within.” All of this creates layered arcs for a richer experience.
Each subplot is driven by a character goal. Romantic subplots are popular because they can keep interest and get people to root for things outside of the main theme. Subplots functions:
- to add story complexity
- add conflict
- show and force character growth(if Flat arc, subplots serve to uncover a character Truth the main character buries internally)
- they provide relief(from the main plot).
Subplots should start after establishing the main story goal(the overarching Want to become the Need in climax); if using a prologue that introduces the subplot, your Inciting Incident and the next few scenes should establish the main story goal before returning to the subplot. Now, I don’t know how well I’m intuitively doing this, but, my character’s subplots(particularly other characters inside a scene) contribute so weaved into the main plot and it’s scenes' goals since they crossover by being in those scenes that the main plot goal(or what they Want/Need) is affected by the subplots taking place(they’re ingrained in setting the path toward the main goal-quite the parallel! It draws a thin line between them and the main plotline like they become it).
Some subplots should also end and be resolved before the main action/plotline; B-stories like the romantic subplot sometimes end after a main subplot or main plot event such as the baddie is defeated and the lovers share a kiss. Others, like in horror, can be left unresolved to keep us wary or terrified(generating that feeling Mckee mentioned-where the resolution beat happens in a subplot to create change or “suspend” a change carries the feeling it leaves behind when it ends).
Lastly, let your characters have small wins/losses using subplots aside from the outcome of the main plot due to their character arc. All of this adds to the break you can give your readers from your A-plot.
I finally buckled down with writing a book. One theme i want to go with is a disparity between the rich and poor. I decided there will be a subplot with a completely different character being negatively effected by this disparity. And throughout the story itll show his fall from barely supporting his family to struggling to even get food on the table. Ill have his frustrations culminate in throwing the first brick which will spark the riots across the city. This riot will be the backdrop to the final fight between my main character(s) and the ultimate antagonistic force
What is a subplot?
- Supporting or secondary plot
- Supports the main plot
- Enhance understanding of characters
- Adds depth and meaning to story
Main plots
- After awhile, the main plot could get boring so you add in a subplot to spice things up
Subplot want vs need
- Subplots usually push your characters towards a need (positive), however it could also push them towards what they want (negative)
- Regardless of the subplot, it is the hero’s choice that will define the subplot and how the story plays out
5 of the most common subplots
- Romantic Subplot
- Mentor Subplot
- Family Subplot (usually addresses a conflict between two family members)
- Friendship subplot (usually challenges the other person to overcome their flaw)
- Career and financial subplot
A subplot can be either negative or positive depending on the characters choices
Conclusion
- Your characters want vs need plays a major part in their subplot
- your characters will decide whether or not they want to learn from their subplots
Thanks again!
I have learned more from your channel than I could just surfing the internet for advice. Wow and thank you. The layout and delivery is perfect 😊
I found your Chanel a month ago and have already made so much progress in my writing. You sir are amazing. Thank you !
Thrilled to hear the videos are helping! PLEASE tell other writers so the channel can grow, and also let me know if there are any specific topics you'd like me to cover. Always open to requests
Working on my first novel, a passion project. It’s a psychological drama romantic tragedy. I’ve struggled a bit with this, trying to develop my characters outside of the romance; give them hobbies, friends outside of their partner, desires (their needs), and all of that. My world has been feeling flat. This video, though, really gave me some great ideas and I now understand my characters so much better. I can see, now, how they attempt to achieve both their wants and needs, and when one finds their need, the want of the other ultimately drags them down. Really inspirational video, thank you so much.
Brandon, I just recently joined your channel. It’s been a real help mainly from your tutorial on villian plot and pinch points. I’ve also found that subplots are difficult to write, and this video really helped me with that.
Glad to hear! And yeah, subplots are tough because we're often so focused on the main plot (and because they aren't taught enough in writing guides, at least IMO)
I think you just solved my months-long dilemma of sorting out plot line for my book ; - ; you’re a godsend!!!
Glad the video helped--thanks for watching!
In my W.I.P. I used a positive romantic subplot. David, the main character feels trapped, like time is leaving him behind, and Alice comes into his life and teaches him there's always time to do the things he needs to do.
