Subplots in Fiction: How to Use Them to Deepen Your Story

Maybe you’re drafting your first novel, or just finished. Or maybe you’re in the early stages, working from a novel outline you’re excited about. Regardless of where you are in the writing process, there may come a moment when something feels off, flat, or scattered—like the story is doing too much, or not quite enough. Subplots might be your problem, but also your solution. When used intentionally, subplots can add depth, tension, and emotional resonance to a story that hasn’t yet found its narrative balance.

When I was drafting my first novel, I wasn’t thinking much about subplots. I had the general shape of the story in mind—beginning, middle, end—but I hadn’t yet considered its inner architecture. In my novice novel writer mind, everything revolved around the main plot. Subplots? They existed, but I assumed they’d emerge naturally as I developed my draft. I didn’t understand that subplots needed arcs of their own, momentum, or a clear connection to the larger story.

During revisions, I tried to fix this by overcorrecting. Suddenly, every minor character had a personal storyline. I gave each one a narrative arc—whether or not the story needed it. While some of those threads were interesting, the result was a cluttered, unfocused draft. My main plot stalled, and the pacing lagged. My beta readers were confused, and likely bored. It was like I’d mixed too many colors on a canvas: the final image had no contrast, no clarity—just an overwhelming shade of gray.

Since then, I’ve developed what I call the Goldilocks method of subplotting: not too few, not too many—you have to find the balance that’s just right. And that balance will look different for every book.

In this article, we’ll explore:

• What a subplot is (and isn’t).
• How many subplots a book should have.
• Different types of subplots.
• How to weave subplots into your story.
• Common subplot mistakes.
• Real-world examples that show subplotting done well.

Whether you’re a hardcore outliner (plotter) or a discovery writer (pantser), subplots can and will elevate your story, when they’re intentional and supportive of your main plot. Let’s subplot!

What Is a Subplot?

A subplot is a secondary or minor storyline that supports, echoes, or contrasts with the main plot. It can follow a secondary character, add depth to an antagonist, deepen a theme, introduce a counterpoint, or help your protagonist evolve in subtle ways. Subplots are not just filler or side quests—they’re essential structural elements that create emotional and narrative depth while supporting the forward progress of your main plot line.

A subplot is a secondary or minor storyline that supports, echoes, or contrasts with the main plot.

Think of the main plot as your story’s spine. Subplots are the ribs: they branch off the spine, support the body, and help your story breathe.

A subplot:

• Has its own complete arc, including a beginning, middle, and resolution.
• Is thematically or emotionally tied to the main plot.
• Typically involves supporting characters.
• Should enhance the reader’s understanding of the central conflict.

In my early writing, I struggled to know how far I was “allowed” to branch away from the main plot—especially when writing in first person point of view (POV). How could I develop minor characters or explore other threads if I was tethered to one narrator’s perspective? What I’ve learned is that subplots don’t require a shift in voice or POV. 

When done well, a subplot often becomes one of the reasons readers love a book. When done poorly, it’s the part they skim. Or worse, it’s the reason they DNF.

How Many Subplots Should a Book Have?

This is one of the most common questions writers ask, and one of the hardest to answer definitively.

The truth is: there’s no magic number. Some novels hum along beautifully with one well-developed subplot, most need two or three, and a few epic, sweeping books can handle more. Most stories benefit from a less-is-more approach, especially in early drafts.

Some novels hum along beautifully with one well-developed subplot, most need two or three, and a few epic, sweeping books can handle more. Most stories benefit from a less-is-more approach, especially in early drafts.

As I mentioned, when I revised my first novel, I made a massive overcorrection. I went from nary a recognizable subplot to suddenly having half a dozen emotional arcs unfolding at once. On paper, it sounded ambitious (maybe?). In execution, it was narrative chaos. My main plot kept getting buried, and my pacing suffered. My early readers and critique partners told me they were confused about what the story was actually about. I had made a mess!

