The purpose of this plot is to bring back the main story with a goal. This plot is about two (or more) characters, but not all of them in the book. This is another storyline that affects everyone in the book, but it’s less important and perhaps more mundane.
Every book needs a storyline that all characters are interested in. Or you could have the hero team up with another character, away from the other character and your main storyline, which in turn could form a sub-storyline.
The process becomes clear when you consider that each protagonist has their own subplot, plus you can have one or more of the characters revolving around the main story. It’s not uncommon to have multiple storylines – in fact, your main characters will have their own storylines throughout the storyline.
Add more characters and you’ll have more storylines. One consequence of having an army of characters is that you will also have many storylines. If you have multiple characters intertwined in the same storyline, it cleans up the action and makes it easier for the reader to follow what’s going on.
In addition to making the characters meaningful to each other’s storylines, try to weave the storylines so that they reach the climax of your story.
Subplots are most satisfying when they cover the story at about the same pace as the main storyline and intersect with the main storyline at key points. The secondary plot may be less developed than the central plot, but structurally it works on the same principle.
Or it can continue on its own until it ties into the main storyline later in the book. The Secret History can influence and affect other storylines, but we won’t have a clear understanding of them until they come.
An underground story is a story that takes place “underneath” the story that the public sees. An underground story is a storyline that usually touches the surface a few times before fully resurfacing at the end, changing the context of previous episodes.
The central plot usually runs through the entire narrative, from the onset of an external problem (a character’s “accident”) to its resolution. In the classical sense, at least one subplot begins when the protagonist is fully engaged in the main plot, working on a case or treasure hunt.
Many works of fiction contain multiple episodes in which different characters experience their own dramatic situations; this is common in modern series, where the main story takes place in the background, but there are smaller arcs in the background with some characters. In this way, the plot is the “what” plus “why”, “how” plus “what” and “why” of the story, forming a big chain.
How many plots?
You have to follow the arc of the big story – chapter to chapter – and the small story (the actions of individual scenes and chapters). Creating a plot outline is key if you want to understand where the story is going. Creating a plot outline and character outline helps because it allows you to take a step back and gain a broader narrative perspective.
While the plot outline is useful for structuring the story and staying on track, remember that this is a flexible design, not a rigid structure, as every element of the novel needs to bend to fit.
To write your love story well, every time you introduce a character, make sure you know what its main purpose in the story is. In fact, the number of plots you write for each character will depend on the importance of each thread in the plot, such as whether the plot of one of your main characters is tightly interwoven or closely linked to the main storyline.
Video – Creating subplots
Remember, you can tell the story as much as you want, but it will make your life easier if you accept too many plots and it will ruin a book. Your story may seem overly complicated, not because of plot issues, but because of the way you present it.
After all, the problem of overly complex plots is really a problem for writers who write stories they don’t fully understand and/or control. If the most successful books have only one or two, the stories will feel flat, bloated, or repetitive because the authors lack the variety to draw from.
Short story structure
While you can fit almost any story you can think of into one of these three types of stories, this one is overly simplistic and doesn’t provide insight into the actual structure of the story. The storyline doesn’t have to appear in every scene, and it doesn’t have to start with the first chapter and end with the last, except for the big storyline.
Creativity means that each of them should be related to your basic dramatic principle. Of course, in a broader sense, this means that if you break this equation – if your story changes an additional theme or an unrelated plot goal – then, boom!, you just wrote not one story, but several (or more). In a typical television storyline, an episode usually consists of two storylines, called Story A and Story B.