CydM at 2013-08-22 20:23:05:

I feel for you, Miranda, in a big way. In business you play to your strengths and delegate your weaknesses to someone who has that quality as a strength. Can't do that with story, especially one that's close to you. Important. Painful even. There's nowhere to run. Subtext is something I deal with on a constant basis. A few weeks ago I decided to gorge on Elmore Leonard, the master of subtext, voice, and characters who stand up like a pop-up book with each page you turn, yet he's economical in all ways. He died on Monday, and that amped up my reading. It sinks in after a time. In Get Shorty so little of the story is told or shown, yet it's all there. His characters often tell the story with a stray thought having nothing to do with the moment, fleshing out the story with more clarity than 100 pages of prose. Like a script. If something is important to you and it requires getting into the head of people you don't like, it's gonna hurt. And you're gonna do it. And we're on the other side of this pulling for you.

Scott at 2013-08-23 00:28:20:

This issue of subtext is so important, yet apart from everyone acknowledging that fact, there's scant literature I've found to provide techniques and approaches on HOW to actually achieve it in writing. In fact, I'm sketching out a new Core class called Subtext. Also a 10th one called Conflict.