3B. The ultimate resolution of the sub-plot demonstrates change or growth on the part of the sleuth, and will climax on a personal or professional level. That climax may coincide with, or occur as prelude to the climax of the main plot. The sub-plot may provide a vehicle for a romantic interest or a confrontation with personal demons of the sleuth. The author can manipulate the pace of the novel by moving back and forth between the main plot and sub-plot.
Entering emotional state of the point-of-view character
Character objective: What do they want?
Conflict: What impedes them from what they want?
Motive for antagonism: Some understanding of the other characters’ motivations
Character’s worldview: What belief system is he/she operating in?
Tactic: What actions the character takes in the scene to achieve their objective (remember, dialogue is action)
Turn: Does the character get what they want in the scene? What comes out of the conflict? What causes their emotions to change?
Objective achieved: Yes or no?
Exiting emotional state: If not the opposite of the entering emotional state, it must at least be different