Writing Subtext — The Secret to Writing What's Under the Surface

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.

#FilmTheory #VideoEssay #Filmmaking

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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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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

[freddyb]

Contrasting the “hi, doggie” scene from The Room with the coin toss scene from No Country for Old Men was brilliant

[lukashislop]

This channel literally posts free lessons (masterclass level). I can't appreciate it enough.

[stephenwilliams]

It's enlightening how often that scene from No Country for Old Men features in the analysis of cinema. It really is a masterclass in writing, cinematography, acting, sound design, subtext, context, everything. The Coen brothers always have been great writers. A shout out to Gene Jones, the other actor in that scene. It's such an important scene in the context of telling you what sort of a person Anton Chigurh is, and they both absolutely nail their performances. The scene is as close to perfection as you'll get on film.

[chimpinaneckbrace]

04:16 The subtext is; "His toxic relationship with Lisa is tearing him apart. So Tommy, in a sad attempt at buying her favor, provides her with superficial material possessions as part of his shallow, co-dependent behavior. Hi doggy."

[simonhadley]

"What's the most you ever lost on a coin toss?" Anton Chigurh still gives me shivers and is quite possibly the most effective villain ever created for the big screen.

[jmorgan]

Love the example from Sound of Metal. One of my favorite films. One of my favorite examples of subtext is in Jurassic Park when Grants leaves the kids in the jeep during the T-Rex breakout scene. "He left us, " Lex says. But with the context of their parents' divorce, it carries so much weight.

[jimmyvollman]

Showing the excerpts of the original text is really important. The film audience does not get to see the text, only the result after all the interpretations are finished. To learn how to write, you need to see good examples of that communication. Great job.

[rogerlid]

Great video lecture as always ! Subtext is like a deeper, metaphorical version of "show, don't tell".

[HaleyMary]

This channel has taught me more than I've ever learnt in drama, film or theater class. You break down the lessons and make everything easy to understand. As a visual learner, I love the show, don't tell approach.

[neo_bellic]

I did not expect The Room clip in this video, I did not. Oh hi, Mark.

[Lotsolovu]

Writing is one of the most underated aspects of filmmaking and probably my favorite! Whiplash is so expertly written!😊

[lucianoleopoldo]

You can feel the dissapointment, the feeling of lost, and still that sparkle of hope "You are my favourite customer." So simple, yet so deep 😅😂😂😂

[smith]

I am not a writer, but a new reader . And this will help me read better for sure

[bronsonhatch]

“i’m having a friend for dinner” thank you for putting that. it made me chuckle a lot

[MagneticDonut]

You make a 20min masterclass seem like a short. Thank you for putting out this insane level of production

[javierheras]

Every video of this channel is a gem, but this is probably my favorite. Congrats on such a deep and concise work. The scenes and films you chose... you nailed it!

[freddyfranchise]

I was actually doing research on subtext recently and it seems to be quite an elusive topic. As always you have managed to cast light into the dark, with great distinctions and examples. It already triggered several bulbs in my head. I will read screenplays with a new set of eyes now, and that's something quite amazing. (gently) Thank you.

[seaneaston]

I think a cool topic to discuss would be the different ways to structure, shoot, and edit a phone call conversation. Like split screen, cut between the people on the call, and do we even get to hear both sides of the call? I like phone calls in movies. There are so many different ways to show an audience a phone call.

[swthelostarchives]

I'm still new to screenwriting but I've found it easier to write subtext if you write the dialogue first and on your second draft to replace that dialogue for subtext.