On March 29, 2014, maybeawriter wrote, I noticed that I tend to rush through subplots. For example, in one story, I have my two MCs falling in love. They meet the first day, then they’re already friends with hints of romance by the end of the second. I know shared life-threatening experiences tend to help people bond quickly, but it seems somehow too fast to me. In the same story, I have a (fundamentally good) character who considers himself a super villain, and I think he abandons his life philosophy too quickly. I think both subplots need to be slowed down. Any thoughts on how to pace subplots so they don’t get rushed?
And Eliza responded: It isn’t unbelievable to fall in love after two days. Just to act on it. Hints are okay, things like MCs looking at each other for too long, going out of their way to help each other, and giving compliments. Readers pick up on hints. Just hold off on things like kissing for a while. The longer you hold off, the more readers will want them.
Let’s talk about subplots first, because I recently gained a new understanding in that area. I used to think that a subplot had to be an entirely separate side story. The Lord of the Rings trilogy, for example, is full of this kind of subplot, set off when the fellowship splinters. Various characters leave Frodo and have complete adventures on their own. These subplots come together in the grand resolution of the ring, but they work themselves out in isolation.
Stolen Magic has this kind of subplot, but most of my books have a simpler kind. Let’s take Ella Enchanted as an example. The main plot is Ella’s quest to rid herself of the curse of obedience. Her experiences with ogres would be a subplot. So would her run-ins with Hattie. Her father’s romance, if we can call it that, with Dame Olga would be. Even her relationship with Char would be. Ella, as the POV MC, is there for all of them, but they’re still subplots, which braid together to make trouble for Ella and to finally contribute to the story’s resolution.
I agree with Eliza. I’m on board with quick-developing romantic feelings, because I think they often arise this way. Electricity sizzles between two people, and they like each other, too. They’re both their best selves when they’re together, at least on the first few occasions.
If our story is a romance and we want it to be longer than five pages, we do need to slow it down. What are the possibilities? Can we bring in subplots?
Complications can be external or internal or both. Let’s call maybeawriter’s romantic duo Ginnie and Max, and the guy with delusions of super villainy Warren. And let’s imagine that Ginny and Max enjoyed each other so much on their first meeting that they agree to a repeat the next day at the local historical museum, because they’re both history buffs. Here are a few external events that might intervene:
• Max’s mother is in a car accident. Things look dicey for her. Max is so involved, waiting in the emergency room with his dad and comforting his little sister, that he forgets the date. Ginny waits an hour for him with rising feelings of disappointment and anger.
• Ginny discovers when she gets home that her father wants her to go fishing with him the next day. He rarely has time to spend with her and she doesn’t want to disappoint him. She calls Max and gets his voice mail. She leaves a message and also texts him. He doesn’t get back to her because he left his cell phone on the bus on his way home. He waits for her for an hour the next day. He’s worried, rather than angry, because he realizes she may have left him a message, and he thinks something may have happened to her.
• One of them is in a car accident on the way to the museum.
• Stuart, an old friend of Ginny’s shows up unexpectedly. She reaches Max, and he suggests the friend come along. He does, and his presence throws off the chemistry between Ginny and Max. By the end of the day neither is sure there ever was a spark.
• Max is abducted by a ring of diamond smugglers, or he’s carried off by a hungry dragon.
• Ginny falls, strikes her head, and has amnesia.
See if you can add three (or more!) more external interrupters to my list.
For internal forces we have to make decisions about these two. There are lots of possibilities. Here are a few:
• Max is thorough. When he gets home he googles Ginny. He finds her Facebook page, where he learns about her hobbies, sees her friends. Thinking he’s just expressing interest, the next time he sees her he quizzes her on what he saw. She feels spied on.
• Ginny is enthusiastic. When she gets home she texts Max to say what a great time she had and how she told her girlfriend what a great guy he is. Max is reserved and not sure he likes being discussed with Ginny’s friends.
• Max tells his friend Jay about liking Ginny. Jay knows Ginny and opines that Max can do better. Ginny isn’t cool enough for him. Max, who cares far too much about the opinions of others, feels ashamed of his feelings for Ginny. His hesitation shows the next time they meet.
• Ginny doesn’t trust her luck. She can’t believe how nice Max is, and she worries that he’s going to stop liking her, because great things just don’t happen to her. She works herself into such a state that she cancels the date, not wanting to be there when he loses interest.
There. Your turn to write down three or more internal obstacles.
Note that these delaying elements can give rise to subplots. For example, we can develop subplots involving the families of Max and Ginny. Likewise, one about a ring of diamond smugglers. Or a hungry dragon! On the internal side, the relationship with Jay can be a subplot. Or Ginny’s easily discouraged state of mind can be.
As for Warren, the character who misguidedly believes himself to be a super villain, I’d suggest some scenes that confirm his idea of himself and some that confound it. A friend can try to prove to him that he’s a decent person but he refutes the arguments, bolstering his opinion of himself. Another friend, who actually is evil, can act badly, and Warren finds himself angry with her. His friend Ginny can beg him for advice about her relationship with Max, and he tells her he’s too busy to help. After she leaves he feels awful, but he tells himself that he doesn’t have time for such a trivial thing as love. Then he goes to a store for equipment he needs for his YouTube filming, which will prove his badness. On the way, he’s the only witness to the car accident involving Max’s mom. He calls 911 and stays with her until the ambulance comes. Then he hurries off to complete his purchase, ignoring his contradictory actions.
Ginny can be a subplot in his story. So can the car accident and its aftermath. Also the other friend who tries to reason with him. And let’s not leave out the YouTube performance and what comes of it.
This post is full of prompts:
• Write a story about Ginny and Max. Try several of my suggestions and your own for slowing down the momentum of their romance.
• Write a story about the confused non-super villain Warren. Write the scene in which he makes his YouTube video. Write the scene of the car accident and the scene with Ginny.
• Write a story or novel that combines Warren’s confusion about himself with the romance between Ginny and Max.
Have fun, and save what you write!