by DiAnn Mills @DiAnnMills
Subtext refers to characters who talk about one thing but really mean something else, and they both know it. And we’ve all done it, right? The subtext is the real conversation hidden by surface talk and is the core of the communication. The technique provides information that can be laced with sarcasm, heartbreak, or humor. And it always deepens the story with unpredictable outcomes and emotion.
Reading between the lines means a person has the ability of understanding others through intuition or a sixth sense. The difference with subtext is the characters engaged in the conversation know the hidden meaning; it’s an unspoken conversation below a verbal conversation and more valuable than the spoken word.
So why use subtext? Why not have the characters state the obvious instead of flirting with the real topic? Isn’t it a waste of time for the writer and the reader? Communication that fulfills only one purpose is like serving a meal with no salt. The result might satisfy the tummy, but the experience is tasteless. Dialogue written without layers eliminates the reader’s ability to experience the story.
At times, our characters use subtext to show discretion.
- They fear the wrong people understanding the real conversation could cost a huge price.
- They haven’t the courage to express what is on their hearts or minds.
- The underlying message is only for an elect few.
- The character has an ulterior motive.
The value of subtext in our writing:
- Provides information to the reader without telling.
- Adds stress, tension, and conflict to the scene.
- Reveals another layer of plot.
- Shows insight to the character.
- Pushes the plot forward.
- Offers mystery and intrigue.
- Lays groundwork for plot points and/or foreshadows a future event.
- Allows the reader to play a role in the dialogue’s meaning.
- Shows the reader that the writer respects their intelligence.
- Encourages the reader to pay attention
An example of subtext that affects matters of the heart:
Lucy tugged on her favorite red dress for her anniversary dinner. Twenty pounds ago, she looked like a siren, but her current bulges churned her stomach. Giving birth to three kids didn’t help. Grabbing her evening clutch, she joined Jake in the living room.
“Does this make me look fat?” she said.
“Of course not. You are as beautiful as the day we took our vows, thirty years ago.”
In the above, what does Lucy mean by her question? (Do you still love me although I’ve gained weight?)
What does Jake mean in his response? (I don’t care about your weight. I fell in love with your heart, and I love you more every day.)
Subtext is especially effective when characters have opposing desires and yet are forced to communicate with each other. Better yet, when they’re put into a situation where they must work together to achieve a common goal that’s crucial to each, for different reasons.
An example of subtext when the context of the real conversation could cost the character more than he/she is willing to pay:
The CEO called Melissa to the podium. She stopped at Tom’s chair in the boardroom and bent to his ear. “My proposal seals the deal with the company, and I know my raise and promotion is in the works,” she said. “Too bad, Tommy. I’ll be your boss.”
He bit back the sarcasm. The woman made him want to eat nails. “Good for you.”
Melissa continued to the head of the table, but the CEO stopped her. “Melissa, I have a quick announcement to make.”
She nodded and waited. Perfectly poised.
The CEO took the podium. “Melissa has developed an innovative program to streamline our inner office communications. She is ready to give the presentation, but I want to announce the other person who will be helping her drive this forward.” He paused. “Tom, come on up here. I’m thrilled you’ll be working right alongside Melissa. Your attention to detail is just what this project needs. We have three months to implement the new guidelines, and you two are the perfect team to make sure it’s completed effectively and efficiently. This project will be your 9 to 5 job.”
Tom approached the CEO and shook his hand. “Thank you, sir. You won’t be disappointed.”
Melissa gave Tom an icy smile. “Congratulations. The idea of working alongside you for the next three months is a bonus. I look forward to learning from you.”
Tom’s head pounded at the thought of what lay ahead. “Thank you for all you’ve done for the project. I look forward to combining our goals to make the new program successful.”
The CEO raised his hand. “A round of applause for this new team. I expect we will see great achievements from Tom and Melissa.” He gestured at the two. “If you finish the project before the three-month period, I’ll have a handsome bonus for each of you.”
The above scenario paints a road of emotional turmoil for Tom and Melissa. They must work together for the good of the project and the company. Plus, a bonus for completing the job early sounds amazing. Yet . . . how will they deal with their differences in an environment that expects and demands they remain civil to each other?
An example of subtext in the case of danger:
The masked kidnapper held out his cell phone to me. “One word that tips off your dad to our location, and you’re dead. Proof of life and the type of bills are all he needs to pay us.”
I had no reason to doubt the man. “Hello, this is Lisa.”
“Honey, are you okay?” Dad said.
“Yes. They want their money in small denominations. Ah, twenties.”
“Okay. I’ll wait to see when and where. I love you.”
I hoped Dad knew I was being held at Jackson Park on the wooded side behind our church.
“When we humans speak, we are not merely communicating information but attempting to make an impression and achieve a goal. And sometimes we are hoping to prevent the listener from noticing what we are NOT saying, which is often not merely distracting but, we fear, as audible as what we ARE saying. As a result, dialogue usually contains as much or even more subtext than it does text. More is going on under the surface than on it. One mark of badly written dialogue is that it is only doing one thing, at most, at once.” Francine Prose
Subtext is more than a dialogue technique. It’s amazing fun for the writer, a behind the scenes game between the characters and the writer.
*Excerpt from Exploring the Art of Emotion and Dialogue by DiAnn Mills, shared with permission from Bold Vision Books, Inc.
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She is the former director of the Blue Ridge Mountain Christian Writers Conference, Mountainside Marketing Retreat, and Mountainside Novelist Retreat with social media specialist Edie Melson. Connect here: DiAnnMills.com
Wonderful article, DiAnn. You've given me a lot to think about.
ReplyDeleteSo wonderfully helpful! (My husband and I have developed our own subtext language using movie quotes. "These potatoes are creamy"—from While You Were Sleeping—is our quote for comically chaotic conversations. lol ) Thanks, DiAnn!
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