When characters say exactly what they mean, such as when a character testifies at a trial or answers questions from police during an investigation, there is no subtext. Children, drunks, and those under the influence of sodium pentothal say exactly what’s on their minds without filter or forethought.
If characters only say exactly what they mean in every scene, then the dialogue is flat, or on-the-nose. It can be boring and artificial because such directness and honesty ignores human complexity. Sometimes people cry happy tears or laugh when in an awkward situation.
Subtext
When there is a difference between what is said and what is meant, it is called subtext.
An English professor declared that—grammatically speaking—two positives cannot make a negative.
One student said, “Yeah, right.”
Subtext adds depth to dialogue. In acting, the saying goes that you say the words and act the subtext. An actor can use tone of voice, body language, and inflection to change the meaning of a simple phrase. For example, the phrase “I can’t wait to see you” can be performed to mean excitement, boredom, seduction, annoyance, or anger.
Sarcasm has subtext. Using sarcasm, a character can say what he really means in the disguise of a joke. This kind of subtext usually has an element of conflict or tension in it. A passive-aggressive character is likely to be sarcastic.
Words and expressions with double meanings have subtext. Comics make great use of double meanings—often with a subtext of something sexual or crude. Here’s a clean example.
To the guy who invented zero, thanks for nothing.
The Unspoken Topic
Answering a question with a question is a way to deflect or avoid a topic. Answering indirectly also creates depth because the reader understands people avoid talking about awkward or emotionally charged topics. This creates curiosity about why the character avoids the topic. For example, a married couple might have a tense argument about who left clothes in the washer. The husband accuses his wife of being untrustworthy and irresponsible. When he argues about personality traits, he is indirectly addressing his suspicion of an affair, a topic too dangerous to discuss.
In fiction, we can contrast a character’s words with his actions to show subtext. When a red-eyed young woman buries her face in a handkerchief and says, “I’m fine,” the reader understands the woman is not fine at all. Actions speak louder than words.
We can also reveal subtext by contrasting the point of view character’s thoughts with his words and actions.
George was too busy completing a report to notice someone enter his office, but a cloud of perfume warned him he was no longer alone.
Ann leaned on George’s desk. “Any word on when the monthly report will be out?”
George looked up from his papers at cleavage. “After three.” He leaned back in his chair for fresh air and the appearance of decency.
“Great. I’ll come back then.” Ann tapped her red talons on the desktop.
“I’ll email your copy. Save you the trip.”
“See? I knew you were glad to see me.”
Glad to see you go.
Explore subtext by writing a scene in which two people are in an environment where they cannot be direct, such as at work. They discuss one topic, but they are actually trying to establish their attraction to one another.
