Subplots
by Melanie Anne Phillips
Dramatica divides "subplots" into two types: Those that run parallel and
don't really affect each other Dramatically, and those that are dramatically hinged
together.
An example of parallel subplots can be found in Woody Allen's "Crimes and
Misdemeanors" in which the "Crime" story with Martin Landau and the
"Misdemeanor" story with Woody Allen never really affect each other.
The purpose of having these two stories in the same "work" is for the
audience to be able to compare two completely different issues that share a common
cultural concern. In "Crimes and Misdemeanors," it is the differential created
between them which provides a social message that extends beyond the meaning found by
either of the two Main Characters.
An example of a hinged subplot can be found in the original "Star Wars." Han
Solo's debt to Jaba the Hutt is a story in its own right with Han as the Main Character.
This subplot eventually comes to have change the course of the plot in the main story.
The purpose of having a subplot may be two-fold: 1: to enhance a character, theme,
plot, or amplify part of the genre of the "work" and/or 2: to move the course of
the main story in a direction it could not dramatically go in and of itself.
In "Star Wars," Han Solo is initially uncooperative and refuses to get
involved in the efforts of Obi Wan or Luke. For example, when the group first arrives on
the Death Star, Han wants to fight, not to hide in the room while Obi Wan goes off. But
when Luke discovers that the princess is on board, Han wants to wait in the room and not
fight. It is his nature.
So, how do we get Han to join Luke in the rescue attempt? We invoke Han's subplot. Luke
tells Han, "She's rich," and Han is already hooked. But if there were no Jaba
subplot, the money alone would not be enough to convince the uncooperative Han to
"walk into the detention area." On the other hand, since Jaba has put a price on
Han's head, he's dead already unless he can come up with the money, and this is probably
the only chance he's going to get to do that.
As a result, Han joins the plan, acting completely against what his character would do
dramatically in the main story but in complete consistency with his personal needs (which
are more important to him) in his subplot.
Use both the parallel and hinged subplots to enhance your story's depth and move it in
directions it could not legitimately go with only the main plot.
