Writers in the Storm

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January 31, 2025

Diving in the Toolbox: Creating a Plot-Subplot Template

by Laurie Schnebly Campbell

When someone first asked about creating a plot-subplot template for their toolbox, I was baffled. “Why would you need to create a template? Why not just use the W, or the Hero/ine’s Journey, or Discovering Story Magic, or Plotting Via Motivation, or the Snowflake, or Personality Ladder, or -- oh. Yeah. I get it.”

There are all KINDS of templates, and a lot of ‘em (like those mentioned above) are extremely good. But not every template works for every writer, which is why creating your own makes sense.

Looking at various templates you’ve tried, it’s easy to spot things you liked and would be happy to keep...as well as things you didn’t. That’s where plot-subplot customization comes in.

Obviously, what kind of fiction you’re writing will make a difference. (Sure, readers also love NON-fiction, but plot-subplot templates don’t really apply there except in an occasional biography or memoir.) So, you need to consider questions like:

Does your genre require an open-to-interpretation or happy or cliffhanger ending?


How many can / should there be?

If the main plot has a happy ending, can a subplot end differently? Ambiguously?

Are there certain high / low spots the reader has every right to expect as the story unfolds?

This is a lot to consider, and it helps to have in mind some examples of stories you’ve liked. When you think about books or movies or TV series you’ve admired—not just lately, but at any time in your life—think about what you admired IN that story. What did you find particularly appealing?

It can’t be something like “the lead actor” who entranced you. It can’t be “the gorgeous setting” that caught your eye. It’s gotta be the template itself that you liked...the way the story unfolded, the thing/s it focused on more intensely, the ending that left you feeling highly satisfied.

Which, once you’ve chosen a few stories you found particularly appealing, leads to some questions about each of ‘em:

  1. What high and low spots stood out?
  2. How many, if any, subplots were there?
  3. How did the main plot end? How about the subplot/s?

We already know there’s gonna be SOME kind of connection between them and the main plot. For instance:

* Sidekick/s have an issue separate from their relationship/s with the main character/s.

* The main character has more than one problem to solve...maybe one professional, another personal.

* Subplots bring in an issue that wouldn’t automatically arise in the main plot but which deepens the situation, the backstory, the conflict, and/or the theme of the story.

Of course, the main plot deserves more page-time and more attention than any subplot. But you can do things with subplots that you couldn’t have done with the main one.

Let’s say you’re writing a classic romance or mystery where the main plot’s ultimate resolution is “love conquers all” or “justice is served.” Let’s also say you don’t want readers thinking “hmph, that wasn’t very true-to-life.”

Having a subplot in which love DOESN’T conquer all, or justice ISN’T served, gives your book a more realistic overtone. (Some readers will love that nuance. Others will wish you’d stopped with the classic resolution reinforcing what they prefer to see. You can go whichever way you like!)

What else can your subplot/s do?

* Provide information you want the reader -- but not the main character -- to have. If the main character’s searching for a hidden treasure but doesn’t know it’s stored in the volcano that’ll erupt in 36 hours, your story’s tension is a lot stronger when the readers KNOW about this hiding place than if they have no idea where the treasure is. They’ll be getting sweaty palms, which they love, and your subplot can deliver that.

What else can a subplot do?

* Help you develop characters who’ll become important later in the story, or later in the series.

* Reveal backstory which the main character doesn’t know about (or doesn’t think of as any big deal) by having a side character refer to it.

* Create a different mood. If your main plot is a nail-biting thriller, your subplot can give the reader some much needed moments of humor. Or if your main plot’s a heartwarming love story, your subplot can remind ‘em that life isn’t always sunshine and roses. Switching moods every so often will help keep people intrigued. They’re never 100% sure of what they’ll get in the next scene.

So, your subplot has some mission relating to the main plot, along with pursuing its OWN narrative arc.

That means—since it’s unfolding as a plot, just like the main story is unfolding as a plot—it’ll need to fill the same requirements as any good plot. But generally <whew> not as many.

All of which goes into creating your plot-subplot template, and that starts with answering the question about stories you appreciate. Even without analyzing their template/s, it’s fun to choose a few examples of stories that have left you feeling genuinely satisfied. Which leads to our:

What’s some element those Stories You’ve Loved have in common?

