GojiBean
Your resident irradiated Kaiju King
Hoyo!
GojiBean here with yet ANOTHER tutorial. My 3rd this month. I must be crazy. Lol!
Anyway, today's subject is subtext.
What is "subtext?"
Subtext can be understood as the "implicit meaning" behind words and actions taken by the character(s) on the page (or on film/tv/animation).
What does this mean, and how does it work?
Let's break it down!
The "Implicit Meaning" Behind Words and Actions
I've seen many people, myself included for many years (RIP young, ignorant Goji), mistake "implicit" meaning for "hidden" meaning. Or the truth "behind" the words/actions or "underneath" the words/actions. But this is not the case.
"Implicit" means "implied, not expressed plainly." It is not necessarily hidden. In fact, great subtext is often an implied message conveyed openly, but disguised with an opposing theme or façade to what's actually intended to be understood.
And the absolute master of Subtext, like none I've ever seen, is Quentin Tarantino. Love or hate his movies, his mastery of subtext is on a level all its own.
Let's look at an example from the film Pulp Fiction. And the scene in question is where Jules (played by Samuel L Jackson) and Vincent (played by John Travolta) enter an apartment room to talk to three colleagues of their boss, Marsellus Wallace.
The Apartment Scene
As soon as the door opens, Jules says "Hey kids. How you boys doin?"
Immediately, Jules is saying "kids" as a way to demean the three grown men who are inside the room. And he says it not once, but twice. "Kids," and "boys." He doesn't acknowledge them as men. They are beneath him. And he's talking down to them as such.
This accomplishes two things:
1) It passively establishes that Jules is taking charge of this encounter and establishing himself as the dominant presence in the room above everyone else.
2) It's spoken casually to pacify the men in the room and prevent a combative atmosphere
The very next thing to happen is that Jules says to one of the men, who's laying on the couch and looking like he'll get up, "Hey, keep chillin!" He says this with a hand out, palm down, as if to say "lay down." He then leans down to use that same hand in a gesture to guide his one leg that was down on the floor back up to the couch, putting him in a completely vulnerable position and further establishing his dominance as if to say, "You don't get up unless I say so." But he does it with a smile, and a calm, unassuming attitude about him. And once the man's leg is back up on the couch and he looks more relaxed, Jules gives him the "OK" gesture with his hand in approval of his submission.
This is terrifying when you piece it together like this.
In the span of literally 10 seconds Jules has pacified his potential targets/enemies, established dominance, and successfully manipulated one of the targets/enemies into a submissive posture with nothing but a casual greeting and a gentle urge to relax.
... Terrifying.
And he did it all with subtext.
Calling the grown men "kids" and "boys" to lower their position on the totem pole without saying "Okay, let's make it clear that I'm in charge." Pacifying them without saying "All right, everyone keep calm. Let's not make things messy." And keeping the one on the couch on his back with nothing but a gentle urge to relax and just kick up his feet instead of saying "Stay on that couch until I tell you to get up!"
Everything Jules did, from start to finish, was subtext personified.
Jules commands the room unequivocally. Even his partner Vincent doesn't speak until/unless Jules addresses him. And Jules maintains his calm poise the entire time until one of them speaks without his say so, and his gentle, calm facade finally snaps. "I don't remember asking you a goddamn thing!" And even then, there is still subtext. He doesn't have to openly demand silence or threaten the man to shut up or else. His eyes, tone of voice, and body language do that talking for him.
I could go on to analyze the rest of the scene, but I think you get the point.
And yes... I could gush about Tarantino's mastery of subtext until the cows come home.
How Do We Use It?
Subtext is a very simple concept, but it's difficult to implement.
ESPECIALLY if you're like me and overthink everything way too easily.
However, to illustrate the concept of subtext I'm going to provide an example using a conversation between two characters in a similar manner to the Tarantino example.
Remember, the trick is to use what's not being stated openly to send the message.
So, here's the setup:
- You have an assassin character. But not the quiet, stealthy kind. Instead, they blend with the crowd openly by dressing and acting like they're a normal member of society. They're attending a classy high-rolling ball in fine attire. In one hand, a cup of red wine. In the other hand, a fan. Their target is the Count of the region who's become a little too big for his britches lately and overstepped his political bounds. And your character is here to remove the threat that the client perceives. All for outstanding pay, of course. The client and Count are well acquainted, and not on good terms. Both understand the power and influence the other possesses. And both know the other could order their death at any time. So, as your assassin approaches they want the Count to know their time is up without causing a stir. And so...
Assassin - "Ah, Count Montesorilo! A pleasure indeed to meet His Grace face to face!"
