““I’m in no rush,” he said. As the old couple walked to the counter, he smiled and leaned his head toward me. “Fire trucks.”
“Fire trucks?” He pointed to the long rectangular packages. “For their grandsons in Des Moines. They’re identical twins!” He began to shake his head in appreciation, then stopped as if struck by a sudden thought. “Do you think they’re identical fire trucks?”
In spite of myself, I smiled. “That would give them less reason to fight.”
“Exactly,” he agreed. “On Christmas morning, there’s such a thin line between elation and disappointment. Do you have kids?”
“No.”
“Ah,” he said, as if a little let down.
“But we’re trying.”” (Amor Towles, Table for Two)
Writing Exercise: The Weight of Subtext in Dialogue
Techniques Illustrated by the Quotation:
1. Subtext in Dialogue – The conversation carries an emotional undercurrent beyond the literal exchange. The speaker’s musings on fire trucks and Christmas morning subtly shift into something more personal, revealing layers of his character.
2. Characterization Through Small Interactions – The scene reveals character depth through everyday observations rather than direct exposition. The man’s curiosity, warmth, and momentary letdown create a vivid personality in just a few lines.
3. Emotional Shifts and Micro-Tension – The conversation moves from lighthearted amusement to an intimate, almost vulnerable moment. This shift happens naturally, without melodrama, reinforcing the emotional complexity of human interactions.
Writing Prompt:
Write a 500-word scene set in a waiting room, checkout line, or public bench where two strangers engage in conversation. One character is open and talkative, eager to connect. The other is more reserved but, through the course of their brief exchange, reveals something unexpectedly personal. The dialogue should have subtext, with meaning layered beneath the surface. Incorporate an object or small detail—like the fire trucks in the quotation—that becomes a metaphor or conduit for the conversation’s emotional turn.
Evaluation Criteria:
• Subtext Over Directness – The dialogue should convey unspoken thoughts and emotions without resorting to overt explanations. A weak response would have characters stating their feelings too plainly (e.g., “I’m lonely” or “I miss my family”), while a strong response would allow the subtext to emerge naturally through phrasing, hesitation, or changes in tone.
• Characterization Through Speech and Action – The characters should feel distinct, with their personalities and emotional states revealed through how they speak, what they choose to share, and how they react. Weak responses would rely on generic or overly on-the-nose dialogue, whereas strong ones would capture nuance in speech patterns and physical reactions.
• A Natural but Meaningful Shift – The conversation should evolve, leading to a small but significant moment of understanding or recognition. Weak responses would keep the exchange static, while strong ones would subtly move the characters closer to or further away from each other emotionally.
Follow-Up Questions for Workshopping/Revisions:
• Does the dialogue feel authentic, or does it read as overly scripted?
• What remains unspoken in the conversation, and does the silence or hesitation add to the meaning?
• Does the object or detail introduced serve as a meaningful connector between the characters, or is it just a random prop?
• How does the emotional shift happen? Is it earned, or does it feel forced?
Recommended Reading:
• “A Conversation with My Father” by Grace Paley – A brilliant use of dialogue that reveals complex emotions beneath the surface.
• An excerpt from Olive Kitteridge by Elizabeth Strout – Many of Strout’s interactions between strangers and acquaintances show the power of restraint and subtext in conversation.
• “The Five-Forty-Eight” by John Cheever – A story that masterfully balances tension, subtext, and character revelation in an everyday setting.
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