* * * * * *

About Laurie

After winning Romantic Times’ “Best Special Edition of the Year” over Nora Roberts, Laurie Schnebly Campbell discovered she loved teaching every bit as much as writing...if not more. Since then, she’s taught online and live workshops including the upcoming Creating a Plot-Subplot Template, and keeps a special section of her bookshelves for people who’ve developed that particular novel in her classes. With 50+ titles there so far, she’s always hoping for more.

Top Image by Tung Nguyen from Pixabay

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70 comments on “Diving in the Toolbox: Creating a Plot-Subplot Template”

  1. Hi Laurie. Great post -- helped me to refresh my own thoughts about sub-plots. In fact, I was trying to think of a story that didn't have a sub-plot and I completely lost the plot (pun intended!) LOL. These days I'm into non-fiction and I do find that even non-fiction storytellers do follow some kind of plot/sub-plot template. But since this post is about fiction, I won't get into that. Cheers, Adite

    1. Adite, it's intriguing to think about non-fiction storytellers using a plot/subplot template...anytime those involve plot twists and character development, I'll bet the book reads every bit as well as a fictional story!

  2. Thank you for introducing me to a new way to examine and implement subplots. As someone who is new to the craft of writing fiction, I know little, but am intrigued greatly.

    Recently I was mesmerized by the limited TV series 'American Primeval'. I guess I would say it is an historical fiction with an overall theme of 'injustice'. I was intrigued most by how its sub-plots all stemmed from that theme, and the particular 'love interest' sub-plot. I dare not reveal any spoilers, but I thought the plotting and sub-plotting was exceptional in the series and I plan to watch it again as a study in plot and behavior.

    Last thought - I might be one who is inclined to believe that nonfiction benefits from plots and sub-plots as well. 🙂

    1. Jennifer, the idea of a historical theme involving 'injustice' is a compelling one; it's great how American Primeval threaded that throughout all the subplots! Good idea to watch it again as a study tool; I'll bet the writers would be thrilled to hear that.

  3. I love a good mystery or action/adventure, but the best ones for me ones have a subplot involving relationships, whether it’s a romantic journey or a redemption arc —or both.
    I related to what you said it can’t be the lead actor. I have favorite actors I watch, but some roles I’m disappointed in—the plot is what matters most to me.

    1. Beth, relationships are always a good basis for subplots in just about any genre...heck, those could work just as well in non-fiction as fiction. And you're so right about how even the best actors can't compensate for a not-so-well-written story. 🙁

    1. Mica, that sure IS a grabber situation! It works in so many ways, too; you could write 50-some books and never need to repeat a setting or character...although probably your fans would be thrilled anytime you DID. 🙂

  4. I like when the subplot reflects a different aspect of the main plot, offering the main character a different view of what's happening. In Brilliant Minds, we see parts of Oliver's childhood that are affecting how he deals with his current case.

    1. Sylvie, you've got me curious about Brilliant Minds -- gotta go Google that! And it sure IS nice when the subplot sheds new light on some part of the main plot we wouldn't ever have gotten to learn about if not for this added element.

  5. Since I'm most interested in the characters, I like the "other stuff" that goes on in their lives beyond the main focus of the story. In my Mapleton mysteries, for example, there's a crime to be solved, but there are also the issues with the mayor and town council, and the relationship issues with his family life, both good and not-so-good.

    1. Terry, that's the wonderful thing about a series like yours -- there are so many avenues to explore, with different elements each time but always adding extra depth and richness to the main story. And even more so, the longer the series goes!

  6. Hi Laurie,
    Thank you for another informative blog reading. I've been thinking about this topic lately in regards to my current ms and meaning to enrol, in your class. I like it when subplots enhance the theme either by showing other ways the theme can impact people or showing that there isn't simply one way to react to something ir grief.
    Cheers Tracey

    1. Tracey, wow, grief would be a wonderful theme to explore in main plots AND subplots -- there aren't many readers out there who haven't had to cope with that, and seeing more and more ways of how it can go will be fascinating for them all.

  7. I read mysteries, and the ones I enjoy the most have subplots that involve personal emotions. A budding romance, resolving family tensions, or renewing past friendships, all have the potential for deep, satisfying emotions.

    1. Lenore, I'm so sorry I missed your post on the first read-through this morning! Especially because you spotted such a great element that unites your favorite subplots...deep, satisfying emotions are one of the best parts of reading.

