by C. S. Lakin
Before the first full subplot scene, I’ve set up that Fran is having issues with her teenage son, Trevor. We’ve met him and witnessed this, and seen Fran’s worry over him. I’ve noted in parentheses where each scene falls in the novel.
Chapter 11 (35% mark): Fran goes as chaperone on a class trip with her son. At the park, she stumbles upon a drug sale gone violent that involves a couple of Trevor’s classmates and intervenes. Trevor is angry and embarrassed at her mother’s cop actions.
Chapter 15 (52%): Fran is called into school. Trevor is in the principal’s office, accused of hacking the school’s computers to change grades. He swears he’s innocent but evidence proves otherwise. Parallels Fran’s case, with Jepson arrested for hit-and-run and swearing he’s innocent. [We later see a short bit showing Fran has scheduled an IT expert to go to the school and investigate the claim.]
Chapter 16 (58%) Fran plays softball with coworkers. Reveals the backstory about her marriage, her husband leaving without a word ten years ago, that ten-year anniversary looming and how it ties in with her disconnect with Trevor, how she’s tried to be the best mom but feels she’s failed.
Chapter 18 (65%): Fran is home. Daughter Megan arrives distraught. Her boyfriend broke up with her, and she feels she’s unlovable. This unleashes Fran’s insecurities and loneliness, and emphasizes Fran’s need to be perfect and please everyone, never make a mistake. Which is key in this subplot with Trevor.
Chapter 19 (71%): Fran finds Trevor at the park. She tries to talk to him. She has good news—turns out, due to her efforts, that evidence proves Trevor was set up (just like Jepson). He gets angry—she didn’t believe he was innocent even though he insisted he was. He accuses her of not having faith in him. She mentions that his dad leaving is at the heart of all his pain. He feels like he’s a loser and confesses that he believes that’s why Dad left. Then he storms off. This starts Fran’s descent into emotional darkness. [Note how this Plot B element follows a similar story structure as does the main plot.]
(95%): After the main plot climax, Fran leaves the final crime scene and arrives home with blood on her clothes. Trevor freaks at the sight, and Fran is feeling completely vulnerable. Today is the tenth anniversary of her husband leaving. Fran and Trevor have the healing heart-to-heart when Fran breaks down, blames herself for hubby leaving, for being a terrible mom, and realizes she’s tried to be the perfect mom and that her efforts have backfired. What her kids need is for her to fail, to be imperfect. Fran has her big epiphany and faces her greatest inner fear. They finally talk about Dad for the first time, and healing results.
Note that the subplot resolves after the main plot is resolved in the climax. Both plot goals (Jepson and Trevor exonerated for their supposed crimes) resolve, but it’s in this scene, with the subplot, that Fran’s spiritual MDQ is answered, and her character arc comes to completion.
In other words, Fran solves the police case at the climax, but when she leaves for home after it’s all over, the subplot needs to wrap up.
Yes, I had the visible plot sealed with Trevor’s innocence proven back at that 70% mark (that case now closed), but the actual subplot—which is really about Fran’s relationship with her son—doesn’t resolve until the end of the novel.
I hope you see how adding this rich subplot gives my novel depth and showcases the themes.
There are many ways you might weave in a subplot, and the number of scenes you have may vary, but here’s a basic way you could layer that second set of ten scenes. (I’m going to put them in order as they appear in the novel but keep the numbering based on the layering system, so the subplot layer scenes are 11-20, as I did with Catching Fire.)
Chart: The Subplot Second Layer
#1 Setup. Introduce protagonist in her world. Establish her core need. Set the stage, begin building the world, bring key characters on stage.
#11 Introduction of subplot. Set up the situation between the characters to show the existing tension and attitudes that is causing conflict.
#2 Turning Point #1 (10%) Inciting Incident.
#12 Show how the Inciting Incident affects the subplot. It may trigger it, bring it to the forefront. Have something initially happen with the subplot to bring in problems and complications.
#3 Pinch Point #1 (33% roughly). Give a glimpse of the opposition’s power, need, and goal as well as the stakes.
#13 New subplot development that mirrors or is opposite of the main plot. In other words, show what key opposition your protagonist is facing and how she feels about it (a mirroring pinch point, in essence).
#4 Twist #1. Something new happens: a new ally, a friend becomes a foe. New info reveals a serious complication to reaching the goal. Protagonist must adjust to change with this setback.
#14 Progress with the subplot. Similar to the main plot, the character is trying to deal with the subplot issues, complications, and setbacks. Tension builds as things are getting more difficult or problematic.
#5 The Midpoint (50%). No turning back. Important event that propels the story forward and solidifies the protagonist’s determination to reach her goal.
#15 Things start coming to a head and creating high tension with the subplot. Now that the protagonist is committed to going all-in after her goal, the subplot adds stress to her load.
#6 Pinch Point #2 (62% roughly). The opposition comes full force. Time to buckle down and fight through it.