Thank you so much Brandon, for sharing all your very valuable knowledge. I recommend you whenever I can. You have become my writing companion.
Thank you, Pilar! Appreciate you getting the word out about the channel. If you ever need me to cover a certain topic, let me know
What type of subplots appear in your current work-in-progress? Let us know!
I would have to give quite a bit of context to help.right now I rewrote the protagonist so that his problems are involved with the grand scheme of the story and not just wanting a girlfriend.i made that he wants to be the topdog at a science research of a company to get the people and his mom's approval his mom is the lead scientist in researching the monsters I made in this world and the person who invented the injection that i mentioned yesterday I think.well after he injects himself and causes an explosion (I made that he injected himself cuz he thought having superpowers might bring him closer to the top dog).the guy I was gonna make antagonist finds out about it (his belief is that bad heroes should due and the good ones should stay.in the beginning of the story he kills a well known hero cuz he found out the hero is a profile and posts it online and now heroes aswell as military are looking for him)I don't want to talk about his character right now but he discovered that the protagonist burned down a research facility he has never heard of and kidnaps him to interrogate the protagonist but the protagonist finds out that he is the killer of the hero says that the government is after him so he could escape.now I'm trying to figure out how to expand to the subplot but it goes as follows.the protagonist meets a girl he really likesand begs to go out on a date with her she accepted out of annoyance during the date the protagonist had a really awkward attempt at a conversation which I will figure out when I get there on the rough draft.the female character lies about needing the toilet to try and flee but let's call the antagonist guy Tyrone grabs her and threatens to kill her if he doesn't give out the info about the research facility.well the protagonist gets to the location and tells him why he needs that info dio badly and Tyrone won't tell him and they argue over it whilst the female character watches.thats what the subplot is so far
Eight now it's just introducing the main characters and what they are like.i think it is easy to tell my protagonists want and need and Tyrone want and need by now.with the protagonist his want is to have approval and his need is to beco.e less off a creep.and thrones is he wants to prove to the world that allot of these superheroes are horrible people and his need is to understand that everyone has flaws and that killing bad people doesn't make the world better.i also developed the female character but I don't want to go into detail cuz i would be talking a bit much
@@potatomanboooi3105 Awesome, and the want/need is critical to your major characters. Glad to see you're working it into your story so far with your MC and Tyrone
@@WriterBrandonMcNulty right I have to flesh out my story's world a bit so I can get my protagonist out of the temporary goal that will never happen in the beginning into a new goal emerging from it.
@@WriterBrandonMcNulty most of the characters I made have a want and need cuz I only planned out the important characters so far.eventually i will have to work on the side characters.
Fantastic summary.
I wonder how this dynamic works when a story has two heroes who both have noble goals and they realize they need each other to achieve them and an even greater goal that unites their individual goals together.
Thank you so much, man. This helped me a lot especially with the clear examples
Glad to hear--thanks for watching!
just found your channel, and now i'm binge watching it
Awesome, enjoy!
Thank you. This really helped organize my subplots, and understand how it fits
Thrilled to hear it. Best of luck with your writing!
11:03: One type of subplot in my story is one similar to one of yours, the "romantic subplot."
It's between an abusive partner's wife, Diana with one of her friends from school, Samuel. There's a potential spark of love between the two, but Diana doesn't have deep ehough romantic feelings for him, they just stick as friends. But throughout the story, he helps her overcome her anaixey placed by her husband, so she can finally stand up to him when he eventually gets himself into house arrest.
I just want to say this, but today is the last time I will post on your TH-cam comments...as a 17-year-old. My birthday is tomorrow, with one of your books as my present hopefully. Keep up the good work!
My favorite writing channel!
Thanks so much for all your support on Twitter--much appreciated!
@@WriterBrandonMcNulty My pleasure!
This is the best writing channel.
Thank you!
Awzum! I learned a lot 😎👍 Friendship is one of the subplots right now.
Glad it helped! And friendship subplots are awesome because they're usually not melodramatic (like a number of romantic subplots are)
"Resolves this subplot in season 4" is the best euphemism ever for patricide 😂😂
For the story I am writing, I've worked in two subplots, but one will be an overarching theme as the series goes on. One is my lead character (a detective) learning to have faith in himself as a lone detective after having left the police force and having to run up against them on occasion. The other is him taking the high road to help a friend/acquaintance out because he clearly has an alcohol dependency to deal with stress. the end result is negative as the character is wasted at the end of the story, however there is the main character trying not to accuse his friend of a robbery to cover his in-debt self because of his drinking and poor business.