One subplot in particular stands out in memories from that time. My novel centered around the death of a sibling, and I had written a storyline about how that death affected the sister’s best friend—how her grief pulled her into a darker world. It was well-written, emotionally complex, and…entirely out of place. It didn’t connect directly to the main character’s arc, and it slowed the manuscript down. It was hard to cut, but I had to let it go in order to make the novel stronger as a whole.

Subplots should never feel like they’re pulling focus. They should be supporting the main narrative, not trying to compete with it.

As I said, the number of subplots will be different for every book you write, but if you’re a number person, here’s a general guideline:

• Short novels or novellas (under 60,000 words): 0-1 subplot
• Standard novels (70–100k words): 1-3 subplots
• Epic or genre-spanning novels (100k+ words): 3+ subplots (Only if the story genuinely needs them!)

Whatever the genre, subplots should serve a clear purpose:

• Advance the main plot
• Add emotional weight
• Develop a character
• Explore the theme from a new angle

If they don’t do any of those things? Especially if they don’t aid in the advancement of the main plot? Delete them. Cut out of your manuscript.

Subplots are only powerful when they’re purposeful.

Types of Subplots in Fiction

There’s no one-size-fits-all approach to subplotting. The kinds of subplots you use depends entirely on the story you’re telling. I’ve written novels where a character’s personal arc held the emotional weight of the entire book, and others where a subplot that seemed necessary at the beginning ended up feeling out of place by the final draft.

That’s the beauty of discovery drafts: they help you find the story beneath the story. They help you discover what the story actually is.

Here are some common types of subplots—and how they can deepen your work:

1. Character-Driven Subplots: These explore the internal growth of secondary characters or flesh out dynamics between people in your protagonist’s life. A character-driven subplot is a great device to reveal information about and add depth to secondary characters.

2. Thematic Subplots: These reinforce the central theme by presenting another version of the story’s emotional or moral question. These subplots are like philosophical mirrors: they pose alternate versions of your story’s core question, offering different perspectives or outcomes that enrich the emotional and intellectual experience for the reader.

3. Antagonist Subplots: These follow the opposing force—whether it’s the villain or simply someone working against your protagonist. These subplots can build tension and expand the complexity of your story.

4. Mystery or Intrigue Subplots: Handled well, these can add suspense and page-turning tension. Used poorly, they feel like a gimmick or genre mismatch. I once added a mystery subplot to a quiet, literary novel, thinking I was making the story more interesting. A wise editor pointed out that it wasn’t necessary, and only weakened the story. She was right.

5. Romantic Subplots: Romantic tension can be used in any genre. But only include it if it adds emotional stakes, contrast or momentum to your main plot. Don’t force it or add it just because you think it should be there.

An honorable mention goes to subplots that reveal the “real” story. While not a real type of subplot, I felt it was worth nothing. I once wrote the first 50 pages of a new novel before realizing a side character had more voice, conflict, and emotional richness than my original protagonist. I started over, and made that side character my new protagonist. The subplot wasn’t a distraction—it was the real story trying to break through.

The key to any strong subplot is this: it should reveal something new—about your characters, your theme, or your story’s emotional core. If it doesn’t, it might be unnecessary background noise your novel doesn’t need.

How to Write a Strong Subplot

Here’s the secret no one tells you when you’re first learning how to write a novel: subplots are structure. They aren’t just nice to have—they’re part of the engine that drives your story forward. A weak subplot can drag your pacing, confuse your themes, and dilute your emotional impact. A strong subplot, on the other hand, can deepen everything.

Here are a few tips on how to develop a solid subplot:

1. It Must be Connected to the Main Plot

A subplot shouldn’t feel like a detour or an occasional hiatus from the main storyline. It should feel like a corridor leading to a different part of the same house. It might offer a quieter moment, a new character perspective, or a parallel emotional arc, but it needs to be in deep conversation with the larger story.

