So A Critique I’ve Seen Of The Show Is That When It Writes About More Serious And Complex Topics Like

Subplots 101

Subplots are an essential part of storytelling that can add depth and complexity to your book's overall narrative. This post covers a step-by-step guide to making subplots, general tips, and some examples of subplots in YA books.

Step-by-step guide to making a new subplot

Identify a secondary character

Consider a secondary character in your story who is not directly involved in the main plot. This could be a friend or family member of the protagonist, or a peripheral character who has a unique perspective on the world of the story.

Create a conflict

Think about a conflict or challenge that this character could face, which could be related to their personal life or a separate issue in the story. This conflict should be something that the character needs to overcome or resolve.

Connect the subplot to the main plot

Consider how this subplot could connect to the main plot. This could involve having the main character help the secondary character with their conflict, or having the subplot reveal important information that impacts the main plot.

Develop the subplot

Once you have established the groundwork for the subplot, develop it in detail, including the character's motivations, the obstacles they face, and the resolution to the conflict.

General tips for a good subplot:

Make sure your subplots are related to the main plot

Subplots should be tied to the main plot in some way, either by affecting the main character or providing additional context for the story.

Develop separate character arcs

Your subplots should have their own character arcs that tie in with the main character's arc. This allows for additional character development and can help create a more immersive world.

Use subplots to reveal new information

Subplots can be a great way to reveal new information about the world or characters that might not be relevant to the main plot. This can help make the world feel more alive and fleshed out.

Keep subplots contained

Subplots should not take over the main plot. They should be contained and serve to enhance the main plot rather than distract from it.

Examples of subplots:

Harry Potter and the Goblet of Fire by J.K. Rowling

Harry and Draco's rivalry

Hermione's fight for the rights of house-elves

the mystery surrounding the Death Eaters.

The Hunger Games by Suzanne Collins

The main plot of The Hunger Games is Katniss's fight to survive in the games. However, there are several subplots that tie into the main plot, such as her complicated relationship with Peeta and her struggle to reconcile her feelings for him with her need to survive.

Remember, subplots should enhance and support the main plot of your story, adding depth and complexity to the overall narrative. I'd recommend having 2-3 subplots of varying depth, depending on how important they are to the story, but obviously that's entirely up to you.

The Iberian peninsula prior to the Carthaginian invasion and partial conquest was a melange of different tribal influences, with the Celtic influx being the most  recent and most pervasive as this map shows.

This is accurate also can help when discussing magic with other fantasy magic doesn't always equal fireballs, and everyone has there own thought on how magic in real life works

Linguistic analysis of "magic" is a shoddy Indiana Jones ass rope bridge over useless semantics-infested waters BUT it's a good place to start for like, what a culture means when they say "magic"

meet ugly steddie au where steve gets broken up with for the first time since moving blasts his favourite song and has to find a new delivery place for his comfort breakup food and opens the door absolutely sobbing starts to cry harder when he sees how hot the delivery man is and tips through tears meanwhile eddie hears wham playing at horrific volumes while walking to the door to give the food and expects a party or smth but at least a customer he doesn’t want to deal with only for it to be this one incredibly hot guy who looks like a puppy thats been kicked while its down

look, i'm sorry to say it, but if you really truly want to see more queer representation in media, you're going to need to be okay with seeing representation that you don't relate to at all. you need to be okay with media that has queer characters but none who share your specific identity. you need to be okay with media that has queer characters who do share your identity but who you find completely unrelatable. this is because you are not the only queer person on the planet and queer people who are not you, including queer people who you share no similarities with besides your queerness, deserve to see themselves represented.

you also need to be okay with media that shows a queer experience that you personally find uncomfortable. it's okay if you hate coming out stories, but other people find them valuable, so they need to exist. it's okay if you're a masc trans guy and you feel uncomfortable seeing femme transmasc characters, but femme transmascs do exist in real life and also deserve to see themselves represented. it's okay if you're uncomfortable with queer stories that involve cheating or abusive/toxic relationships or queer characters who are not good people, but other people find a lot of meaning in those stories, so you need to be okay with the fact that they exist.

please stop calling out creators—particularly queer creators—for writing queer representation that you don't personally relate to. if you want every queer person to be able to feel represented in media and if you want every queer creator to be able to make the stories they want to tell, you're going to have to learn to accept that some stories will feel completely unrelatable to you, and that's okay, and it doesn't mean those stories are "problematic" or "bad representation"

You cannot have a lasting relationship without conflict resolution skills, how can we build a society without it, if you

what is writing you ask

well, sometimes it's being in front of Word and typing sometimes it's spending forty minutes watching advanced tips and tricks on blacksmithing in order to understand a subject you know absolutely nothing about

• An Oxford comma walks into a bar, where it spends the evening watching the television, getting drunk, and smoking cigars.

• A dangling participle walks into a bar. Enjoying a cocktail and chatting with the bartender, the evening passes pleasantly.

• A bar was walked into by the passive voice.

• An oxymoron walked into a bar, and the silence was deafening.

• Two quotation marks walk into a “bar.”

• A malapropism walks into a bar, looking for all intensive purposes like a wolf in cheap clothing, muttering epitaphs and casting dispersions on his magnificent other, who takes him for granite.

• Hyperbole totally rips into this insane bar and absolutely destroys everything.

• A question mark walks into a bar?

• A non sequitur walks into a bar. In a strong wind, even turkeys can fly.

• Papyrus and Comic Sans walk into a bar. The bartender says, "Get out -- we don't serve your type."

• A mixed metaphor walks into a bar, seeing the handwriting on the wall but hoping to nip it in the bud.

• A comma splice walks into a bar, it has a drink and then leaves.

• Three intransitive verbs walk into a bar. They sit. They converse. They depart.

• A synonym strolls into a tavern.

• At the end of the day, a cliché walks into a bar -- fresh as a daisy, cute as a button, and sharp as a tack.

• A run-on sentence walks into a bar it starts flirting. With a cute little sentence fragment.

• Falling slowly, softly falling, the chiasmus collapses to the bar floor.

• A figure of speech literally walks into a bar and ends up getting figuratively hammered.

• An allusion walks into a bar, despite the fact that alcohol is its Achilles heel.

• The subjunctive would have walked into a bar, had it only known.

• A misplaced modifier walks into a bar owned by a man with a glass eye named Ralph.

• The past, present, and future walked into a bar. It was tense.

• A dyslexic walks into a bra.

• A verb walks into a bar, sees a beautiful noun, and suggests they conjugate. The noun declines.

• A simile walks into a bar, as parched as a desert.

• A gerund and an infinitive walk into a bar, drinking to forget.

• A hyphenated word and a non-hyphenated word walk into a bar and the bartender nearly chokes on the irony

- Jill Thomas Doyle