I feel a subplot that is the lead trying to be the challenger, rather than the challenged, makes for a bit of different writing, as it still raises internal conflict on how to be successful in this position of help/assist/teach.
I would have laughed if both mentor examples were Obi-Wan. Prequel Kenobi being the negative arc and original trilogy Kenobi being the positive example
I'm working on a sci-fi fantasy (Star Wars meets Dungeons and Dragons for the most part) and one of my sub plots involves a growing rise of normal people (farmer's or other normally powerless people) begin to use magic (which no one has till this point) and start a cult in very small outposts and villages, but they're gaining a large following the more and more they begin to show up in larger cities promising power and companionship. Those that don't join either die in mysterious ways or disappear. This and two other sub plots are all tied to the main villain who's manipulated the other's into weaking the kingdoms so that that he and his forces have a greater chance of success in invading. I'm only on chapter 3, but I've had this story in my head for about ten years now and videos like this have made the process much easier for me to type my thoughts. Thanks very much for your time and insight on this subject and the other videos that I've watched as well. God bless you and yours sincerely sir 🙏
Thnx a lot sir... This was very much helpful for me... God bless 😊🙏🏻
Thanks--glad it helped!
@@WriterBrandonMcNulty my pleasure sir
My romantic subplot is a big part of the story. It's effectively between our MC (peasant) and royalty, which is nothing new, but it's keyed into my theme regarding class divide. Much of these two characters' "awakening" to realities in their world is getting to know each other and critically analyzing prior prejudices. They'll learn of course that her higher status and ability to use magic is contrived, and they must then come to grips with upheaval in society.
Are you referring to subplots for the protagonist only, or subplots that eventually impacts multiple characters within the story (e.g., Game of Thrones)? How would you differentiate the two?
I am writing fantasy fiction in the first-person. There are many layers to the story, but as I polish the story arc, I was led to ask, how much of a subplot do I need? How can it be successfully done in the first person, without switching POVs? Maybe I am already doing it because some love stories happen, but they're not central to the story, until they are, etc... Oh God, I have so much fun, even thinking about it! EDIT: I think you're video answered the question that I might already have what I am looking for
Awesome, best of luck with your writing!
Be careful what types of subplots you include though. Don't leave things half-baked if you do so.
Some will run along the length of your A-plot-a B-story-that involves your main character(or pov character) as *a secondary goal* to the story that both must be resolved by the end. Secondary subplots only include a handful of scenes that should still contribute and feel resolved too(e.g. side cast, job, education). All connected by theme.
If you're including a “love-story” or “love interest”, you should be thinking about how much are they involved in the story? If this is a Fantasy(your A-plot) and a love story(B-story), then what are the two goals your main character(or pov character) must work toward?
@@gamewriteeye769 That’s great advice! Thanks!
No romance involved… except for bromance
Love your channel. The only thing wrong with it is the volume. I have to close my windows. Even then I need to keep my phone close to my ear.
In my story, I've used a family subplot. I'm not sure if that's positive or negative as both characters face character growth. The main characters cousin doesn't understand her goals and tries to take her away from her plans. This makes the mc want to chase them more. Throughout the story, they learn to understand each other's perspectives, which leads to them being reconciled
"You made one mistake, Mr. Potter. You double-crossed me and you left me alive"
Information was helpful. My subplots involve mentors.
Thrilled it helped!
You got some excellent vids.
Can I ask how long have you been writing and how did you learn?
Thanks! I've been writing fiction for 13 years now. I learned from a couple college classes, dozens of writing guidebooks, and TONS of trial and error.
Best way to learn IMO is to write a page from one of your favorite novels each day: th-cam.com/video/nHXprJhiqzs/w-d-xo.html
@@WriterBrandonMcNulty thanks.
Have to ask... What if a want isn't necessarily toxic???