Count - "Welcome to the ball, sir... Oh, I don't believe I recognize you. Your name, please?"
Assassin - "My name isn't worthy of passing Your Grace's lips. Please, allow me to introduce myself as an associate of Duke Edmund Hannish."
Count - (eyes widen ever so slightly, but he maintains his poise)
Assassin - "Sir Edmund speaks quite highly of Your Grace. I've heard only the best! That's why I've come on this beautiful and auspicious occasion to meet Your Grace in person!"
Count - (subtly gulps a lump in his throat...) "Th-the pleasure is mine, sir. Won't you please join me on the balcony?" (he points to the balcony overlooking the ballroom dance floor)
Assassin - "Why, certainly Your Grace. You are most generous." (they say with a bow of their head, and a gesture for the Count to walk first)
Both - (walk up the stairs to the balcony overlooking the Ball)
Assassin - "Haahh... A beautiful sight, is it not Your Grace?"
Count - "Yes... Yes, it is." (takes a fresh glass of wine and sips it) "Might I offer you some fresh samples of fruit, sir?"
Assassin - "Oh, I'd be delighted Your Grace!"
The Count waves down a butler with a tray of fresh samples, and both partake in a single piece before the butler is dismissed.
Count - "I don't suppose Duke Edmund is fond of fruits?"
Assassin - "I believe the Duke is more fond of meats and grains, Your Grace. However, I do believe I've been privy to witness them sampling an occasional slice or two."
Count - "Ah. I understand. Perhaps I could offer a boxing of some of our finer-"
Assassin - "Oh, no Your Grace. That's quite all right. The Duke would be most displeased with me if I returned with such an offering of perishable delectables."
The Assassin looks over the balcony and scans the room with a pleasant smile, taking another sip of wine.
Assassin - "I do so enjoy events like these. However, does Your Grace know the problem with them?" (glances sideways at the Count)
Count - (takes a sip and sets the almost empty glass on the railing)
Assassin - "Just look around, Your Grace. The people. The clothing. The masks. The fans." (gently fanning themselves with theirs) "Even the curtains and the stained glass windows. They're all so... Striking. Wouldn't you say? It's hard to know where to look."
Count - (glances around nervously)
Assassin - (turns to the Count with a smile and sips all but the last bit, and sets the glass on the railing)
Count - "L-listen. If Duke Edmund is upset, I can-"
Assassin - (waves their hand dismissively and holds their finger up to their lips) "No, no, Your Grace. Duke Edmund isn't upset. Quite the opposite, in fact. He's delighted. He's been suffering severe migraines of late. And he's finally found a local remedy that works wonders to relieve his pain."
Count - "Ah. I see... May I ask what the remedy he found is? I've been suffering some headaches myself, you see."
Assassin - (face remains pleasant and smiling, eyes go cold) "A good night's sleep."
Blades erupt from the tips of the assassin's fan as it's raked across the Count's throat. Grasping hold of it, the Count falls to his knees before the blood finally seeps through his fingers and into the fine wool of the carpet beneath their feet. The Assassin reaches over to the Count's glass of wine, empties the contents, and places it back on the railing before descending the stairs and exiting the Ball just as a scream is heard in the background and all Hell breaks loose.
.................
Now, the quality of that above example is highly debatable since I came up with it on the fly. So don't at me if it's not quite how you'd have done it. Lol.
The point is to notice how neither character states openly, at any time, what's actually on their mind. The assassin never has to say they were hired by Duke Edmund or that they're an assassin. And the Count never has to say he's guessed this information and is now afraid for his life or the integrity of the event. Both characters go back and forth using subtle clues in their choice of words or their actions to reveal what's going on inside their heads and what their intentions are.
And this, my friends, is subtext.
The implied meaning of the words and actions on the page.
In Conclusion...
With any luck, the above example was a good one to help you see subtext in action.
The temptation to write everything out so that it's all in the open and understood is very, very strong. Trust me, I know. It was a problem I had for a very, very, very long time. I only managed to gain a proficient level of understanding and implementation of it within the last year or so myself. So I'm hoping this didn't sound too much like a lecture. I'm not really in a position to do that. Lol.
Still, examples usually prove more useful than just explanations. At least in my experience.
If you want to state everything openly, then that's perfectly fine. Nobody's forcing you to use subtext. And I'm certainly not saying that you have to use it. But subtext, when used well, generally provides a powerful underlying tone and intensity to the scenes you write which can be nullified by the reveal of all the information which everyone is hoping to piece together as they go alone.
I'd much rather read a scene like the one above than read that the assassin walked up to the Count, said "Duke Edmund sent me to... silence the competition," and then kills the Count. While it's simple and shows the confidence and skill of the assassin to get that close, it's kinda boring to have the scene start and end so quickly in a fashion like that. Hopefully I'm not alone in thinking that.
