Too much conflict in a story is like overcooking pasta: it turns a promising plot into a mushy, nearly inedible mess. Every side story, twist, or random drama dump might feel essential in the moment, but pile too many together, and the story collapses under its own weight. Characters start running in circles, readers lose track of what’s actually happening, and the narrative becomes a chaotic free-for-all. Conflict is crucial—it keeps the story moving—but like seasoning, it’s all about balance. Too little, and the story is bland. Too much, and it’s exhausting.

Every event in a story should do something. Ask yourself: does this push the character forward, reveal something new, or come with a meaningful cost? If the answer is “not really,” congratulations: it’s filler. Side stories can be seductive. They’re clever, fun, cute, and probably your favorite part of drafting—but if they don’t serve the main conflict or deepen the protagonist, they belong in a separate short story, a blog post, or the drawer labeled “for later.” Word count isn’t a badge of honor; meaningful conflict is.

Subplots are their own little temptations. Romance, personal growth, ethical dilemmas—they all look great on paper and give characters room to breathe. But here’s the trick: a subplot still has to earn its keep. It should leave fingerprints on the protagonist, complicate their choices, or feed into the main plot. If it doesn’t, it’s glitter in soup: fun for a moment, useless in the end. Subplots should evolve characters, add stakes, or reinforce the story. Otherwise, cut them. They’ll survive.

Balance is critical. A physically active main plotline—a quest, a heist, a chase—is perfect fodder for a mental or emotional subplot. Romance is the obvious choice because it’s naturally complicated and high-stakes, but growth arcs, moral dilemmas, or internal struggles work just as well. The key is that subplots complicate life without derailing the main plot. If the protagonist is too busy juggling crises, there’s no room for evolution. Lessons go unlearned, growth stalls, and by the time the climax arrives, the character—and the reader—are exhausted. Conflict without consequence is like juggling flaming swords while trying to learn calculus: flashy, chaotic, and ultimately pointless.

Overstuffed conflict also confuses pacing. If the story has drama every three paragraphs, the tension stops building because everything feels like a crisis. Your reader becomes numb, your protagonist becomes robotic, and that carefully crafted climax lands with the subtlety of a marching band in a library. Keep three or four key events for the main plot—moments that truly move the story forward and shape the character. Then, layer up to three subplots that complement those events. Fewer, and the story risks stagnation. More, and it’s a carnival ride that no one can follow.

Cutting is liberating, even if painful. Writers cling to subplots because they’re fun, clever, or tied to a favorite character, but if a subplot doesn’t serve the central conflict, it has to go. Trust that side stories can live elsewhere. They might become a short story, a sequel, or just a deleted scene to enjoy privately. Your main story will be stronger, cleaner, and more impactful without them.

Conflict is the hammer of storytelling. Every hit should leave a mark, reveal something, or change the landscape. Too few strikes, and nothing gets built. Too many, and everything collapses. Keep events purposeful, subplots meaningful, and characters evolving. Let the story breathe. Let the tension rise. And remember: chaos in small doses is fun; chaos everywhere is messy spaghetti.