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Home » Archives for Lynette Eason

Lynette Eason

Mastering Subtext in Fiction – Part 3

By Lynette Easonon June 18, 2025
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Words can lie. Actions rarely do—unless someone is a really good actor/actress. But taking that element out, there’s a reason for the saying, “Actions speak louder than words.” I talked a lot about subtext in the last two posts. So, let’s dig a little deeper into the topic one more time.

For example, a fictional character may say, “I’m fine.” But the tremble in her hands is in direct contrast with her words.

Another character may say, “I don’t care.” But the lingering look over his shoulder says he does.

When you layer subtext into your scenes through a character’s actions, gestures, and environment, your story becomes more immersive, emotional, and authentic.

So, let’s break these down. Let’s talk about them one by one.

Subtext Through Body Language

A character’s nonverbal cues can say what their mouth doesn’t. This kind of subtext is perfect for showing internal conflict, hidden feelings, or lies without having to “tell” the reader what’s going on in the character’s head. (Think show, don’t tell here as well.)

Examples:

Clenched fists = anger, frustration, patience being tried.

Avoiding eye contact = guilt, insecurity, fear.

Tight smile = masking pain or resentment.

Narrowed eyes = anger, rage, intense concentration.

Shifting weight or fidgeting = nervousness, discomfort.

Crossing arms = defensiveness or closed-off emotion, also a self-protection action.

On the surface: “I’m happy for you,” she said. Subtext: She forced a smile, arms crossed. Then turned her head and blinked fast to keep the tears from escaping.

Subtext Through Repetitive or Ritualized Actions

When a character does the same thing repeatedly—organizing, cleaning, double-checking locks—it may show anxiety, fear, or a desperate need for control (like OCD).

Example (from Code of Valor by Lynette Eason):

Emily avoids mirrors. She says it’s because she’s busy, but her constant glance away from reflective surfaces shows deep insecurity and shame.

Remember: Subtext can show long-held emotional wounds without the character ever naming them.

Subtext in Setting and Environment

The setting itself can become a powerful tool for subtext when it reflects the emotional state of the character or reinforces a theme.

Examples:

A spotless kitchen in a chaotic household might suggest a character who is desperate for control in just one area of her life.

A neglected garden could mirror grief, depression, or loss of hope. Or someone who’s just too busy to stop and take care of it.

A character sleeping on the couch while claiming everything is “fine” in their marriage adds silent tension to the scene.

Subtext Through What’s Missing

Sometimes, the absence of something is just as telling as its presence.

Examples:

No family photos in a character’s home = disconnection or unresolved pain, someone who doesn’t want to be associated with a family, and so on.

A character avoiding one particular room = a past event they can’t face (divorce, death of a loved one, etc.).

Carefully untouched belongings = grief not yet processed.

Quick Scene Exercise: Show, Don’t Tell

Write a short paragraph using only body language and setting to reveal that your character is (pick one):

  • Angry
  • Heartbroken
  • Anxious
  • Hiding something
  • Terrified of the person she loves the most.

Don’t use the actual emotion word. Let the reader feel it through what your character does, how they move, and what their space looks like.

Remember, your characters don’t need to speak to reveal their feelings, emotions, or thoughts. Let their actions speak louder than their words.

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Category: Craft, Writing Craft

Mastering Subtext in Fiction, Part 2: Subtext in Dialogue

By Lynette Easonon April 9, 2025
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Let’s dig a little deeper into how subtext in dialogue works and what it looks like. In the previous post, I talked about how people rarely say exactly what they mean—especially when under stress or in a sticky situation—or maybe when the truth would hurt someone’s feelings. We dodge, deflect, soften our words, or hide our true feelings behind sarcasm or politeness. Great fictional dialogue works …

Read moreMastering Subtext in Fiction, Part 2: Subtext in Dialogue
Category: Craft, Writing Craft

Mastering Subtext in Fiction, Part 1: Saying It Without Saying It

By Lynette Easonon March 12, 2025
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Subtext is the hidden layer of meaning beneath the words and actions of a story. It’s what characters don’t say, what emotions they suppress, and what truths are left for the reader to infer, rather than being explicitly stated. Great writing isn’t only about what’s written; it’s also about what’s implied. Readers love engaging with stories where they have to read between the lines, piecing …

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Category: Craft, Creativity, Writing Craft

Point of View #6

By Lynette Easonon February 12, 2025
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Common Pitfalls and How to Fix Them Hello, writer friends, I hope you’ve all had a great holiday and are back at the craft, learning and writing. Before we took some time off, I was writing a lot about point of view (POV). I want to wrap that up with this post, which can serve as a final checklist to ensure that you’ve got this topic down. So feel free to go back and look at your work in progress …

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Category: Writing Craft

What I Am Looking For (Lynette Eason)

By Lynette Easonon January 15, 2025
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(Updates 1/15/2025) Books, books, and more books! Gimme all the books! That’s been my motto for as long as I can remember. I grew up reading whatever I could get my hands on. Mostly mysteries and suspense like Nancy Drew, the Hardy Boys, Sweet Valley High, Alfred Hitchcock, Erle Stanley Gardner, Agatha Christie, C.S. Lewis, and so on. And then, I found Christian fiction in the form of Dee …

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Category: Agency

The Greatest Story Ever Told

By Lynette Easonon December 19, 2024
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Hello, my friends and fellow word-crafters, I’m taking a short break from writing posts on craft to celebrate the season of Christmas and offer you a bit of encouragement. As writers, we are in the business of storytelling—crafting worlds, creating characters, and weaving plots that resonate with readers. Or, if we’re nonfiction writers, putting together words that offer help, advice, and hope for …

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Category: Inspiration, Personal

Point of View #5

By Lynette Easonon December 4, 2024
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We’re back and still talking about point of view because, let’s face it, it can be a hard thing to grasp. So, in review, last time we talked about: Get rid of “distance” words—words that can disconnect the reader from the story. Use strong, vivid verbs, not passive verbs like was and were. Ditch tags like “she thought,” “he pondered,” “she mused,” and so on Now, let’s continue the list: …

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Category: Writing Craft

Point of View #4

By Lynette Easonon November 13, 2024
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Last time I talked about Deep Point of View. Now, let’s jump into some practical tips for application. Eliminate “Distance” Words Eliminate “distance” words like “saw,” “heard,” “felt,” “thought,” “wondered,” “noticed,” and so on. Is there ever a time you’d use those? Of course, but for now, let’s try not to use them. I call them “distance” words because they distance the reader from …

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Category: Craft, Writing Craft

Point of View #3

By Lynette Easonon October 24, 2024
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I’m back to talk a little more about point of view, continuing to build on what I talked about in the last post. If you’ll remember, last time I dissected POV into three different types—the ones most often in fiction. Today, in this last post on point of view, let’s dig a little deeper and talk in depth about deep point of view since this is the preferred POV in fiction writing. Someone asked why …

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Category: Craft, Writing Craft

Point of View Post #2

By Lynette Easonon October 9, 2024
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Welcome back to our discussion about point of view (POV). I want to continue to build on what I talked about last time. In the last post, I explored what point of view actually is. Now I’m going to break down three different types of POV. Note that these are not the only other points of view, but ones used most often in fiction. First Person Point of View This is when the narrator is a character …

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Category: Craft, Writing Craft
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