Those of us who have been reading and writing our whole lives probably know what subtext is when we see it (or use it). But just to refresh our collective memory…
Subtext is anything that a reader can infer from a text which the writer (or speaker) hasn’t explicitly stated. For example, imagine a colleague says to you, “Hi, did you receive my email?” They haven’t actually said it, but we all know what it really means: “Why haven’t you replied yet? It’s been more than long enough and I’m getting frustrated.”
In stories, subtext is essential for three reasons:
- It engages the reader by making them play detective, encouraging them to read actively.
- It adds a degree of uncertainty, building suspense and intrigue. Is the character hiding something? If so, what?
- It’s more believable. People in the real world rarely express their inner feelings and beliefs out loud. In fact, they often won’t even admit these things to themselves! So why would fictional characters be any different?
All writers will be familiar with the maxim, “show, don’t tell.” But how can you actually do this? Read on for four concrete tips to master the art of subtext.
1. Use body language
When Shakira sang that “hips don’t lie,” she may have been onto something. People’s words often hide what they really mean—but body language almost always contains the truth. There is a secret lexicon of unconscious behaviors that most people have learned over the course of their lives. Most of us know that wide eyes are synonymous with shock, or that a terse smile indicates someone is holding their tongue.
Body language can be a powerful way to introduce subtext. Instead of telling the reader your character is nervous, show them fidgeting with something in their hands or looking around incessantly. Such behavior is not only more believable, but also creates a more comprehensive image of who your character is as a person, revealing memorable quirks and habits that help the reader get to know them better.
Margaret Atwood uses body language in The Handmaid’s Tale when she writes: “My own hands are clenched, I note, tight around the handle of my basket.” Offred, the narrator, is looking at the bodies of six men who have been hanged for carrying out abortions. Even though she claims to feel “blankness,” we can infer from the tension in her body that she’s actually afraid and/or angry. It’s only by reading on that we can find out which.
2. Juxtapose words and actions
Of course, it’s not just body language that gives people’s true feelings away, but their actions and choices too. Have you ever insisted that you don’t care about someone, then spent ages stalking them on social media? You’re not fooling anyone—and with some well-placed subtext, your characters won’t be either.
Contrasting a character’s words or thoughts with their actions is a sure way to signal to your reader that the character is either outright lying or unable to recognize their own vulnerabilities.
A classic example: in The Hunger Games, our fiercely independent heroine Katniss is in a televised battle to the death. In an effort to curry favor with viewers, she fakes a romance with her fellow competitor, Peeta. She convinces herself that she’s only pretending to be in love, but the way she acts when Peeta is put in mortal peril says otherwise. The reader gleans that her feelings may be true before she herself realizes it.
3. Harness the power of silence
It’s true that silence speaks volumes. In fact, studies have shown that people pause for longer when they are lying than when telling the truth.
Dramatic pauses can imply many things: that a character is being dishonest, or that they are experiencing some inner turmoil. If a character hesitates before saying “I love you too,” it might be that they are lying—or perhaps they are simply confused by their own feelings. The reader will use their existing knowledge of the character to infer the most likely scenario, but the lack of certainty helps keep them engaged.
You can also make characters refuse to answer questions at all—for example, by changing the subject. This builds tension and intrigue, as it often screams: “They have something to hide.”
In The Great Gatsby, Gatsby flashes a white card at a policeman to get out of trouble for speeding. When Nick asks him, “What was that?”, Gatsby doesn’t give a direct answer. Instead, he says vaguely that he was able to do the commissioner a favor once. The fact that he won’t say what exactly is on the card tantalizes the reader and contributes to the air of mystery surrounding Gatsby.
Indeed, this is a great example of how subtext doesn’t need to give away too much. Sometimes its primary purpose is to intrigue rather than reveal. In any good story, you need that push-and-pull to maintain interest.
4. Let the setting speak for you
It’s no coincidence that it’s often raining during sad parts of movies. But setting can also convey a much broader range of subtext! Vary your writing more by using setting not just as a backdrop, but as a way of showing the reader important information.
You can use setting to tell the reader a lot of things about a character, such as their:
- Personality traits. For example, a messy office tells us a character is disorganized.
- Social status. Whether they live in a villa or a shantytown makes their financial situation very clear.
- Mental or emotional state. A house with closed blinds during the day might mean the occupant is paranoid about being seen.
- Past. A photograph of someone we don’t know on the mantelpiece could hint at the loss of a loved one.
- Relationships with other characters. Empty chairs at the dining table may represent emotional distance between family members.
You can also use setting to establish the mood of a scene. The rain, sulfurous air, and deserted shops create a sense of hopelessness right from the beginning of Stephen King’s dystopian tale The Running Man.
Hopefully, these tips leave you with a better understanding of how to show rather than tell in order to do more with less. If you only remember one thing, make it this: characters shouldn’t be 100% transparent about their innermost thoughts and desires. If you just remember this key rule, you’ll start using subtext without even knowing it (see what I did there?).
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Loretta Bushell writes for Reedsy, NowNovel, and Litreactor on topics like narrative construction and how to become a professional editor. Loretta is also a part-time translator herself, and spends her spare time reading books of all genres (except horror!) and playing board games.
