Your mother died giving birth to you. Every woman dies in childbirth. If you have younger siblings, do not question how they got there. Truly, you do not want to know.
You have no ears, but delicate pink shells. Your teeth are pearls. Instead of hands you have small white paws. You are beautiful, and terrifying.
A handsome stranger has awakened something deep within your breast. You do not know what it is, but it is awake, and it is aware.
People keep dying of consumption. You cannot say as yet who is doing the consuming.
There is mist on the moor. There is always mist on the moor. Seasons have no meaning here.
Everyone outside of very specific parts of England is evil. This must be true. It must be, and that’s why you should never, ever leave. Ever.
crepuscular(adj.) of, resembling, or relating to twilight. divine(adj.) of, from, or like God or a god; excellent and heavenly. orenda(n.) the spiritual power that people and animals inherit from their enviornment. thaumaturgy(n.) the working of wonders or miracles; magic. scintillating(adj.) sparkling, shining brightly or brilliantly clever or skillful. phantasmagoria(n.) a sequence of real or imaginary images like those seen in a dream. numinous(adj.) having a strong religious or spiritual quality; indicating or suggesting the presence of a divinity. supernal(adj.) relating to the sky or the heavens; celestial; of exceptional quality. roué(n.) a person devoted to a life of sensual pleasure.
Subplots can be tricky business, but when gone about correctly can make your story a thousand times better. This is a little guide to knowing when, how, and what types of subplots to include in your story. Enjoy!
Purpose
a subplot in a story should always serve a purpose. Subplots are not a device you use to bulk up the word count. They can be super helpful with progressing toward the main resolution, and can greatly improve your reader’s experience.
Connect To The Main Plot
You subplot(s) need to connect to the main plot in some way. I needs to push the story forward and somehow add to the resolution of the main conflict.
Reveal Information That Is Imperative To The Plot
Your subplots must serve to reveal information that is important to the main plot’s resolution. Whether it be revealed to the reader, to a character, or both, it needs to happen at one point or at multiple points throughout the subplot’s timeline.
Keep The Reader Interested
If your subplot is boring and only serves to give information, it may drive the reader away. Even though it isn’t the main plot, you still spend a considerable time with this plot, and it needs to be interesting to your reader. Subplots add to the main plot as well as the reader’s experience, so try to manipulate the subplot to keep your readers on their toes.
The Subplot Must Be Resolved
Finally, the subplot has to be resolved at some point in the story. Not necessarily in time with the main conflict resolution, because some subplots continue in sequels of stories, but if your story is a standalone, then it needs to be resolved before or at the same time as the main conflict.
When To Use A Subplot
Some subplots begin to appear very early in stories and some don’t appear to the reader until the very end. Subplots must flow with the main plot, and as you introduce characters, plot points, themes, goals, and conflicts, the subplots will appear and thicken. Don’t fool yourself into believing that subplots have to begin at the beginning and run the entire course of the story. Life isn’t like that, and oftentimes, stories aren’t either. Let subplots begin where they may and run their courses at their own paces.
How Many Subplots?
There is no expectation or limit to the amount of subplots you can include in your story. However, in reality, you should only include the amount of subplots you, as a writer, can handle. If you can gracefully weave 20 subplots into the main plot and come out with a product your readers will understand and appreciate, then do so as you please. Do what makes sense for you, your audience, and your story.
Weaving Them Into The Main Plot
Subplots within a main plot should follow the same format when it comes to characters. The supporting character(s)’s story should intertwine with that of the main character. There should be an element within the subplot that is essential to the pain plot moving forward and being resolved. One of the most effective ways of weaving a subplot into the main plot is to create alternate sections or chapters in which the perspective changes to that of a supporting character and focuses on the subplot. Your subplots will seem to run parallel to the main plot but at various times, they should cross over and impact each other.
What Not To Do
Include a subplot that does not serve a purpose
Include a subplot that is purely meant to make the story longer
Include subplots that you and/or your story can’t handle
Force the subplot into a time frame that does not fit its purpose
Allow the subplots to run parallel to the main plot their entire durations
Congratulations, genius. You convinced your best friend, the Protagonist, not to marry the story’s Love Interest, and instead go off and have awesome adventures with you forever. But in doing so, you pissed off the Author.
After the third bandit ambush, the Unnecessary Character waits until the Protagonist falls asleep to turn an accusing look at the sky.
“Hey,” the Unnecessary Character says, jabbing a finger stupidly at the non-sentient array of stars, “you quit it. You quit it right now.”
The Unnecessary Character, henceforth known as TUC so as not to waste too many letters on them, looks rather rough. Their hair is a tangled mess from the swallows who’d mistaken the horrendous strands as nesting material.
“I know that was you,” TUC hisses. “Swallows use mud and spit to make their nests, not twigs.”
TUC is unaware that they actually look like dirt, just terrible, smelly dirt.
“This is a lot of unnecessary anger,” TUC says to the sky. “You’re the one who thought Ally needed a friend and now you’re mad that I’m being a friend to her? Josiah was a creep, you know. Maybe you think he was charming, but he’s borderline abusive. No, scratch that. He was straight up abusive.”
TUC’s main weakness has always been the inability to see the big picture. They don’t know that the Love Interest would do anything for the Protagonist, up to and including battling the dragon that would inevitable be coming to the castle.
TUC pales until they begin to resemble watery porridge. “The what?!”
Their voice is shrill and stupid. The pitch of it nearly wakes the poor, exhausted Protagonist who’s had it rough these past few nights with TUC waylaying her with their idiocy.
“Let’s…let’s swing back to the dragon later,” TUC says. They pinch the bridge of their nose, trying to ease the headache thinking so hard has given them. “Look, Josiah wanted to keep Ally in the castle, okay? Like, all the time. She’s an adventurer, dude, not a stay-at-home wife. And have you already forgotten how Josiah locked her in the dungeons when those rebel forces tried to break in? And then just forgot about her in the aftermath until she broke out?”
It’s not surprising that TUC has misinterpreted that lovely and gallant action. Ally is a lady, forced to work hard all her life to support her mean family. She needs someone to take care of her so she can finally be happy.
“Her mean–they were poor!” TUC says, missing the point completely. They direct a hideous look at the sky. “No, I’m not missing the point! Everyone in her family was worked to the bone, not just her! They all had to work insane hours just to pay taxes! Taxes, may I remind you, that Josiah and his father set!”
1) “Oh, you’re so golden,” the villain purred. “All I can think is how good you’d look utterly wrecked. Dirtied up.” The hero swallowed, eyes wide.
2) “Are you going to put me in handcuffs? Tell me how bad I’ve been? Punish me to the full extent of the law?” “Stop it.” “Make me.”
3) “Look at you, all cute and righteous. I love this aesthetic you have going on.” “I’m not righteous, I’m just right!” “Of course, I’m still going to have to stop you. A pity really. The way you handled my men was exquisite, but all good things must end as they say. En garde then, hero?”
4) “You don’t have to do this, please,” the hero said. “Ah, but when would we ever spend time with each otherwise? I think I’d miss you too much.” “You can’t be serious.” “You’ll never know.”
5) “All this saving the world, you’re going to make me jealous.” “Maybe you should help me then so we can back to our regularly scheduled feuding.” “Well, only because you’re pretty.”
persephone's corner 