I expect we've talked about this a lot before, but what do people feel about sub-plots?

As a reader, do you ever find yourself skipping the parts of the book which are sub-plot because you are more engaged with the main characters and wish the author would 'get on with the story'? Or do sub-plots enrich the text and and add interest and variation and depth?

How many sub-plots is too many?

Do you prefer to have one clear central sory and then other strands which are very definitely subordinate, or are you just as happy with two or more threads of more or less equal weight?

How linked do you think sub-plots need to be? Is it enough if the major and minor characters know one another and keep bumping into one another and playing small parts in moving one another's stories forward? Or can it be a thematic link? (i.e. things happening in the sub-plot throw into relief something parallel happening in the main plot)? Or does it all have to be very heavily intertwined for it to 'gel'?

Any thoughts much appreciated. (Though I expect the answer is inevitably going to be 'it depends...'!)

Rosy

I adore a good subplot! I tend to write episodically - I think I'd get bored otherwise - and in my WiP I basically have about 6 strands that narrow to 3. I learnt many of those basic techniques of Stephen King. I think it became part of my psyche as a boy.

My sub-plots are very strongly connected to the main plot, supporting it by providing an 'outside eye' that would just not be possible to convey through the MC's viewpoint. Kind of like, you know what's going on as the reader, while he doesn't.

It's fun to do, especially when you're trying to make the reader hold their breath about certain character encounters, but it can be difficult to manage at times, and I would love to write something more linear at some point.

JB

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Oh, and I never skip bits. When people say they've 'skipped bits', it sets my teeth on edge.

Personally, I like 'em Rosy but I do know what you mean about sometimes wishing the writer would get back to the action and the MC.
Also, I much prefer it when the sub plot is obviously going to link up with the main one along the way, with massive repercussions - it's a delicious sensation to try to guess how and why.
In my second book I really struggled with sub plots. I set the book up with one main story and two sub plots. Trouble was, I enjoyed those subbies so much they were seriously in danger of taking over. The first draft had a definite three strand structure which would have been fine for a stand alone but as the second book in a series I felt it seriously cheated the reader so I teased it back to one main story line and two subbies - a horrible process.
A part of me still thinks it's too lop sided by my editor seems happy.
HB x

I like them if there's on obvious agenda for their being there. The trouble with Children's fiction there is often a PC theme to them, such as Hermione's SPEW, in Harry Potter, highlighting the slavery of the house elves. The only redeaming feature of which was most house elves being horrified at the thought of emancipation. Personally I like the subplots that add humour to an otherwise humourless story, eg, thriller or crime novel. Some of my favourite books seem to have had subplots which completely take over the serious main story which is relegated to the role of a sub-plot.


- NaomiM

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oops '....there's not an obvious....'

Now I'm confused, Naomi! You like 'em when there is a reason for them to be there, or when there isn't?

Or is the poont that you don't like them being tacked on with what feels like some trasnparent external agenda, nothing to do with the main plot?

I don't like external agendas, Rosy.

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And as Helen says, the sub-plot should link up with the main plot at some point.

I agree with Naomi that a good subplot is often a humorous one. And if a subplot is to work really well, I think it needs to counterpoint the tone or pace or theme or characters in the main plot - whilst still being entwined with them. It's like a piece of music, for me. If you see what I mean.
Susiex

I think a good sub plot reads like a brilliant short story woven into the novel. I'm thinking of the cartographer in Oscar and Lucinda. i cared so much about what happened to him, despite him being vile, because he was so passionate. Passion is a key theme in O & L. The cartographer's passion to chart uncharted territories nearly kills Oscar and Oscar's own passion. It works stand alone but it also deeply enriches the main theme, like those fabulous dramas going on in the background in Renaissance paintings.

Note to self - must remember to buy Oscar and Lucinda!

Sarah

Oo yes, good example, Cherys. I love Peter Carey.

R x