HOW MANY SUBPLOTS SHOULD YOU WEAVE INTO YOUR STORY? The short answer is only add as many as you need to move the story along, and give it depth and interest. Easier said than done for the beginning novelist.
Here are my Top 3 Tips for not just how many, but what kind of subplots make for a solid Mystery/Suspense/Thriller novel (my genre).
1 Keep It Simple Just because you can imagine and create fifteen story lines, doesn’t mean they all belong in one book. Your goal is not to show off or confuse the reader, but build suspense. Brainstorm first, then narrow it down to the most intriguing story lines, the ones that reveal something about your protagonist and antagonist. If your subplot doesn’t give the reader reasons to keep turning the page, ditch it. No matter how interesting it is to you, if it distracts your reader, it won’t help your book. Three is a good number to shoot for. In the case of mysteries, finding out who committed the murder, or how they are caught (or not) is your Number One, your main plot.
2 I have always loved character-driven novels, so when I began writing, the secondary story line is always about the personal life of my protagonist, Logan McKenna. How is she going to rebuild her life after the death of her husband and discovery of his infidelity? What career is she going to pursue? Who is her love interest and how does she learn to trust again, or does she? Who is she going to be? What part is music going to play (sorry for the pun) in her life now that she’s plucked (sorry, can’t help it) Bella from the back of her closet, dusted her off and pulled that bow across the strings?
3 Beyond those two main plots, there is the antagonist. In this subplot, I want to reveal the tragic or twisted thinking of the killer. What brings a person to take another’s life? The victim is dead, whether they simply got in the way of a sociopath, or were accidentally run over by a drunk driver. Murderers range from the psychopathic, sadistic serial killer to someone who, making one bad choice after another, gets to the same place, the act of taking another’s life, but never intended to, even though the reader may see it coming. The character-reveal of the antagonist can be achieved with the swallow-tail subplot method, using alternating chapters to tell separate stories, then bringing them together at the end of the novel.
If you’re still not sure about how many sub plots to include, think of your favorite books or movies. The best ones weave in only a few subplots, but develop them well.
A self-admitted book addict, Valerie was the kid with the flashlight under her pillow. A life of travel with exposure to many different cultures led to a pervasive interest in people, with degrees & teaching credentials in Cultural Anthropology & English.
Some of the most intriguing clues have sprung from the minds of authors who had a great idea for a clue but not the slightest notion how it would work out—but put it in anyway, hoping for the best.
If a subplot is threatening to overshadow the main story, drop it. A subplot should enrich the main plot, not distract from it.I realize that it is easy to say and a lot harder to do. That s what beta-readers and editors are for.
Idk wether to self publish or go through a publisher, and im unsure of who and where to go to. I have many ideas and works in progress because all my mind does is, it keeps on flowing continuously, even when im dreaming, its a story.
Hello – great question. You are not alone! With all of the options available now, the choices for authors can be overwhelming. There is a spectrum from completely self-published to traditional publishing, with an infinite number of points in-between. Writing a book is only half the job. Design, layout, formats, printing, eBooks, marketing, sales, and publicity are just the start of the rest of what an author needs to do if they want to be successful. Watch for an upcoming post that goes into more detail about these options, and the increasing popularity of hybrid publishing. In the meantime, start thinking about what skills you have or are willing to learn, and how much time you are willing and able to dedicate to various tasks. It’s usually a trade off between the two. Also, how much control do you want over the finished product? The more independent you are, the greater your say in the content and look of your work.
The first step in any process is to write the very best story you can produce. Then let it sit in a drawer for at least a month so you get some distance from it. Once you take it out again, you will see more clearly what needs to be fixed. Then send it to a few alpha readers-people who like and read your genre. You don’t want someone who only reads political thrillers to critique your romance novel. They won’t like it from the get go. Once you get their comments back, rewrite. This won’t be the first time if you want your best work out there. THEN send it to beta readers. Once you get their input and make your corrections/adjustments, you are ready to send it to an editor. Notice I said nothing about a publisher until your manuscript is as good as it can get. I would invest in an editor’s services before sending it out to find an agent or publisher. For your first work, anyway. It’s worth it.
Whatever you do, set yourself a production schedule and start writing! You can outline your story by writing a synopsis of each chapter, or you can just start writing.
If a subplot is threatening to overshadow the main story, drop it. A subplot should enrich the main plot, not distract from it.I realize that it is easy to say and a lot harder to do. That s what beta-readers and editors are for.
Good input – I agree. I would add something I’ve learned the hard way – add experienced alpha readers to the mix to correct any structural issues before sending it off to beta readers, and definitely before sending to your editor. If you are self-publishing, editing is a major expense and you don’t want to have to pay them twice.