Subplots, Part 1

The subject of subplots came up recently, so I delved into my online screenwriting course lecture vault to find something I'd written on that very subject. Here is Part 1:

Straight off, you need to embrace this fact: Subplots are your friends. Yes, it's true. These wonderful little mini-plots contribute to a screenplay in many marvelous ways:

* Subplots can dimensionalize your story’s primary characters

* Subplots can provide a rich array of secondary characters

* Subplots can expand the meaning of the story’s theme

* Subplots can vary the pace of the narrative

* Subplots can provide multiple points-of-view

* Subplots can make comedy more comedic, thrills more thrilling, drama more dramatic, and action… well, more active

If you still have a hard time embracing subplots, then consider this: If you write a screenplay with only one plot, you will end up with a boring, one-note script, sixty pages long… if you’re lucky.

A subplot is just what it sounds like: A short plotline which plays a secondary, but related role to the main Plotline. Here are some characteristics of subplots:

* A subplot must have at least 3 narrative beats (scenes or moments within scenes), but can have many more beats

* A subplot must have a Beginning, Middle, and End

* A subplot typically has a specific point or points of intersection with the Plotline

* Even if a subplot does not intersect directly with the Plotline, it must have some bearing on the Plotline

* A subplot ought to have some connection with the story’s Themeline; if not, it is either weakly conceived and written, or unnecessary altogether

Many of the most memorable cinematic plots of all time have been subplots:

* Elliot’s friendship with E.T.

* Obi-Wan Kenobi teaching Luke Skywalker the ways of the Force

* Forrest Gump’s lifelong, bittersweet romance with Jenny

* Simba learning the joys of hakuna matata

All of these are not the main plot (Plotline), but function as subplots, enhancing the overall story.

Tomorrow I'll post Part 2 which offers an analysis of the script for Back to the Future.