Today we're going to talk about subtext, if you know what I mean...
Subtext can be one of the trickier parts of narrative to pull off, but it is incredibly rewarding for both author and reader when when you do. But what is subtext?
Put simply, subtext is what a character is REALLY trying to say or accomplish in a given scene. In Story (I book I find myself referencing more and more in writing these things), Robert McKee states that we very rarely - if ever - show the world our true face. Our real personality and intentions are hidden under the surface. I actually think he's at least partly wrong about this - there are plenty of times when we do show the world our true personality or intentions. But, he is correct that there are plenty of times when we don't - cases where it would be impolite to say what we are really thinking, or just ask for what we want - capturing these moments for our characters is the role of subtext.
So, what is said and done is text - what is intended and felt is subtext.
(It used to be that film and television scripts would have a lengthy summary for each scene describing what each character was thinking, feeling, and wanting at the moment every line was spoken. This summary was sometimes called a "subtext.")
For example, let's say we have two characters - A and B - who are in an unequal power relationship. B is subordinate to A. A is very vain, and does not take criticism well, but B can tell that he is about to make a terrible mistake that he needs to be talked out of making. B cannot simply tell A that he is wrong. So, in a dialogue scene between the two, the text would consist of B asking questions and making observations about the situation, while the subtext would be a rising desperation as A repeatedly fails to take the hint and change his mind.
For another example, let's look at two more characters, C and D. C is the former student of D, and more than anything wants D's approval. The text of their conversation would consist of C recounting an incident that happened to him. The subtext would be C watching D like a hawk for any signs of pride in her body language and expression, and moments of hope or disappointment as she reacts to the story.
For a final example, characters E and F are in a romantic relationship, and have just had a bitter fight. The text of their conversation is F telling E where she is coming from. The subtext is E experiencing dread that F is about break up with him, and trying to figure out what to say that will prevent this from happening.
This adds a level of subtlety to storytelling that when done properly, always enhances the story. A properly done subtext can make any scene "pop" in a way that it wouldn't if everything was placed on the level of the text. Unfortunately, as novellists, we do not have the benefit of talented actors to read our subtext summary and bring a scene to life - we have to do all of the heavy lifting ourselves.
Happily, we have a couple of tools at our disposal to accomplish this:
Describing tone, facial expression, and body language. This is generally the best approach, as it falls into showing rather than telling the reader the subtext of a scene. It also duplicates how we perceive the world and detect the true feelings and intentions of others. Most of the time, you will find yourself instinctively using this approach. This could be called "implied subtext."
Getting inside the character's head. The benefit of a novel is that one can actually access a character's thoughts, and tell the reader exactly what they are thinking. This allows us to make subtext explicit while still having it be subtext. The drawback is that it leans towards telling rather than showing, but the benefit is that it is more expressive and precise then relying vocal tone or body language, and can thus communicate a far more complex subtext (a good example of this technique being used is Frank Herbert's novel Dune). This could be called "explicit subtext."
Neither of these techniques are mutually exclusive - you can use one or both in any given scene. The ultimate determination of what you should do is what subtext you are attempting to communicate and what effect you are attempting to create. For example, in the upcoming sequel to Re:Apotheosis, there is a scene where one of my characters is witnessing a traumatic moment from her past - I use explicit subtext (her thinking "Not this - show me anything but this!") to telegraph to the reader that something terrible is about to happen, and then switch to her physical reactions and body language for the rest of the scene.
To sum up: text is what is said and done, and subtext is what is under the surface. When you communicate both in a scene using body language and getting inside a character's head, you will elevate that scene and make it properly "pop."
