Do Main POV Characters Need a Subplot?

When crafting a story, especially a novel or screenplay, authors often grapple with the question of whether every main viewpoint (POV) character should have a subplot. This article explores the nuances of this decision, drawing on examples from both literature and film, and provides insights into narrative structure and character development.

Introduction to Subplots

Subplots, in the context of storytelling, are secondary storylines that support and complement the main plot. They add depth and complexity to the narrative by providing additional perspectives, conflicts, and thematic elements. However, not every narrative requires a subplot for each main character, and choosing to include or exclude them depends on the story's needs and the author's vision.

Does Every Main POV Character Need a Subplot?

The idea that every main POV character must have a subplot is not a hard and fast rule. In some stories, it is more effective to have flat characters that serve as background figures or minor roles. These characters can add to the atmosphere and drive the main plot forward without the need for a subplot. This approach is particularly valid when the characters are not central to the thematic or emotional core of the narrative.

A notable example of this is Marton Csokas' character "Teddy" in the film The Equalizer. The character is a top enforcer for the main antagonist, 'McCall'. Throughout the film, the narrative is mainly driven by McCall's quest for revenge, and Teddy's role is primarily to serve as a severe antagonist. He appears in POV scenes, but there is no significant subplot or backstory to deepen his character.

Subplots and Point of View Characters

For characters who serve as major POVs, subplots can be an integral part of their development. These subplots can explore the character's backstory, personal growth, or internal conflicts, enriching the narrative and providing a more layered experience for the reader or viewer. However, whether a subplot is required depends on the story's demands and the character's role in the larger narrative.

Nancy Kress's tutorial on point of view, available on Worlds of David Brin, can provide valuable insights on how different POV characters should be developed. Understanding the reader's or viewer's perspective and the character's motivations can guide the inclusion or exclusion of subplots.

Narrative Structure and the Role of the Subplot

The choice of whether to include subplots for main POV characters is deeply tied to the narrative structure of the story. Some writers prefer an omniscient narrator who can explore the thoughts and actions of multiple characters, while others opt for a single narrator whose limited perspective can lead to more intimate and immersive storytelling.

For instance, in F. Scott Fitzgerald's The Great Gatsby, Nick Carraway, the narrator, is a secondary character in his own story. His limited perspective and personal struggles are subplots that enrich the overall narrative but do not overshadow the main plot. Similarly, in Emily Bront?'s Wuthering Heights, the diverse voices and perspectives of the narrators add complexity to the story but do not detract from the central narrative.

Conclusion

The decision to give a main POV character a subplot is not absolute. It should be a strategic choice, based on the story's thematic depth, character development, and the overall narrative arc. Whether a subplot is needed for a character can be determined by the story's needs and whether it adds value to the character's arc or the overall narrative.

Ultimately, the most important aspect of storytelling is the effectiveness of the narrative in engaging the audience. Whether a main POV character has a subplot or not should always be driven by that goal of crafting a compelling and cohesive story.