  8. This is an awesome post, Laurie, with info that jolted my muse to attention. Ideas are spinning now about how to introduce characters from the final book in a series I'm working on through a subplot in the second-to-last book. SO exciting.

    There are so many elements in various books that have held me captive but I'm going to go with a film here because we just (again) watched Pirates of the Caribbean. Jack Sparrow is the lead, clearly, and we want to see him succeed at whatever it is he's trying to do, but there's also the love story between Will and Elizabeth, the self-preservation of Barbosa and the inner workings of the Royal Navy and the East India company. Each of those elements works to thwart or assist the others. It's addictive and compelling, and written/performed in a way that makes it look so easy that it makes me jealous. lol.

    1. Debora, I love your line about how each element "works to thwart or assist the others" -- talk about a perfect illustration of what subplots can do at their best! And how cool that you've already got a story that'll put this knowledge to work.

  9. I really love to see a subplot where the main character can find some type of extra happiness or peace. Like if their solving a mystery and falling in love, but they find a better relationship with their family through the subplot. I also adore when side characters find love in a subplot, because then it feels like two wins in one for the reader.

    1. Amanda, every reader who loves a happy ending is gonna be right there with you in appreciating the extra happiness or peace or love that can grace a character who's gone through some kind of challenge on their way through the story. 🙂

  10. What’s some element those Stories You’ve Loved have in common? I read a lot of psychological thrillers and most of the time I'm wondering which character is the one who's behind all the tension created in the story, i.e. who really IS the "bad guy"? And most of the time it could be almost any one of them and thus, the ending is surprising ... IF the author has created enough questions around everyone involved in the story in the first place. I don't want to know from the get-go who's behind it all. I want to keep wondering through the entire book.

    1. Patti, the "who's REALLY the bad guy?" question is a great one; stories like that are wonderful choices for book groups because everyone can make a case for different characters and it's always such fun to compare notes on 'em afterwards!

  11. I love subplots. Probably a bit too much. Exploring different aspects of the theme(s) of my stories is irresistible to me. Thanks for the idea to examine stories I read and loved for their subplots. I don't think I've ever done that and I thought I dove deep into analyzing the stories I've read.

    1. Lynette, I'll bet you already DO dive deep into analyzing stories you've read...there are millions of different ways to analyze, and probably no two writers have ever covered the exact same ones. But it's always cool to have a new tool in the toolbox.

  12. Great and timely post, Laurie!! I was writing 55k category but my publisher recently upped the count to 70k so I had to add a subplot. In my first 70k story I recently turned it, I used the heroine's daughter as the subplot. It was fun because she could observe the interactions between the H/h from the lens of a teenager and add some humor. Plus, she was able to get advice from the hero about her grief. In giving her advice, the hero realized he needed to follow it too, helping him with his emotional journey.

    Plot has always been my downfall so adding subplots to it was torture. The book hasn't come out yet so I don't know if I succeeded but my editor loved it and didn't even care that the word count was a bit short. I guess what I'm saying is, I don't feel confident enough to pick out subplots from movies or shows. I wait for someone else to analyze it so I can say "oh yeah I get it now" LOL!!

    1. Carrie, I remember that feeling of panic when hearing "you've gotta have a subplot" -- no! not possible! not really?! But the one you came up with sounds excellent...and for what it's worth, it DID seem to get easier with every book. (Whew.)

  13. Hi Laurie,

    I need that sub-plot class! I started reading a book on sub-plots but it doesn't seem very meaty...and I need help in intertwining a main plot and sub-plot. I enjoy reading them and seeing them in movies.

    1. Gina, you've done wonderful subplots before -- it could just be that you don't think of 'em as being subplots. But the intertwining part is always cool, and there are an amazing number of places for logical intersections...fun stuff ahead. 🙂

  14. In my line of work, behavior consists of thoughts, feelings and actions. Stories that hold my interest will always develop each of those elements separately. In effect, each main character, and one or two secondary characters, will be presented as three personalities, based on their thoughts, feelings and actions.

    For me, the most interesting is thought, then feeling, and action really isn't all that important for me. I love it when the story shows clearly how the characters come to understand what they're feeling and doing.

    1. Meg, I'll bet your story templates are a lot more focused on the mental / emotional aspects than the physical aspects of the story...and readers who share those priorities, which includes just about everyone except action/adventure fans, love it!

