What Measure is a Subplot? and the Law of Conservation of Letters

[Mindfire]

A couple quick questions.

First Question: What exactly counts as a subplot and what's the difference between a subplot and something that's just backstory? I ask this because I'm trying to gage my plot's relative complexity. Also, is there a recommended ballpark figure for number of subplots? Just wondering.

Second question: I vaguely remember reading somewhere that you shouldnt have two characters whose names start with the same letter. Or at least not have them in close proximity to each other story-wise. Exactly how "solid" a rule is that?

 

[Ailith]

A couple quick questions.

First Question: What exactly counts as a subplot and what's the difference between a subplot and something that's just backstory? I ask this because I'm trying to gage my plot's relative complexity. Also, is there a recommended ballpark figure for number of subplots? Just wondering.

I think of a subplot as a storyline that happens simultaneously with the main one as opposed to a storyline that happened in the past (backstory). Subplots can be as simple or complex as you want them to be, but I always like them better when they tie back somehow into the main storyline.

Second question: I vaguely remember reading somewhere that you shouldnt have two characters whose names start with the same letter. Or at least not have them in close proximity to each other story-wise. Exactly how "solid" a rule is that?

I think that’s a silly rule... unless the names are just too much alike in other ways. But hey, if you can have Sauron and Saruman in the same book...

 

[Ireth]

I think that’s a silly rule... unless the names are just too much alike in other ways. But hey, if you can have Sauron and Saruman in the same book...

Agreed. When I have multiple characters with names that begin with the same letter, I try to make them different enough to not be too easily confused (Conall and Ciaran, Olan and Oighrig, Aileen and Aodh, to name a few from one story). For the most part, though, I do try to keep my characters' names distinct from each other, especially the protagonists.

 

[Leif GS Notae]

I think that’s a silly rule... unless the names are just too much alike in other ways. But hey, if you can have Sauron and Saruman in the same book...

True, but that was written long ago. That rule was meant for those who skim or "power read". If you catch just the first letter while doing this, you'll get confused. Heavens forbid you'd read the book.

As far as the subplots go, it is supposed to be going with the underlying main plot. Assistant to the understudy protagonist and assistant to the understudy antagonist have an issue as well, they have something different but they tie in with the main plot for a thin reason (association in most cases, offshoot family or the like in others). I believe two extra is the rule of thumb, but I have only two thumbs so I can't account for more.

 

[Devor]

A good story has a throughline.

A subplot is like a straggling hair that curves away from the throughline, but touches it at several key points. If the subplot and the throughline don't touch often or significantly enough, it should be cut. (I had posted the Plot Tumor trope, but it's a little different.)

Backstory is just a story, told or untold, which explains a character's behavior. There could be a subplot consisting of actions about finding out the backstory.

I don't know how many subplots you should have. I think a better story can carry more subplots than a weaker one, but I don't have a rule for you.

As for the naming thing, there's only so many letters.

 

[Klee Shay]

One of my stories has a set of twins named Kiri and Katra. Of course it's easy for me to keep them separated, but as long as the character's, don't have the same personalities, quirks and mannerisms as each other, I don't see a problem with the names starting with the same letter.

 

[Phin Scardaw]

Arguably, a story can have as many sub-plots as there are characters. I wonder if there's such a thing as a "super-plot"?

I think about what my art teacher told me in highschool about having to put traces of one colour in the background in order to give depth to those things with the same colour that existed as important objects in the foreground. I had some trouble grasping it at the time, but I've learned to apply the same technique to writing. Sub-plots should mirror and carry the major tones and theme of the main plot; this will drive them home with far greater power. I'm sure there are probably equal analogies available in music and other arts as well.

The number of sub-plots I think is not something that can be legislated. If you understand their main purpose, then the story itself will tell you how many to paint in - because every character has the potential for a sub-plot, and maybe even more than one - but most won't contribute thematically to the book as a whole, much in the same way that a character's history (aka back-story) is entirely irrelevant unless it too contributes to the development of the themes (by way of character colouration or plot progress)

Probably it's a good idea not to have names that too similarly resemble one another, unless the characters have a twin-like bond.

 

[Penpilot]

A couple quick questions.

First Question: What exactly counts as a subplot and what's the difference between a subplot and something that's just backstory? I ask this because I'm trying to gage my plot's relative complexity. Also, is there a recommended ballpark figure for number of subplots? Just wondering.

To me, a subplot is exactly like a main plot with a arc with a beginning middle end, but as mentioned above, it takes place within the context of the main plot. A backstory, could be a subplot if it ran through a plot arc as bits an pieces are revealed a the main story progresses. I think, Godfather 2 movie would count as an example of this with a main plot unfolding in the present and a subplot unfolding in the past. But backstory can also be just a bit of background info without an arc. Also subplot should aid the main plot. Otherwise it probably isn't necessary. For example a character may learn a skill or fact in the subplot that will aid them in the completing their goals in the main plot.

As for number of subplots, in a novel, you should have at least one. Other than that skies the limit.

Second question: I vaguely remember reading somewhere that you shouldnt have two characters whose names start with the same letter. Or at least not have them in close proximity to each other story-wise. Exactly how "solid" a rule is that?

