: What is a subplot based on: conflict or tension? I'm attempting to understand how subplots work, and one aspect has me confused. I'm trying to create a process by which I can create subplots.

@Eichhorn147

Posted in: #Conflict #Fiction #Subplot

I'm attempting to understand how subplots work, and one aspect has me confused. I'm trying to create a process by which I can create subplots. When I create the main plot, I start with conflict - two opposing forces. This doesn't seem to work with subplots.

Let me use the movie Thor as an example. The main plot is about Thor learning his lesson and regaining his power. There is a subplot about Thor's growing romance with Jane. This subplot has no conflict - the romance simply happens. There are no opposing forces.

Another example is Harry Potter. The main plot is about defeating Voldemort, but there are countless subplots. Subplots like Harry asking Cho out in the fifth novel are certainly filled with tension (from Harry's PoV), but I can't say they have conflict. There are no opposing forces.

Then again, there are many subplots which do have opposing forces, and seem to be based on that conflict rather than on tension. So what is a subplot based on: conflict or tension? Or is there a third option I have not considered?

Please note that this question is not about the definition of conflict.
If you disagree with my definition of conflict, I welcome your opinions; but please make sure the answers are about what a subplot is based on.

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@Welton431

@Welton431

+1 Mark's answer, subplots often provide counterpoint. They can also provide examples of the alternative outcomes for the hero.

In the case of Thor and Jane (or Superman and Lois) The subplot adds stakes: Saving the world is not enough, now there is a personal stake as well.

I'm not familiar with the Thor/Jane plot so I will use Superman/Lois. To generalize that idea; the subplot may be used to introduce a plausible distraction, stumbling block or difficult complications for the hero: Superman wants a personal romantic relationship with Lois but cannot reveal his identity, and this becomes a terribly complicated mess between being meek and awkward Clark Kent (his disguise) working beside Lois (who treats Clark dismissively) and being Superman that Lois adores, but Superman cannot be with Lois without endangering her life.

Or the opposite: a subplot can provide an unexpected source of support for the hero. e.g. Lois, out of love for Superman, may risk her life to break his confinement by kryptonite, which is a turning point in the story so he can win the day.

That does not make sense without some subplot, it would be a deus ex machina if instead of Lois (with a reason to be there and a motivation to risk her life) it was some passing stranger, a walk-on in the story never seen again.

In many cases, romantic subplots are conflicts within a person; a conflict within themselves: e.g, the reader knows David has a choice. Doing his duty and saving the country means he will die; he will not survive the explosion if he triggers it. He will never see Elaine again, the love of his life. He will never see their child be born and he will miss all the joy he imagined of that child becoming an adult. All of these are in his head. Will he pull the trigger? Could I pull the trigger?

Without the subplot of David meeting, courting, and winning Elaine, getting married and pregnant, imagining his future life: This kind of scene becomes shallow. Just a mention of this at some point in the book isn't enough, the reader needs to have invested time with David imagining this arc of him and Elaine to know he is truly in love, and making the decision to chop this arc short is a heartbreaking struggle for him. It has to be a subplot (with its own challenges and problems to overcome). Otherwise his sacrifice doesn't feel meaningful.

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