What Is a Subplot?

What is a subplot? Subplots add depth and complexity to the overall narrative of a screenplay. If you use them effectively, they can reveal character, enhance your main plot and also help you advance time and allow for cutaways.

Let’s go over the definition of a subplot, examples of subplots in iconic movies, and how to use subplots in your stories.

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First Things First… What is a Plot?

Because the primary job of a subplot is to support the main plot, it’s helpful to understand, first, what a plot is. We go into greater detail about what plot is in this post; but in a nutshell, a plot is a sequence of events that makes up the structure of the story. And in order to fuel that story, you must have a compelling subplot.  Let’s dive into the topic of what is a subplot in greater detail.

Okay! Now, What is a Subplot?

A subplot is a secondary plot string that runs parallel to the main plot throughout the course of the story. But it is not its own entity. A subplot must always serve the main plot. Its character and story elements and arcs are there to be woven into the main plot, enhancing the overall story.

A/B/C Story

Common Hollywood terms you are sure to hear while writing features and episodic series are the A Story, B Story and C Story.

• The A Story is your main plot.
• The B Story is a secondary subplot closely related to your main plot.
• The C Story is a secondary subplot that helps sell the themes and arcs of your stories and characters while existing in a more parallel position in relation to the A and B Story.

There are many variances between B Stories and C stories.

• Some directly require the involvement of the protagonist and antagonist/villain.
• Others ride parallel to their stories but collide with them in the end.
• Some only require brief involvement of the protagonist and antagonist/villain.
• Others are used as story hooks to make audiences or readers wonder how they are related to the A Story — which enhances the pacing and engages the audience or reader that much more.

Subplot Examples

Top Gun” Maverick

If you look at a film like Top Gun: Maverick, one of the key subplots was Maverick’s rekindled relationship with Penny Benjamin.

The main plot of the movie involved Maverick being tasked with training younger pilots for a seemingly impossible mission. However, the Penny Benjamin subplot is one of the B stories, which aids that story by having Penny help Maverick through some of the internal difficulties he is facing.

Read More: The Hero’s Journey Script Breakdown: Top Gun: Maverick

The B Story subplot with Iceman is key to the central plot and story as well. Throughout the film, we see text exchanges between Maverick and Iceman. Iceman is giving him direction. Maverick is struggling to follow it. This all comes to a head as Maverick visits Iceman in a subplot scene. Without this scene, Maverick is unable to reach the pilots he is training. But because of it, he makes the necessary turn in his instructing — which helps the main plot of the mission at hand.

The C Story in Top Gun: Maverick exists primarily within the world of the younger pilots — namely the animosity between Rooster and Hangman.

Maverick doesn’t have any direct involvement in their feud. However, it does affect the mission at hand. And it touches on the past Rooster and Maverick share.

Good Will Hunting

In the Oscar-winning Good Will Hunting, the A Story is about Will’s journey to open up to the world around him and come to terms with both the demons and genius within him. The primary plot point entails Will having to be mentored by a renowned mathematical to develop his mathematical gift’s promise, while also going through therapy to handle his bouts of violence.

There are two key B Story subplots in the film that are necessary for Will to open up, face his demons, and utilize his gift to better his life.

The first is his relationship with Skylar. The subplot of their budding love helps Will to realize things about himself that he needs to know and understand to fully complete his therapy. It’s because of their relationship that Sean first connects with Will, with Sean explaining to him that love isn’t perfect — nor is any relationship.

Read More: 18 Plot Devices You Can Use to Elevate Your Story?

And Skylar further helps in his growth by challenging him out of love and caring, forcing him to face the truths that he wants to deny.

The second key subplot in the film is the relationship between Sean and Professor Lambeau. The two are former colleagues and friends — both tasked with getting through to Will on different levels. They have been estranged, never having dealt with issues in their friendship in the past. And both have highly different hopes and agendas for Will.

This whole subplot exists to showcase what is wrong — and right — with Will. We’re given these two very different perspectives to understand everything going on with Will. And these battles will help both Sean and Professor Lambeau to do their part in getting Will where he needs to be.

The Shawshank Redemption

In The Shawshank Redemption, there are many B and C Story subplots that affect the core story of Andy’s survival in the prison system, as well as his relationship with Red.

The Brooks storyline after is released from prison is a C Story subplot that delves into how a supporting character (Brooks) can reflect the experience of the protagonist (Andy) but through a different perspective. Andy is new to the prison system. Brooks is a lifer who has spent most of his adult years in prison. While Andy does his best to make his prison years matter, Brooks’s story shows him how, despite Andy’s best efforts, prison life will break you eventually. Becoming institutionalized is inevitable.