Sometimes, writers fall in love with a side story simply because it’s fun to write. However, fun doesn’t always equal functional. Writers often have to cut entire storylines, even those that are beautifully written or interesting in isolation, because they had nothing to do with the central tension of the book.

Ask yourself: If I removed this subplot, would the book still work? Would it be stronger without it? Or would something vital be missing?

2. It Has Its Own Arc

A strong subplot has shape. It’s not just something that shows up occasionally to break up the action. It has a beginning, a build, a complication, and a resolution.

In my own work, I’ve learned to chart subplots the way I chart main plots. Even if I’m not outlining in detail, I’ll track where the subplot enters, where it develops, and how it resolves. If I can’t do that, it’s probably not really a subplot; it’s just a stray idea looking for a purpose.

3. It Reveals Theme or Deepens Character

Subplots are excellent tools for illuminating a story’s emotional undercurrents. A subplot can show your protagonist failing in one area while succeeding in another. It can echo a theme in miniature. It can offer a counterpoint that invites the reader to ask bigger questions.

Think of your subplot as your story’s echo—it should be saying something related, but from a slightly different angle.

4. It’s Woven Seamlessly into the Main Narrative

This is where craft meets finesse. The best subplots don’t announce themselves. They’re folded into the story in a way that feels natural, inevitable. You don’t want your reader to think, Ah, here comes the subplot. You want them to think, I can’t wait to see what happens next.

One way to do this is through rhythm. If your main plot is heavy and high-stakes, a subplot might offer breath and space—a romantic tension, a bit of humor, a philosophical pause. If your main plot is internal and introspective, a subplot might raise the stakes or propel the pacing.

Subplots can be used to:

• Develop your protagonist through relationships
• Add tension or contrast to the central conflict
• Reinforce or question the moral center of your book
• Build out the world of your story

Always remember the most important part: A subplot should serve the story, not distract from it.

Subplot Examples from Literature and Film

Sometimes the best way to understand how subplots work is to see them in action. A well-crafted subplot doesn’t shout for attention—it deepens the story, sharpens the emotional stakes, and leaves readers more invested in the world of the book.

Here are a few famous examples that demonstrate different types of subplots used to masterfully benefit the main story:

1. The Weasley Twins’ Rebellion — Harry Potter and the Order of the Phoenix by J.K. Rowling

While the main plot follows Harry’s battle against the rising threat of Voldemort and the internal corruption of the Ministry of Magic, a subplot develops around Fred and George Weasley, and their rebellion against authority at Hogwarts. At first glance, their antics seem like comic relief, but the subplot mirrors the main story’s central theme: resistance in the face of institutional control. Their exit isn’t just funny—it’s iconic, and it raises the emotional pitch of the main plot.

2. Lila’s Hidden Ambition — My Brilliant Friend by Elena Ferrante

While the main plot of My Brilliant Friend follows Elena’s coming-of-age and evolving self-perception, one of the most compelling subplots centers on her friend Lila’s complex relationship with intellect, creativity, and power. Lila doesn’t have access to the same educational opportunities Elena does, but her fierce intelligence and submerged rage quietly drive the narrative. Though Elena is the narrator, Lila’s arc often holds the emotional center of the book.

3. Celie’s Sister Nettie — The Color Purple by Alice Walker

Nettie’s letters form a powerful subplot that expands the scope of the story beyond Celie’s immediate world. While Celie’s arc is deeply internal—focused on reclaiming her voice and self-worth—Nettie’s subplot brings in themes of global injustice, colonialism, and family separation. The two plots feel distinct, and yet they are emotionally inseparable.

4. The Failed Love Story — The Great Gatsby by F. Scott Fitzgerald

Tom Buchanan’s affair with his mistress, Myrtle, and the lingering past between Daisy and Gatsby, function as romantic and moral subplots. These relationships aren’t central to the action, but they amplify the novel’s core themes: illusion, longing, and the rotten deception lurking beneath the glitter of wealth. (You can read The Great Gatsby here.)

