I used to be terrified of writing "on the nose" dialogue.
I wanted subtext instead, thinking THAT was the trait of good screenwriting. It's not.
My writing improved when I stopped worrying about subtext and focused on what was really important.
This is how I did it. ๐งต๐
I wanted subtext instead, thinking THAT was the trait of good screenwriting. It's not.
My writing improved when I stopped worrying about subtext and focused on what was really important.
This is how I did it. ๐งต๐
The most important thing for me was realizing that subtext is not a goal in and of itself.
It's a byproduct of other, more important goals.
No doubt, people saying something other than what they mean is part of the human experience.
It's a byproduct of other, more important goals.
No doubt, people saying something other than what they mean is part of the human experience.
But more often, people are desperately trying to say exactly what they mean, they just find it incredibly difficult.
People long to be understood far more than they don't.
People long to be understood far more than they don't.
In addition, just about every great line is smack dab -- damn the subtext -- on the nose.
โข "Frankly, my dear, I don't give a damn.
โข "We're going to need a bigger boat."
โข "I see dead people."
โขย "You complete me."
โข "I am the one who knocks."
โข "Frankly, my dear, I don't give a damn.
โข "We're going to need a bigger boat."
โข "I see dead people."
โขย "You complete me."
โข "I am the one who knocks."
So, on-the-nose dialogue isn't the problem. It's just a term used to describe the actual problem.
The lack of emotional truth.
Those moments worked because the characters and stories earned it. They did not ring false.
And THAT is your real goal.
Emotional truth.
The lack of emotional truth.
Those moments worked because the characters and stories earned it. They did not ring false.
And THAT is your real goal.
Emotional truth.
So stop worrying about subtext. Worry about:
1. What a character wants
2. What they're willing to do to get it.
These two factors comprise a character's choices, which you, the screenplay's author, decide.
Your only limit is that it is truthful.
1. What a character wants
2. What they're willing to do to get it.
These two factors comprise a character's choices, which you, the screenplay's author, decide.
Your only limit is that it is truthful.
What the character wants is their throughline for any scene.
What they're willing to do (or not do) to get it dictates their tactics.
These tactics dictate what most people refer to as... subtext.
What they're willing to do (or not do) to get it dictates their tactics.
These tactics dictate what most people refer to as... subtext.
If a husband or wife suspects their spouse is cheating, your choice is not their subtext, but their tactic.
Perhaps they confront them directly. This tactic likely will have less subtext. Unless...
They want them to be cheating because of their own cheating.
Perhaps they confront them directly. This tactic likely will have less subtext. Unless...
They want them to be cheating because of their own cheating.
That layer adds more subtext.
But you didn't decide to add more subtext. You changed what the character wanted.
And by playing that truthfully, subtext came along for the ride.
But you didn't decide to add more subtext. You changed what the character wanted.
And by playing that truthfully, subtext came along for the ride.
Say this same husband or wife decides not to confront their spouse. But instead asks casual questions, trying to trip them up to reveal something.
This scene has layers of subtext because both characters have secrets.
This scene has layers of subtext because both characters have secrets.
They both know the spouse is cheating, but one doesn't know what the other knows, and neither wants to reveal anything!
But it's all the same equation.
1. What a character wants
2. What they're willing to do to get it.
But it's all the same equation.
1. What a character wants
2. What they're willing to do to get it.
Focus on the things that matter: A character's want, their tactics in getting it, and the emotional truth of the scene.
And then how do you put it together in the most compelling way possible?
Do that, and the subtext will take care of itself.
Simplify, simplify, simplify.
And then how do you put it together in the most compelling way possible?
Do that, and the subtext will take care of itself.
Simplify, simplify, simplify.
That's a wrap for this thread!
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2. RT the tweet below to share this thread.
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