Writing a novel from scratch: teaching you how to set up a subplot

Writing novels is never the end of yangguan avenue.

Just like in the growth process of a big tree, not only the trunk will extend many branches, but also thousands of roots will continue to expand underground, thus growing into a towering tree.

Similarly, in the process of writing a novel, it is bound to involve many subplots.

However, many people tend to ignore the subplots, adopt the writing method of "black all the way" and write naturally according to their own wishes. The novel written in this way, just like keeping a diary, has no soul and no readability.

Of course, many people have considered or tried to set up subplots, but most of them find it more and more messy and difficult to write, so they have to give up.

So today I'm going to teach you how to set the subplots in the novel.

First of all, about the general location of the subplots.

In order to prevent our subplots from being suspected of usurping the master role, and to make our subplots more reasonable, we first consider the approximate location of the subplots.

There is a very simple way to judge, and that is the cutting method.

The so-called cutting method is to cut off the plot of a certain two parts and add the subplots you want to set to judge whether it is reasonable or not in the process of writing an outline.

For example, the beginning of the third part of the Japanese anime "Basketball of Sunspots" is not directly related to the ending story of the second part. It seems abrupt but reasonable to insert the experience of the protagonist Sunspots in junior high school.

This subplot setting of "the appearance is close to the spirit" is actually reflected in the domestic animation "Soul Street". Because it is very special to separate the single and double sets, the singular level talks about now, and the even level talks about memories, and finally achieves the purpose of supporting two branches of a main line.

Back to the example in the third part of Sunspot's basketball, why did I say that the story about Sunspot's junior high school experience was placed at the beginning of the third part? Although it seems abrupt, it is actually more reasonable?

If you follow the way many people write novels, it may be from junior high school to senior high school and finally to the ending. This writing technique is too straightforward and attractive.

And "Basketball of Sunspots" cleverly puts the memory part as a branch line at the beginning of the third part, which not only explains a lot of questions left by the first and second parts, but also leads to an extremely important figure in the third part, Akashi Seijuro, the captain of the original "miracle generation".

Interested students can look at these two cartoons and you will understand the rationality of what I said.

Second, the main role of subplots.

Many people think that subplots are just simple supplementary explanations, but in fact they are far more than that.

A good secondary plot can not only be used as a supplementary explanation to the main plot of the novel, but also play a connecting role. At a higher level, you can also use it to set suspense.

More importantly, subplots can save your writing mistakes at some point.

Speaking of connecting the preceding with the following, it is the third part of Sunspot's basketball. As I said before, this cartoon mentioned junior high school too much in the first and second films, but it didn't give any too much explanation, and from beginning to end, Akashi Seijuro, a mysterious figure, was not fully displayed.

So at the beginning of the third part, the author explained the plot of junior high school, which not only relieved many people's doubts about the first and second parts, but also led to the main supporting role of Akashi Seijuro in the third part.

So I said that the branch line setting of sunspot basketball seems abrupt but makes sense.

Different from many subplots of 2D online games, the subplots of novels are written not only to let the protagonist know some people or get something, but also to improve and sublimate the main plot.

So I also said that subplots can be a skill to save your writing mistakes at some point. Why do you say that?

As I said, many people don't have the habit of outlining, and write wherever they want, which leads to forgetting some people or things that have happened after writing. But the eyes of the masses are discerning, and they are likely to ask you at an inappropriate time. Why are some contents missing?

Do you want to admit that it's because you made a mistake? At this time, you can use the skill of subplots to make up for your mistakes reasonably and perfectly.

Of course, the premise is that you have to be able to justify yourself, otherwise forcibly adding sideline words will only make your writing more chaotic.

Remember, don't use this technology too much.

The writing of subplots should not be too long, otherwise it is easy to usurp the host's role, so this requires the author to have enough writing skills and imagination to simplify the story you want.

The above are my little thoughts and suggestions on subplots, hoping to help everyone.

I wish you all become masters of novels as soon as possible!