Writing subtext: What Lies Beneath

Written by
Dr. Linda Seger

Subtext.

An area of writing that alludes a lot of writers.
What is it?
How do you create it?
Where does it come from?
Can it be learned over time?

These are questions a lot of writers will ask themselves.

This book attempts to help the writer discover what subtext is and how to use it in their own writing.
The book is divided into eight chapters detailing certain areas.

Chapter 1
subtext: a definition and exploration

This is a good introductory chapter with some good examples of when and how subtext is used to convey to the audience what a character means or doesn't mean through the course of dialogue. This chapter alone probably explains enough about what subtext really is and how to use it through dialogue.
Don't make your characters say exactly what's on their mind or how they're truly feeling. Make them dance around a subject area without being forthright about their opinions and true feelings.

Using examples as a way of explaining how subtext is used is a great way for the writer to learn. Two examples are used here.

A conversation taken from Bonnie and Clyde (1967) and Casino Royale (2006). These are both great examples to learn from and give the reader a sense of what subtext is and how to use it through dialogue.

Chapter 2
expressing subtext through words: character information and back story

This chapter starts off with Dr. Seger discussing character bios and how they're introduced. She uses an example from Fatal Attraction (1987). This is a great movie, but does this example fit in today's writing?

“She must be in her thirties, but she dresses younger, and gets away with it.”

Either she's in her 30s or she isn't and the rest comes across as slightly unfilmable. Better to show rather than tell. Does Dr. Linda Seger write screenplays? Does she have any produced credits?

For seasoned veterans of the industry, they can get away with this. But for up and coming screenwriters, probably best to show this through action and dialogue.

Then the rest of the chapter again deals with dialogue which probably could have been added to the first chapter. Nevertheless, some useful examples, especially the one from Pride and Prejudice (1996). The characters are not being direct with their questions and answers which makes for a far more interesting conversation on page 47.

Not sure about the Indiana Jones reference on page 45. This feels like too much analysis is being made of the example and dialogue. The majority of theater goers go to the flicks to be entertained. They don't leave the theater wanting to write a twenty page dissertation on what worked or didn't work for them.

In film school, YES, analyzing certain movies, Casablanca, Citizen Kane, Eraserhead, Apocalypse Now, 2001 A Space Odyssey, etc, is to be expected.  However 99.999% of the general populous that goes to the flicks do not analyze films.  They go to the movies to be entertained.

Chapter 3
techniques for expressing subtext through words

Simile
A figure of speech that expresses a resemblance between things of different kinds.

Innuendo
An indirect implication.

Double entendre
An ambiguity with one interpretation that is indelicate.

Are the above really subtext?

This chapter delves into description, names and metaphors.

Are these really subtext?

This really feels like filler.

The name of a character may have a double meaning. An easy example would be the girls from the old James Bond movies. Let's see, 'Pussy Galore'. What does that name tell you? Is there really subtext there or is it just a play on words as to what her character is really like and that she'll end up in the sack with Bond sooner or later.

There's no subtext in names.

Also the constant use of Psycho as an example and this over analysis of Avatar.

A metaphor is a metaphor.

Metaphor = A figure of speech in which an expression is used to refer to something that does not literally denote in order to suggest a similarity.

This chapter very much comes across as filler.

Chapter 4
expressing subtext through gestures and action

This is a good chapter. Sometimes what a person does or doesn't do isn't always what they mean. How a person reacts isn't always the truth.

The body language and behavior of a character and characters in a situation. May not necessarily be their true character. They may act and behave in such a way to fool their enemy or the people around them.

Definitely worth a read.

Chapter 5
creating subtext through images and metaphors

Not too keen on this chapter.

As mentioned previously, a metaphor is a metaphor.
Metaphor = A figure of speech in which an expression is used to refer to something that does not literally denote in order to suggest a similarity.
Of course an image can also be used as a metaphor.

A guy stuck in jail stares out a window and watches a bird fly through the sky.
Make your own assumptions as to what he might be thinking. That's a metaphor.

This chapter feels again like filler.

The fact that music of a movie is brought into it and described as subtext. This feels like a cheat.
Music in a film creates ambience and atmosphere whilst an audience watches the movie. There's no subtext. There might well be anticipation of what's to come possibly or not. But a movie's soundtrack is certainly not subtext.

Granted, sounds may foreshadow certain moments to come in a movie. But again, is this really subtext?
Again, the same movie examples seem to be used. There must be other examples to use other than Psycho. It's a superb film, but honestly.

Chapter 6
expressing subtext through the genre

This last chapter comes across as an advert for Avatar.

Again this kind of analysis might be good for film school. But the average joe who goes to the theater will neither think like this during the movie or after the movie.

It could be argued that this kind of analysis is reading way too much into the movie and what it actually means. Did James Cameron think about these things when he was putting the film together, it's possible. Who knows?

You watch a movie to be entertained, not to come out with a degree.

Chapter 7
writer alvin sargent ruminates about subtext
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Chapter 8
afterword
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When people go to the flicks for two hours. They go there to be entertained, maybe to learn something, but mostly they go to be entertained. They don't take along a notepad and pen and over analyze each piece of dialogue and every scene and every bit of action.
They go to be entertained.
Movies = Entertainment

This book would probably sit well with someone who's in film school who's writing essays and dissertations etc. But this type of over analysis is really not necessary.

Don't misunderstand. There's a lot of useful information with some good examples and then there's the filler and over analysis.

Writer's should be writing movies that they would like to see and movies that will entertain first and foremost.

Most of the population do not analyze movies. They watch them to be ENTERTAINED.

Is it worth getting.
Possibly.

You can check out Dr. Linda Seger's credentials here.

Buy the book and make up your own mind.

This isn't a bad read, neither was it a great read.

This type of analysis seems like overkill.

People don't enter a theater and watch a movie in the hopes of coming out with a degree in film. They go to be entertained.