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To Be or Not to Be: Writing Subplots by James R. Callan

September 20, 2021 by Karin Beery Leave a Comment

Recently, I was giving a talk on plotting. When I came to the topic of subplots, a lively discussion ensued. Some felt any book called a novel had to have a subplot. That was countered by some who felt that you should avoid subplots altogether. A few felt that subplots were there to beef up the word count. And others felt that was exactly why you should avoid subplots: they distract from the main plot.

I called a halt and offered these guidelines for sub-plots

  • It is a sub-plot. Therefore, it is sub (subordinate to, under, below, beneath) the main plot. It is second fiddle. So on all levels, it must remain secondary.  It must not crowd the main plot for space or attention. 

But, it is a plot.  Therefore, it needs the elements of a plot.  It must have a beginning, a middle, and an end.  It needs an arc.  It cannot coast along at the same level from start to finish.  And it is an important part of any plot, sub or main, that someone (or more than one) must change.  Keep in mind that person could be the reader. If you can change the attitude or mindset of the reader, that is a change, and much more difficult to achieve than changing a character of the book.

  • It must satisfy at least one of these two criteria.
  1. It must add to the reader’s understanding of the setting, the surroundings, the texture of the story. In my book Cleansed by Fire, the subplot involving a mysterious character close to the drug scene gives the reader a feel for the texture of the town, that is, the drug problem in the small town. Without my preaching about the problem, the Earl subplot makes it clear.
  2. It must give the reader a clearer understanding of one or more characters in the story, preferably the protagonist.  A well crafted subplot can allow the author to define the protagonist without “telling.”  It is an excellent vehicle for “showing” the reader the true nature of the protagonist without “telling.” Using the same example above, Earl allowed me to bring out a number of characteristics of the protagonist without “telling.”

So, in the example I have given, a subplot served two important jobs.

But what about the question: subplot or not. Subplots can improve a book. Subplots can help the author with two important areas: help define the texture of the story, and help the reader better understand certain characters – and in a way that works well for the author.

If you can use a subplot to accomplish one or both of the two conditions above, then by all means add a subplot.  If the subplot is used to simple bulk up the book, add words, get in something that you the author wants to say that is not necessary to the story, then leave it out.


Rod Granet, award-winning novelist and womanizer, is the main speaker at a writers conference. But after the opening session and in front of a crowd, Maggie DeLuca, Father Frank’s sister, accuses Granet of stealing her story and says he will pay for it.

That night, Granet is killed.

The sheriff quickly zeros in on Maggie and she is hauled off in handcuffs. The sheriff is convinced he has the murderer and threatens Father Frank not to get involved in this case.

But the sheriff is not the only one threatening Father Frank.

Can Father Frank stay out of jail and alive, and find the real killer?


After a successful career in mathematics and computer science, receiving grants from the National Science Foundation and NASA, and being listed in Who’s Who in Computer Science and Two Thousand Notable Americans, James R. Callan turned to his first love—writing.  He wrote a monthly column for a national magazine for two years. He has had four non-fiction books published.  He now concentrates on his favorite genre, mystery/suspense, with his sixth book releasing in 2014.

www.jamesrcallan.com/ 
Amazon Author Page: http://amzn.to/1eeykvG

Filed Under: writing Tagged With: James R. Callan, plot, subplots, writing a book, writing fiction, writing tips

The Story Equation by Susan May Warren (book review)

July 11, 2021 by Karin Beery Leave a Comment

Discover The Story Equation!

One question can unlock your entire story! Are you struggling to build a riveting plot? Layered characters? How about fortify that saggy middle? Create that powerful ending?

You can build an entire book by asking one powerful question, and then plugging it into an “equation” that makes your plot and characters come to life. You’ll learn how to build the external and internal journey of your characters, create a theme, build story and scene tension, create the character change journey and even pitch and market your story. All with one amazing question.

Learn:

The amazing trick to creating unforgettable, compelling characters that epic movies use!
How to create riveting tension to keep the story driving from chapter to chapter
The easy solution to plotting the middle of your novel
The one element every story needs to keep a reader up all night
How to craft an ending that makes your reader say to their friends, “Oh, you have to read this book!”

