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 together the unspoken truths of a character or situation.
Why Subtext Matters
Writing without subtext can make a story feel flat, too on-the-nose, or lacking in depth. Consider these two examples:
With Subtext
“Danny asked me out,” Lila said with a small squeal.
Sarah stilled, then forced a smile, her fingers tightening around the edge of the table. “I’m happy for you.”
Without Subtext
“Danny asked me out,” Lila said with a small squeal.
Sarah frowned and said, “I’m jealous of you.”
Do you see the difference? The first version leaves room for interpretation. Sarah is clearly not happy; but instead of telling the reader, her body language and dialogue contrast to suggest hidden emotions.
Where Subtext Appears in Fiction
Subtext exists in every part of storytelling. Let’s break it down.
Subtext in Dialogue
People rarely say exactly what they mean. In fiction, the best dialogue is often filled with:
- Deflections & half-truths: “Of course, I trust you.”
- Omissions & silences: A character hesitating before answering. I used this one above when Sara stilled.
- Irony & double meanings: Saying, “Nice job,” when they really mean the opposite.
Subtext in Actions and Body Language
A character’s movements often say more than their words. Compare:
- Explicit: “I’m really nervous.”
- With subtext: She rubbed her palms against her jeans and hauled in a ragged breath.
Readers pick up on nonverbal cues, adding layers to the story without the author having to spell everything out.
Subtext in Setting and Symbolism
The environment and objects in a scene can convey unspoken emotions:
- A pristine, too-perfect room → A character trying to maintain control.
- A wedding ring left on a nightstand → Relationship trouble without explicitly saying it.
Examples from classic literature and one from me
The Great Gatsby
Surface level: Gatsby throws extravagant parties filled with music, dancing, and high-society guests. People assume he loves wealth and entertaining.
Subtext: Gatsby doesn’t care about the parties themselves—he hopes that Daisy will one day walk through his door. The grandeur isn’t about fun; it’s a desperate, quiet plea for a second chance at love.
Pride and Prejudice
Surface level: Mr. Darcy is formal, reserved, and sometimes even rude, especially toward Elizabeth. He appears cold and disinterested.
Subtext: His stiffness is a defense mechanism. He’s struggling against his feelings for Elizabeth, battling pride, social-class expectations, and personal fears.
Code of Valor
Surface level: Brady St. John tells Emily Chastain, “You don’t have to be afraid.”
Subtext: Emily doesn’t respond. Instead, she presses her hands against the scars on her wrist and looks away. She wants to believe him, but her past trauma won’t let her.
Note: Silence is a powerful subtext. A character avoiding an answer, changing the subject, or physically reacting (rather than responding in words) speaks volumes.
Quick Writing Exercise
Take this line of dialogue and rewrite it with subtext: “I’m fine.”
Consider:
- What body language suggests they’re not fine?
- How can they avoid answering directly?
- What setting details reinforce the unspoken emotion?
Drop your before- and after-versions in the comments, and let’s explore saying it without saying it.
Discovery Writing 101: How to Craft Gripping Stories Without an Outline With Steven James
“I’m fine!” he said, grimacing.
**
He was silent for a moment. “I’m fine.”
——
What is the subtext of your life?
Can you interpret what you’re seeing
when beholding husband, wife;
can you ken the meaning
of the phrases left unsaid,
the songs that are not sung
although you promised when you wed
that two would be as one?
Has the gentle goodnight kiss
become by time eclipsed,
and does chapped dry flesh sometimes miss
the waiting tender lips?
Think on it hard, and think it through;
might the problem lie with you?
Thank you, Andrew!
It’s an honour to be able to participate here, Lynette.
Outstanding, Andrew. You always get on base, but this was a home run.
George, thank you so much!
John asked, “How are you?”
Steve continued to look down, filling his coffee cup. Averting his eyes, “fine,” and walked away.
I love it when writers can ‘say it without saying it!” Thank you for sharing, Lynette.
Before:
“Felicia, I love you.”
There was no response, positive or negative. Felicia’s unresponsiveness irritated Nathan.
After:
“Felicia, I love you.’
Her silence spoke clearly. He grabbed the driftwood laying at his side and angrily soared it into the receding wave.
Lynette, are you responding to these comments? I’d love to know your thoughts on this example. Thanks.
Sure, I’m happy to respond. Your second example is so much better than your first. 🙂 So kudos there. You definitely have the concept of how subtext works, so that’s great too! Felicia’s silence is a perfect choice to imply discomfort, rejection, or inner conflict without explicitly stating it. As for your hero, the act of throwing the driftwood adds a layer of frustration or pain without directly saying “He was angry.”
