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Subplot Storytelling — We take a look at how to add layers to your story with subplots.

How to Write a Subplot ►►
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Chapters:
00:00 - Introduction to Subplots in Film
00:53 - Subplots in Film Defined
02:19 - Chapter 1: Types of Subplot
06:14 - Chapter 2: Why Use a Subplot
10:06 - Chapter 3: Creative Examples of Subplots
15:17 - Takeaways

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SUBPLOT SCREENPLAY

Rarely does a movie just focus on one single storyline. Screenwriters will often balance their time between multiple stories, with one primary narrative. The stories that are secondary to this primary narrative are called subplots, or B-stories (or C-stories). Subplots can add texture and depth to a film, informing characters, themes, and much more. In this video, we look at subplot types, their uses, and how to structure them in your larger story.

TYPES OF SUBPLOT

Subplots come in many forms. A romantic subplot is exceedingly common, often providing a softer counterpoint to the primary narrative. This type can humanize characters and make them more relatable. An expository subplot, meanwhile, offers background information or context, often revealing key details about a character’s past or the story world. This helps deepen the audience's understanding without bogging down the main plot with exposition.

A parallel subplot mirrors the main story, showing a secondary character undergoing a similar journey or exploring the same themes. A contrasting subplot, on the other hand, offers a storyline that runs counter to the main plot, highlighting differences and providing an opposing perspective. This can serve as a dramatic foil.

WHY USE SUBPLOTS IN MOVIES

Subplots enhance the main story by adding complexity and emotional depth. They allow for richer character development and exploration of themes, making a narrative feel more multi-dimensional. For example, a romantic subplot in a thriller can reveal a softer side of a hardened protagonist, deepening the audience's connection to the character. Subplots can also delay the resolution of the main conflict, building tension and keeping the audience engaged.

SUBPLOT STORYTELLING STRUCTURE

A subplot follows a similar structure to the main plot, with its own inciting incident, conflict, and resolution, but on a smaller scale. The subplot should be introduced early, develop alongside the main plot, and be interwoven naturally to avoid feeling disjointed. Or, it can arise later in a film. The subplot’s resolution can occur before or alongside the main plot’s climax, contributing to the overall payoff. When executed well, subplots enhance the main story without overshadowing it, creating a richer and multilayered narrative.


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♬ SONGS USED:

"Ironside" - Quincy Jones
"Far From Home Suite Home" - Michael Giacchino
"What Floor?" - idokay
"Climb Back Up" - idokay
"All Star" - ANBR
"Divider" - Chris Zabriskie
"Camel Race" - Jerry Goldsmith
"Giza Port" - Jerry Goldsmith
"Han Solo And The Princess" - John Williams
"Dracula - The Beginning" - Wojciech Kilar
"Severus and Lily" - Alexandre Desplat
"Waiting for a Train" - Hans Zimmer
"Too Hot To Stop" - The Bar-Kays
"Forrest Gump Suite" - Alan Silvestri
"Once Upon a Time... Storybook Love" - Mark Knopfler
"Revenge" - Mark Knopfler
"A Battle in the East" - Rhythm Scott
"Married Life" - Michael Giacchino
"The Von Erich Curse" - Richard Reed Parry, Pietro Amato
"Javi" - Benjamin Wallfisch
"Pure spirits of the forest" - James Horner
"Main Title (The Silence of the Lambs)" - Howard Shore
"Hands and Feet" - Jon Brion
"1986" - Angel Salazar
"Ride Home" - Nicholas Britell
"Dojo Tradition (Instrumental)" - In This World
"Challengers" - Trent Reznor & Atticus Ross
"The Swan" - Alon Peretz
"Raiders March" - John Williams
"Outer Limits" - Theatre of Delays
"L'incontro Con La Figlia" - Ennio Morricone
"Concerning Hobbits" - Howard Shore
"The Riders of Rohan" - Howard Shore
"Blurry (Instrumental)" - Curtis Cole

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Music by MusicBed ►

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