How to Write Subplots That Strengthen Your Novel
2026-09-09 · 5 min read
Subplots are the secondary storylines that run alongside your main plot — the romance beside the quest, the family conflict beneath the murder investigation, the rivalry that shadows the hero's journey. Used well, subplots add depth, texture, and dimension, giving a novel the richness that distinguishes a memorable book from a thin one. Used poorly, they distract from the main story, dilute tension, and leave readers impatient to get back to what they care about. The difference is whether each subplot serves the larger story or merely coexists with it.
This guide covers how to write subplots that strengthen rather than distract.
What subplots do
A good subplot earns its place by doing real work for the novel:
- Deepening character. A subplot can reveal facets of the protagonist the main plot cannot, testing them in a different arena.
- Exploring theme. Subplots can examine the central theme from another angle, with different characters embodying different answers.
- Raising the main stakes. A subplot can complicate the protagonist's primary goal, putting more at risk.
- Providing contrast and pacing. Cutting to a subplot can offer relief, build suspense through cross-cutting, or vary the emotional texture.
- Adding richness. Subplots make a world feel populated and a story feel full rather than thin and linear.
The unifying test: does this subplot make the main story richer, deeper, or more tense? If it does none of these, it is a distraction.
The golden rule: subplots must connect
The most important principle is that every subplot should connect to the main story — through plot, character, or theme. A subplot that runs entirely parallel, never touching the central narrative, feels like a separate book stapled in, and readers resent the detours. The strongest subplots intersect: they complicate the main plot, pressure the protagonist's central goal, or illuminate the theme. The romance subplot puts the hero's mission at risk; the family conflict mirrors the book's question about loyalty. When a subplot weaves into the main story's fabric, it strengthens the whole; when it floats free, it weakens it.
Keep subplots subordinate
A subplot is, by definition, secondary — it should support the main plot, not compete with or overshadow it. A common failure is a subplot that grows so large or compelling it hijacks the book, leaving the main story neglected. Give subplots enough space to matter but keep them proportional, and make sure the main plot remains the spine the reader follows. If a subplot is more interesting than your main plot, that is a signal worth examining — sometimes it means the subplot should be the main plot.
The romance subplot
The most common subplot is romance, and it deserves special note because it is so often done lazily. A romance subplot should not just sit alongside the plot as a reward; it should interact with it. The love interest can be an obstacle as well as an ally, the relationship can raise the stakes (now the protagonist has more to lose), and the romance's progress can be tied to the main plot's beats. A romance that develops in a sealed bubble, untouched by the central conflict, is a missed opportunity. Tie it in, and it amplifies the main story rather than pausing it. (For romance as the main plot, see how to write a romance novel.)
Weave, don't segregate
Structurally, subplots work best interwoven with the main plot rather than quarantined in their own chapters far apart. Braid them: let subplot beats fall between main-plot beats, let scenes serve both at once where possible, and keep each thread alive in the reader's mind without long absences. A subplot that vanishes for two hundred pages and reappears at the end feels forgotten and tacked-on. The interweaving also helps pacing — you can cut to a subplot to vary intensity or build cross-cut tension.
Resolve your subplots
Subplots make promises, and readers expect them paid off. A subplot introduced and then dropped — never resolved, the question it raised left dangling — frustrates readers and feels like a loose end. Each subplot should reach a satisfying conclusion, ideally near (and reinforcing) the main resolution, so the ending ties the threads together. The resolution need not be elaborate, but the subplot should land. During revision, audit each subplot: does it connect, stay subordinate, weave through, and resolve?
How many subplots?
There is no fixed number — it depends on the book's length and complexity. A short, fast novel may have one or none; a long, layered epic may have several. The constraint is manageability: each subplot adds threads to track and resolve, and too many fragment the story and dilute the main plot. Better a few subplots that genuinely connect and resolve than many that wander. WriteLoom's Plan studio lets you map your subplots alongside the main plot, track where each thread advances and resolves, and confirm each one connects to the central story — so your subplots strengthen the novel instead of scattering it.
The bottom line
Write subplots that strengthen your novel by ensuring each one connects to the main story through plot, character, or theme; keeping them subordinate to the main plot; weaving them through the narrative rather than segregating them; tying romance and other subplots into the central conflict so they amplify the stakes; and resolving every thread you open. Audit your subplots for connection and resolution in revision, and keep the number manageable. Done well, subplots give a novel the depth and richness readers love — without ever distracting from the story at its heart.
Frequently asked questions
What is a subplot?
A subplot is a secondary storyline that runs alongside the main plot — such as a romance, a family conflict, or a rivalry. Used well, subplots add depth, texture, and dimension; used poorly, they distract from the main story and dilute its tension.
How do I make sure a subplot isn't a distraction?
Ensure every subplot connects to the main story through plot, character, or theme, keep it subordinate to the main plot, weave it through the narrative rather than isolating it, and resolve it. A subplot that runs entirely parallel and never touches the central story feels like a distraction.
How many subplots should a novel have?
There is no fixed number — short, fast novels may have one or none, while long, layered epics may have several. The limit is manageability: each subplot adds a thread to track and resolve, and too many fragment the story and dilute the main plot.
Do subplots need to be resolved?
Yes. Subplots make promises to the reader, and an unresolved subplot feels like a loose end and frustrates readers. Each subplot should reach a satisfying conclusion, ideally near the main resolution so the ending ties the threads together.