Interweaving subplots and compelling B stories into your screenplay can add much more action and much more depth and resonance to your concept and story’s themes. But are they the same? I think there are slight differences between them and much gray area too. In general, a B story involves your main character perhaps as a secondary motivation or mission or problem that the main character must deal with and/or fix. Whereas subplots may not involve the main character, or at least they don’t at first. B stories tend to be the more emotional thing, a love interest or perhaps a mentor or friend relationship or perhaps some personal issue. Subplots may involve secondary characters and may run parallel to the A story until they possibly intersect or connect, or they may not at all. A subplot may be its own little story. Nonetheless, all subplots, B stories, C stories, etc, are more effective if they have conflict all their own and their own beginning, middle, and end. If not, then they are just filler. What are your thoughts on subplots and B stories? Do you consider and plot out these secondary strands into your stories? Some people use these terms interchangeably. And some have altogether different definitions. Do you consider a B story to be a subplot and vice versa? How do you consider and use them in your writing? What are some examples in known films that would be helpful? Currently, I'm knee-deep in working through a complicated script with many subplots and a complex B story. So I'm curious to know how others incorporate such tools into their craft. Please, let's share and discuss. Thanks!
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Oh. Thank you for sharing this info Beth Fox Heisinger ! I do have a B story in my script. Reading this I'm glad I incorporated it. What you say is true, it really adds an emotional factor to the plot. I incorporated mine to catch the audience off guard as well. When they think it's all good, in the B Story slides and grips some hearts haha. The original conflict and the B Story realign along the script creating a conflict within the conflict, if that makes sense. I was actually thinking of adding a subplot as well, but I'm not too sure if to do it for the character in my script I have in mind to implement it for. Maybe...
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I think this is why outlining is so critical. Gives you a guideline of what to write, when, and why. Helps keep all the story lines clear. Enables you to optimize the story lines for maximum impact. I'm a structure fanatic. Helps you avoid writing yourself into a corner. And, far from limiting one's creative abilities, it only gives them a place to "play." Interesting discussion.
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I heard Peter Jackson (LOTR fame) said they write a small three act script for every character in the movie and then bring them all together.
Most of it is wasted. But every character is complete and the B C D E F ...... stories are already written.
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Great discussion! I enjoy involving my characters in subplots and B stories. I use subplots within feature screenplays, especially comedies, as it adds depth and emotion to the characters and story. These subplots end up building the character, for example: personal development which drives them to change which ultimately plays a part in a plot direction. The B story is something I use within a TV pilot which serves to draw into subsequent episodes and the overall season plot. I also like dropping conflict in and often place details along the way which I can either weed out during revision or develop during revision to add depth.
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This is a great topic. I’ve only written a few scripts, but I’ve studied structure extensively, and taken a few courses. When writing my B stories, I made sure they represented the antithesis of my protagonist and the circumstances of act 1 so the arc-ing needed could be outlined in dialogue and represented in the supporting character/s in the B story. The placement of my B stories are just after the first act breaks to give the audience a small reprieve from the emotional spin/highs of the inciting incident that propelled the story into act 2. In my most recent romcom, the B story occurs just after the end of Act 1 when the protag meets a bartender at a wilderness retreat who’s already gone through a similar situation and has reached a state of self-actualization. He offers her his backstory, great advice, riding to the rescue in a sense, and helps propel the story forward, while also supporting the A story.
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My B and C stories forward the A story - the main story - and reflect the themes of my story. They aid my protag in reaching that external main story goal. They all unify at the end. The B and C story are essential to the external goal of the climax, and in resolving other internal needs of my protag and other characters. That's the whole purpose of the B and C story, at least for me.
I copied Laurie Ashbourne's thoughts about A, B, and C story lines a few years ago from one of her posts here on Stage32, and am pasting it here.
Laurie Ashbourne's Words on A,B and C- Stories
Plotting – Easy as A-B-C The strongest stories fire on all cylinders -- thematically. Here's how: The essential events in the ‘A’ story (the plot of your premise), represent the opportunity in the outer world for the protagonist to grow and evolve toward the thematic value you’ve decided on as a writer.
The internal conflict (flaw character must overcome) in the ‘B’ story represents what is lacking inside that is forcing the protagonist to grow toward the thematic value you’ve decided on as a writer.
The relationship conflict of the ‘C’ story shows the impact that the lack of this thematic value is having on the protagonist’s ability to connect with someone or something (just because it is called the relationship plot does not mean it is about a romantic relationship).
Take CASABLANCA; Thematically it could be boiled down to the idea of needing each other. The external set up for 'A' plot sets up the opportunity for Rick to be needed by being asked to save Lazlo from the Nazis. In the 'B' story the theme is expressed by showing us what Rick lacks internally in terms of needing others. The 'C' story; Rick's lack of valuing others leaves him alone and isolated, seeing Ilsa again drives him even further into isolation because of the way she hurt him, which in turn makes the 'A' plot feel even more unattainable. A feeds B feeds C feeds A >>> Next time won’t you sing with me? Tips may be sporadic over the next couple of weeks as I take on new projects and make time for the season festivities. Keep plotting… always be plotting.