Again, if it's your style to be revealing with everything that's going on behind the scenes and beneath the surface, go for it. But remember that subtext exists for a reason and has a place in writing. And if you try using it, it's quite fun! So I encourage you to give it a go!
Cheers!
~ GojiBean
GojiBean here with yet ANOTHER tutorial. My 3rd this month. I must be crazy. Lol!
Anyway, today's subject is subtext.
What is "subtext?"
Subtext can be understood as the "implicit meaning" behind words and actions taken by the character(s) on the page (or on film/tv/animation).
What does this mean, and how does it work?
Let's break it down!
The "Implicit Meaning" Behind Words and Actions
I've seen many people, myself included for many years (RIP young, ignorant Goji), mistake "implicit" meaning for "hidden" meaning. Or the truth "behind" the words/actions or "underneath" the words/actions. But this is not the case.
"Implicit" means "implied, not expressed plainly." It is not necessarily hidden. In fact, great subtext is often an implied message conveyed openly, but disguised with an opposing theme or façade to what's actually intended to be understood.
And the absolute master of Subtext, like none I've ever seen, is Quentin Tarantino. Love or hate his movies, his mastery of subtext is on a level all its own.
Let's look at an example from the film Pulp Fiction. And the scene in question is where Jules (played by Samuel L Jackson) and Vincent (played by John Travolta) enter an apartment room to talk to three colleagues of their boss, Marsellus Wallace.
The Apartment Scene
As soon as the door opens, Jules says "Hey kids. How you boys doin?"
Immediately, Jules is saying "kids" as a way to demean the three grown men who are inside the room. And he says it not once, but twice. "Kids," and "boys." He doesn't acknowledge them as men. They are beneath him. And he's talking down to them as such.
This accomplishes two things:
1) It passively establishes that Jules is taking charge of this encounter and establishing himself as the dominant presence in the room above everyone else.
2) It's spoken casually to pacify the men in the room and prevent a combative atmosphere
The very next thing to happen is that Jules says to one of the men, who's laying on the couch and looking like he'll get up, "Hey, keep chillin!" He says this with a hand out, palm down, as if to say "lay down." He then leans down to use that same hand in a gesture to guide his one leg that was down on the floor back up to the couch, putting him in a completely vulnerable position and further establishing his dominance as if to say, "You don't get up unless I say so." But he does it with a smile, and a calm, unassuming attitude about him. And once the man's leg is back up on the couch and he looks more relaxed, Jules gives him the "OK" gesture with his hand in approval of his submission.
This is terrifying when you piece it together like this.
In the span of literally 10 seconds Jules has pacified his potential targets/enemies, established dominance, and successfully manipulated one of the targets/enemies into a submissive posture with nothing but a casual greeting and a gentle urge to relax.
... Terrifying.
And he did it all with subtext.
Calling the grown men "kids" and "boys" to lower their position on the totem pole without saying "Okay, let's make it clear that I'm in charge." Pacifying them without saying "All right, everyone keep calm. Let's not make things messy." And keeping the one on the couch on his back with nothing but a gentle urge to relax and just kick up his feet instead of saying "Stay on that couch until I tell you to get up!"
Everything Jules did, from start to finish, was subtext personified.
Jules commands the room unequivocally. Even his partner Vincent doesn't speak until/unless Jules addresses him. And Jules maintains his calm poise the entire time until one of them speaks without his say so, and his gentle, calm facade finally snaps. "I don't remember asking you a goddamn thing!" And even then, there is still subtext. He doesn't have to openly demand silence or threaten the man to shut up or else. His eyes, tone of voice, and body language do that talking for him.
I could go on to analyze the rest of the scene, but I think you get the point.
And yes... I could gush about Tarantino's mastery of subtext until the cows come home.
How Do We Use It?
Subtext is a very simple concept, but it's difficult to implement.
ESPECIALLY if you're like me and overthink everything way too easily.
However, to illustrate the concept of subtext I'm going to provide an example using a conversation between two characters in a similar manner to the Tarantino example.
Remember, the trick is to use what's not being stated openly to send the message.
So, here's the setup:
- You have an assassin character. But not the quiet, stealthy kind. Instead, they blend with the crowd openly by dressing and acting like they're a normal member of society. They're attending a classy high-rolling ball in fine attire. In one hand, a cup of red wine. In the other hand, a fan. Their target is the Count of the region who's become a little too big for his britches lately and overstepped his political bounds. And your character is here to remove the threat that the client perceives. All for outstanding pay, of course. The client and Count are well acquainted, and not on good terms. Both understand the power and influence the other possesses. And both know the other could order their death at any time. So, as your assassin approaches they want the Count to know their time is up without causing a stir. And so...
