Layer Your Novel: The Innovative Method for Plotting Your Scenes (The Writer's Toolbox Series)

by C. S. Lakin

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  You may have chosen different key scenes for your second layer. I chose those next ten scenes not because they were the next ten most important scenes. Rather, I focused on reaction, processing, and new action.

  Inexperienced writers often have a lot of useless scenes in their novels, and most of those fall in the middle. To avoid that middle slump, layering scenes that show immediate reaction to what just happened, leading to processing and decisive new action is the way to go.

  A story is about characters who act, then react to what just happened. Action-reaction-processing-decision-new action. Some novels have myriad developments, as you see in Catching Fire and other high-stakes dramas. Others have few plot developments.

  Regardless, you can’t go wrong if you have a balance of action, processing, and reaction scenes.

  I hope you can see how, once you add the layer of the second set of ten scenes, that paves the way for the next layer of ten scenes. Take a look at the remaining scenes in this last chart. Guess what? We see more processing, new developments and twists, complications and raised stakes.

  Once the goal is set at the quarter mark, everything from there is building to the climax with higher stakes, greater obstacles, stronger opposition, and messier complications. That’s solid story structure.

  This chapter showed you how you might layer your novel focusing on the natural action-reaction process. But if you have a great subplot (or are considering developing one), you might want to make that the focus of your second layer of scenes.

  Let’s take a look at how that might be done.

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  Your assignment: Grab a favorite book (best seller) in the genre you are writing, then summarize every scene in the book as shown in the Catching Fire example. Go through and identify the ten key scenes (mark them in bold and number them). Then go through that list of scenes again and find the next layer of ten scenes—by looking for reaction and new action. Notice how the author placed “processing” scenes after an important plot development. Notice scenes that showcase new action based on a decision made via that processing. This will help you see how you might create your second layer for your novel.

  Chapter 11: Layering a Subplot into Your Novel

  Let’s talk a moment about subplots.

  When I started writing novels, I had no clue about subplots. I figured my books needed them, but I didn’t know why. And without knowing why I should include a subplot into my story, I didn’t have the insights needed to craft one.

  Not every novel has one or needs one, and genre often determines this. With many high-action suspense-thrillers, there is just the one plot, with the protagonist chasing after that specific goal. Many subgenres of romance omit subplots; the story is focused on the guy getting the gal and little else.

  But regardless of genre, I believe just about any novel will benefit by a strong subplot or two.

  Oddly, to me, there isn’t much written about subplots, but subplots are everywhere. We see them in the movies we watch, and they are in many novels we read. We may instinctively know how they work in story structure. I always thought they were inserted to give some depth to the overall story, whether movie or novel. And that is one purpose for a subplot.

  But writers need to be careful not to throw any ol’ subplot into a story with the hope that it will merely add some interest. If you keep in mind that everything that goes into your novel must serve the advancement and complication of the main plot, you will fare well.

  Subplots Serve a Purpose

  What do I mean by “serve the advancement” of the main plot? The main plot is all about a protagonist going after a goal in the midst of conflict and high stakes. That’s the essence of the main plot’s purpose—to be a vehicle for this character and her objective in the story.

  So, if you keep in mind that any subplots (additional plotlines) you create should add to the main plot in a meaningful way, that can help you come up with some interesting and helpful subplots.

  Subplots are also great vehicles to bring out themes and motifs. A subplot situation could present another side to a theme of justice or ignorance or forgiveness.

  Subplots can involve your protagonist and/or your secondary characters. Regardless, whatever side story you weave into your novel, it needs to impact your protagonist.

  I have read numerous novels, some by best-selling authors, who have thrown subplots into their stories that don’t fit at all. These subplots feel dropped in as noise and distraction, and I’ve sometimes found myself skimming pages to get past them in order to get back to the gripping main plot. That’s a bad thing.

  In addition to being irrelevant to the novel’s purpose and premise, they are often boring, highlighting mundane concerns and activities that don’t add anything of interest. And that makes for a dissatisfied reader.

  Do you need a subplot in your novel? You may not have thought much about this, but I hope this exploration into layering in a subplot will spark some ideas for you.

  We first need to look at why a subplot might enhance a novel. And here’s my simple answer: if you want your novel to reflect a slice of real life in some way (whether a “realistic” story or a fantasy), subplots will add to that sense of realism or believability.

  Plot Layers

  The “plot” of our life is loaded with subplots. I find it helps to think about plot in layers. And since this book is all about layering your novel’s scenes, this layering concept ties in nicely.

  Plot layers come in all thicknesses of importance, and if they are designed carefully, they will make your story a rich one with unique and lasting flavors that will linger long after your reader finishes your book.

  One way that may help you in conceptualizing this is to think about your own life. You have some big goals—long-term, long-range goals, or maybe even just one—on the horizon at the moment. Maybe it’s to finish college and get that degree. Maybe it’s to start a family and create your dream life with your spouse.

