Screenwriting 101: Subtext

Subtext is what characters really are saying despite what they actually say, or don't say.  

For example, early in "Lawrence of Arabia" when Lawrence, against orders, decides to lead 50 Arabian fighters on a seemingly impossible mission, he is stopped by Prince Feisal just as he is leaving:

Feisal's subtext, in that one line of dialogue, reflects:

• Rank: Feisal's selective use of "lieutenant" is a reminder to Lawrence that Lawrence merely is a lowly British officer, not an Arabian warrior.
• Diplomacy: When Feisal says "my men," he is reminding Lawrence that all of the Arabian fighters are under Feisal's command; they do not belong to Lawrence or the British Army.
• Feisal's measured objection: "Where are you going...?" is meant to remind Lawrence of their conversation the previous night, when Feisal dictated the short-term military strategy Lawrence is defying.
• Respect, trust: Feisal doesn't say, "Stop, you insubordinate cad!" even though it is well within his power and authority to stop Lawrence from leaving. Instead, Feisal merely briefly delays Lawrence's departure; therefore, he does respect what Lawrence is attempting, and trusts him enough to take 50 of his men.

The dialogue would not be as rich if instead Feisal said, "Excuse me, but what are you doing?" or, simply, "And where do you think you're going?" The words "lieutenant" and "my men" add layers of subtext.

Even more subtext is revealed, line by line, as the scene continues and the two characters talk in "everyday language." But it's the subtext that gives the scene so much depth, with each line of dialogue revealing layers of intimacy between these two characters as well as something of themselves. 

A more recent example, from "Sideways," is when Paul Giamatti's character reveals something of himself -- not by saying, "this is who I am," but instead by discussing the care required to nurture Pinot Noir grapes.

And from my screenplay "Sugar Magnolia," when Angel introduces her new friend Todd to Sheila, note how Sheila chooses to address him, his reaction, and then how she chooses to introduce herself, veiling, for the time being, her Native American identity: 

 She gives him the once-over.

Sheila chooses to share her native identity with Todd later, only after she gains insight into his soul, but that respect is revealed in the subtext. The subtext in the Sheila sequence resulted from research I conducted at the Museum of the American Indian.

Subtext may be so subtle you might not even recognize it until you watch a film a second time, or more. But if you find yourself enjoying a film more and more each time you see it, chances are you are discovering more subtext with each viewing.

 

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