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I _do_ hate it when scripts include a B-plot for a romance just because they feel their script is "obligated" to have a romance.

Fast Food: "#1 Combo, Medium Fry and a Coke. Is that right sir?" Tyler: "But does it have a *Core Philosophical Conflict?"* Great videos. Thank you again.

I think Whiplash is a great example for a good "B-Plot". The love story perfectly shows how far Andrew is wanting to go with his beliefs.

Just an example: In interstellar the B-plot is Dr Brand's love for Dr Edmunds, and it works because the B-plot challenges Cooper's way of thinking and supports the theme (love being a part of science and transcending all dimensions, or something like that). I could be wrong, I dunno.

Teacher : what is twinkle twinkle little stars about? Tyler : Its clearly an alegory about mans desire to dicover space

My hatred of bee plots: "Oh no, not the bees! Not the bees! Aaaaahhhhh! Oh, they're in my eyes! My eyes! Aaaahhhhh! Aaaaagghhh!"

So you hate unnecessary subplots or subplots that exist for the sole purpose of adding pages ✍🏼 got it

I used a B-Plot to my script because it was totally linked to the main plot, showed many sides of the two main characters and aspects that wouldnt appear naturally with other characters. Basically shows their growth along their Journey, and from the franchise I am trying to build, they are the most important aspect. And I fully agree with you, we never should add something for obligation or because is cool for the sake of cool, it needs to have meaning in the story as a whole, and for the characters involved. If not, it will be flat, boring, cliche and cringe.

You're making a great point, but I was hoping to learn more after you first told it, while I felt like you merely repeated yourself after that. I would've rather seen it analyzed further or seen an example or sth.

Love also does not happen randomly and should never just be between the main male and female characters for the sake of a little spice; Thing is that, love is quite deliberate and practical as it's essentially a form of great admiration of a person which leads to a want to protect, help and to be with that person. It involves certain traits or beliefs that both lovers seek from each other. A guy who thinks that being altruistic and putting others before yourself is the right way to live will fall for just that type of girl. And not just some random randy who decides to flirt for a bit. But if the altruistic girl is looking for a grand visionary on a mission to change the world, she might not like the first guy. It's a great joy to be admired and put on a pedestal by the person you admire and have put on a pedestal. Now that's a strong relationship. I believe love to be a clearly philosophical process because of this search for a person who practically reaffirms your view of the world and the right way to live just by existing which leads you to wish them to be happy, as to prolong that security of beliefs, to prove them, and to reward the other person for following 'the right way'. If two people believe the same thing it's more likely that their view is at least a little objective. More objective than the view of a single person. (pun not intended) And isn't that what everyone wants? To objectively know the world and thus to excell in it. That's why we tell stories, isn't it? The views of both lovers can be similar enough for love to ensue but that still leaves plenty of room for conflict between them, which is, of course, as Tyler has taught us, the real meat of the story. just don't make love random ok? purposeful love for a purposeful story

IMO, the best instance of creating a love interest character has to be "The Fly" The main conflict in the movie involves Jeff Goldblum slowly destroying itself, which on its own really wouldn't be much, but with the added benefit of a love interest you see the conflict of their relationship falling apart as the protagonist himself falls apart, which adds a new level of weight to the story. Most importantly it creates a more human element to the story

I like how Blake Snyder puts the b-story after the break into act 2, because this ensures your protagonist has agency in there break into the second act, causing them to meet someone who will be important to there quest.

I like how you title this video preferentially by saying that "I do not like something", rather than saying authoritatively, "It should be done this way", like you do in a good portion of your videos.

I would like you to make a video on how to create a good villain and another on how to write a dark story

I feel B-plots are completely unnecessary in most media where there's a b-plot. Except for Phineas and Ferb, where the b-plot is completely integrated with the a-plot that it just wouldn't work without a b-plot. And yes before anyone says it, Phineas and Ferb often also feature a C-plot along with the A and B-plot.

If the main character tries to impress his love interest and she starts challenging his perception of love. Wouldn't this add to the story's conflict (If the story is not about romance lets say). We are still reflecting the traits of our protagonist isn't it?

You're a great student and that's why you're a great teacher. Thanks for your videos my man.

I've been thinking a lot about subplots recently. This video came just at the right time! Love your videos, keep up the great work!

I genuinely LOVE the similarities to the actor's work here. What must you over come? vs waffling or in this case padding out with irrelevant story that does not lead to the main objective. Great post...as always!

Another great video Tyler, you are exceptionally helpful as always

Damn dude, I don’t understand why you don’t have more views/likes! This is so freaking helpful in so many ways.

Best b-plot is in the manga Prison School, where the principal has an entire side story where he gets amnesia and goes on a batshit adventure and it has no relation to the main story until the end

Videogames sometimes have great B-plots because they have to have them. Red Dead Redemption 2 is a great example of great B-plot.

