Screenwriting : Subtext, after the Text and Context goes in by Ken Zakreski

Hi, Ken. If you go to the Lounge and do a general website search a bunch of past threads will be listed on the subject of "subtext." Here's a 5-year-old thread with great commentary: https://www.stage32.com/lounge/screenwriting/My-kryptonite-SUBTEXT. ;) Hope that helps.

Here's another: https://www.stage32.com/lounge/screenwriting/Writing-Good-Dialogue-Subtext. ;)

But how does someone not like subtext? Lol! You use it every day in everyday life and in everyday interactions. A great book (I mentioned in a thread shared above) that helps one translate that natural skill into a honed tool for writing is Writing Subtext, What Lies Beneath by Dr. Linda Seger. :)

Here's an example of subtext from Seger's book, it's from The Big Sleep. A taxi driver, who has something else on her mind and is clearly flirting, communicates subtext through her words after dropping off Mr. Marlowe and handing him her business card.

TAXI DRIVER

If you can use me again sometime, call this number.

MARLOWE

Day and night?

TAXI DRIVER

Night's better. I work during the day.

Great stuff, Beth!

Also, here's a video that you might find helpful. It's from Anatomy of Chaos, The Art of Story with Adam Skelter, Dialogue Part 1 Text, Subtext & Context: https://www.youtube.com/watch?v=Ge0b5EPdL8I. ;) Enjoy!

Wow, Beth FOX Heisinger?

Your keen Interpretation

of Sub Text will endure

as writers of our nation

write our own, here, infer

perhaps we've a relation?

Well done. LOL./E&OEx

Beth, Anatomy of Chaos is a wellspring of excellent information beneficial to new/all screenwriters.

Subtext is an action imo. Proper use of subtext in a script is an important arrow in the writer's quiver.

Thinking characters now. So a drill Sargent doesn't use subtext, they are very literal in their meaning. Although some could use subtext as described above, in the unearthed links and most excellent video by Adam Skelter.

Clues of subtext appear in the Action lines or Parenthetical?

This brings us to the use of innuendo. If you want contrast and variety in the writing. How do you mix subtext up with innuendo?

lightly.

Ken

and also there is sub text in the slug line, action, parentheticals and dialogue. Character's name can have sub text (Alan). so all the screenplay can clue subtext to an actor.

A friend explained this to me. EVERYTHING communication we make is loaded with subtext.

The easiest way for me to explain subtext is the classic break-up line, "It's not you, it's me." Nope, it's always you. Subtext is found in the actions your character takes, not the words they say.

Subtext is meant to conceal, contain, or contrast the underlying truth. And if dialogue is meant to advance your plot and reveal character, through conflict, subtext is a tool your character employs to achieve their mission in the scene: debating a course of action, or a seduction, or a negotiation, and admission of confession, threatening, flirting, apologizing, etc.

Hope that's helpful!

Hi Ken, I am going to suggest a slightly expanded view to the excellent responses already given. There is opportunity to create subtext in dialogue, of course, but I would humbly suggest to keep in mind that as screenwriters we are also filmmakers, that is we write a blueprint for motion pictures. We have the opportunity to give meaning to very aspect of image and sound that goes into a film, tv or digital project... painting an image of light, texture and depth in our descriptions... very subtly describing lens focal lengths and composition... color... sounds... what the background extras are doing... editing pace can be implied through the brevity of our language... literally every technical decision that can be made on a film set creates an emotional response in the audience. We get first crack at offering those suggestions.

Dialogue is of course our big gun but that deserves an essay of it's own or better yet McKee's book "Dialogue" which pretty well covers it.

Something not many folks think of is the use of story structure for subtext. Especially in a TV series, we're not just mapping a single story arc for our lead character, we're mapping multiple arcs over time for every character all of which can impact, compliment or run counterpoint to or lead character's arc, beautiful subtext opportunity there. The first season of THE NEWSROOM is one of the most beautifully designed seasons of television, for a writer's point of view, I've ever seen. Beautiful subtext in every arc.

Some good recent films to look at are Damien Chazelle's WHIPLASH, Ben Stiller's THE SECRET LIFE OF WALTER MITTY and Justin Kurzel's MACBETH.

Whiplash is an incredible display of visual/audio subtext; editing, wardrobe, lighting, production design, soundtrack, etc., including actor action. The last 20 minutes of the film barely has any dialogue yet it's one of the most impactful film endings. All subtext.

