Writing Subtext in Screenplays — covering three key ways a screenwriter can add a secondary and unspoken meaning in their scripts, including subtext in dialogue, actions, and performances.

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Chapters:
00:00 - Intro — What is Subtext?
01:27 - Subtext Definition and History
04:57 - Technique 1: Embedding Subtext in Dialogue
11:32 - Technique 2: Writing Subtext through Actions
14:42 - Technique 3: Allowing Subtext in the Performance
17:34 - Scene Study: Subtext in Sound of Metal
20:56 - Final Takeaways

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WRITING SUBTEXT IN SCREENPLAYS

In storytelling, as in life, what we say and do is only a fraction of what we really mean. That unspoken or secondary meaning is called subtext, and it is a skill many writers seek to master. In this video, we will cover the mechanics of how to write good subtext in a screenplay, including subtext examples in dialogue, action/description, and the actors’ performances.

WHAT IS SUBTEXT

This idea of “subtext” can be traced back to a legend in the theatre world — Konstantin Stanislavski. As a lesson for actors, he had this to say about subtext: “Keep in mind that a person says only ten percent of what lies in their head, ninety percent remains unspoken.” It’s an insightful truth — think about how much of what’s in your head actually gets expressed. And for writers to capture “truth” in dialogue, character action, and behavior, logic suggests that their screenplays should leave most things “unsaid.”

Another way to understand and define subtext is to explain the relationship between text and context. Text is the surface-level meaning of our words and actions. It is the words we actually say or the actions we take. Context is the circumstances around the text — the culmination of information and events that have led up to the text. Subtext, then, is created by combining the text and context. For example, let’s say the text is someone blowing out birthday candles. But in Scene 1, the context has the character surrounded by friends and family, while Scene 2 has them completely alone. The same text, two different contexts, and two very different subtexts.

HOW TO WRITE SUBTEXT

Subtext in dialogue is perhaps the most obvious way to reveal what’s beneath the surface. When Don Corleone says, “I’ll make him an offer he can’t refuse,” what he really means (the subtext) is, “If he doesn’t do what I’m asking him to do, I will kill him.” Leaving that direct meaning unsaid is far more powerful and menacing.

Beyond dialogue, subtext can also be written into a character’s action. In Pulp Fiction, Jules takes a massive bite out of Brett’s hamburger. Without saying it, this simple act creates a clear message: Jules has all the power.

Finally, the actor’s performance is a more nuanced but huge opportunity for subtext. With clues the writer provides in the script, the actor can use body language to suggest what lies beneath the surface. In Moonlight, Black stares at the door, debating whether to escape another possible heartbreak.

Writing subtext in screenplays is not easy. The temptation writers face is to put everything onto the page as text but, going back to Stanislavski, it’s better to leave things unsaid.


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♬ SONGS USED:

"Hey Pluto" - Native Rebels
"Exit Strategy" - Alternate Endings
"Help Me" - Lost Ghosts
"Only One Spider-Man" - Daniel Pemberton
"Sincerely" - The Moonglows
"The Alien" - Annihilation OST
"Casino" - Mathaus Passion
"Dust My Broom" - Elmore James
"Track 1" - The Cell Soundtrack
"Everything Thing in its Right Place" - Radiohead
"From Rusholme with Love" - Mint Royale
"Svefn-G-Englar" - Sigur Ros
"Hang me, Oh Hang Me" - Oscar Isaac
"What Have We Done to Each Other" - Trent Reznor & Atticus Ross
"Consummation" - Trent Reznor & Atticus Ross
"The Big Smoke" - Audiomachine
"Gehenna" - 1917 OST
"Prelude" - Bernard Herrmann
"Symphony No.3 Passacaglia" - Allegro Moderato
"Old Skool (Instrumental)" - DaMarcus Van Buren

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Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

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