I wouldn't call anything in writing a rule. Everything is a guideline IMHO. The reasoning is that the reader may mix up the two characters. In my opinion, it's problematic in fantasy/scifi because there are made up names that the reader may or may not know how to pronounce. When that happens the names become words that starts with the letter X or the words that are shaped a certain way so it's easy to mix the two names up. Imagine stuff like Lilothanidazal and Lycanthidnidana vs Lilothanidazal and Zycanthidnidana. Totally exagerated... but in some instances not by much. Even with different first letters probably hard to remember especially if they don't show up for a chapter or two and there are other hard names in the story.

If you space the character appearances out, it lets the reader get to know the first character and have them clearly be associated with their name. So when the second character shows up, the chances of confusion, are reduced.

 

[Thalian]

They only time I have encountered a problem with similar names was in Paul S. Kemp's Twilight War Saga. Riven and Rivalen are really similar, and the scenes where both characters were involved became quite confusing.

 

[The Dark One]

The only point I'd make about subplots is that I hate red herrings. I do like a subplot that manages to have an unexpected impact on the resolution of the main plot.

As for super-plots - if it hasn't already been done, I would propose the following: a super-plot is a broader story that the reader is aware of but doesn't realise the story they are reading is a part of it until revealed in a major twist towards the end. Examples might be the revelation of the role of the super computer at the end of Life the Universe and Everything, maybe the location of the Ring story within the Lay of Beren and Luthien by Sam on the Endless Stair, numerous stories by Andre Norton where the impact of a deep historical impact is suddenly felt near the end.

Others might think of some more examples...

 

[JCFarnham]

When I first read Lord of The Rings as a young teenager I could not get Sauron and Saruman straight in my head. The characters weren't interchangeable but the names sure as hell were. Maybe that tells you something about that naming guideline. I try to follow it anyway, under the assumption that if I could get confused other people might. Confusion detracts from the story, and any moment a reader is pulled out into the real world is a moment longer for them to decide they don't enjoy what they're reading

There are no rules in writing. You do what you like and if it works then that's grand. So, I'll use a subplot from my works as an example of how blurry things can get. The main story is about a girl mechanic who gets caught up with some mercs and he makings of an interstellar civil war. Now technically I suppose you could call the subplot (to be detailed later) a parallel or simultaneous plot, but seeing as how this subplot exists within one book while the girl mechanics story is so far spread over two... Anyway, its part love story part coming of age, or so you think until its revealed the rich girl you've been following so far is infact an AI in a highly advanced human simulation android. Futher twists reveal she has rather a significance to the main plot.

And there you have it, I've given away my twists.. not really.. but the point is that story could be probably be treated as a book on its own, but the way I've presented it is congruent with Devor's straggling hair theory, touching the main plot at significant times, highlighting the themes.

So. My advice is you need to use subplots as you need to use them. You should probably use subplot as a tool, but the real question is; what fits your story? can you make it work?

 

[gavintonks]

I think wheel of time needs a trophy for the most sub plots in a book, game of thrones is a good 2nd, I think the question is how relevant is it to the entertaining of your reader, and how far does the sub plot add texture and depth to the read

 

[Phin Scardaw]

The only point I'd make about subplots is that I hate red herrings. I do like a subplot that manages to have an unexpected impact on the resolution of the main plot.

As for super-plots - if it hasn't already been done, I would propose the following: a super-plot is a broader story that the reader is aware of but doesn't realise the story they are reading is a part of it until revealed in a major twist towards the end. Examples might be the revelation of the role of the super computer at the end of Life the Universe and Everything, maybe the location of the Ring story within the Lay of Beren and Luthien by Sam on the Endless Stair, numerous stories by Andre Norton where the impact of a deep historical impact is suddenly felt near the end.

Others might think of some more examples...

Red herrings I don't mind; it's those purple sardines that I find so belligerent!

I like your concept of the super-plot and the examples given. I'd thrown the idea out there as a lark, but your reply really got me thinking. I suppose that is the true meaning of "epic" when in the context of a fantasy story. The Ring is a perfect example. Good One!

 

[Steerpike]

I think the question is how relevant is it to the entertaining of your reader, and how far does the sub plot add texture and depth to the read

Yes, I think this is what it boils down to. If it entertains the reader and adds to their enjoyment of the story, then by all means include it. In many series, subplots even span books, so that while the main plot of the book may be wrapped up in that single book, the subplots continue in later books (often the case with Romantic subplots).

 

[studentofrhythm]

Hoo boy, read some Icelandic sagas! Thordis, Thorkel, Thorstein, Thorleif, Thorgrim . . . and quite often you'll have two characters with the exact same name in a scene together, maybe even fighting each other. They distinguish them either by nicknames or patronymics. And every time a character is introduced, there's a genealogy.

But the mental effort of keeping them straight is worth it.

 

[gavintonks]

I like to think of the story as a song tune, you have the main beat and energy, then one instrument plays in the background to provide interest, emotion and to make you more aware of the main melody. The sub plots are the access points of a song, a blast or a tune that hums in the background but all resonate to produce a harmonious and enjoyable song