Where I think you could improve is:
1. Instead of stating that her silence “spoke clearly,” show it through physical cues—a tense jaw, a glance at the horizon, a breath she holds. (This is the concept of show vs. tell.)
2. Soared is used a little awkwardly here. A sharper verb like hurled, flung, whipped would work better.
3. Just an FYI (and everyone gets these confused, including me!)…The driftwood laying at his side” should be “lying” for correct grammar.
Here’s why:
“Lying” is the present participle of “lie,” which means to rest or recline in a horizontal position.
“Laying” is the present participle of “lay,” which means to put or place something somewhere.
Since the driftwood is simply resting or positioned at his side (not actively placing something else), “lying” is the correct form. The driftwood itself is in a resting position, not putting something else down.
Okay, back to the example:
Here’s how I would improve it, but you can certainly go with whatever you think best that conveys what you’re trying to show:
“Felicia, I love you.”
A low gasp escaped her and she bit her lip, gaze fixed on the horizon. The waves whispered over the sand, crawling in, then retreating. Again and again.
His chest tightened. He snatched the driftwood beside him and whipped it into the surf. The splash was sharp, violent—gone in an instant, just like his hope.
Those are just a few thoughts from your example. I hope they help! Keep up the great work and have a lovely day. 🙂
“I’m fine.” She slammed her fist into the rising dough and looked up. “Why wouldn’t I be?”
Perfect!! Love it. 🙂
She slammed the thick contract onto the table between us and stood, leaning towards me.
“I’m fine,” she snarled, eyes narrowed. “But those kids are not.”
Before:
Sarah heard the front door close and the soft footsteps of her husband entering the kitchen. Cliff’s hand rested on Sara’s shoulder.
“Are you okay, Love?”
“I’m fine,” she said scrubbing the skillet.
After:
Sarah heard the front door close and sighed with relief. She continued her chore as Cliff’s entered the kitchen. His hand rested on her shoulder.
“Sorry about my mom. Are you okay, Love?”
Sara’s shoulder jerked and she attacked the skillet with the scrubber. She ground her teeth. It’s not his fault. Her hands gripped the sink lip. She glanced up and smiled. “I’m fine.”
Before:
“I heard Dan left on a business trip.”
Kate leaned on a chair and let out a sigh.
“You okay?”
“I’m fine.”
After:
“Dan’s gone on business.”
Kate closed her eyes as she sucked in a breath. Moments later she stared at Beth. “You coming to the party?”
Her fists clenched as the moving container tipped in slow motion, landing with a crash on her new driveway.
The truck driver approached her, staring at his work boots. “I’m sorry Ma’am. Are you okay?”
She sucked in a breath. Her wide-eyed gaze fixed on the damage. “I’m fine.”
This really happened to me in September 2023. Thinking of you, Lynette.
“Are you okay?”
Not this again! I glanced up at the clock. Too early to leave. I wiped my sweaty palms down the length of my skirt and drew in a shuddering breath. “I’m fine.”
“Everything okay?”
As the phone in her pocket buzzed with ignored messages, Nancy rested her forehead against the stiff embrace of the brick wall. “I’m fine,” she responded, her damp palms disagreeing.
She diverted moist eyes as John walked away. Now, she was alone, with no one to hear her sigh and see her slowly shake her head. She wiped her cheeks, rejoined her friends, and asked, “What’s next?”
“I’m fine.”
She shoved her hands in her pockets and studied the rug like it was the Mona Lisa. Her feet shifted towards the exit.
“Come on, you’ve gotta give me more than that.”
She shook her head and a silent tear meandered down her cheek. Apparently that’s all I was going to get.
I noticed most of the above scenarios involved women. Maybe because we are most likely not to say what we mean. I decided to use a man.
Before:
Angrily, he put the bullet into the gun while trying to convince himself he was fine. He pulled the trigger.
After:
Don dropped the bullet into the chamber and pushed the bolt forward. He felt the wrinkles stiffen between his eyebrows. “I’m fine,” he articulated as he pulled the trigger.
Really enjoyed this. I cannot wait to re-write my stories. This is my re-write of I’m fine,
Letting out a deep sigh as she twisted her hair around her finger and said, “I’m fine.”
Before
She was clearly upset when he walked into the room.
“Are you OK”, he asked?
“I’m fine.”
After
She was sitting on the sofa, tense, with her welting eyes glazing into the distance when he walked into the room. She sniffed her nose, them wiped her eyes with a tissue.
“Are you OK”, he asked?
“I’m fine.”