More often than not it's not what you say, but rather how you say it. A couple of complimentary words, with the correct manner of speaking, can turn into a sarcastic put-down. Of the eight components of speech, the subtext is likely the most vital yet can be the hardest to explain.

The subtext is the significance behind the words, the feelings that are behind the dialogue. The subtext is covered up underneath the content. If I use the analogy of an iceberg, the tip is clearly seen but the majority of the iceberg is below the surface of the water. Well, the words being spoken are the same as the tip, and the subtext is the part of the iceberg below the water line, and out of view. Much the same is true when you are writing dialogue in novels; a character should say what they really mean, but it could be hidden among the text and in the activities of the character.

If you can get a clear understanding of the concept of subtext, it will make your story far more realistic and the dialogue will be helped greatly. You will find that your characters will talk with a more human voice, and in a way that is more helpful for effective dialogue. In other words, it will have more snap and less explicitness. How frequently do you hear somebody specifically say, "I am so angry right now"? You're much more likely to hear their irritation through expressions, for example, "What the heck?" or "I can't believe what I'm hearing!" This is maybe the best case of the hidden subtext behind conversations in novels.As you compose any exchange, make sure to think about the character's mentality, their viewpoint on the circumstances, their musings and sentiments and what they are hoping to accomplish in the specific scene, also the storyline overall.

Subtext, likewise, has another importance. In each novel, the primary character has some kind of outside objective (the story content) and also an inward need (the story subtext). For a character whose objective is to have the capacity to buy a Ferrari sports car, they will likely have an inward need that should be viewed as imperative and fruitful. Along these lines, the content of the story ought to send the character on a path in which he accomplishes a specific level of importance and achievement. He has triumphed, regardless of whether he neglects to accomplish his outside objective. Without accomplishing his objective, he may feel like a failure, for the time being. However, the failure will soon lift when he understands his actions have improved his situation. Frequently this realisation doesn't happen inside the novel, yet the reader is left with a feeling of how the character's life will improve. 

As you write any dialogue, you should remember to consider the character’s attitude, their perspective on the situation, their thoughts and feelings and what they are looking to achieve in the particular scene, as well the story overall. Like everything else in writing, practice makes perfect. So keep writing every day.