I WANNA SUBTEXT YOU UP

We use subtext all the time without even knowing it, so why don’t we use it in our work properly? Why not put it to good use and turn our dialogue into multi-layered works of genius?

I remember the days when I used to watch Eastenders. Middle-finger-sucking Dirty Den was probably still in it. You’d always get a closing scene with two people ‘making up’ and one of them say something like, ‘Course I luv you, innit. You’re family.’ And then they’d smile, hug and the one who delivered the line’s face would be in frame and the smile would switch to ‘stoney face’. Subtext … No, I don’t love you. I hate you. I’m saying I love you but the real meaning of what I’ve just said has been revealed by my expression to the camera … those watching it know, but you don’t. Just to reiterate, I hate you.

I haven’t seen Eastenders since my bezzy mate’s missus was in it around 10 years ago, but I’m sure that example still goes on all the time.

Subtext is the meaning behind the text – saying something without saying it …

An unfaithful girlfriend talking to a new acquaintance and dropping in that she attends parties alone, cooks TV dinners for one and has nothing much to do on a weekend is giving signals away and is letting him know she’s available without actually saying it. Add to that some non-verbal communication, a bit of playing with hair as she talks and the scene is starting to develop. And there can be twists … does her boyfriend turn up and how does she introduce him? Does it turn out that the boyfriend and the new acquaintance already know each other and he enters the scene with ‘You’ve met my girlfriend, then.’

A hitman talking to his soon-to-be victim about what happened to his last one gives scope for subtext. Telling about how they screamed, delivering the dialogue while examining the detail of the gun, maybe saying the last victim offered money (to see if this one will) … or have a hitwoman and play with the gender role and expectations too. Threats are always more menacing when implied rather than ‘I’m going to poke you in the eye because I’m not a nice person.’

Not that these are the best h-examples in the world and have been done to death, but just to get the idea across. Remember – it’s all about drama and conflict, obstacles and overcoming them.

Man: ‘Oh, Christ. Chicken. Chicken again. We just had chicken.’

Woman: ‘I thought you liked chicken.’

Man: ‘I’m not that arsed about chicken anymore.’

But they sit down and start to eat their lovely meal …

Woman: ‘How is it then?’

Man: ‘Well …’

Woman: ‘Yes?’

Man: ‘A bit bland, really. A bit dry.’

Woman: ‘Maybe I could add some spices to it or something next time.’

Man: ‘Whatever. Is there owt on telly tonight?’

You get the drift.

Last rant of the week. Honest. x

We Didn\’t Burn Him!