The Power of Unspoken Words: How to Write Subtext in Fiction

[From KMW: I’m taking a quick sabbatical this week. I’ll be back next Monday with a post/podcast about “The Disillusionment Arc in Storytelling: A Powerful Tool for Character Growth.” Until then, I hope you enjoy this short post on the important topic of how to write subtext in fiction!]

One of the most powerful tools in a writer’s arsenal is subtext. This is the art of letting readers figure things out for themselves. When you know how to write subtext in fiction, you can create deeper, more engaging stories that invite readers to lean in, pick up on subtle cues, and connect with your characters on a whole new level.

But how do you strike the right balance between clarity and mystery? Let’s take a look at how to write subtext in fiction in a way that keeps readers hooked without leaving them in the dark.

It’s the writer’s job to make sure audiences have no trouble understanding what’s going on in a story. If the antagonist is ugly, maybe you make that plain by showing off his hairy wart and leering grin. If the protagonist has lived a hard life, you make sure your audience knows that by showing the fireplace your character had to sweep out and the cinders all over her dress. And if the protagonist has come up with a brilliant plan to save the day, you need, at the very least, to hint to your audience that the cavalry is on the way.

Keeping your audience in the loop is vital to presenting a pleasant and rewarding reading experience. But there are times when you do yourself a disservice by telling your audience what’s what—particularly when whatever it is may already be evident to an insightful reader.

How to Write Subtext in Fiction the Right Way

Fantasy veteran David Eddings obviously knew. About halfway through his book Pawn of Prophecy, he offers a prime example of why refraining from telling the audience something can sometimes pull them into a deeper collusion with the writer—sort of like a conspiratorial tap on the nose between writer and audience.

For Example:

In Pawn of Prophecy, Eddings makes it clear one of his characters is in love with a woman he has no hope of marrying.

But Eddings doesn’t actually say that. After having the narrating protagonist describe the lovelorn character’s interaction with the woman, all he writes is that a “self-mocking smile” flickered across the character’s face and that the narrating character then “saw the reason for Silk’s sometimes strange manner. An almost suffocating surge of sympathy welled up in his throat.”

That’s it.

But that’s enough for readers to clearly understand what’s going on beneath the surface of this scene and these characters’ interactions.

The trick to making this kind of subtext work is based primarily on the author’s ability to show readers what’s going on. If you’re able to suitably dramatize your characters’ actions and reactions, you audience will often glean such a vivid and personal picture of what’s going on that they’ll understand, without being told, exactly what characters are thinking.

However, you must also be careful not to go overboard, since you don’t want to leave your audience confused. Make certain all the pieces are in place, so your audience will be able to put them together to form a flawless picture.

Mastering how to write subtext in fiction is all about trusting your readers. When you give them just enough information to piece things together on their own, you create a more immersive and rewarding reading experience. The key is striking the right balance. You want to show enough to make your meaning clear without over-explaining. When done well, subtext draws readers deeper into your story, making them feel like insiders rather than just spectators. The next time you’re tempted to spell something out, take a step back and ask yourself: what can you show instead of tell?

Wordplayers, tell me your opinions! How do you approach writing subtext in your own stories? Tell me in the comments!

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