The HEA Cafe

I know the thread below this one suggested talking about the National conference this week, but I was already slated to do my workshop this week. But feel free to talk in BOTH threads. That’s what a blog is for…

 Lecture #1

THE CRISIS HAS TO INTERRUPT A LIFE

Cathy Clamp

Subplots are one of the most misunderstood and underused tools in an aspiring writer’s toolchest. If you look at the plot and characters as the hammer and screwdriver of the book, then the subplot is the torque wrench—a delicate tool that in the hands of a skilled user turns a book into a masterpiece.

So what is a subplot, and why is it important?

You’ll likely find a dozen different definitions of the term if you look on the web, but the basic gist is that a subplot is a secondary story inside the primary plot (a “plot within a plot”) that can stand alone. It’s also known as the “B” story or, in the case of a secondary subplot, the “C” story or “tertiary subplot.” A single-title novel often has multiple subplots which act as a foil to the main plot, support a theme, complicate events, or enhance character traits.

In romance, a good subplot involves the main characters, rather than dealing only with secondary characters. Romance subplots often involve family, friends or work, hobbies, health or finances. The hero/heroine either has direct impact on the events of the subplot (solving a problem) or the events impact the hero/heroine (make the goal of the plot more difficult.) They frequently deal with obligations that came about BEFORE the opening of the book. This is the sort of subplot that helps create your character’s world. When I say that, I mean that an author not only has to figure out what the characters are going to do in the book, but how they survived to be their age BEFORE the book starts. They had experiences, just like you did. If the plot of the book is the crisis that interrupts their life, then what life DID THEY HAVE before the plot was thrust upon them? Now, most of this will never make the printed page. But you have to know it all the same. I try to have one “life” subplot occur for each main plot thread. Who was the last person on your MC’s (main character’s) caller ID when the book opens? His/her mother? Best friend? Harassing bill collector? Does s/he pay the rent on time? Hate the boss at work? Have pets? Etc., etc. Real people have to live in the book, or the readers won’t want them to succeed in getting through the plot to either get back to their life, or away FROM their life.

For example, let’s say your romance hero is a cop, and he’s hiding from a Mafia don who he’s going to testify against just as soon as he can find all the evidence. But he’s also agreed to be the best man at a friend’s wedding. The wedding’s been planned for a year, which is long before your book opens. Being a stand-up guy, he can’t just back out because his professional life sucks rocks at that moment. So, he might dread each phone call that starts with, “We need to get our tuxes fit tonight.” or “Don’t forget about the wedding party dinner on Wednesday. You’re giving the toast.”

What does this subplot add to the book? It tells the reader that he’s a really good friend, because he’s unwilling to back out of his obligation so close to the event. It says the hero is willing to risk danger to satisfy the debt to his friend. It says that despite being willing, it’s STILL a nuisance and is a “bang head into wall” moment each time. It adds some comic relief to lighten the mood at critical moments. Most of all, the subplot shows the reader much better than simple dialogue that your hero is an Alpha-type, but has the CAPABILITY to fall for the heroine. He has the depth to handle the emotion of love.

Tomorrow we’ll talk about ways to braid the subplot(s) into the main plot so it looks seamless.