Plot of a Storystory line
Add a'B plot' is the easy way to enhance your story
Much as shortness and (comparative) minimumism in general reveals the best shape of a story, there are times when your core action benefits from being coupled with a supportive story-tell. Often referred to as the "B story", these secondaries, which are generally less complicated than the storyline and focus on side actors, can be the best way to enhance your story.
Like the name suggests, the story is not the primary focus of a story, but it can still have a great deal to show. Subplots are a series of occurrences that appear in the broader narration of your story, but a B-action is burned into its texture. The purpose of a B-action is to do a work that often changes the way the viewer perceives the plot and the story as a whole.
Gloucester has similar problems with his daughters Edgar and Edmund, and they intertwine with the plot. On shows like Friends, Scrubs, Modern Family, The Big Bang Theory and Rick and Morty, it is a general practice that some people will explore the A plot, while the one who remains gets a smaller A-stoct.
The use of a B-diagram is so omnipresent because it has so many possible advantages for writers, and the ability to understand these advantages is the pivotal factor in determining whether a B-diagram is right for your story. Some of the greatest advantages of a B-Plot, and something that gives it a nasty reputation with many writers, is that it allows you to bulk out of your story.
The second, smaller plot allows you to create a longer play without expanding your primary plot or add useless detail and inconvenience. A lot of writers shy away from the notion of consciously lengthening the length of their story - isn't it the best way to tell a story, whatever its natural appearance?
Straining the storyline by add unneeded detail is a good way to spoil it, but combining it with a little action doesn't necessarily have that effect. In the remainder of this paper, there are several advantages that a bis-plot can provide, so it's not like you're just making a longer story for counting words, but sometimes that's an advantage in itself.
Readers benefit from a longer volume on many opportunities. For example, if you focus on the character, sometimes it's not enough just to talk about who they are; the readers want to waste valuable free moments in their society and their ardor. Similarly, if you are creating a story that you want to experience as'epic', several storylines are a must.
Sometimes your primary action can be exactly as you want it to be and still have disadvantages. It may take a while for your character to meet actual adversities, maybe it gets a little too fierce for a little too long, or maybe some of your character will stay for long distances without doing anything.
The introduction of a B-Plot gives you the opportunity to rub these areas to ensure a better overall form and speed. When some of the smaller players will have their own adventures, you have an alibi to present them sooner, maybe even put them in jeopardy as you research your protagonist's state.
With a history in class A, you also have more room to move in terms of history, place and place. With several storylines, Mark Z. Danielewski's House of Leaves often uses this fact to heighten the suspense and the horrors of the story by changing character the way you run into danger. That' okay, but since the storyline follows the character, it can often mean that these actors have nothing to do or, even worst, they will be forgotten until later in the story.
This is a dicey choice because it means you won't be able to work on these people. Tolkien consciously breaks up his figures into smaller groups in The Lord of the Rings. That' s one of the reason why Tolkien enthusiasts have different personalities among their favourites - they need to hang out with them and learn to really comprehend them.
You can use the same logics when you write symbols over a sequence. When you give a charac-ter a B-diagram, make sure it's important. That can mean that it adds to the peak of the plot, or it can mean really getting into the mind of that person and getting the readers to put their money into their fight.
Sometimes it means to structure the B-plan so that it deals with the deep topics of the volume, but I'll discuss that more in a while. The Princess Bride contains a fantastical B-plan for the sword fighter Inigo Montoya, in which he hopes to take vengeance on his father's murderer.
As Goldman makes clear to the readers that this would alter Inigo's whole being (... to the point where it seems almost not possible that the real act could be as satisfactory as promised), but also skillfully connects the killer to the story ancestor. And when Inigo faces his enemy, it is a time to pay the readers emotive investments and let the plot flow into their show.
It is not necessary for a plot to culminate exactly at the same time as the plot, but it must not be presented as an after-thought. In order to really work, it must have its own infrastructure and investments, though not necessarily as much as the action it supports. Some of the biggest advantages of a B-diagram is that it allows you to research the master diagram in a way that the master diagram does not have.
Back to King Lear, Shakespeare uses Gloucester to criticize and investigate Lear's stance, as the lead character has not yet warranted. For this reason, however, the readers are "ready" for Lear and appreciate the pivotal points of his story with an appreciation refined by Gloucester's story. The B-history can anticipate the story and improve the reader's comprehension in any desired way.
Often the B-story shows smaller figures with a variation of the protagonist's predicament. Your location then becomes a test field for the culmination of history. When something goes awry, the suspense increases and you can even give the illusion that the character was condemned to failure right from the onset.
In fact, this technology can give more impetus to your primary action, since many of the investigations and philosophies that give it significance can be performed elsewhere (and with other personalities and incidents to keep it alive). Pin your B-action and you will create a deep story with more power, more realizations and a better use of speed and texture.
It is a way to take some of the importance of your primary action and let it thrive. All of these factors make it worthwhile to look at your story with a conscious look at where a B-action might go. In addition to the protagonists who could be better exploited alone, are there any small personalities who achieve their aims?
Are there any tasks your protagonists are currently performing that could be swapped out? If possible, a B-plan can be what distinguishes your present design from the best shape in your story. Or for more great advices, see How many people should a novel have? and here's how to create a killer climax that makes readers breathless.