BLOG PAST - SUBTEXT

This blog was originally posted on Wednesday, June 05, 2013

Writing subtext in dialogue should come automatically to writers, but I still see a lot of on the nose dialogue in the scripts I'm sent to read. So how can you prevent obvious dialogue creeping in and make sure your screenplay is layered with rich subtext?

The way I do it may not work for everyone but at least it will give you an idea of how easy it is to weave subtext in. For me it's like building blocks, you start at the bottom and build up. When I write a first draft I always write the dialogue in plain English so I know exactly what is happening in any particular scene. I don't try and hide what is being thought by the characters, I just write it plain and on the nose.

GEORGE

I was just wondering how are you and Sam getting along, have you patched up your differences yet?

RUTH

No, I hate him... in fact I wish he was dead.

When I sit down and do another pass on the first draft I will look at the dialogue in every scene and decide how I'm going to get rid of the obvious dialogue and replace it with subtext.

GEORGE

(careful)

I saw Sam the other day.

RUTH

(abrupt)

I fancy a tea. Want one?

This is why subtext is important. It's not what the characters say, it's what they don't say and what they imply. The first example is too obvious while the second shows how reluctant George is to mention Sam and equally how much Ruth is determined not to talk about him. Ruth's reaction illustrates just how she feels about Sam without stating the obvious.

So if you're stuck on how to write subtext then just write it plain English to start with, then go back and try to hint at what you want to say, without actually saying it in an obvious way. Your screenplays will be richer for it.