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 the same way. It’s not just about what’s said—it’s about what’s meant.
This is where subtext in dialogue becomes a powerful tool. It adds tension, reveals character, and invites the reader to dig deeper. When done well, it transforms a simple conversation into a scene brimming with emotion, conflict, and meaning.
So, what exactly is subtext in dialogue?
Again, subtext in dialogue is the underlying meaning behind a character’s words. I talked about the phrase “I’m fine.” Think about that. How many different meanings can those three words take on? A character might say, “I’m fine,” but the reader senses they’re anything but. The words act like a mask; but the truth is revealed through context, body language, tone, and what’s left unsaid.
Here are a few techniques to add subtext to dialogue:
- Deflection and Indirect Answers
Characters often dodge questions when they’re uncomfortable, afraid, or trying to hide something.
Example:
“Did you see him last night?”
“Oh, come on, Sis, I don’t remember. It was late.”
Here, the character isn’t answering directly, which creates tension and raises suspicion.
- Contradicting Body Language
Words say one thing, but actions say another.
Example from Collateral Damage by me:
Brooke says, “I’m used to danger. It doesn’t bother me anymore.” But her hand trembles as she reaches for her water, showing the fear she’s trying to suppress.
She’s saying one thing, trying to convince herself of that fact when it’s clearly untrue.
- Strategic Silence
Sometimes the most powerful response is no response at all. I looked at this one a little bit last time.
Example:
A character is accused of something his wife doesn’t want to believe possible.
“You didn’t really do it, did you?”
He looked away, then at his hands.
That silence is louder than words.
- Subtext Through Tone and Context
Words take on different meanings, depending on the context or how they’re said.
Example:
“You’re so brave.”
This comment could be sincere, sarcastic, or even accusatory—depending on the situation and tone of voice.
- Saying the Opposite of What’s Meant (Irony or Sarcasm)
A character might use sarcasm or irony to hide vulnerability.
From Acceptable Risk by me:
Sarah tells Gavin, “You don’t have to protect me.”
But the context reveals she wants his protection—she just doesn’t want to appear weak. The subtext is her internal battle between independence and vulnerability.
Summary
When writing dialogue, remember: People rarely say what they really mean, especially in certain situations. The richest scenes are the ones where your characters are holding something back—and the reader feels it.
Exercise
Rewrite a short piece of dialogue and add your subtext. Here’s an example:
Too direct. No subtext involved here:
“Are you mad at me?”
“Yes, because you forgot my birthday. I feel hurt and disappointed.”
With subtext:
“Are you mad at me?”
“Why would I be? It’s just a date on a calendar, right?”
Now you try it.
“Sorry I forgot your birthday, but come ON, let it go!”
##
“Sorry I forgot your birthday. I keep forgetting how important it is to people like you.”
##
I know you really want to talk
’bout your day at the County Fair,
but this may come as quite the shock:
I really do not care,
for I am living very fast
in my awful time,
and genteel words are of a past
that was perhaps sublime,
but today they just remind me
of a world that’s gone,
so please drop the frivolity,
and don’t go on and on
about what I now cannot stand;
just sit with me, and hold my hand.
If I may add this, there also seems to exist a kind of layered subtext, and it’s something Barb and I live every day.
She used to ask how I’m doing, but doesn’t much anymore, because “I’m OK” covers a multitude of sins.
The first level is a clear lie, because I’m physically far from OK; I mean, writing at 4am takes place because the pain’s too compelling to allow sleep.
The second level is a deep truth, because I really am OK ‘with this’; I’ve reached a place of psychological and spiritual stability which, seen my others in the context of my days, is discomfiting even to someone close.
So the poor gal doesn’t ask; she hates both the lie and the truth.
The level of truth is not a particular virtue; rather, it’s a product of breeding, training and experience. I’m something of a professional survivour, perhaps like the cockroach who will famously outlast nuclear Armageddon.
It was so hard to pick dialogue from my WIP for exactly this reason. There’s always at least a few different subtext layers going on at once and it’s impossible to pick out the subtext from just a few lines. Even with that line below there were at least six extra reasons Chaya (the female character) was being hostile to Reed.
I’ve never really struggled with subtext? Sometimes I can’t pick up on it (because I do have autism and that can make picking out subtle cues hard) but I can write it all right. Probably because of my own trauma and that whole, “I’m fine” lie that can just… be used well enough to sound like a truth. I guess I’m a master of subtext in my own life, sometimes to an unhealthy level.
Subtext is the stuff that makes authors start cackling when they write character interaction. Because the tension… and that wonderfully famous lie of “I’m fine” when really they are on the edge of a mental breakdown…
Problem is, most of my dialogue subtext is stretched out throughout banter so before this section from my superhero dystopian, there was a whole silent argument in relation to these characters’ pasts. And the avoidance continues for another five or eight chapters until the climax XP
WITH Subtext
“Just leave me alone.”
He sighed. “Why do you keep acting like I’m your enemy?”
“It’s eleven o’clock, remember? No big questions after ten.”
WITHOUT Subtext
“Just leave me alone.”
He sighed. “Why do you keep acting like I’m your enemy?”
Her hand gripped the horsehair so tight her fingers lost feeling. “Because when we were friends, you ended up in the hospital from a suicide attempt.”
Great post. I’m always seeking ways to make dialogue more interesting for the reader, and myself.
All the best. Jeannie
“You are gorgeous”, he said.
“Oh shut up.”
“Are you mad at me?”
He smiled. Handed her the hammer. “I think the doc needs to stitch up my thumb.”
Such great examples! Thanks, Lynette!!! This makes me think of “the busy little bee” scene in the movie Gladiator. He never threatens her directly . . . but it is one of the most threatening scenes I’ve ever watched!