We now return you to your regularly scheduled program...AKA Tom Bombadil Syndrome

Wavy_Blue · Feb 22, 2010

I'm having an issue with my current WIP. To make a long story short, my MC needs to get from point A to point B on the map. He picks up two companions on the way, but the problem is, the way he's picking up these companions is what I want to refer to as Tom Bombadil Syndrome. You might guess what this means--a subplot near the beginning of a fantasy story that is largely inconsequential to the actual story (in my story, the MC goes to cave people for help, only to find he's wanted DOA there, and thus must get out of this situation). I would just cut it out, but this is the way he meets some important characters, and it also helps the pacing of the story. But then again, it has little to do with the plot at large.

So what are your thoughts? Would you keep things like this in for the sake of pacing and character introduction, or would you stick to subplots significant to the main plot? Encountered this elsewhere in fantasy? Please share!

Thomas_Anderson · Feb 22, 2010

If it helps with pacing and introduces characters, I see no problem with it. If it were me, I'd keep it.

Subplots that have great effect on the main plot are in virtually every novel in existance.

Sevvy · Feb 23, 2010

If these two side characters become part of the main plot, then there's no problem with this introduction, because the end result of this sub-plot is getting these two to go off with your MC.

Etola · Feb 23, 2010

It's not quite Tom Bombadil Syndrome because these introduced characters stick around for the rest of the story, as opposed to vanishing altogether once the subplot is done. I wouldn't worry so much about it. Yeah, it can be neat if the subplot could be tied into the main plot even tangentially, but it's not necessary.

Of course, whether the subplot feels out of place might be a better question for beta readers.

dogfacedboy · Feb 23, 2010

If the subplot is resolved and lends anything to the overall story (ie. introducing characters), then it's perfectly okay. If you just introduce this new conflict and then ignore it once the new characters are introduced it might feel more contrived.

efreysson · Feb 23, 2010

Hmm. You might add some little lesson the main character learns from the experience, and crops up two or three times later on. Or doubts, or a skill he feels he needs to sharpen, or whatever. That might make it feel more like a part of the overall story.

geardrops · Feb 23, 2010

Make sure it's not a Big-Lipped Alligator Moment -- BLAM!! If not, you're probably in the clear.

DeleyanLee · Feb 23, 2010

Plot is overrated. As long as the story as a whole (world, characters, theme, reader's understanding, etc, as well as plot) is forwarded and interesting, you're good to go.

SPMiller · Feb 23, 2010

Tom Bombadil wasn't an antagonist, and the section in which he appeared was therefore devoid of conflict. Instead, he sang a lot and generally bored the audience. He even went so far as to explain just how outrageously powerful he was, and how the characters were completely safe from harm in his forest. How exciting and suspenseful! /nods off to sleep...

Instead, you set up the cave people as an antagonist: they want the protag dead. Presumably, the protag's goal in this situation is to escape alive. Might not be relevant to the main plot, but at least it won't be boring.

That said, I recommend you do make it relevant to the main plot in some way. If you can't, you should cut it. (I'm a ruthless editor. Murder your darlings, and all that.)

Wavy_Blue · Feb 23, 2010

Thanks, everyone! This has been most helpful.

Thomas_Anderson · Feb 23, 2010

SPMiller said:
Tom Bombadil wasn't an antagonist, and the section in which he appeared was therefore devoid of conflict. Instead, he sang a lot and generally bored the audience. He even went so far as to explain just how outrageously powerful he was, and how the characters were completely safe from harm in his forest. How exciting and suspenseful! /nods off to sleep...

Plus he was annoying.

And some people wonder why he got cut from the movie.

Mara · Feb 24, 2010

The most important thing is to avoid random long sections of song.

Lyra Jean · Feb 24, 2010

SPMiller said:
Tom Bombadil wasn't an antagonist, and the section in which he appeared was therefore devoid of conflict. Instead, he sang a lot and generally bored the audience. He even went so far as to explain just how outrageously powerful he was, and how the characters were completely safe from harm in his forest. How exciting and suspenseful! /nods off to sleep...

Instead, you set up the cave people as an antagonist: they want the protag dead. Presumably, the protag's goal in this situation is to escape alive. Might not be relevant to the main plot, but at least it won't be boring.

That said, I recommend you do make it relevant to the main plot in some way. If you can't, you should cut it. (I'm a ruthless editor. Murder your darlings, and all that.)

This is what turned me off to the LOTR books. I think the movies are great.

MattW · Feb 24, 2010

I wrote this yesterday, but somehow didn't get posted.

Everything in a story should serve multiple purposes - characters, events, dialogue. If your characters appear midway, act as a counterpoint to traits of the MC, help advance the plot, and participate in the final resolution, that sounds like what supporting characters do.

The only cliche you bump against is the troupe of heroes, and that's such a staple, it can only go wrong if there's an elf, a dwarf, a mage, a man, some little people, and a ranger.

We now return you to your regularly scheduled program...AKA Tom Bombadil Syndrome

Wavy_Blue

Adventure is out there!

Thomas_Anderson

Sevvy

Spec Fic Writer

Etola

Still looking for stars...

dogfacedboy

efreysson

Closer than ever

geardrops

Good thing I like my day job

DeleyanLee

Writing Anarchist

SPMiller

Prodigiously Hanged

Wavy_Blue

Adventure is out there!

Thomas_Anderson

Mara

Clever User Title

Lyra Jean

Two years old now.

MattW

Company Man