Most writers write dialogue and then try to add subtext. If you find this difficult, a much simpler approach is to identify the subtext first. Once you’re clear what the subtext is, writing dialogue will be much easier because you’ll know exactly what that dialogue must really say. This makes it easier to disguise the subtext through seemingly ordinary dialogue later.
The three types of subtext that characters reveal in a scene are:
- Intellectual – What the character wants
- Emotional – How the character feels
- Physical – What the character does
By understanding all three types of subtext in each of the main characters in a scene, you can make sure all dialogue stays focused. Without knowing this subtext, you’ll risk writing dialogue that lacks subtext or even contradicts the subtext you need to convey within the scene.
In “Legally Blonde”, there’s a scene where Elle is looking to buy a dress for what she believes will be the night her boyfriend will propose. Intellectually, her goal is to find the best dress that will make her look beautiful and special. Emotionally, her goal is to disguise her excitement at the thought of getting married. Physically, her goal is to find the perfect dress.
Opposing her is a deceitful sales woman who thinks Elle is an idiot so she wants to take advantage of her. This sales woman’s intellectual goal is to cheat Elle. Her emotional goal is to feel superior. Her physical goal is to sell Elle a cheap dress at full price.
Look at this scene from these three different types of subtext:
Intellectual
- Elle wants to look perfect for what she thinks will be her boyfriend’s proposal.
- The sales woman wants to take advantage of Elle.
Emotional
- Elle is excited but feels like she should disguise her excitement.
- The sales woman feels Elle is an idiot and she’s superior to her.
Physical
- Elle tries on different outfits to find the perfect dress.
- The sales woman tries to sell Elle a cheap dress at full price.
Notice that the physical subtext visually shows the intellectual subtext. Elle wants to look perfect for her dinner date with her boyfriend. To show that, Elle tries on different dresses and argues with her girlfriends about which type of dress would be best for this crucial moment.
Elle’s emotions are giddy and excited because she’s certain her boyfriend will propose and she wants to look her absolute best for this major milestone in her life. Her dilemma is trying to look beautiful without appearing too obvious.
Then we see the sales woman looking on. Since this sales woman thinks Elle is a dumb blonde, she decides to take advantage of her. She could say, “I’m going to take advantage of this dumb blonde.” That’s the true meaning, but to make her dialogue more interesting, she lets us know her goal when she says to another sales woman, “There’s nothing I love more than a dumb blonde with daddy’s plastic.”
This dialogue reveals exactly what the sales woman thinks of Elle while also being more colorful and less direct than simply stating, “I’m going to take advantage of this dumb blonde.”
To show her disdain for Elle, the sales woman rips a clearance price tag off a dress and brings it over for Elle to examine. Because we know the intellectual and emotional goals of both Elle and the sales woman, we can see how their physical goals match their intellectual and emotional goals.
Then we get straight to the conflict. After the sales woman shows Elle the dress, Elle asks, “Is this a low-viscosity rayon?” (The subtext is that Elle is setting a trap for the sales woman.)
The sales woman says, “Uh, yes — of course.” (The subtext is that the sales woman is still trying to take advantage of Elle.)
Then Elle asks, “With half-loop top-stitching on the hem?” (The subtext is that Elle is letting the sales woman walk straight into her trap.)
The sales woman, still trying to take advantage of Elle, says, “Absolutely. It’s one of a kind.” (The subtext is that the sales woman still thinks Elle is an idiot.)
That’s when Elle wins the conflict by saying, “It’s impossible to use a half-loop topstitch on low-viscosity rayon. It would snag the fabric. And you didn’t just get this in, because I remember it from the June Vogue a year ago, so if you’re trying to sell it to me at full price, you picked the wrong girl.”
Elle could simply say, “You’re trying to take advantage of me but it’s not going to work.” However, her actual dialogue says the same thing but in a more colorful way.
By knowing these three types of subtext for the major characters in each scene, you can write more insightful dialogue.
Start with your story first and when you get that finely polished, then worry about formatting it. All the formatting in the world means nothing if your story isn’t worth watching, reading, or hearing in the first place.
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