Those are great thoughts to follow from great storyteller, story analyst and thinker.
RIP DICK DALE (May 4, 1937 - March 16, 2019)
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Wow, great comments, everyone! Much appreciated. :)
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Bill, thanks for sharing Laurie Ashbourne's thoughts on the subject. ;)
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Beth; Might I suggest that you rewatch 'Jaws'. It's an older movie by today's standards but is one of the better when it comes to multi character multi sub plot interweave. Another very good example is 'The Hurt Locker' - a beautiful trident story weave of A, B & C subplots & story line.
Thanks for sharing some film examples, Doug. ;)
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A similar type of story is Hell or High Water. I think I read here before that's one of your favorites, Beth. It has three stories, too. Without any spoilers for anyone who might not have seen it, the A-Story is the story of what Toby and Tanner are doing. The B-Story is what Marcus and Alberto are doing. The C-Story is Toby's relationship with his ex-wife and boys. The themes are prevalent in the conversation exchanges in all three groups of characters. All three unify/converge in the end...happily/unhappily....but that's a great example of how two sub-stories feed into a main story, and all unify at the end.
Happy trails in your fine as cream gravy writing tales, Ma'am! I mean...Beth!
RIP DICK DALE (May 4, 1937 - March 16, 2019)
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Great post Beth! I incorporate subplots and B&C storylines to most of my writing. It adds more depth to the story that's being told in my opinon.
I didn't get a chance to read everyone's comments, but I recommend reading the scripts for "This Is Us". I know that it is TV but the writers weave multiple storylines. Even "Steel Magnolias"... If you want a good example, check that out!
In no offense, I do not think that "Jaws" would be a great foundation to start from. The movie was apparently made in a rush and a lot of the scenes are improvised leaving the editors as unsung heroes.
Best of luck and happy writing... Namaste,
Tye
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It's about giving the audience all the information they need to understand the plot and care about the characters. Some through-lines join several characters and the motivation of each needs to be shown (Avengers). Sometimes several characters and their stories are joined by a theme (The Godfather). In every case, the B-story or subplot are not bolted (or embroidered) onto the story. They are the different muscles necessary to make the spine of the story move and, hopefully, dance .
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I usually have the B story be about the relationship with the love interest, mirror character or mentor. With sub plot, I seem to use to increase the conflict. (In Flipping the Score, Sparrow has a subplot of earning a scholarship to help her struggling parents pay for college.) I am not aware that I have done a C story, I am trying to simplify my stories.
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Jonathan, beautifully-descriptive explanation. It tied it together perfectly!
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I would think that the B-story would be the main story if the main story didn't exist, whereas a subplot is mainly just a one-off that helps keep the main plot going. For instance, I've got a screenplay where the protagonist's arch enemy is brought up here and there until the protagonist finds out that his A.E. was unintentionally involved with his son's murder. With the help of a small flashback and the backstory, we (the audience) find out that their history helped build the backbone to the main story. One of the subplots of my screenplay is the idea that the protagonist's daughter has no clue about his criminal past until halfway through the movie, where it is explained to her.
I hope this was somewhat helpful.
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Here's an article I wrote for Scriptmag on this very topic... check it out... https://www.scriptmag.com/features/craft-features/ask-the-expert-making-...
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Beth, you gave me a whole lot to think about. (And I like to think of myself as a strictly "A story" kind of writer!)
Out of what I've completed thus far, the biggest screenplay where I've consciously tried to establish a clear "B story" was "Really Old School." In that one, the "A story" involved the band's efforts to establish itself and get more proficient, while the "B story" focused on saving the restaurant the band played at.
Come to think about it, a script I'm currently working on, "Jingle Belles," has a "B story," too: The development of a doo-wop singing group from street corner to stage. (The "A story:" A record-store clerk teaming up with a record producer/manager/songwriter- the singing group's very mentor- to establish their own music-publishing firm in 1959 New York City.)
Great, great post, Beth! Thanks for all you do!
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Thanks for sharing your article, Danny. Very helpful. I found myself nodding as I read it. LOL! :) It truly helps to break down all these writing tools and elements and consider them more strategically. I'm currently honing on where things need to fall to better build tension and pacing, more scene by scene and beat by beat structure, not just major turns. So examining other scripts have been helpful too.
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Hey, Jim, I'm happy to hear this discussion has caused you to reflect and reconsider things. I think we all naturally add elements to our stories, but it's often when we better tap into tools and how to use them for effect is when our writing elevates—at least, that's my thinking. Lol! Anyway, you're most welcome. And thank you for your kind words. ;)
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Great article Danny Manus