  In a novel, that might equate to your main plot, which features the visible goal your protagonist is trying to reach. This is the overarching plot that all the other plot layers will sit under. But just as with a multilayer cake, when you take that bite, the different flavors of the layers should complement one another and create a delightful overall taste. I wouldn’t want to bite into a layer of catsup in my chocolate cake.

  As that “plot” plays out in your life, other things encroach or dovetail into that goal. You may be dealing with some personal issue—such as a recurring health problem or a former boyfriend who keeps showing up against your wishes. You may also be dealing with trivial things, such as trying to decide what color to paint your bedroom, and the paint store guy, who’s completely incompetent, can’t get the color right.

  Life is complex. It’s messy. We’re told to complicate our characters’ lives. Well, this is the best way to do it—by introducing many layers of plot, and not just for your protagonist but for your secondary characters as well. So it stands to reason that layering in a subplot after your ten key scenes are in place in your outline is a logical next step.

  Vary the Intensity of Each Layer

  Think about creating three layers (at least), and let’s refer to them as plots A, B, and C. You know your A plot—it’s the main one driving your story. But now you need B and C.

  You want B to be an important layer that will help the main plot along—either something that enhances Plot A or runs headlong into conflict with it.

  Plot C will be thinner and more trivial, and may even add that comic relief in your tension (picture your character trying to get the paint guy with myopia to see the obvious difference between the two unmatching paint swatches). Believe it or not, Plot C can serve the purpose of revealing a lot of emotion and character (ever thrown a hissy fit at a store when you’re having a bad day because of some bigger concern?).

  Take this a step further and imagine one of your secondary, supportive characters in your n
ovel dealing with an issue that juxtaposes with your protagonist’s issues. This is what I meant earlier when I said a subplot can enhance and showcase your themes.

  What if Ann, your heroine, is fighting infertility, and at her peak of despair at being unable to conceive, her best friend Joan not only learns she’s accidentally gotten pregnant but Ann learns she’s going in for an abortion. Can you see how this plot layer can add depth to your story by providing a place to reveal more of your protagonist’s needs, fears, and personality—as well as create meaningful conflict?

  An Example of a Subplot Process

  In A Thin Film of Lies, a mystery I wrote years ago that needed a big revision, I decided to make a secondary character my protagonist.

  Fran is a bit sketchy in the original story; you know a little about her life, personality, and tastes. She’s the lead homicide detective investigating a hit-and-run, and Mike Jepson, businessman, seems guilty. Evidence mounts to indicate that Jepson ran down Libby with his car, and Mike ends up arrested and in jail, despite his protests that he’s innocent (Plot A).

  This genre is clear. It’s a detective story. So the plot plays out with the development of the investigation of the apparent crime, building to the big climax and twists that reveal “whodunit” and what happens next (surprise twist at the end).

  So my challenge was in coming up with a subplot that was just right for my novel. Since my main theme centered on the protestation of innocence and Fran’s challenge in believing in Jepson’s innocence despite the “proof,” I decided I would run a parallel subplot with that theme.

  I set up that Fran’s husband left her, without a warning, ten years earlier, and now her two kids are teens. Trevor is seventeen and struggling emotionally. He is at odds with Mom. But it’s more than typical teen angst. That ten-year anniversary of hubby’s abandonment is fast approaching, and Fran has never really talked to Trevor about his pain (or hers). Clearly he’s having abandonment issues.

  This all ties into the rich character arc and spiritual/emotional MDQ I want answered in the novel. Meaning, Fran has not faced her own pain and hurt—not fully—regarding her husband’s flight. I decided to use the subplot as a means to set her on this journey so that by the climax, she has to face all the ugliness—her pain and feelings of failure as a parent—through the conflict with Trevor.

  Pause for a moment. What I did was use Plot B to play out, for the most part, the character arc. To answer the spiritual MDQ. Something to think about.

  So “secondary character” Fran now became my protagonist. Not only did I deepen her involvement with the main plot and increase the number of her scenes, I came up with a subplot that added an ongoing, growing tension with her teenage son that exposed issues of trust and believability—elements that are key themes of my main plot.

  Fran doesn’t really believe in her perp’s claims of innocence, nor does she believe her son’s when he insists he didn’t hack the school’s computer.

  I laid out a list of about ten scenes (full and partial) that could develop this subplot. Just as with any main plot, your subplot needs an arc.

  Let me repeat that, in case you missed it: your subplot needs a story arc too.

  There’s an introductory or setup scene that shows the situation (which may or may not already be in progress), followed by numerous scenes that . . . you guessed it—complicate and build the subplot to its big climax.

  It was when I layered in this subplot (a few years ago) that I got that “aha moment” regarding layering. It was so easy to first create a summary of those ten subplot scenes, write them (back to back in one document, for cohesion), then insert each scene in the proper place in my earlier novel draft. Which might be something for you to consider doing.