Using the powerful technique that has created over fifty RITA, Christy and Carol award-winning, best-selling novels, Susan May Warren will show novelists how to utilize The Story Equation to create the best story they’ve ever written.


I’ve heard a lot of good things about this book and have been looking forward to reading it. I was especially excited because of the length — it’s a short read.

Here’s the good about it: lots of great information. I love how Warren breaks everything down and helps you identify so many elements of good fiction. It’s definitely worth reading.

Here’s the not so good: I found this book to be really confusing. As a left-brained lover of math, I actually expected there to be an equation here. You know: A2 + B2 = C2 kind of thing. This is more like, I’ll teach you how to get to C2 with X, Y, and Z, which make up A2, but only after G, H, I (which is part of L) and then B2 comes together and we layer it all with 4, 5, 6, 7. Viola! It’s not so much a story equation as it is a mind map of sorts. If you go into it expecting an equation, it can be frustrating and confusing.

As is, I’m planning on applying everything I’ve read to my next manuscript, but first I need to organize the information (as I did find it hard to follow).

Yes, I recommend this book and will use the info in it, but I did find it hard to follow. This might not be the case for everyone though. Get your copy here!

Filed Under: book reviews Tagged With: book review, characterization, How to Write a Novel, My Book Therapy, novel writing, plot, story structure, Susan May Warren, writing books, writing tips

Novelization or Narrative Retelling?

May 21, 2019 by Karin Beery Leave a Comment

I recently read a book that was described as a novelization of a true story. Based on that description, I had several expectations for the story—a structured plot, some character development, incorporating the senses, etc. Instead, I got some history, some explanations, and several chapters of helpful information, but no story.

Overall, the book disappointed me. I wanted to get pulled into the characters heads; to experience their lives with them; to be transported into their homes and situations—everything I expect from a novel. But that book wasn’t a novel, and it never should have been labeled that way.

But, but … it had dialogue! It was written in third person!

Yes, it was, but that doesn’t make it a novel. A book needs to meet certain requirements before you can call it a novel; without those things, you have a creative or narrative retelling, but you do not have a novel.

What does a book need, then, to be considered a novel? Whether you’ve created everything or are telling someone else’s true story, a novel needs:

  • Plot Structure (three acts work well)
  • Setting
  • Characterization (including GMCs and character arcs)
  • Engaging writing that creates mental pictures

Take all of those, organize them well, and POOF! A novel. If you’re lacking any of these things, you’re probably not writing a novel. How can you tell?

  • The dialogue doesn’t add to the story; it’s just there.
  • You have whole chapters of information without showing the characters do anything.
  • Your book is more about giving information than it is about entertaining the reader.

If the above bullet points describe your book, it doesn’t mean you have a bad book—it just means you’re not writing a novel. These subtleties make a big difference when you’re marketing your book. It’s important to understand the difference, because mislabeling your book (and thereby mis-advertising it) can set you up for failure.

Take the book I recently read: if it had been called a narrative or creative retelling, it would have been a pretty good book. I would have been better prepared for the history lessons and lack of structure. Because I wanted to read a novel, however, it disappointed me. As much as I wanted to leave a good review, I couldn’t because I didn’t have a good experience reading the book (I do still recommend the book, but I tell people it’s not a novel).

Don’t stop writing your book and don’t change your style. Just know what you’re writing so you can get it into the hands of the right audience.

Have you ever read a good book that disappointed you? What happened?

Are you interested in learning more? Would you like to receive tips and special offers sent directly to your inbox? Sign up for my newsletter today, and receive your FREE copy of Simple Tips for Finding the Right Editor!

Filed Under: Uncategorized, writing Tagged With: characterization, fiction, fiction writing, How to Write a Novel, novel writing, plot

What Happened to Act I? 4 Tips for Creating Meaningful Connections with Characters

April 1, 2019 by Karin Beery Leave a Comment

One of the great things about fiction is the opportunity to step into someone else’s head and not only experience a new and different life, but to feel the excitement, anguish, and fear right along with the character. But why do some books elicit such deep emotions from the reader while others fall short? It’s all about connecting with the characters.

Have you ever read a book that you wanted to love, but you just couldn’t make yourself care what happened to the characters? Or maybe you wanted to know what happened, but you never felt any sympathy for or excitement with the characters? Either way, the problem is the same—you never developed a connection with the characters, so you never invested in their lives.

