How to Construct Subplots – Part 2
In this
part, we’ll look at how to construct subplots, but from the perspective of
first person, which is much harder to get to grips with.
The question
here is: can subplots be constructed in a first person story? After all, there
is only one perspective in first person – the protagonist. And that’s it. It’s not like having the
diversity of multiple viewpoints as with third person stories, but that’s not
to say that subplots can’t be done in first person. They can, but they’re quite
limited.
Unlike third
person stories, where the viewpoint can change from character to character, and
the richness of different character views can come into play (and so subplots can
weave around the main character), with first person, this just isn’t possible.
First person stories have to involve the main character, since the story cannot
be told from any other character other than ‘I’ of your main character.
By being
involved in a subplot, the main character gets to see different outlooks of
other characters, because they will be involved on a personal, individual
level. But in order to carry different subplots, it means the main character
must be sufficiently complex, otherwise the just won’t be interesting enough to
sustain more than the main plot.
Let’s look
at the crime novel example from part 1, but this time as first person. It would
have the following basic plot structure:
The
protagonist, a cop who’s never played by the rules, is brought in to help solve
a crime similar to one that happened 20 years earlier and the suspect was never
caught. His story is the main plot.
The
antagonist is the main suspect, a high-profile politician who may or may not be
guilty. He was suspected 20 years ago of a similar crime. But he has friends in
high places. This is a subplot - but instead of telling the subplot from the
perspective of the villain, it must be told from the cop’s POV – as the first
person. That means he will be involved on a personal level with this character,
so it will certainly involve more of his inner thoughts and feelings, what he
thinks, how he reacts to the villain and how the villain acts and so on. These
thoughts and feelings are more amplified than if it were third person simply
because it’s all told through the main character’s eyes. It’s all personal to
him.
The cop
falls for the antagonist’s ex-wife, but he can’t be entirely sure whether to
trust her or use her to his advantage. This is another subplot – but again,
instead of telling the subplot from the perspective of the ex-wife, it must be
told from the cop’s POV. That means he will react to her, his thoughts will
reflect what is happening and his feelings will also mirror this. It all must
be told from his perspective. These two subplots will then connect to the main
plot of finding the killer, but the whole story will remain the POV of the main
character throughout.
A successful
first person story subplot relies on hints, implication and inference from the
other characters. These can then be interpreted through the eyes of the main
character.
This is just
one of the reasons why first person stories are quite hard to master – they are
very restricted in what the author can achieve, so they need a lot of planning
and thought.
Whichever
you choose – third person or first person – adding subplots enriches the story,
strengthens characterisation, heightens reader interest and adds variation to
the overall story.
Next week:
Avoid common mistakes – make your writing better
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