How do you use subtext and implication to convey themes and messages in your writing?

Subtext may sound cryptic, but is simpler than you might imagine. It's a rhetorical device that uses indirect, but intentional descriptive language to convey an idea or mood. In other words, subtext shows rather than tells. For example, depending on what you already know about a written work's author or a character, you may be able to infer when the author or character is being sarcastic - as opposed to sincere. Another example? When two characters interact and it's apparent that they're flirting. Most likely, you picked up on this because of specific subtextual cues.

Something I think about often are moments from my favorite TV shows, movies, books, and stage productions. And, oftentimes, these moments include subtext. A raised eyebrow here, a particular inflection by a character there: these intentional actions provide a subtextual insight into how the character is feeling. Subtext is meant to be subtle, though it might read as plainly obvious once you recognize it. It relies on our own human experiences and interactions, which also makes each story's subtext not one-size-fits-all; different audiences will interpret subtext clues differently. Coloring in with surrounding detail and intentional character actions can help guide the audience to the message you ultimately want to convey.

It can be difficult to parse the difference between implication and subtext, mostly because one cannot exist without the other. Subtext and implication work in cooperation. When writing implies a feeling, mood, or idea, it weaves those implications into a greater fabric. That fabric becomes subtext.

As a writer or editor, you can develop subtext and implication by using stronger descriptive language. Notice that this applies to creative non-fiction as much as it does fiction. Imagine the events of the story you want to tell. Now, visualize that you're a fly on the wall. Better yet, think of your reader as if they are the "fly on the wall." They cannot speak with the characters, but they can see everything that they would see if they were in the actual room. Now, the reader must rely on their observations to determine the characters' motivations, thoughts, and emotions. When you write, describe what is happening so that you are only documenting what can be seen from this "fly-on-the-wall" perspective.

Subtext and implication are created through the ages old storytelling maxim: "Show, don't tell." A good example is to imagine that you're presented the opportunity to introduce a cornerstone character in a work of yours. Showing would be to describe the clothes their wearing, how punctual they were as they showed up to meet your other character, the way the other character confides in them certain details they maybe haven't confided in other characters, etc. In your writing—whether it be fiction or non-fiction books, screenplays, plays, etc.—descriptive language and focus on authentic character motivations can help you cultivate a work dense with meaningful subtext and implication.

Struggling to develop subtext? Try this writing exercise. Let's say you want to show that your character is untrustworthy. Take a moment to think about a person you did not trust. What did you observe that person do, or say, to make you not trust them? For example, would they refuse to look you in the eye? Now, think about how similar "untrustworthy" actions and behaviors might apply to your character. Instead of writing "Dennis is untrustworthy," you might instead write: "When Jose asked Dennis if he would help him, Dennis said yes—but his eyes remained focused on the ground. Jose noticed Dennis shifting in his seat, then repeated his question. Dennis, still refusing to look at Jose, paused before giving him a weak nod."

Note that when readers find subtext, that subtext may exist regardless of if the writer intended it to be there. Sometimes, a story comes across differently than you meant. This is not always a bad thing. Readers may find special meanings in your writing that you didn't plan for but which make it all the more fulfilling to them. On the flip-side, the reader may find a subtext you didn't plan which goes against the goals of the writing. When this happens, listen receptively to your readers. Keep in mind how your characters/narrative comes across to the readers, and what you can learn from this.

A common pitfall of using subtext and implication can be subverting commonly-held conclusions people draw from subtext and implication to shock their audience and/or give their story a 'shocking twist.' While this can definitely be done—see 'Game of Thrones'—these moments of subversion must be earned by firmly establishing characters, their motivations, the environment in which they live, and thusly, the plausibility of the twist. You've established you're leading your audience in one direction—if you choose to suddenly divert, this can alienate them just as much (if not more) as it can more deeply engage.