Walter Mitty is an exercise in subtext on multiple levels, some so overt that the subtext is actually text. Words written on walls some fantastical some real, details in pictures, color music, editing, wardrobe, production design, props, subtext through theme (we hide behind technology)... and on.

MacBeth is so rich with visual subtext that the underlying meanings in the film come into you and sit in your belly. The crushing oppression of the sky and mountains, veils of smoke to confuse and imply madness, the sick color of yellow during battle contrasting against the rich warm golden color of the good king's tent, the care with which the men prepare their sons for war, the last judgement tapestries in the church where we first meet a treacherous lady MacBeth... and on.

Sorry... I get excited. But again, every technical filmmaking decision has an emotional response in the audience. This is subtext. We get first crack at describing/hinting at those choices, so I believe it's our responsibility to learn about them.

There is the cinematic language that we all can learn, there is the mythological language that we all can learn... architecture, art, religion, philosophy, psychology... the opportunities to learn about meaningful subtext are almost limitless.

Okay... I will stop.

Except one last thing... if you are a new screenwriter and you're thinking of work you can do to help pay the bills... go work on a film set. I've spent almost my entire adult life on films sets and it is the best writing education I could have asked for. Go learn the language of film.

Okay stopping for sure now. Just read Eric's post and I'm afraid I am well into Subtext 'A' territory.:)

The unspoken. What lies bet. the lines. How tone, gestures, silence and action all speak. SUBTEXT = The subtle reminder that 90% of human communication is NON-VERBAL.

Eric, did I make it through the Subtext ‘A’ vs ‘B’ crucible?

Love Subtext ‘C’.:)

The best subtext s when the actual meaning is polar opposite of the apparent meaning. When FU means I love you. Perfect example from Man Trouble. Nicholson's character: I like to look at women as a whole.

Breaking Bad would be a pretty dull (and pretty short) series without subtext.

GREAT stuff! Now if I could just remember that each time I write. But I suppose subtext is to text what AfterEffects is to post production. Finessing after the fact. Or mopping up the vomit (draft). Unless you're one of those annoyingly gifted quick-witted types, like my husband. He routinely slays people with comedic irony they never even see coming. If he weren't so humble he'd be dropping mics left and right. Instead he leaves trails of raised eyebrows and dropped jaws. I gotta' start writing down his comebacks. His deadpan stuff kills me every time!

Cool share @Erik. "The best lines can be those left unspoken." @Michael. Great example you mention The Secret Life of Walter Mitty. I also love subtext, and don't dig too deep into searching for any rocket science analysis, I feel its showing the audience what the character is thinking. Of course, having said that, I realise subtext in directing is different to writing it. I could harp on forever on directing subtext, but with regards writing a screenplay, sometimes a physical object can help. EG "Simple" example.

A property executive is making dinner for his home date, and she is sat in lounge while he cooks next door, and they are conversing through a wall.

Girl. "Smells great, can't wait." Dave's hand hovers over the DIRTY SCALPEL, and he quickly opens the cupboard under the sink to check the usual TEN BOTTLES OF BLEACH. Dave "This is my first at Chicken Kiev." She opens her handbag and applies lipstick. Girl "Starving not eaten since that shit lunch at office meeting." ETC.

I feel a good film with both directed and written subtext is Silence of The Lambs. Lecter throws subtext at Clarice, and she has memory flashbacks that he wanted her to have, without him having said the actual words of what she is now thinking.

If we follow this along we can begin to work back through the structure to find the primary broad strokes inspirations for subtext; lead character’s backstory wound or overarching motivation, internal need, primary theme and primary conflict. You can and should (eventually) design your subtext lines along with your structure.

Hey Eric, sorry for the delay in replying... flat out this week. What a great article about subtext. Subtext is truly and endless journey. The layers just go deeper and deeper. I love all those examples of subtext but as a storyteller what I'm deeply interested in are those avenues of subtext that speak directly to my lead character's motivation or backstory wound, inner need, the theme of the work and by extension of theme the primary conflicts. The purpose of subtext is not only to inform but to create deep subconscious emotional responses in the audience... I want those emotional responses to be directly connected to my lead character's emotional through-line. I will do a separate post on this as it takes a little mapping and a load of exposition to explain.:) great weekend all!