Great concise advice on this. Wish more screenwriters knew this.

you know you've learned well from Tyler when you hear about a guy trying to just fill up the script to a specific page number and you already say to yourself "well that's just adding things without supporting the character's main conflict!" thanks Tyler, for keeping on showing me how I improved because of you

Happy to be here. 😄

Question: What are your thoughts on anthology films where for these types of stories there is always more than one storyline?

Very helpful guidance!

hey would you be interested in talking more about tv writing, and how the writing process and format changes and says the same.

Great timing as always!! ։D :D

Someone should have told this to sitcom writers a long time ago.

So I guess this is why Hawkeye, Cora love story didnt jibe for some reviewers in the film version of the Last of the Mohicans. The main conflict was right there in the title, and it pulled focus away from it.

Thanks for another video

Tyler. I totally agree! If your script (or novel) is shorter than you desire, add ONLY material that contributes to the core of your story. FIND a way to add depth, but never "fluff."

Totally agreed. The only time I allow myself to accept a B-Plot is when I'm in the brain storming phase or maybe a rough draft - knowing full well that it will have to be addressed and properly integrated later. It's not bad or idea dumping, but definitely not a finished product.

i was wondering if you could make a video about your thoughts on writing with the end in mind and trying to get your main character to that point in their arc while keeping it logical and keeping the character true to it's nature

I do alot of b plots in my scripts to my main character in long feature length

Great information provided by B- pilots nice brother love you Jay hind 🇮🇳🇮🇳🇮🇳

didn't realize i was doing it in my own story to reach a target of 90 pages. It was a rubbish b-plot that the story had nothing to do with.

What on your thoughts on east Asia film making style? What can we learn from them that can benefit our story?

I personally like to think of all stories as a tree, whatever type one decides. And like trees, you have branches and branches, that may represent tension in the main narrative with characters coming in and out and interact with the main characters, or they may be a b-story whatever, with or without the participation of the main character or characters. However separated they may appear to be from the main narrative, I've never seen a branch just float next to a tree. They should somehow or in various ways, resonate with the main story. Maybe it's via a specific theme, or cause something the effect of which will appear later in the story, or, or, or ... Come to think of it, after so many stories told, this is certainly an area where fresh ideas can grow.

talking about pages, how do I know how "long" my idea is? I had a screenplay, that I thought would be around 75ish pages but turned out to be barely 40.

I wonder how you would see The Wall in a show named Solar Opposites.

I love all your videos!! Too bad I am italian and I cannot attend your screenwriting course :-(

In the 2017 film baby driver staring Ansel Elgort it's about a getaway driver but the plot shifts when he meets Deborah at a dinner and decides he wants To quit his life off crime to be whit her. does the romance in this film count As a B-plot?

I have a question on pacing for a tv show, does every season have episodes pertaining to that rising action, falling action, etc or does every episode have its own climax, falling action or resolution to the bigger climax and falling action of the season. For example let’s say I have my whole narrative written down from start, middle and end. Now I want to tell that narrative through a series of episodes. Am I going to group the episodes into sections such as the first 3 episodes are gonna be the introduction, the next 4 are rising action and etc, or is there another way I’m not mentioning?

Where do you get those posters??

A movie that handles its B-plot perfectly is THE MIGHTY QUINN (1989), written by Hampton Fancher, the writer of Blade Runner. Highly recommend watching it.

What do you think about Series' that have multiple stories then?

0:53 every Bollywood movie is like that 😂😂😂

The best explanation for why not to just add characters into a story.

I think it would be great, and more helpful, to have some examples of good B-plots. "Beliefs being challenged" doesn't really help me, because I guess I'm trying to think of the main goal of the protagonist, and their efforts being thwarted. Anyways, all of your other videos I've seen have been greatly helpful to me though. Thanks! :)

My novel is about trust in courage I added love story to put his girl in danger to show how brave he is? Interested in hearing your opinion.

What if the B plot character doesn't know the A character and (for say, the first 3/4s of the film) has nothing to do with the main external conflict? And can he or she still challenge the character's beliefs?

Hi Tyler, can you please post your videos on Bit Chute also?

My B-plot is the theme being expressed in this small side story following the main plot and reflecting the twists and progress and showing the change of the character, his transformation. instead of forcing the character telling himself how he changed and forcing him to prove something at the end of the story, we see it through the whole story thanks to the B-plot, it is an educative story unrelated to the main plot so the main plot can be changed or withdrawn but the theme will stay so its kinda more important like you dont know what really changed the main characters believes if it was the main or the B-plot

How many pages would a screenplay need to be to roughly equal a 1hr movie?

Do all movies have to have b plots?

I would love to get involved with Tyler’s course but unfortunately my parents don’t support my dream of writing and I don’t have any money. Does anyone know of any free writing resources for me so I can still somehow pursue my dream?

can someone tell me it's all right to have an 80-ish paged script? the story in my current script calls for it to be that short!