#16 Developments with the subplot reach critical mass. Things are falling apart, looking hopeless.
#7 Twist 2. An unexpected surprise giving (false?) hope. The goal now looks within reach. A mentor gives encouragement, a secret weapon, or an important clue.
#17 Subplot feels at a standstill. Protagonist has no time to deal with it, and so this creates more tension. Or something in the subplot could provide the help, insight, clue the protagonist needs to push harder to the goal.
#8 Turning Point #4 (75%) Major setback. All is lost and hopeless. Time for final push.
#18 Same issues with the subplot. Seems unresolvable. Something happens that closes doors. Or the subplot might be resolved outwardly, but the desired emotional state is elusive.
#9 Turning Point #5 (76-99%). The climax in which the goal is either reached or not; the two MDQs are answered.
#19 The key scene that resolves the subplot in a completely satisfying, full way. The character has achieved the emotional resolution she’s wanted from the start.
#10 The aftermath (90-99%). The wrap-up at the end. Dénouement, resolution.
#20 A final, parting shot of the result of the subplot wrapped up. This could be included in the last scene (above) as the two plot elements merge together, or they might be separate scenes within the final chapter(s).
Note, too, that the subplot may not directly be about your protagonist. You may have a dual-protagonist story, as you find in some romance novels. So the subplot could be all about the love interest, or a secondary character. But keep in mind: every subplot should serve the needs of your main plot and impact the protagonist as she goes after her visible goal for the novel.
Also keep in mind that when you get to the end, once the plot and subplot have been resolved fully, you want to end your novel. Remember: “Get in quickly; get out quickly.” Tie up all the loose ends, bring the cast of characters on stage, wrap it all up in a nice package in a tight, concise way (whether immediately after the climax in time, or in an epilogue of sorts a few weeks or months later).
But don’t drag out your ending. These last scenes are going to be short and sweet, preceding those two wonderful words: The End.
Play around with this. You might not intersperse each of the second ten scenes (subplot scenes) so evenly in this way. You might have two back-to back scenes and then nothing for a while. It really depends on your main plot.
But the idea is to drop in those backstory scenes every so often in key places and build to the climax of the subplot as you build to the climax of the main plot.
So first wor
k out a strong subplot that amplifies the themes of your novel, then create an outline of scenes, and maybe even write those scenes. Try writing them in a separate document, then, when you’re ready, carefully read through your novel and see where to insert those scenes. You may need to add a few more, or add in a few lines here and there in other scenes to prepare for what’s to come or for smooth transitions.
If you can think of a great novel with a great subplot, consider going through that same exercise of summarizing all the scenes, then identifying layer one, then layer two—the subplot layer. You may get some great ideas from this exercise.
We’ve looked at second layers based on action-reaction and subplots. Now we’re going to delve into the romance genre, which has its own special needs.
* * *
Your assignment: Even if you’re not sure you want or need a subplot in your novel, play around with developing one. First, jot down your themes or big issues in your novel. Think about your secondary characters and how their views clash with those of your protagonist. Brainstorm a subplot for either your protagonist or a significant secondary character that will either bring out your theme or create great conflict or both.
Make a list of possible scenes, keeping in mind the need to move from setup to climax to resolution. Use the Subplot Layer Chart as a reference to help you figure out what kind of scenes you need and where they go in your novel, then write a one-paragraph summary for each scene. Like what you’ve done? Use it!
Chapter 12: Layering a Romance
In this chapter I’m going to show you how you can layer the second set of ten scenes in a romance novel (scenes 11-20). Maybe you don’t write romance, but don’t skip ahead just yet. There are some useful elements to structuring romance novels that you may want to incorporate in your fantasy novel or thriller.
Many popular movies of various genres have that “romance” subplot. Ones that come to mind are Outbreak, Armageddon, Speed, Star Wars, and on the list goes.
In other words, don’t pooh-pooh romance. Real life includes romance, and many novels can benefit by a romance component. And hey, more than 50 percent of all ebook sales are romance novels. Just sayin’ . . .
What’s Different about the Romance Journey
We looked at a method in the last chapter that showed you how you can build on your ten foundational scenes by layering with your key subplot. And you can use that method with a romance novel or any other genre, I believe.
But there are some important things to understand about romance novels—the primary thing being the romance story engine.
Think of it this way: most novels have one engine that drives the story (think of a train or car). There is one primary focus or plot the protagonist is involved with.
But with a romance thread, you have two engines, like my hybrid car. You still have the overarching plot or story line. But you also have a romance engine. And while romance, like any other genre, can vary in large degrees, the primary “lover’s journey” that you find in romance novels follows a basic structure.
So while the plot is happening, the lovers are meeting, pulling apart and/or being pulled apart, coming together finally at the climax, and earning their HEA (happily ever after) at the end.
Consider Driving Your Romance with a Subplot
With straight romance genre, there is just the one romance engine driving the story. But what can make it a strong story is that developed subplot acting as a force for and against the lovers.
