Sub-plots

Subplots are not supposed to be filler. Everything should forward or enrich the story.

There's no set guidelines for "how many" you need, it depends on the story, the genre, what you're trying to do, and what word count you want to hit. A 200k political intrigue novel with an ensemble cast, is going to have different thresholds than an 80k contemporary YA romance.

As you get more practice you'll probably find you can estimate how many words a certain arc or section will require.

I think the definition you will find changes from person to person but I view a sub-plot as a thread that runs parallel to the main story. It's difficult without giving examples but a subplot is essentially something that could be stripped away and not be detrimental to understanding the rest of the story. They can enhance it though, for example a chapter showing a different character PoV might have no relevance in the long run but it brings the reader a different perspective. Even your characters just doing something quite bland and sub-plotty would contrast or allow for some breathing space.

How many sub-plots do you need? There's no set rule, I've read both books without any sub-plots that are completely gun-ho with their pacing and I've also read ones that are more sub than plot and it becomes hard to know which is the main plot and which is the sub plot and how any of it ties together. The main thing is that it is enjoyable to read.

If you feel that the piece is shallow and a bit empty then I would try slowing things down with the characters and looking more into what's going on and don't worry if it ends up being sub-plot or main-plot, just experiment and see how it goes.

IMO subplots can't make up for a thin story. They can be used to heighten the motivations, obstacles, tension, and other aspects of the story, but you need to have a pretty engaging story to begin with. I don't know your reasons for thinking your story feels empty, but it could be some of these aspects fall short, in which case that's where I'd focus any subplots.

To add to what everyone else has said...

Sub-plots are generally most effective when they thematically 1) serve as a contrast to the main plot; 2) serve as a mirror of the main plot, except that the mirror shows things you couldn't otherwise see, or it flips the image around or twists it in some way; 3) explore deeper layers of plot or character.

That might possibly help when you're trying to cook one up.

It's possible you have more subplots than you realize--I picture subplots as the smaller conflicts that come together to form the story, like strands in a rope. Also, it's important to note that subplots come in different shapes and sizes. You may not need a ton of subplots if you have several very important, involved subplots. How you approach subplots might depend on the type of story you're telling (suspense? thoughtful literary? adventure?), as well. So, there's no set number.

You say you're in the planning stage but that the plot feels thin. I don't think you can know that until you actually start writing. As you write, you might find yourself creating more twists and turns (I know I do).

Well, I have the opposite problem: too many sub plots! My historical novel has 5, I think... I just can't resist throwing more plot threads into the mix to weave a complex web of interconnected storylines. They get so complex, I need spreadsheets to keep track of them!

Anyway, my definition of a sub plot is a plot thread that is separate from the main plot, but serves or compliments the main plot in some way, either in terms of character development, world building or theme. A sub plot *should* technically be removeable from the story without too much difficulty, but IMO if it doesn't make the story poorer for it's absence, it shouldn't be there in the first place. (A plot thread that can be excised from the novel without any impact on the story is often called a 'plot tumour' in lists of bad writing habits).

However, also IMO, the best sub plots are the ones that eventually converge with the main plot to bring about the climax, and therefore removing them would materially impact the conclusion of the main story. One of my subplots converges with the main plot when the MC realises that the second investigation he is leading (sub plot 1) is actually part of the same wider conspiracy as the main plot, with the antag behind both. Another converges when his failing marriage (sub plot 3) leads his wife to take certain actions that exacerbate the situation with the antag, and put her right in the middle of the investigation. Sub plot 2 is his budding romance with the love interest, which also increases tension with the antag (and his wife, so there's crossover with sub plot 3), and causes him to make some decisions that lead to the climax.

The last one (romantic sub plot) is probably the most common, and you see it in almost every genre. In fact, I can't really think of too many stories I've read that DON'T have a romantic sub plot in some shape or form. I'm sure there are lists of other common types of sub plot online - a google search shows up numerous ones on screenwriting tips. You don't HAVE to add sub plots to your story, but if it feels a little bit light or simple, they can certainly add depth and complexity. Don't force it though - if a sub plot doesn't develop naturally from the material you've already got, shoe-horning one in can be worse than not having one at all.

Questioner said:

Can an entire storyline be a sub-plot?

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Sure. It works best (imo) if the sub-plot in some way "reflects" or expands on the main plot.

If it ties in at the end? Absolutely. But I wouldn't get carried away. I'd think some readers might wonder why she's getting so much play if she doesn't seem to fit in anywhere.

All my POV characters have personal plots which dovetail into the major and minor plot lines.

Harlequin said:

Subplots are not supposed to be filler. Everything should forward or enrich the story.

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THIS.