A subplot is a secondary strand of story running alongside the main plot. Done well, it adds texture, complication or emotional depth; done poorly, it distracts from the story the reader came for. The difference usually comes down to whether the subplot is doing a specific job.
This guide sets out the common types of subplot, how to connect them to the main story, and when to cut one. For how the main plot itself is built, see [How Do I Plot a Novel?](/resources/writing-craft/how-do-i-plot-a-novel).
What is a subplot, exactly?
A subplot is a storyline that runs through the book alongside the main plot, usually involving a secondary character, a different aspect of the protagonist’s life, or a smaller-scale version of the book’s central concerns. It has its own beginning, complication and resolution, on a smaller scale than the main plot.
What is the difference between a subplot and a distraction?
A subplot earns its place by affecting the main plot, the protagonist, or the reader’s understanding of the book’s themes. A distraction takes up pages without changing anything: it could be removed and the rest of the book would read exactly the same.
What is a character subplot?
A character subplot follows a secondary character’s own small arc, such as a friend rebuilding their confidence or a sibling confronting an old resentment, which reflects or contrasts with the protagonist’s main journey.
Example
For example, in a novel about a woman rebuilding her career after a public failure, a subplot following her mentor quietly facing retirement can echo the book’s theme of starting again without repeating the main plot directly.
What is a relationship subplot?
A relationship subplot tracks the changing dynamic between two characters, often romantic but not always, developing over the course of the book. It works best when events in the main plot put pressure on the relationship rather than the two strands staying entirely separate.
What is a mystery subplot?
A mystery subplot poses a smaller question than the main plot’s central mystery, often resolving earlier and providing a satisfying answer partway through, which can help sustain momentum in longer crime or thriller novels.
What is a thematic subplot?
A thematic subplot explores the book’s central idea from a different angle, often through a character who makes different choices than the protagonist, letting the reader see consequences the main plot does not show directly.
What is a series subplot?
A series subplot develops slowly across multiple books rather than resolving within one, often involving a long-running relationship, mystery or world-level situation. Each individual book should still give it some visible movement, even if the full resolution is saved for later.
How do I connect a subplot to the main story?
Look for natural points of intersection: a shared character, a decision in one strand that affects the other, or a converging event near the climax. Even loosely connected subplots benefit from at least one moment where they visibly touch the main plot.
- Give the subplot and main plot a shared character who moves between them.
- Let an event in the subplot change what is possible in the main plot, or vice versa.
- Bring the two strands together, even briefly, before or during the climax.
- Echo the main plot’s theme in the subplot’s outcome, whether in agreement or contrast.
How many subplots is too many?
There is no fixed number, but most novels manage one to three subplots well. Beyond that, readers can struggle to keep track of who wants what, and each additional strand takes attention away from the ones already established.
When should I cut a subplot?
Cut a subplot if it has stopped adding anything new by the midpoint, if it never intersects with the main plot despite several attempts, or if removing it would tighten the pacing without losing anything readers would miss.
Do
- Keep subplots that change the main plot’s stakes or the protagonist’s choices
- Trim a subplot down rather than cutting it entirely if part of it still matters
- Check each subplot has its own small shape, not just scattered scenes
Avoid
- Keep a subplot purely because it was fun to write
- Let a subplot grow until it competes with the main plot for attention
- Leave a subplot unresolved without a clear reason for doing so
How do I resolve subplots?
Resolve subplots before, alongside, or shortly after the main plot’s climax, giving each one a clear, if brief, conclusion. Leaving a subplot open deliberately, for a sequel or because ambiguity suits it, is different from simply forgetting it; readers usually notice the difference.
Common mistakes
- Subplots that never touch the main plot. A strand that runs entirely in parallel, with no shared consequence, tends to feel like padding by the end of the book.
- Too many subplots competing for space. Beyond two or three, readers often struggle to track who wants what and why it matters.
- Leaving a subplot unresolved by accident. A dropped subplot reads very differently from a deliberately open thread; readers can usually tell which one they are looking at.
- Letting a subplot outgrow the main plot. If a subplot becomes more compelling than the main story, it may be worth reconsidering which is actually the main plot.
Frequently asked questions
Do all novels need subplots?
No. Short novels, tightly focused thrillers and some literary fiction can work well with a single strand and no subplots at all.
Can a subplot become the main plot during revision?
Yes. It is common to discover, partway through drafting or revising, that a subplot has more energy than the original main plot and deserves more space.
Should subplots get their own chapters?
Not necessarily. Some subplots run in dedicated chapters or point-of-view sections; others weave through scenes that also serve the main plot.
How do I know if a subplot is thematically relevant?
Ask what it says about the book’s central idea, in agreement or contrast with the main plot. If it says nothing, it may need reworking or cutting.