I had to learn well this story structure when I sat down to plot out and write my first historical Western romance, Colorado Promise.
I’d had romantic elements and subplots in some of my novels (Time Sniffers, The Map across Time, The Unraveling of Wentwater), and some of them were intrinsic to the main plot. But those novels aren’t considered romance genre. They don’t fit that category, and they wouldn’t meet those readers’ expectations if I called them romance novels.
So in this chapter I’m going to start to lay out those next ten scene types and show how a romance novel might be structured to work with the secondary story engine—the romance engine.
Because many romance novels alternate between the hero’s and the heroine’s POV, this may seem like a no-brainer. Again, there are lots of ways you can do this, but I’ll show you one example. Your novel idea might call for some variation. And with a first-person novel, this of course is going to be different.
What the “Lover’s Journey” Is All About
Before we dig into that romance layer, let’s look a bit at the “Lover’s Journey” as so wonderfully explained by Hollywood screenwriting consultant Michael Hauge.
According to Hauge, there are some key differences between the classic “hero’s journey” and the “lovers’ journey.” Without going into volumes, let’s just say that the modern romance structure follows a specific development, and the bulk of the key scenes are in the last third of the story (he uses the three-act structure because that’s common to screenplays).
Take a look at these two charts so you can compare the two journeys.
Hauge proposes twelve key scenes in the romance structure. Not every romance story has to have all of these, but they’re the milestones you’ll see in most romance novels. I often leave out two or three and replace with ones that work better for my story. (NOTE: on the lower chart, those numbers in parentheses pertain to the scene numbers below. In other words, “The Dance”—scene 7—would occur near the end of the much-larger Act II in a romance novel.)
But if you’re thinking of writing romance, it will help you to work with these, and I’ll show you how these layer in—in general and with specific examples.
Here are the twelve romance scenes (in my wording):
Chart: The 12 Romance Scenes
Ordinary World. We see the heroine’s normal world before she meets the hero.
The Meet. The lovers meet.
Rebuffed. Heroine has a negative response to the hero that shows they’re incompatible (or make this the hero’s reaction to the heroine).
Wise Friend Counsels. Heroine’s friend/mentor points out why the hero is right for her.
Acknowledge Interest. Heroine is forced to acknowledge her attraction to the hero.
First Quarrel. Lovers have an argument or disagreement that pushes them apart.
The Dance. Opposites attract and repel. Development of the relationship but with tension!
The Black Moment. Romance is dead, impossible due to something that’s happened.
The Lovers Reunite. They finally openly admit/accept they are fated/ meant for each other, but things stand in the way.
Complications Push Them Apart. Tension leading to the big climax, usually due the complications of the subplot.
Together at Last. Working together, thrown together, at the climax to overcome the last big obstacle (emotionally and actually), they are finally together or joined in love and purpose.
HEA. The happily ever after. The reward for the hard journey.
You can probably see how a few of these scenes are going to take the place of some of the ten key scenes (such as #1). Again, this is all flexible, and you can move things around and add in as your plot requires.
With romance stories, the subplot is the ticket because if all you have are scenes showing the hero and heroine talking or walking in the park or arguing over something, you don’t have a story.
You need a plot! You need action, secondary characters, and the development of conflict, high stakes, and tension. In other words, you want to throw your hero and heroine into a big situation that can force them to ride that romance engine to the finish line (or train depot).
Layering In Romance Scenes
As I did in previous chapters, I’m going to continue the numbering in bold so you can see where these next ten scenes might be layered over the first ten. Hang in there. This will make sense as we go further.
Take a deep breath and don’t get overwhelmed. Pretend this is all fun (because
it is!).
NOTE: The 12 key romance scenes are R1, R2, R3, etc.
Also, keep in mind that in many romance novels POVs alternate, so you may have a scene or two in the hero’s POV, and then shift to the heroine’s. In other words, each of these key scenes could be two halves—a whole scene but one that has a POV shift midway. This is very common with romance novels.
Chart: The Romance Second Layer
#1 (also R1) – Setup. Introduce protagonist (heroine) in her world. Establish her core need. Set the stage, begin building the world.
#11 R1 – Introduction of HERO. This is the match to the first essential scene. It may not be the second scene in your novel. You may have two or three scenes with your heroine first. Remember, we’re looking a key scenes to lay in as structure—not every single scene.
#2 – Turning Point #1 (10%) Inciting Incident. This incident moves the heroine into position for the meet (a move to another location, an event, etc.).
#12 R2 – The Meet. This may come later. Some say the lovers have to meet in the first scene. I’m not big on that. I want some time to get to know them both before they’re thrown together. I want to see their need.
#3 – Pinch Point #1 (33%). Give a glimpse of the opposition’s power, need, and goal as well as the stakes. This is the full setup of your subplot, against which your lovers face conflict, opposition, and obstacles.