    1. Jennifer, what fun to know somebody's actually reading the bio -- every so often I wonder if that reference is even worth including, but I've always liked the way it sounds so I leave it in. Thanks for the confirmation that it still works. 🙂

    2. I love that too, Jenn. I smile every time I put up one of Laurie's posts -- half because I always learn something cool, but half because of that very cool fact in her bio. 🙂

  15. I've enjoyed reading this post; so much good information to digest and use. COLUMBO comes to mind as an example. I love that he inserts bits about his wife into the current investigative process. He throws everyone in the scenes off track...but not his veteran COLUMBO viewers because we watch and wait for the moments. The lieutenant's quirky references to his unseen wife are the subplot and the wife is a silent sidekick, with her own story, somewhere out there.

    1. Elaine, over the years I've heard various raves about Columbo, but none that explained the attraction as well as you just did. Now you've got me wondering what'd happen if somebody ever decided to do a series featuring Mrs. Columbo....

    2. This should have been my first message: I spent about two weeks trying to sign up for this class but failed due to a tech glitch. The system plugs in my non-existent Cable One address, and I can't find a fix. Do you have any ideas? Maybe I am destined never to take the class. I think my email to you didn't reach you either.

      1. Hi, Laurie. Just a P.S.: Are you repeating this class next year? I should be able to fix my problem by then.

        1. Oh, Elaine, I'm sorry about the hassle of changing your address! Big nuisance, and you're right that your email never reached me so you're smart to try here. Why don't you email me directly (booklaurie @ either yahoo dot com or gmail dot com) with your number we can go over the steps by phone?

  16. What's a template? Please explain for us pantsers. I think subplots grow out of the main plot, less important issues the main character is dealing with--romance is always a good one--and problems or situations in the secondary characters' lives that reflect the main theme. It needs to fold into the main action and not be superimposed.

    P.G. Wodehouse was great with subplots. Bertie Wooster's aunt is always putting him up to some nefarious deed--remember the cow creamer?--and all the while Bertie is fending off the amorous misunderstandings of a damsel he was engaged to in a previous book.

    1. Paula, you've got a good definition of a subplot there! And a template is what plotters use to weave their plot & subplot threads into a cohesive story. For pantsers, it's more a broad-brush than detailed outline...just a way of seeing the finished product without actually having to write every page of it.

  17. Hmmm. I'm not sure if I'm going to answer this question correctly--because I immediately just went to: What is a book where I really loved a subplot and what was it I loved about it?

    1.) Pride & Prejudice: the subplot with Bingley and Jane--that was a romance subplot for non-central characters, and I love reading books with subplot romances. I also think it's a good way to get couples together that you couldn't do with their own book because they don't have enough conflict keeping them apart to make it work. (After all Bingley and Jane are too nice to think badly of the other one--and one conversation, and boom, they're back together. You want romance to be a conflict--you need a couple who can hold a grudge.)

    2.) Harry Potter: there's always a subplot going on--honestly the whole story of Voldemort plays as a subplot arc across all 7 books, but my favorite of the subplots is when Hermione takes up the cause of Social Justice for the poor enslaved house elves and tries to encourage them to seeking their freedom. She goes to MASSIVE lengths to "help them"--and she nags her friends into helping, even when they don't want to because, as Ron says, "They like working for free." But that wasn't the point--the point is that Hermione was mad at how the house elves were treated--as less than, not worth the dignity or of humane treatment--and this carries over a few books as well until in the last book, Ron, who never really understood Hermione's need to campaign for the elves, freaks out and says, "We have to go to the kitchens! The house elves may be hurt!"--and it's like YES, he gets it. It was such a great payoff for the character and reader.

    3.) Cadfael's A Morbid Taste for Bones--murder mystery. I'm not sure, but it felt like the interaction of the English monks with the Welsh people was a bit of a subplot. Like the plot was: Who killed this jerk--because it could have been any of 6 because he was such a blowhard? But there seemed to be another story--of like: who owns the rights to St. Winifred? Is it the Catholic Church? Or is it the townspeople of the place where she grew up? The back and forth as this idea was argued and finally the neat solution that gave justice to the town--but also satisfied the Catholic Church (so to speak) was perfection, in my book. (I'm basing this from the movie script--not the actual book--but the twist is so neat and clever, I feel it must have been original to the book.)

