What are your characters saying? And what do they really mean? This is subtext. It’s the art of expressing how a character feels without them coming right out and saying it. Confused? You’re not alone. Our Writing the Fact-Based Film 101 series takes a look at this tricky area of screenwriting, which can trip up an otherwise strong piece of work…

Subtext: a definition

When we talk about subtext, we’re talking about finding subtle ways to express underlying meaning.

Critiques of screenplays sometimes flag what’s called “on the nose” dialogue. This is when a character flatly states what they want or how they feel. Subtext is how we, as writers, disguise this kind of blunt and dramatically dull communication.

It may sound complicated, but let’s take a simple – made up – example of subtext at work.

On the nose: A husband walks into the kitchen one morning, where his wife is making coffee. He states, “I’ve been unhappy in this marriage for years, you never pay attention to me, and I think we should split up”. She replies, “You’re right. We should”.

Subtext: A husband walks into the kitchen one morning, glares at his wife who’s engrossed in scrolling her phone. He stomps to the counter, splashes some coffee into his reusable cup, jams on the lid, and mutters, “I’ll be home late”, before marching out of the house.

In both cases, we understand that this is an unhappy relationship that’s on the verge of ending.

However, in the second version, this all happens without either character directly voicing their feelings. The actions of both characters make clear how they feel but in a more dramatically compelling way. He’s unhappy; she’s checked out.

In the second version, the only dialogue uttered is the husband’s parting line. However, what he says and how he says it and the wife’s non-response speak volumes as to their mental states, as well as that of their relationship.

Indeed, while subtext is usually discussed as it relates to dialogue, it can also be conveyed in actions, gestures, and silences. What’s not said is often far more telling than what is said. In this case, the man jamming on the coffee cup lid and storming out as his disinterested wife scrolls the phone tells us that this is not a happy marriage.

It comes back to the old screenwriting adage: show, don’t tell.

Other ways to express subtext include symbolism. To the above example, we could add a vase of dying flowers to the table or have a storm raging outside to underline the decaying relationship or the emotional turmoil.

To go even further, subtext can even be woven into the story themes.

If our example was taken from a story about grief, this couple’s decaying marriage could be one form of that – grieving the end of a long relationship. Other characters and subplots might illustrate this theme in different ways, expressing the various types of grief.

For example, this could be the opening to a story about the death of a relative. The couple is forced to confront their relationship as the whole family gathers for the funeral.

What’s wrong with “on the nose” dialogue?

Simply that it drains the dramatic complexity and interest from a story. Instead of the audience being engaged through intrigue and being forced to analyse the story, it’s all right there.

From the point-of-view of the readers, adding subtext means the writer has put some thought into their story and that they’ve attempted to elevate it by weaving in the underlying meaning.

You might be thinking at this point that you’ve heard movie and TV characters speak “on the nose” a lot – and you’d be right. Aside from sub-par storytelling, the use of subtext often depends on the genre.

A subtle drama will use subtext more liberally (and hopefully more effectively) than a high-octane thriller or monster movie, where the plot takes centre stage, making subtext less necessary and – when used – a little more obvious.

In addition, there are times when a character coming right out and saying something is required, either for dramatic impact or because it’s important for the story.

For example, maybe the wife in the second version of the example above had no idea her husband was unhappy, and he finally comes out and says it, which is the catalyst for healing or divorce.

Types of subtext

We’ve already hinted at the different ways subtext can be woven into a story but here are the more formal terms:

• Emotional Subtext: As we discussed above, this type of subtext is all about finding subtle ways to express characters’ emotions.
• Relational Subtext: This relates to character dynamics, such as frosty small talk to denote hostility or a conversation that hints at physical attraction through flirty double meanings.
• Thematic Subtext: This concerns expressing themes through imagery, symbolism, or subplots.
• Situational Subtext: This type of subtext is about expressing dramatic irony, which – for our purposes – is when the audience knows more than the characters.

All of these elements are essentially about finding creative ways to tell your story which draw out the important detail and emotions while retaining interest and intrigue.

What are the specific challenges of subtext in fact-based film/TV?

One challenge of subtext when fictionalizing real-life characters is – how do you know what they were really thinking at the time? Another challenge is aligning the “facts” with the subtext.

It all comes down to the central story, themes, and… dramatic licence. Underlying meaning often has to be imagined in the context of the wider story.  The subtext you weave in will be tailored to support what your story is about and what you want it to say.

A good way to learn about subtext is to see how it’s used in a screenplay.

Spotlight (2015)

This (excellent) film, mostly set in the early 2000s, tells the true story of how a tight-knit team of journalists from the Boston Globe uncovered the extent of child abuse by Catholic priests and the complicity of the archdiocese.

Let’s take a look at the opening of the script for Spotlight, which highlights the use of subtext to convey the underlying meaning and themes.

Opening sequence

The story opens in 1976 at a police station. Two cops, one older and one a rookie, casually talk about an interview the senior cop has just left with a distraught single mother and a “pissed off” uncle.

We learn the case involves Father Geoghan, who was supposedly “helping out” the family. Geoghan waits in another room, alone.

The Bishop enters the interview room and talks with the mother and her two young kids. He gives her a guarantee that Geoghan will be moved out of the parish and that it will “never happen again”. The script flags that the mother has her rosary beads. An Assistant DA arrives and acts deferential to the Bishop.

The older cop muses it will all be over soon. The young cop wonders how they’ll keep the press from the arraignment. “What arraignment?” is the response from the grizzled old-timer who’s been here before.

It ends with the young cop watching Bishop and Father Geoghan drive away.

The short (two and a bit-page) sequence gives us a microcosm of the whole story without stating outright any of the major details:

• Geoghan sexually abused one or both of the young boys
• Religion dominates the world of the story
• The Church (represented by the Bishop) is powerful and influential
• Geoghan won’t face criminal charges or recriminations
• This situation has happened before

Script source: Script Slug

Overall

Subtext is one of the harder aspects of writing any type of film. The best way to get to grips with subtext is to find good scripts in your genre and list some of the ways in which underlying meaning and emotion are conveyed.

When it comes to your own work, if you have a strong understanding of your story and characters, it will make weaving in subtext much easier, leading to a better script which is more likely to engage the reader.