Brooks’s fate is crucial to Andy finally coming to the realization that he needs to get busy living or get busy dying. It shows how effective a C Story can be.

The film offers several such B and C Story subplots that slowly bleed into the A Story, including:

• Andy’s relationship with the warden eventually reveals Andy’s escape plan, as well as how he is going to be able to survive after escaping.
• Andy’s library program, as well as his handling of the guards’ taxes, provides him protection from the inmates that have violently and psychically assaulted him — as well as various favors throughout his time there that benefit Andy and his fellow inmates.
• The subplot of Tommy reveals a shocking plot point that tells everyone that Andy is actually the only innocent man in Shawshank Prison. It also showcases how far the warden will go to keep Andy in prison, despite knowing the truth of his innocence.

Read More: Why Short Stories Make Great Movies

Subplots Must Have a Beginning, Middle, and End of Their Own

One single scene or moment is not enough for a sufficient subplot. A subplot must have its own beginning, middle, and end.

Example #1: Top Gun: Maverick

Penny and Maverick B Story

They reunite. They fall in love again. And instead of Maverick moving on as he did every other time they’ve tried this relationship out, they stay together.

Maverick and Iceman B Story

While Maverick and Iceman only share a single scene together, the whole story prior showcased their communication with one another. And we also had other characters detailing how Iceman was the only reason that Maverick was there. Iceman tries and tries to get Maverick to let go. Maverick resists until he finally understands what Iceman is trying to do for him. Maverick changes after Iceman passes away.

Example #2: Good Will Hunting

Will and Skylar B Story

Will and Skylar meet in the bar and begin dating. They break up after Will pushes her away before he feels the relationship will go south. After Will and Sean’s breakthrough, Will tells Sean that he has to go see about a girl.

Sean and Professor Lambeau B Story

Sean and Professor are reunited — we sense the tension in their relationship. They eventually battle over how Will should be handled, which touches on their own issues with their friendship. They make up with each other, understanding the other’s point of view and eventually coming to terms with their own issues.

Example #1: The Shawshank Redemption

Brooks B Story

Brooks is released from prison and quickly sees how different the world is since he last saw it. He struggles to fit in. And then he takes his own life after realizing that he’s not able to adapt after spending most of his life in prison.

Andy and the Warden B Story

Andy becomes an asset to the warden. The warden offers him favors and special treatment. The warden shows his true colors when Andy challenges his authority, and when Tommy reveals that Andy is innocent. The warden punishes him. Andy has the last laugh after he escapes — and the warden is brought to justice by the hand of Andy.

Andy and Tommy B Story

Tommy arrives at the prison and quickly befriends Andy and his circle of peers. It’s revealed that he heard a confession from the actual murderer that killed those Andy was accused of killing. He takes this knowledge to the warden and is later shot in cold blood to keep that story quiet.

All of these B and C story subplots have a beginning, middle, and end. As should every subplot you develop and write.

The Benefits of Using Subplots in Your Stories

Depth

As you can see from the above examples, subplots offer so much more depth to your story. Subplots also introduce opportunities to create compelling and engaging supporting characters that enhance the story and create further depth for your protagonists.

Enhanced Story Pacing

Subplots also allow you to change course for brief moments throughout your story. It can get tiring seeing the protagonist in every scene, dealing with the main conflicts of the story. Subplots switch the focus briefly while adding to the main story, as well as to the protagonist’s arc with the additional cast of supporting characters who are somehow connected to their journey.

Enhanced Genre Elements

When you’re writing a thriller, subplots offer you more opportunities to enhance whatever genre elements you’re offering. If you want Hollywood, audiences, or readers (if you’re writing a novel) to take notice of your stories, you need to deliver on whatever genre you are writing in, tenfold. Subplots help you accomplish that.

• If you’re writing a thriller, subplots give you a chance to write more thrills with additional characters, locations, and plot threads.
• If you’re writing a comedy, subplots give you more chances to inject more laughs.
• If you’re writing an action-adventure, subplots can provide more thrills, chases, and fights.
• If you’re writing a drama, subplots can offer more opportunities to showcase cathartic and empathetic character moments.

B and C Story subplots make your A Story so much more impactful and entertaining.

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Subplots make your story better. It’s as simple as that. But they need to be developed and delivered as strongly as the A Story while sharing the A Story’s DNA as coexisting narrative elements. One cannot survive without the other.

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Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER’S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

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