In real life, there are differences in needs and wants, BUT the list of "True Needs" is actually fairly short, and relatively easy to attain... Life, at least as I see it, is more about the VERY MUCH BIGGER question (often bigger than we even like to think it is) "What do you WANT?"...
What about that? I'm stirring around the itinerary of a story around some of that kind of point... because (mostly) we CAN answer that sort of question... and maybe it doesn't have to be self destructive like Indy and Elsa... Maybe we can have what we want, but we just feel inadequate... we just never reach out and ask, "May I?" and for that tiny short-coming, we persist in an existence of denial...
AH... "What if"... ;o)
My main character is Empress Dopamine. Her want is to save as many lives as possible. Her need is to deal with the murder of her parents, which she witnessed when she was five years old.
Would you mind doing a video on a pro and cons list/ or advice on which is better for writing, Actually writing with pen and pad or typing on computer/phone??
Personally I feel Pen and pad gets more creativity down, but at the same time starts hurting the hand after a few minutes which makes writing for long sets harder.
Just curious to see what you think is better 🤔
Will do. Sounds like an easy video to make. Anything specific you want me to hit on other than what you just mentioned?
The more you write, the easier it'll get. Like anything, you're employing muscles.
Or you could learn shorthand, the ancient code of 20th century secretaries.
I do agree with you that pen and pad works best for creativity. I suspect for me) it's the connection with childhood. Scribbling before using a keyboard.
Might also be the fact that mistakes can be left rather than deleted.
Are there any good stories WITHOUT subplots? I thought all good (modern era) stories had them, but perhaps there are exceptions. How late into a story can the subplot be introduced?
I have probably too many subplots in my currect novel project. I'm struggling to write them all in a cohesive way. Not that I don't think I'll manage though, it's just time consuming and challenging. I'm writing an action/drama with a hero/villain situation. I'd say it's an upbeat story with dark undertones. Actually, even my subplots have subplots.
One such example would be a family subplot that I have. One of the main character's (I have two main characters) mother is abusive which causes conflicts in her son that he has to overcome, but within that subplot is that this mother character also has a bargain with the villain which ultimately saves her son's life. But no, the mother's bargain with the villain is not enough for the main characters to defeat the villain altogether, as they don't know about it until after the son makes a rather terrible mistake which breaks the mother's contract with the villain.
This subplot does however both buy the main characters time to figure out the villain's plan, and gives the character with the abusive mom a want/need conflict. It also gives them an opportunity to get the resources that they need to defeat the villain, because of utilizing the negative side of that bargain, which is kept as a hidden subplot (hidden in plain sight) throughout about half the book, which is technically a career subplot, although truly caused by the contract between the mother and the villain.
I hope that all makes some sense. Basically 3 subplots tied together which all tie with the main plot. This is probably the most complex subplot I've ever made, and also the one I'm the most excited to write. I feel like it gives my story a lot of depth and some hopefully unexpected turns (depending on how well I manage to deliver it, I suppose.) Honestly I love subplots and all the great potential that they have. I don't think I'd even be able to write a story without at least one subplot. It would feel like writing a main character without any supportive characters. I mean I guess unless I'm writing a short story. Those don't always need a subplot.
Fantastic videos! Question and/or video request for you: how do you plot side-character arcs?
E.g. in an ensemble like the small crew of a ship (~6 characters), how many beats of character growth/change makes sense? I want each character to have meaningful goals and steps, but not sure how to balance all of them with page time and the overall plot arc. Thanks!
Thanks for watching! I'll mull over a "Side Character Arcs" video and get it up within the coming weeks. Anything specific you'd like to see other than beats of character growth?
@@WriterBrandonMcNulty Awesome! I'm curious 1) if they tend to have truncated character arcs and/or different kinds, 2) some sense of how much time to allocate to each (these are not POV characters), and 3) plotting for interesting group dynamics. Currently each character has a primary goal and they'll eventually have to choose between that vs the good of the crew, with varying consequences. Also trying to think through how each relationship is different and can evoke/show off more sides of the MC in particular, and sometimes the other crewmembers. Thanks! I'm sure any video you create on the subject will be very helpful.
@@davidmchugh1210 Thanks, I'll be sure to include these. You getting specific is a big help--usually I have to brainstorm what to put in these videos, but I've got a solid outline here
@@WriterBrandonMcNulty Thanks! Looking forward to it. And good to know; I'll think about what other questions/video ideas I might have.
