Reading between the lines doesn’t refer to reading blank space. But, sometimes it is almost as difficult. It requires astute attention to pull out what is not explicitly stated in the text. How much should an author expect a reader to infer? There’s no easy answer. Some people hint at almost everything without being willing to come out in the open and state what they want to say—that might be embarrassing.  However, the same people who hide what they are really thinking, may infer much from a book.

There is a close relationship between text that requires reading between the lines and that which focuses on showing rather than telling. A novel that is pure showing, such as La Jalousie by Alain Robbe-Grillet, describes every detail: the light through the blinds, the scent of the lilacs, the indolent movements of the people outside. It takes keen perception to realize the unnamed viewpoint character who spies on his wife as she launches an affair with another man may be imagining part of what he observes. The reader deduces the main character’s suspicions by reading between the lines. However, people unable to do this will simply stop reading the book.

Writing is very abstract. Providing instructions like “show don’t tell” requires bringing the abstract to a more concrete level. Authors often demonstrate a fifty/fifty approach. They intersperse detailed descriptions and realistic conversation with exposition that simply tells the reader what has happened.

Writers who show all events may risk not conveying subtlety in their work. Facial expressions have to be dramatic enough for readers to pick up the meaning. So, they must be exaggerated. Other readers may tire of hyperbole which produces “drama queens” in place of realistic characters. Reading between the lines increases awareness of their intentions and interior feelings only if the reader is able to perceive it. Characters in a book should be able to display subtle emotions, too—anxiousness, restlessness or boredom. Readers may not comprehend what’s happening when a character shuffles his feet in the dust, or rubs his chin, or stares blankly into space while another character is talking. They may struggle to read between the lines.

The majority of readers prefer to be told what is happening with enough description so that they feel they are present at the scene. However, when a scene seems to drag on and become boring, it’s time to truncate details and simply tell the reader what has occurred. Telling takes far fewer words than showing. Each writer must learn the balance between explaining events and displaying them through description of sensory details.

When unsure, write the scene in question in two manners—one that shows the action, and one that tells what is happening. Review the writing and choose the one that works best.

Photo taken in Chinatown, Los Angeles, CA by K.N. Listman