These are notes I swapped with another note taker at life the universe and everything. That way, we get notes from other panels we may not have attended. The panelists are Brandon Sanderson. Charlie Holmberg, Renee Collins, Kathryn Purdie, Dave Farland

• Most stories will have subplots so it’s important to do them well.
• A subplot has a small amount of screen time but has implications to help the end work.
• Subplots can achieve many different things. Explore worlds, develop character arcs.
• Each scene should have two to three different things that it accomplishes. You can decide which three things those are.
• A subplot can be the B story, something that comes up in the second act, and supports the main plot.
• They support the emotional core. Can address what your character needs when your main plot can’t.
• Romance can be a really good subplot.
• A character’s relationship with another person or place can make a good subplot.
• Subplots can add wonder that transports the reader to another time or place.
• 520,000 words for Oathbringer and Brandon brought it down to 460,000
• Humanize your main characters. Don’t just make your character’s awesome, make them vulnerable and sometimes even a little blind. Not everyone thinks logistically.
• The main plot is the what, and the subplot is the why. – Brandon Sanderson.
• Your try-fail cycles can bring in a good subplot.
• When your character has a main goal, how the MC goes about retrieving the objects to help them achieve those goals, that is a good subplot.
• What can make this more exciting?
• Is my villain doing enough?
• How can I make this harder for my MC?
• Promise, Progress, Payoff. Don’t let your subplots fail to express these issues.

Do you have something to add? If you do, please respond in the comment section of this blog. Thanks.