Dialogue and subtext

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  • Dialogue and subtext

    This is something that has confused me for a very long time, even though I have read up on ways to not use "on-the-nose" dialogue in various screenwriting books. How do I approach writing dialogue in general? I'm wondering if writing subtext means finding another way to say something direct, like "I love you" or another way to illustrate the action in a scene, like an argument or something.

    I know about revealing character through dialogue, like revealing a trait of a character, but I just don't know how to even approach writing dialogue as it relates to scenes. This is probably one of the weakest areas of my writing, even though I've been involved in this for a while (and I know that I really haven't completed a lot of scripts for various reasons, but that's another story), and I've taken a class on this in college recently. Anyone have any suggestions?

  • #2
    Re: Dialogue and subtext

    I find that once you have a clear grasp of your characters, dialogue and subtext come much easier.

    From my experience, once I figure out what the character WANTS (more external) and what the character NEEDS (internal), I find that the dialogue comes easier.

    There's nothing wrong with on-the-nose dialogue. Most of the time, it's not very interesting. However, once you figure out what the theme and the arc of the character are, it's a lot easier to add layers to what they say.

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    • #3
      Re: Dialogue and subtext

      Thanks very much.

      I wonder somehow if when I go to write dialogue, I should probably play it scene by scene, maybe to ask myself "what is the purpose of this scene, what does the character(s) want and need in this scene", etc. I wrote a short screenplay as part of my class assignment, and my teacher said that the dialogue seemed natural, even though some people thought it to be too "on the nose". Another person said the same thing, that within the context of the scenes themselves, the dialogue seemed natural, like something that an average person would say given the situation.

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      • #4
        Re: Dialogue and subtext

        Have you seen Annie Hall? If you have, what do you think this joke really means? (It's loaded with meaning in terms of who they are and where they come from.)
        My grammy never gave gifts. She was too busy getting raped by Cossacks.

        Also, there's that scene in the balcony when Annie and Alvy have their first date that illustrates what subtext is.

        La di da, la di da...
        Last night, Jesus appeared to me in a dream and told me that loving me is the part of His job He hates the most.

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        • #5
          Re: Dialogue and subtext

          Originally posted by NatachaVonBraun View Post
          Have you seen Annie Hall? If you have, what do you think this joke really means? (It's loaded with meaning in terms of who they are and where they come from.)
          My grammy never gave gifts. She was too busy getting raped by Cossacks.

          Also, there's that scene in the balcony when Annie and Alvy have their first date that illustrates what subtext is.

          La di da, la di da...
          I have never seen that movie, strangely enough. I really feel embarrassed to admit this, but it seems like I hardly ever have time to watch movies, or to seek them out. Even if I did have time to watch movies, I would tend to gravitate toward the classics, or recent films that are considered to be great in one way or another. I know I've heard that line before, but I never knew what it meant. I know I've read about exposition through dialogue, and maybe it might come easier for me once I know my characters. It just seems so difficult to grasp, though, based on my personal experience trying to write, even though I've read about ways to better write the dialogue itself.

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          • #6
            Re: Dialogue and subtext

            I’m sorry to break it to you, but no book is going to give you the skills and talent you need to write great characters and dialogue (both elements are married to each other because you can’t have one without the other). It’s like expecting you'll be able to knit great sweaters just by reading every single knitting book out there.

            If you are going to learn how to write good dialogue, you will have to become an astute student and LOVER of human behavior and relationships. This board itself is one big heaping bowl of subtext.

            Good luck.

            P.S. Who's Afraid of Virginia Woolf is all subtext.
            Last night, Jesus appeared to me in a dream and told me that loving me is the part of His job He hates the most.

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            • #7
              Re: Dialogue and subtext

              Originally posted by NatachaVonBraun View Post
              This board itself is one big heaping bowl of subtext.
              I'd like another serving, please.

              Comment


              • #8
                Re: Dialogue and subtext

                Originally posted by SuperScribe View Post
                I'd like another serving, please.
                More? These past few weeks you've gotten ALL my subtext. I need to make a trip to Costco and get some more.

                Ok, OP, give this one a shot. I won't tell you the movie since you probably haven't seen it.


                Group Capt. Lionel Mandrake: Colonel... that Coca-Cola machine. I want you to shoot the lock off it. There may be some change in there.
                Colonel "Bat" Guano: That's private property.
                Group Capt. Lionel Mandrake: Colonel! Can you possibly imagine what is going to happen to you, your frame, outlook, way of life, and everything, when they learn that you have obstructed a telephone call to the President of the United States? Can you imagine? Shoot it off! Shoot! With a gun! That's what the bullets are for, you twit!
                Colonel "Bat" Guano: Okay. I'm gonna get your money for ya. But if you don't get the President of the United States on that phone, you know what's gonna happen to you?
                Group Capt. Lionel Mandrake: What?
                Colonel "Bat" Guano: You're gonna have to answer to the Coca-Cola company.
                Last night, Jesus appeared to me in a dream and told me that loving me is the part of His job He hates the most.