@@davidmchugh1210 Video is up! Hope it helps. I tried to cover everything you requested, but let me know if you have any other questions: th-cam.com/video/LkHUhcZIWlc/w-d-xo.html
Yes, but how do i know how to balance it with the main plot?
I'm beginning to think stories are just a chain of subplots, linked together by a theme and tone.
I would like some writing advice on lore I'm having a hard time with the monsters I added into my story aswell as the politics in a world like that.i have to figure that out to help me figure out further writing in my comic
Interesting... I haven't covered lore yet. Other than monsters (their history/origin/evolution) and story world politics, what else would you want in a Lore video?
@@WriterBrandonMcNulty how to figure out like an origin for a monster so that it isn't just a and then suddenly the monsters appeared because most the ideas I had were 2 not really unique ideas and 1 was a cliche of lab experiment gone wrong and the other was an accidental mere copy of Pacific rims lore
@@WriterBrandonMcNulty i just would like advice on that right now because i have not developed that part and it might give me tools to make the protagonist more a part of the grand scheme of the story because every other character serves a interesting role in the story
@@potatomanboooi3105 Gotcha. I'll mull this over and try to get a Lore video out there in the coming weeks
@@WriterBrandonMcNulty epic, thank you
I’ve been curious about his question. Are side character agendas and subplots the same thing?
This* not his question
No... Side character agendas and subplots CAN overlap, but they can also be separate.
Typically subplots do involve a side character, but you can have a subplot where the main character is doing something completely on their own (such as battling an addiction without outside help)
Brandon, I am a huge fun of your videolessons, and, although it was somethinig sufficient, I believe, to share with you in the pverious videos made by you I've watched, I've dediced to broke a silence only when I've bumped into something as hugely overly complicated as your theory building the subplots about.
Do not want to hide it, from the first word you've dedicated to this topic to the very last one I've waited for a single word that would change everything you are teaching here for the better, and, I am sorry, it doesn't happened.
What, really, supprising me that so not that simple, windingly-ornate and devoid of internal logic explanation of your theory is just.. out of your style, it is not you who is teaching in such a complicated manner, exuse me for been brutally honest, such a simple thihg!
You disagree? You are almost sure that my the only wish to take a word was to portray myself in the toga of Rome senator who is coming on the scene only with his hand raised above the head to make sure everybody have a chance to see: His Majesty Protagonist is coming, and not somebody else? Wold you, please, re-read the comment that is following this one. Dind't you ask yourself, how come, even after taking some time to repeat the work suggested by your explanation, the author of the comment still having a hard time with understanding your theory of subplots. Do you able to see now what I am talking about?
So, hopefully, we are both get it: with such an "theory" we are in a troubles, and seems like if we will not be willing to figure out anything better than just that, well, we have to admit: this lesson better never be shoot.
And suggestion? Do you remember a single word I've waited while watching your video? I am talking about a theme - more than just valuable thing that would be good enough for us to develop a new theory of the builsing subplots. I am not will bother you with remiтding youple of well-known explanations of this term, although would love to remind you that this topic is a mix of a both words - a cosmogony (mythmaking ) alive, and every time when we are talking about Universal truth and high-concept theme, we are, willingly or unwillingly, sinking into this end of the world, although from another perspective the theme is usually not an easily grasped entity because it made out of mystery and mistic, too.
Nevertheless, to make sure you got a perfect conflict in your story you do have to name something that is so hard to figure out the right name for, and... go from there. Now, since you do know what Universal truth your main hero is making a deal with, it is not that complicated to figure out the variety of wrong explanations of the there to which every subplot you are going to build will be a bright sample of another attempt to bend the truth.
I am sure, now with your, really. whimsical fantasy and inventive mind will be not that complicated to figure out the rest of the things under the name "building the subplots".
Is it okay when a character doesnt know what he/she wants?
it would leave you with a boring character that gives you little to work with and little for the viewer/reader to empathize with. You could make 'finding a worthwhile goal/their purpose' their 'want' ... difficult starting point, tho
Hire intelligence people and finish this. It’s way too much work.