    1. Fran, talk about three VERY good subplots...and what they all have in common is now beautifully they integrated with the main story. Each one of 'em is adding extra opportunities for the plot & subplot to both advance at the same time. 🙂

  18. Boy, talk about timing, Laurie! I've been mulling over and working on plotting a story that involves a single mom and her 13-year-old daughter. The mother has the HEA, and the daughter would be the subplot in that she meets her birth father for the first time, but it doesn't have the fairy-tale ending she expects (although it works out for the best, since she gets a stepdad and stepbrother who love her and care for her way more than her birth father does). I waffled back and forth on whether that's the best idea, but now I feel good about the decision to leave it as is.

    Oh, and my answer to the prize-drawing question: Not a surprise, I've always liked plots and subplots where the happy ending isn't immediately obvious. But I didn't realize this until I read the article and thought about it! (So, I'm not immediately obvious either, LOL.) Thanks for another thought-provoking article.

    1. Linda, don't you love it when the timing of something WORKS? That's so cool; it's nice seeing confirmation that the story element you weren't 100% sure of is actually right on target...and it totally fits your standard of Favorite Things.

  19. Many people do great plot/subplots, as mentioned here in the comments. One of the books I read last summer, NATURAL BORN CHARMER by Susan Elizabeth Phillips, absolutely rocked the A plot/B plot format. There were also some C and D plots that helped drive the A plot.

    The B plot surrounded the hero's mother, and it was tied in so seamlessly with the main (A) plot that it both added to the development of the main romance, and made you want the hero's mother to have her own book. It was well done enough that I started the book over a second time to parse out how SEP did it.

    1. Jenny, reading a book to see how the author did it is a fabulous tribute...I hope you get the chance to tell SEP you did that; you'll make her day! And, boy, you're right about the value of C and D plots that add still more richness to the story.

  20. I tend to gravitate to ensemble pieces where there is a main storyline but also subplots regarding secondary characters that all come together in the end. Think 'Lord of the Rings'. The journey to 'get rid of/destroy ring' is the main plot, but many secondary characters have subplots of their own... Sam's crush on Rosie (a reminder of home and good things), Warrior Aragorn's struggle with his heritage (he's a king who doesn't feel he deserves title presumably mirroring Frodo's feelings of inadequacy), Gandalf's betrayal by his 'boss' who's been corrupted by villain showcasing villain's increasing power, etc. The subplots work together to further the main plot and build emotional connections in viewer.

    The Harry Potter movies also come to mind. Though the books center on Harry and the overarcing battle with Voldemort, there are also subplots regarding childhood rites of passage... school (learning new skills), sports (quidditch matches), even pets (best friend Ron's pet rat becomes an integral plot point in third book).

    In addition, I enjoy romances because hero and heroine usually have their own non-romantic goals (which often clash) in addition to the growing romance.

    1. Lee, trust a fantasy writer to choose great subplot examples from great fantasy series. You're right about both of those, and your own series is definitely following in that vein of amazing complexity that all comes together down the road.

  21. Hi Laurie,
    First, I have to comment on your great smile. Enthusiastic and friendly. Elements, I hope my story will give to the readers.
    Ken Follett is a favorite author of mine. I love his historical, although lengthy, novels that weave class struggles, war, and the human element of love, greed, poverty, and family that move the pages forward. I am excited to learn and improve my writing.

    1. Joanne, now you've REALLY got me smiling! You're so right about Ken Follett's ability to weave all those elements into sweeping sagas without ever losing the human dimensions -- he's incredibly good at painting a big picture in digestible scenes.

  22. I don't get any feel how one might construct a main plot/sub-plots template from this article. And, honestly, I still feel sub-plots must develop organically and ultimately tie in to the main plot. In my first book, I had two sub-plots whose inclusion doesn't have impact until later–one later in the story, the second later in the series. But these made it easier to rapidly switch focus and change up the pacing for readers. In my second book, which presents more complex challenges to my main protagonists, there are also two major subplots. One (a mystery) is heavily in service to the main plot; the second deep background subplot is to remind readers of the protagonists' long term challenge (eventually, in books 3 & 4). However, there are smaller little side-stories propping up even these sub-plots. These small bits frequently contribute to the needed foreshadowing and help in timing the major "reveals" in each of the plots.

