I'm a non-binary author, and one of the stories I'm working on has a werewolf as one of the two main characters. Inspired by a remark one of my trans friends made, I initially began writing this character as a transwoman (the idea being that they understand the need to rip off your flesh). However, while discussing my story with one of my non-binary friends, they remarked that the idea of a trans werewolf gave them the ick because it felt a little like saying that trans people are animals or not human, which is NOT what I want to covey whatsoever. Still another trans friend said they liked the idea because when they were first transitioning they only came out of the closet at night, and the idea of being a little bit feral resonated with them (trans rights or I bites).
I had initially planned to have my transfemme bestie and her polycule help me alpha read for this story so I could ensure the character was authentic, and they all really liked the idea, but now I'm stuck.
I do NOT want to accidentally send a bad message or image that I think trans people are less than. This character being a werewolf is integral to the story, so now I have to decide if I want to go through with making them trans or not.
I would really love if some trans and non-binary folks could give me their opinions on trans werewolf characters. I am genuinely looking for constructive criticism.
Let’s talk about subtext. It’s one of those things you feel when you read, but maybe don’t consciously notice, and yet—it’s everywhere. It’s in the way characters talk to each other, the details they avoid, the glances that linger, and the things left unsaid. Subtext is what gives a story depth, pulling readers into the unspoken layers underneath the surface. It’s like the heartbeat of a scene, or the feeling you get when you’re reading and know there’s more to what’s happening than meets the eye.
So, why is subtext important? Because it makes stories feel real. Life isn’t always clear-cut; people don’t say exactly what they mean, emotions can be complex, and motives aren’t always laid out on the table. Subtext reflects that complexity, making your characters and situations feel richer and more relatable.
Here are a few types of subtext and how to use them effectively:
This is probably the most common type of subtext, especially in romance or drama. Think of characters who clearly like each other but won’t admit it. They argue, they bicker, they avoid eye contact, but all that is subtext for “I’m secretly into you.” Use this when you want your readers to root for a connection that isn’t obvious or acknowledged yet.
Not all conflict is overt—sometimes it’s in the snappy dialogue or forced politeness. A character might “agree” with something on the surface while feeling the complete opposite. This kind of subtext is powerful because it lets readers see two conflicting layers: the polite conversation happening outwardly, and the resentment or anger bubbling underneath.
This is when the reader knows something the character doesn’t, creating tension or humor. Subtext here involves leaving hints in the writing that make readers feel “in on it.” For example, if a character is convinced their plan is foolproof but readers already know something’s about to go wrong, you create an undercurrent of impending doom or anticipation.
Subtext isn’t just for characters; it can also layer meaning into the theme of a story. If your book’s theme is about, say, identity, you might use subtext to show how a character hides certain parts of themselves around certain people. They might be saying one thing while subconsciously revealing their discomfort or need for acceptance.
Sometimes the best social commentary is subtle. Rather than outright saying, “This society values material wealth over happiness,” you might show a character who’s obsessed with buying status symbols while feeling deeply unfulfilled. This approach can make readers reflect on the message more personally and deeply.
To work subtext into your writing, trust your readers. Give them just enough so they can pick up on what’s below the surface without spelling it all out. Here’s a small exercise: write a scene between two characters who are pretending to be friendly but actually dislike each other. Notice how tone, body language, and word choice convey the tension without anyone actually saying, “I don’t like you.” It’s all about restraint.