Screenwriting : Writing Good Dialogue/Subtext by Catalina Lowe

Subtext is like the "elephant in the room", everyone sees it but tries to ignore it and does everything they can to prevent anyone else from mentioning it.

Well said, Anthony! How that "elephant" in your "room" (screenplay) doing these days?

Subtext is meaning underneath the words and action, therefore it is not "silent" but rather understood.

Interesting topic. Don´t write certain things "out loud" and I am all for it. However, when writing a spec script isn´t it so that you have to have certain things well explained for potential buyers/collaborators in order for them to get the feel of a story? I mean the final draft or the shooting draft of what once was a spec script is always somewhat different especially regarding the dialogue. Am I wrong in this assessment?

Thanks for your question, Zlatzan. There is no "explanation" needed to get a "feel" for the story. Especially not in dialogue. In the hands of a experienced/brilliant screenwriter, the "feel" of the story will all be in brilliantly crafted description lines (which are meant to "explain" much in short), also in the multiple meanings in subtext - spoken words, silences, body language, mannerism and symbols - all of the before mentioned help in creating the "feel" (atmosphere) to create a stronger hold on reader/audience's heart. Of course, the overall execution of the story - plot, pace, characters, structure, marketability, tone, and craft are all what makes for a great script that will make potential buyers/collaborators sit up. The "certain things" that need to be well explained will more apply to well written synopsis, treatments, series bible, and a good marketing/distribution plan, especially for potential buyers, who are more interested in the money, than the "feel" for the story. Money is what makes them "feel" - so you better make sure that script is top notch - ticking all the boxes - subtext included. You'll feel GREAT! LOL

You just made me smile, Catalina. How can I argue with that awesome response? I can´t, ´cause I agree with you on every point. I was just thinking about some feedback where I was told specifically to explain more in dialogue (complete opposite of what I learned over the years) because it was as they put it "just a spec" and "it´s up to the director eventually ´cause it´s the director´s medium ultimately " on how the final look of a potentially produced script would be. So as a writer, you get these mixed messages at times, you know? I agree, as I said, with you because I have respect for the craft I chose to pursue, of course. Of course I aim for each and every piece of writing to be compelling and interesting and as you say I try to "tick all the boxes" but isn´t what we do, the storytelling, about the stories we tell and less about those "rules" (which are there for a reason), I bet Amy Schumer´s script for Trainwreck wasn´t perfectly written according to all the rules. But she is Amy Schumer with A STORY to tell. Now, I love Amy and her work and she deserves all the success, But from a writer´s point of view which is my standpoint, those rules seem arbitrary at times. Of course, I may be wrong.

I agree with Beth. Subtext is a sequence of words that are spoken - there is nothing silent about it. Subtext is a tricky element of writing for some writers. To speak in figurative or abstract manners - as opposed to speaking literally and concretely - is certainly an art in itself. And there's not-so-fine a line between the appropriate amount of subtext, and overdoing it. It's another layer of writing that requires a lot of thought, skill and creativity. Good luck to writers when they are creating subtext in the dialogues of their characters!

Yes, subtext has everything to do with creating meaning underneath dialogue and action within a story. Subtext is the implicit meaning of what's happening or being said, rather than the explicit meaning of the words used—their surface meaning. Subtext meaning is informed by the thoughts, emotions, situations and truths that resonate throughout a narrative. It makes dialogue and action more emotionally alive, not flat and overly literal. With good use of subtext there's no "silence" in the most quiet of moments, only meaning. Plus, it's not the amount of words being spoken that's relevant, it's choosing the right words. :) A great book on the subject should anyone be interested is: "Writing Subtext, What Lies Beneath" by Dr. Linda Seger.

Oh Linda is the best! I was only 17 when I got an invitation from her to attend one of her seminars after I sent her a "rough draft" of one of my early scripts. I remember that moment fondly to this day. :)

I'm not an expert. That said, for me, it seems like subtext gets a little less intimidating (both writing it and directing it) when you understand that there are different levels of desire and conflict. Using Robert McKee's terminology, a character experiences desire and conflict on three levels: extrapersonal, personal, and inner. Knowing the character's inner desire and inner conflict at the very least gives you a good place to start when trying to find the meaning of or trying to give meaning to the character's actions and dialogue.