                Comment


                • #9
                  Re: Dialogue and subtext

                  Originally posted by figure8xo80 View Post
                  I have never seen that movie, strangely enough. I really feel embarrassed to admit this, but it seems like I hardly ever have time to watch movies, or to seek them out. Even if I did have time to watch movies, I would tend to gravitate toward the classics, or recent films that are considered to be great in one way or another. I know I've heard that line before, but I never knew what it meant. I know I've read about exposition through dialogue, and maybe it might come easier for me once I know my characters. It just seems so difficult to grasp, though, based on my personal experience trying to write, even though I've read about ways to better write the dialogue itself.
                  In early drafts of my screenplays (1-2) I don't worry about the dialogue, but when I am get to later drafts (3 and on) I have a better grasp of what each scene is really about and then I start to work on dialogue. One of the best chapters I've ever read regarding techniques is from Karl Iglesias' book "Writing for Emotional Impact." Chapter 10 (54 pages) is devoted to dialogue and it's a matter of finding the technique that best fits your scene.
                  "All of us trying to be the camera behind the camera behind the camera. The last story in line. The Truth" Chuck Palahniuk - Haunted

                  Comment


                  • #10
                    Re: Dialogue and subtext

                    Originally posted by NatachaVonBraun View Post
                    More? These past few weeks you've gotten ALL my subtext. I need to make a trip to Costco and get some more.

                    Ok, OP, give this one a shot. I won't tell you the movie since you probably haven't seen it.


                    Group Capt. Lionel Mandrake: Colonel... that Coca-Cola machine. I want you to shoot the lock off it. There may be some change in there.
                    Colonel "Bat" Guano: That's private property.
                    Group Capt. Lionel Mandrake: Colonel! Can you possibly imagine what is going to happen to you, your frame, outlook, way of life, and everything, when they learn that you have obstructed a telephone call to the President of the United States? Can you imagine? Shoot it off! Shoot! With a gun! That's what the bullets are for, you twit!
                    Colonel "Bat" Guano: Okay. I'm gonna get your money for ya. But if you don't get the President of the United States on that phone, you know what's gonna happen to you?
                    Group Capt. Lionel Mandrake: What?
                    Colonel "Bat" Guano: You're gonna have to answer to the Coca-Cola company.
                    Dr. Strangelove?
                    "All of us trying to be the camera behind the camera behind the camera. The last story in line. The Truth" Chuck Palahniuk - Haunted

                    Comment


                    • #11
                      Re: Dialogue and subtext

                      Subtext is a huge part of what makes the experience of watching films enjoyable and engaging. We, the audience, trying to interpret what the characters are really saying, and feeling smart and like we get it when we do.

                      There's a textbook example of subtext in the opening dialogue scene of Sorkin's Social Network. Not only is the scene loaded with subtext, the characters argue about the subtext throughout the scene. See if you can dig it up.

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                      • #12
                        Re: Dialogue and subtext

                        Originally posted by Lucha Scribre
                        Are you two e-dating or something?
                        OP -

                        This would be an example of when a Cordelia*-esque character takes something that is largely unspoken -- i.e., something that exists within the subtext of the dialogue -- and expresses it in a very straightforward manner. A character like that can actually be kinda fun because he or she is like the audience's buddy, constantly nudging them in the ribs.


                        * From Buffy the Vampire Slayer (the series).

                        Comment


                        • #13
                          Re: Dialogue and subtext

                          Originally posted by SuperScribe View Post
                          OP -

                          This would be an example of when a Cordelia*-esque character takes something that is largely unspoken -- i.e., something that exists within the subtext of the dialogue -- and expresses it in a very straightforward manner. A character like that can actually be kinda fun because he or she is like the audience's buddy, constantly nudging them in the ribs.


                          * From Buffy the Vampire Slayer (the series).
                          I love that episode where Buffy reads everybody's mind, and when she gets to Cordelia she thinks "I'm bored" and then she opens her mouth and says "I'm bored." That's the moment I decided I loved Cordelia.
                          Chicks Who Script podcast

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                          • #14
                            Re: Dialogue and subtext

                            Dialogue with no subtext is wooden. That's when you come up with on-the-nose dialogue. And that is a bore. To Readers. To Actors. To Producers. People generally don't say exactly what they are thinking; we hint, allude, flirt, tease, etc. all things that elicit emotion and scratch beneath the surface-- until the climax/resolution where IMO it's fine to use on-the-nose dialogue, especially when it pertains to your theme.

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                            • #15
                              Re: Dialogue and subtext

                              Figure8 -

                              Just a few suggestions:

                              The most important thing you can do is read good scripts and watch good movies and television. Especially in the specific genre you are writing. Pay attention to the dialogue. Listen to a movie without watching it. Watch a movie with the sound off.

                              Also, listen to the way people talk - eavesdrop on conversations when you're out in public places. Pick up on the rhythm, the lingo, the idiosyncrasies of different people. You don't want all of your characters to sound alike.

                              Just remember, film dialogue leaves out the boring stuff. It isn't just about sounding natural, it's about making it interesting or funny. Decide exactly what each scene is there for. Be interesting, concise, or funny. Find interesting or funny ways to dole out exposition and back-story if that's necessary. Have a character say one thing, but his action shows something else. Use action to convey some things, as well as dialogue.

                              Every scene doesn't necessarily need subtext, it depends upon it's function and your story. Just know why the scene is there.

                              And when it comes to scenes, arrive late and get out early. Start in the middle of a conversation. End on a great line of dialogue or joke. Don't repeat information.

                              Create good characters and they'll have interesting things to say.

                              You know when you read or hear something that bores you. Just don't do that.
                              "The Hollywood film business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." Hunter S Thompson

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