I’m intrigued by subtext and, in particular, the space between the words in a novel.
Yet perhaps the most perfect example of this is not in a novel at all, but in a movie. It’s the little miracle that is Roman Holiday, starring a luminous Audrey Hepburn as a stifled princess. Gorgeous Gregory Peck plays against type as a distinctly dodgy expat newspaperman. They don’t have a Happy Ever After ending, either. Yet its perfect, mostly because of that extra layer of meaning.
Why Subtext in Roman Holiday is Interesting for Novelists
In one way, the whole of my writing life is encapsulated in Goblin Court, past and present.
Goblin Court was my second book and it is still, umpty um years later, a story that people email and talk to me about with real affection. That is like having a cat sit on your knee in front of a blazing fire at Christmas and purr hard — flattering, comforting, magical, a gift! In fact, it’s the best sort of gift that any author can have, I think. I am terribly grateful.
Goblin Court First