So what do you do of your finding it hard to fill in gaps in a story? And also is it not OK to have characters that aren't the main character that don't necessarily challenge them? Like they might be an exploration of another theme or an investible character in their own right.

Thanks for this video, I fully agree! BTW, I just realized that you symbolize conflict with two crossing swords, which is irrelevant with your speech through the videos. Crossing swords implies "conflict" in a meaning of "fight" (mostly against someone else), which is wrong, a fight is an event, not a dilemma. If a "conflict" is rather a "choice", the symbol you could use is a path panel. (I'm not english, I hope the words I used are accurate :) )

I'm wondering what is the movie poster exactly behind him🤔

Restart script reading live stream, when?

One day when I get older maybe I’ll be able to sell this or something like that

How will I know what's important for my script and what doesn't

Aristotle would agree

Once the idea of constructing a B story that conflicts with the beliefs of the Main Character in the story, the B story almost writes itself. Especially if the B story depicts the activities of not one but two characters.

what about brooklyn 99

I look at “b-plots” as being just as important as the main conflict.

Tyler Legend (just kidding)! Thank you

When I was studying "Save the Cat Writes a Novel" and looking over the outline, I decided B Story (or B Plot) should be called the Deeper Story. If the A Plot is about the protag's *wants,* the B Story should somehow impact their *needs.* Of course not all good stories' B Plots are about needs, so relabeling it Deeper Story may put a bit more of a burden on the writer. But hey, if you can pull it off...

This is the correct way to clickbait.

Lotr b plot though...

Your videos have been popping up in my YT feed. Full disclosure: my pre-watching-this-video impression is of a hustler who just might be worth some credit for the hustle. Now I'm going to take apart this, my first Tyler Mowery video. My first impression of you and your content, Mr. Mowery. Props for 164K subs. Your rap is working, apparently. I'll talk to you later, after the watch. Bob

For example, do you think in avengers infinity war, the backstory of Thanos & gamora and her sacrifice would be a B-plot that will impact thanos belief about his purpose and make him pay the price....what do you think?

Right after you made this video, a "real life" movie unfolded in the Capitol today. Look up the work of Ford Fischer and News2Share --- I think you'll relate to it.

Great B-Plot: John Mahoney's enterprise in "Say Anything". Terrible B-Plot: any B-Plot in Cameron Crowe's post-"Almost Famous" career.

sadly, you can notice in lots of popular works, that there are bunch of b plots for no reason other than to milk a franchise and make it longer.

I hate the kind of b plot where you suddenly follow a side story of a side character. why ? :(

in a real world scenario, everyone believes they are the star of the story. don't disrespect a characters motivation. this is the same as ignoring your best friends needs.

Don’t tell this guy about the Bee Movie

I still wonder how terrible movies, ones panned by critics, get greenlit and filmed in the first place.

I expected to learn not to write a B plot.

Change your title to I hate when b plots go wrong

Hi Guys 😍💋 💝💖

First view. Cool.

Wtf is this? Also, why do you keep doing air quotes? Honestly, I don’t really care about whatever nonsense pointers you’re trying to impress on anyone dumb enough to think they can learn how to write by watching a KZfaq video, but I have to ask… How do you feel about Tolstoy’s B-plots? And his C-plots, and D-plots? The Russians are good for jamming an entire alphabet’s worth of narrative threads in a story. And how about Shakespeare’s B-plots? The Edgar/Edmund rivalry in Lear, or the Hamlet/Ophelia aborted romance in Hamlet, or Bassanio’s wooing of Portia in Merchant of Venice? I’d love to hear insight from you on how successful or unsuccessful the Bard was in dovetailing those secondary plot lines into the main narrative… And what about the great modern classic, Joyce’s Ulysses. The main plot concerns Stephen Dedalus (the protagonist of JJ’s first novel, Portrait of the Artist), but the hero of Ulysses is introduced in the secondary (parallel) narrative of Leo Bloom (an Odysseus analog). Tell me, any salient critiques of a poor bawdy blind self-exiled Irishman’s story-craft? I must know your thoughts on this stuff. And if we’re talking strictly about films, then I’m sure you have major issues with Bob Altman’s entire oeuvre.

I can’t like this vid. It has 69 likes

First comment

Looks like Hollywood is going bust, and movies in general are an obsolete entertainment medium. Story writers will always be needed though but as aforementioned movies as an entertainment medium is dying

When people write to formula, it's no wonder they only think of their story in terms of formulaic elements. Instead of applying critical theory to construction of stories, rather than analysis (which is their intended purpose), writers should learn to write. The good news is, anyone who thinks of their stories in these terms is never going to succeed anyway. Even if they make a sale or two, they'll never be any good.

Thinking about A B C... plot seems ridiculous and distant from real life. As if my A plot was being a screenwriter, my B plot my love relationship, my C plot me taking a shit... Adding nonsense to the challenging art of writing? Thanks, don't need that.