  You can either chart out your novel with the subplot scenes before you begin writing, or you can write your first draft, then write all your subplot scenes, then insert those scenes in just the right places in your story. Make sense?

  Let me say this: it’s a whole lot of fun to do.

  The Beauty of Subplot C

  In those subplot scenes (Plot B) in my crime novel, I also included brief moments dealing with Plot C.

  Brief is the operative word here.

  Since Plot C elements are usually minor, they aren’t going to take up a lot of space in your novel. Though, having that big “fall apart” scene at the paint store could be an important development in your story.

  But . . . if you spend dozens of pages and multiple scenes on insignificant action in your novel (Plot C), you are going to bore readers and waste valuable space.

  I had already set the novel in Los Angeles in the heat of summer, so it was logical to create a Plot C that tied in with that. In the midst of Fran dealing with her “son” issues, I had her hate the LA heat and gave her terrible asthma, so my Plot C is the aggravating element of her air conditioner at home always going on the fritz—which compounds and exacerbates the tension and “heat” in her house and family life. And I found a way, at a key moment near the climax, to bring in some symbolism (about things always breaking and not being able to fix everything in life . . .) through that Plot C.

  In my latest novel, I wanted to give my character Seasonal Affective Disorder (SAD) in order to compound her health and emotional issues, so I set the novel in the Pacific Northwest, in a region where it’s gray and rainy much of the year.

  So while you’re playing with your plot and scene ideas and trying to come up with subplots, think about exterior elements that could come into play, especially with your Plot C.

  Play with your themes; find places in your novel, or create new scenes, where you can bring these themes to the forefront. If you do, you will end up with a delicious, irresistible story readers will love.

  Complicate Matters

  The secret to crafting great subplots is found in this word: complicate. If you make it your objective to use your subplots to complicate your story, that is a first strong construction step.

  That doesn’t mean you want to throw in side stories that are only messy situations, though.

  The best purpose for subplots is to enrich, deepen, and help advance the main plot and reveal character motivation. So with every subplot you add in (and often, the more the better), utilizing any number of secondary characters, find a way for this additional story line to be a complication.

  For whom? Ultimately, for your protagonist. For, even if the subplot is about another character, the impact of what that character is going through has to affect your protagonist (unless you are dealing with multiple timelines and the characters never interact).

  Don’t throw random subplots into your novel just for filler or because you think they are neat ideas. They really must serve a purpose in your story. Sure, make them entertaining or provide comic relief. Subplots help to bring out your characters and all their issues, and they can be a vehicle for making your characters clash, which, to me, is the best reason for layering plots.

  Creating That Subplot Layer

  Since subplots are common to novels, it’s only natural that creating a second layer that builds the subplot would come in handy. Writers probably don’t step back and consider how many scenes should be devoted to the subplot (or subplots) and where they might be inserted in the story. I’ve read novels in which the subplot is glomped in the middle of the book or crammed into the second half of the novel.

  A strong subplot should be carefully plotted for best impact. As I mentioned, I believe a subplot should act in tandem with the primary plot, building in importance, intensity, and in impact. Even if it’s a small subplot, if it ties in with the novel’s themes and provides key information at key times, it’s worthy of a layer.

  In A Thin Film of Lies, note that the situation regarding the subplot (the trouble with Trevor) is mentioned and thought about in many other scenes as Fran mulls her problems over in her mind or discusses with coworkers or friends. But the actual full scenes in which the subplot plays out comprises six big s
cenes.

  I came up with a subplot that involves Trevor being accused of hacking into the school’s computer and changing some grades of some of the students. Trevor claims he’s innocent, but evidence strongly proves he’s guilty.

  I mentioned that I wrote all the subplot scenes in a separate document, back to back. This is extremely helpful because you avoid any disjointedness or clunky flow from one scene to the next. It’s almost as if you are writing a mini novel on the side that you then break up into pieces and insert into your story.

  When I wrote The Hidden Kingdom, I used a story within a story, so I did this exact thing. All the scenes with Alia and her husband and son on another planet were written in a separate document. I had five full scenes, which included the opening and closing scenes of the novel. In these scenes, Alia is basically telling the plot of the novel to her son as a bedtime story. But these are detailed scenes, not just short excerpts. By using this same method of layering, I was able to achieve, with ease, the effect I intended and found it a perfect way to keep continuity and flow.

  What then? Once you’ve written all those scenes and you’ve created a kind of mini novel with your subplot (because you will have a beginning, middle, climax, and ending), you determine where to place each scene.

  Here’s the list of subplot scenes I created and where I placed them in A Thin Film of Lies. Remember: the elements connected to the subplot can come out in dialogue and thought in small bits throughout the book, and should, because your character, while at work or play, will be thinking about this important Plot B in her life. But these noted in the chart are full scenes, which you need with strong subplots.