10 out of 10, Jacob! Sounds very "expert" to me! (-: You're right. It all lies in the different levels of desire and conflict. For the screenwriter, this is the real challenge - to really dig in deep into those different levels of being ( in himself and character) - the desires that drive and the resulting conflict situations that arise - in both relationships (internal) and actions (external)! This then gives "meaning" to our behavior, actions an dialogue. What are you working on now? Share your own experience with us - as the writer, not the "expert (though we have great appreciation for the 'expert" advise, too!)

You're all AWESOME! Thanks for sharing your own insights, knowledge and interpretations. Amazing how much we learn from each other! Zlatan, you're right! Always keep in mind, anybody else who lays eyes on your script, has their own interpretation, their own ideas, read and seen through their own "filters"(perceptions) of what is "real" for them or not. Hence the reason why you will get some many different feedback versions - positive and negative - from different readers. At the end of the day - just write from the heart. The rest comes with constant learning, studying, reading, improving. Keep going, and you'll get there. And it's obvious that I have a very capable group of screenwriters here, thank you very much! Good luck to you all!

CJ - I think subtext doesn't always have to be the conflict driver. The straight-forward context of a scene can do that, too - and especially when the conflict in play is an external conflict. I think what would also be considered essential is when subtext can help establish character; establish backstory; convey important information and intentions; and move the story forward, too. If you were to say "but doesn't all of that drive the conflict in the scene?", I'd say "no, but it can if that was the intent." A great script to read that is loaded with subtext is Raising Arizona. Those country rascals have more subtext in their dialogue than any other script that I can think of at the moment. And those subtextual dialogues achieve all of the purposes I described above. Sometimes...the things they say in their subtext...they don't even understand about themselves. What a great way to illuminate a character's conscious state/awareness/flaws. I love that script. The Coen brothers are great at that type of subtextual dialogue: where characters don't quite understand themselves (at least, not at that moment), but the readers and viewers, in the superior audience positions, do.

Brilliant Bill (BB)! Yes, the Coen Brothers are masters at writing/ directing subtext. Read them, study them, watch them and learn from them - a must for every aspiring screenwriter/film maker. BTW, where do we sign up for BB's screenwriting lessons? Stage 32? (-:

Jacob, thanks for sharing the plot line for your short, Manther. Interesting theme and premise - the need to be loved (appreciated) and the fear of getting old. Inner and external desires in conflict with external motives and actions. Could be a rather challenging plot line to translate to film - the need for subtext, visual design, sound design, performances, staging and blocking, editing (like you mentioned) will be determining factors in how successful this can work. I would be interested to read the screenplay. If you link up with me you can send it to me via e-mail. BTW, is that you in the bed (profile photo)?

Catalina - I'm just another of the 8,000,000 writers who know a lot in theory from the teachers who came before me. And I tried the teaching thing, but it seems that my methods are a bit too unconventional for the average student of writing. I mean...shouldn't every writing student expect to be stripped of their clothes; dunked in a cold river; sleep in a hot box ; and cook my rice one grain at a time in order to get to the essence of who they are and what they are trying to say? Go figure.

CJ - I hear you. Creating effective subtextual dialogue - in any manner, and with a really clear purpose - is the most difficult element of writing for me, and maybe for others, too. Sometimes those lines can even have multiple purposes at once - it can illuminate character, while conveying information, while advancing the story at the same time, and while feeding conflict at the same time as well. No wonder why it's the most difficult element of writing for me. That's like top-of-the-mountain writing.

Catalina - When the script is ready, I'll let you read it. It's 3 pages, so it'll be a quick read. The cover photo (the guy in the bed) is not me, but an actor friend of mine. It is a still from Bad Morning Sunshine, a short film I directed a few years ago.

Looking forward to read it, Jacob! I love that photo - goes with the title of your short , Bad Morning Sunshine. Is it available? Can we watch it somewhere?