    I arrived at all these organically and I am not sure I could have squeezed them all into a template. However, I can possibly see templates working for more formulaic series or genres (e.g., cozy mysteries).

    1. Jerold, being able to develop subplots organically is a handy thing because you'll never need a template! It's like a writer who sets every book in the same office doesn't need to pay much attention to world-building; it's only the OTHER writers who do. 🙂

  23. subplots can definitely help drive the story along, as long as they're meaningful and tie-in rather than leading to nowhere.

    1. Denise, good point about the need for subplots to connect with the main story in some way...it's like, otherwise, why is it there at all? Maybe to introduce a character we'll see more of later in the series, but even so, why just a random encounter?

    1. Amy, you're very welcome -- I'm glad it resonated with you! Seems like everyone assembles their own collection of favorite writing tools, and we all have things we love / hate that other writers hate / love...it's SUCH an individual thing. 🙂

  24. I just love The Gilmore Girls with it's main plot of Lorelai's relationship with her daughter Rory, with her wealthy parents, her struggles with her career and her relationships with Christopher and Luke. Then there's the subplot of Rory's realtionships with Dean, Logan and Jess, the Stars Hollow community (full of fun, quirky characters)and Emily and Richard's conflicts. I've watched all the series about 5 times!

    1. What’s some element those Stories You’ve Loved have in common?

      Along with Gilmore Girls I love Hallmark movies, the appeal being a small town setting with an unusual name, a
      feeling of nostalgia, romance and relationships,likeable and quirky characters, close community, heartwarming,fun to watch.

      1. Oops, I missed the elements-in-common with Gilmore Girls and Hallmark movies, but this is a VERY good illustration of how we use favorite elements in our own writing...it's easy to envision all these descriptions applying to your books!

    2. Janet, that IS a fun series...I started watching it a year or so ago and stopped midway through the last season because I hated to see it end. All kinds of subplots intertwining from season to season; those writers did a great job.

  25. Thanks, everybody who offered their observations on what they’ve found especially appealing about plots & subplots – I love how many high points there ARE, and look forward to watching some more develop over the next couple weeks.

    To see who wins free registration to Creating a Plot-Subplot Template, I fed random-dot-org #1-26 and it chose #4, which is Mica Rossi. Congratulations, Mica, and just email me (BookLaurie @ yahoo or gmail) with your address so I can invite you into the GroupsIO class!

  26. Thanks for the tips, Laurie! Always so useful. I've been dipping into Louise Penny's mystery series lately and wondering why I like these books so much. Your post makes me realize it's probably the subplots that keep me coming back. I like the way the "ensemble cast" of these books interact with each other and with the main character, and the way the various relationships grow and develop throughout the series. Often the inhabitants of Three Pines have their own experiences and usually the various plot lines intersect/influence each other. Usually I hate getting to the end of a good book, but I've grown to love her endings--often she gives the final moment to a minor character to end the subplot (and more often than not, it's poignant enough to have me reaching for the tissues.)

    1. Marie, Louise Penny is a great example of subplots that not only enhance the plot but also serve other useful purposes...I remember her saying in an interview that she chooses three "big" characters for each book, Gamache and two others who'll star in the subplot/s.

  27. Some of the stories I've loved have been Outlander- Diana Gabaldon, a long way to a small angry planet - Becky Chambers and The Thief - Megan Whalen Turner.

    In each of them the protagonist steps into a new world, either deliberately and accidentally. The dissonance of the new worlds and how the protagonists deal with that, the physical and moral dangers into which they are drawn, and they way they accrete people who love them, and 'Found' families which replace the unsatisfactory birth families is what I especially love. I also love that each protagonist demonstrates a very high level of competence, once they find their feet in their new environments.

    1. Moya, what a great job of spotting the common elements among these three stories -- or actually, it'd be appropriate to call them UNcommon elements as well. 🙂 I like how you drilled down to the core of what makes each one unique, and it's so cool that those elements are reflected in your writing as well!

  28. I tend to read a lot of fantasy, often with elements of horror, and I love it when the subplots exist to fill in more of the world and explore events that affect the main characters but aren't driven by them. (I'm thinking of a couple of story beats in Martha Wells' The Element of Fire here, but there are others.)

    1. Michael, that's a very good description of subplots working at their best...they have an effect on the main plot (often via the characters) and yet they're following their own narrative arc. Gotta love Martha Wells!

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