Common Subplot Mistakes and How to Avoid Them

Subplots are one of the most powerful tools in fiction, and also one of the trickiest to manage. When they work, they enrich and elevate the story, but when they don’t they slow it down, dilute its focus, or confuse the reader.

Here are some of the most common subplot mistakes I’ve seen (and made), along with how to avoid them:

1. Subplots That Don’t Connect to the Main Story: If a subplot feels like it could be lifted out of the book without changing anything, that’s a red flag. Every subplot should connect to the main plot in one of three ways: it advances it, reflects it, or complicates it. Otherwise, it’s not doing enough work, and needs to be expanded or deleted.

2. Too Many Subplots: Writers, especially in early drafts, often overwrite, and try to give every character their own arc. It can feel like you’re deepening your world, but too many threads can pull focus, and muddy the core story. Even strong subplots can lose their impact if they end up competing for attention.

3. Subplots That Are More Interesting Than the Main Plot: This one is trickier. Sometimes, the subplot is where the emotional truth of the story lives, and it begins to outshine the main narrative. Remember my early tale of starting over after writing fifty pages, because I realized a subplot was really my main plot? If a subplot is stealing the shine of the main plot or main character, you either need to accept that you’ve been writing the wrong story, or you need to pare down the current subplot.

4. Subplots That Go Nowhere: Never introduce a subplot, build it up, and then forget about it, or abandon it halfway through. This leaves readers frustrated, and creates a sense of narrative imbalance. Even if your subplot ends quietly, it still needs resolution. Leaving no loose ends includes resolving all of your subplots before writing “The End.”

5. Subplots That Clash Tonally or Thematically: Sometimes writers insert a subplot to add excitement, tension, or variety, but it doesn’t belong in the world of the story. Like that time I added a mystery subplot to a literary novel because I thought it would make the story more exciting. The tone didn’t match, and the story didn’t need it.

Subplot Writing & Revision Checklist

If you’re unsure whether your subplot is working, this checklist can help. Use it to evaluate whether a subplot is pulling its weight—or if it’s just taking up space.

Concept & Purpose

• Does this subplot relate to the main plot, theme, or protagonist’s arc?
• Can I clearly state the purpose of this subplot in one sentence?
• Does this subplot add tension, deepen character, or reveal theme?

Structure & Pacing

• Does the subplot have a beginning, middle, and resolution?
• Is the subplot introduced early enough to matter?
• Does it build over time rather than dropping in and out?

Character & Emotion

• Does it develop a side character or show a new side of my protagonist?
• Does it mirror or contrast the emotional stakes of the main plot?
• Is the tone and voice of this subplot consistent with the overall story?

Relevance & Impact

• If I cut this subplot, would the story still make sense?
• Is this subplot pulling focus from the main narrative?
• Does it resolve or evolve in a satisfying way by the end?

Bonus Tip: If you find yourself stuck, try writing a one-paragraph summary of each subplot as if it’s its own mini-story. If you can’t find a compelling arc, it might not belong—or it may need more work.

Subplots Are Where the Story Deepens

It’s easy to think of subplots as optional, or as bonus material for when the main plot needs to take a breath. But in truth, subplots are where stories expand, characters grow, and meaning gathers weight. They’re not detours. They’re echoes, mirrors, and undercurrents. Subplots are how your story speaks in more than one voice.

Like everything in writing, learning to use subplots well is a process. You’ll overdo it. You’ll underdo it. You’ll write a subplot that hijacks your book, and another that dies on the page. Eventually, you’ll write one that surprises you by revealing the beating heart of your story. Each time, you’ll get better at knowing the difference.

Don’t be afraid to experiment. If something feels off in your draft, try adding a new subplot, cutting one, or try following that side character who won’t shut up in your head. It’s okay to not get it just right, while in your pursuit of finding just the right balance of subplots.

Hone Your Subplots At Writers.com

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