Why does it matter? Because people won’t read about characters they don’t care about.

Yes, you might find some readers who just want to know how the story ends, so they skim pages and skip long paragraphs to get to the last chapter (or, if you’re like me, you read the last chapter to see if you’ll like the ending, then decide if the book’s worth your time). Don’t give readers an excuse to skip pages! Instead, give them the chance to get to know your characters so they’re not merely curious to see what happens, they care about what happens.

How do you create meaningful connections with characters?

Stop skipping Act I.

Perhaps the most traditional (and well known) story structure is the three-act structure—beginning, middle, and end. Another way to understand and discus the three acts is:

  • Act I: Introduction
  • Act II: Body/Story
  • Act III: Conclusion

In a ridiculously short summary, these three parts essentially mean:

  • An introduction of characters, setting, and plot.
  • Watching the characters interact with each other within the setting to advance the plot.
  • When the characters work through the final plot issues to resolve the story with a satisfactory ending.

The part I really want to focus on is Act I, the introduction. It’s becoming more and more common to see that part of the story stripped down (if not completely eliminated) in an effort to jump right into the plot.

Don’t. Do it.

For years now, writers have been told to start their stories with action. Yes, that is absolutely true, but that doesn’t mean you dive right into the plot without first introducing all of the key players and plot elements. Don’t sacrifice Act I for the sake of action. When you do that, your reader doesn’t know whether to root for the woman on the run or hope she gets caught—without an introduction, you throw the reader into a confusing situation, and you never want to confuse the reader.

How, then, do you start your story?

  1. Start with action that’s appropriate for the genre and story. If you’re writing suspense, it’s understandable and often acceptable to open with a woman on the run, then reveal that character to the reader as you go. That’s part of the suspense plot. If, however, you’re writing women’s fiction, the action needs to appropriate: a working woman grocery shopping, a mom pushing a stroller while she jogs, two sisters sorting through their deceased father’s possessions. All of these things are active. It doesn’t have to be a car chase or gun fight, as long as it doesn’t start with the main character thinking for two pages.
  2. Introduce the main characters.Imagine you’re at a barbecue. Your friend brings over a stranger and says, “This is my co-worker, Larry.” Besides what Larry looks like, you only know one thing about him. That’s not a great introduction, but that’s how many authors start their books. Instead, use this introduction: “This is my co-worker, Larry. He just moved to town last month and is looking for a new massage therapist to treat back issues resulting from a car accident. I thought you might be able to help him since you work at a chiropractor’s office and have connections in that industry.” Wow. Now the reader understands Larry. They may not be able to relate to his situation, but they’ll understand why he hires someone to walk his dog and stop thinking he’s lazy. You’ve helped create empathy.
  3. Show the setting. Where and when a story takes place will impact the events of the story. For example, a cruise ship is sinking. How should the reader react to that? It’s hard to know if you don’t know when or where the ship is sinking. If it’s off the coast of Florida in 2005, the Coast Guard will be there with speed boats and helicopters—exciting! If, however, it’s 1912 in the North Atlantic Ocean, it’s tragic. Make sure you show the setting.
  4. Establish normalcy. If the reader doesn’t know what life is like for your characters, they won’t know how to respond when unusual events happen. Say your character is sitting in her car at a red light when two cars plow into the intersection and crash. She calmly calls 9-1-1, gives a statement when the police arrive, then goes home where her husband hugs her and tells her how proud he is of her and how amazing she is. Why? Without establishing her normal—that she’s an army veteran with severe PTSD who curls into a ball and suffers flashbacks when a balloon pops—there’s no way to understand her breakthrough by being able to call for help and drive herself home. Take the time to establish normalcy so the reader can recognize important moments.

By including these four elements, you’ll make it easier for your reader to connect with the characters, which will establish the emotional connection that pulls the reader through the story.

Filed Under: writing Tagged With: characterization, fiction writing, Karin Beery, novel writing, plot, writing tips

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ABOUT ME

Editor. Teacher. Novelist.
A passionate lover of fiction, Karin doesn't just write novels, she helps others write their best stories! A certified substantive editor with the Christian Editor Connection, her goal is to help authors to put her out of business by equipping them with the tools they need to become better writers.

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