Assassin - "Ah, Count Montesorilo! A pleasure indeed to meet His Grace face to face!"
Count - "Welcome to the ball, sir... Oh, I don't believe I recognize you. Your name, please?"
Assassin - "My name isn't worthy of passing Your Grace's lips. Please, allow me to introduce myself as an associate of Duke Edmund Hannish."
Count - (eyes widen ever so slightly, but he maintains his poise)
Assassin - "Sir Edmund speaks quite highly of Your Grace. I've heard only the best! That's why I've come on this beautiful and auspicious occasion to meet Your Grace in person!"
Count - (subtly gulps a lump in his throat...) "Th-the pleasure is mine, sir. Won't you please join me on the balcony?" (he points to the balcony overlooking the ballroom dance floor)
Assassin - "Why, certainly Your Grace. You are most generous." (they say with a bow of their head, and a gesture for the Count to walk first)
Both - (walk up the stairs to the balcony overlooking the Ball)
Assassin - "Haahh... A beautiful sight, is it not Your Grace?"
Count - "Yes... Yes, it is." (takes a fresh glass of wine and sips it) "Might I offer you some fresh samples of fruit, sir?"
Assassin - "Oh, I'd be delighted Your Grace!"
The Count waves down a butler with a tray of fresh samples, and both partake in a single piece before the butler is dismissed.
Count - "I don't suppose Duke Edmund is fond of fruits?"
Assassin - "I believe the Duke is more fond of meats and grains, Your Grace. However, I do believe I've been privy to witness them sampling an occasional slice or two."
Count - "Ah. I understand. Perhaps I could offer a boxing of some of our finer-"
Assassin - "Oh, no Your Grace. That's quite all right. The Duke would be most displeased with me if I returned with such an offering of perishable delectables."
The Assassin looks over the balcony and scans the room with a pleasant smile, taking another sip of wine.
Assassin - "I do so enjoy events like these. However, does Your Grace know the problem with them?" (glances sideways at the Count)
Count - (takes a sip and sets the almost empty glass on the railing)
Assassin - "Just look around, Your Grace. The people. The clothing. The masks. The fans." (gently fanning themselves with theirs) "Even the curtains and the stained glass windows. They're all so... Striking. Wouldn't you say? It's hard to know where to look."
Count - (glances around nervously)
Assassin - (turns to the Count with a smile and sips all but the last bit, and sets the glass on the railing)
Count - "L-listen. If Duke Edmund is upset, I can-"
Assassin - (waves their hand dismissively and holds their finger up to their lips) "No, no, Your Grace. Duke Edmund isn't upset. Quite the opposite, in fact. He's delighted. He's been suffering severe migraines of late. And he's finally found a local remedy that works wonders to relieve his pain."
Count - "Ah. I see... May I ask what the remedy he found is? I've been suffering some headaches myself, you see."
Assassin - (face remains pleasant and smiling, eyes go cold) "A good night's sleep."
Blades erupt from the tips of the assassin's fan as it's raked across the Count's throat. Grasping hold of it, the Count falls to his knees before the blood finally seeps through his fingers and into the fine wool of the carpet beneath their feet. The Assassin reaches over to the Count's glass of wine, empties the contents, and places it back on the railing before descending the stairs and exiting the Ball just as a scream is heard in the background and all Hell breaks loose.
.................
Now, the quality of that above example is highly debatable since I came up with it on the fly. So don't at me if it's not quite how you'd have done it. Lol.
The point is to notice how neither character states openly, at any time, what's actually on their mind. The assassin never has to say they were hired by Duke Edmund or that they're an assassin. And the Count never has to say he's guessed this information and is now afraid for his life or the integrity of the event. Both characters go back and forth using subtle clues in their choice of words or their actions to reveal what's going on inside their heads and what their intentions are.
And this, my friends, is subtext.
The implied meaning of the words and actions on the page.
-------------------------------------------------------------------------
In Conclusion...
With any luck, the above example was a good one to help you see subtext in action.
The temptation to write everything out so that it's all in the open and understood is very, very strong. Trust me, I know. It was a problem I had for a very, very, very long time. I only managed to gain a proficient level of understanding and implementation of it within the last year or so myself. So I'm hoping this didn't sound too much like a lecture. I'm not really in a position to do that. Lol.
Still, examples usually prove more useful than just explanations. At least in my experience.
If you want to state everything openly, then that's perfectly fine. Nobody's forcing you to use subtext. And I'm certainly not saying that you have to use it. But subtext, when used well, generally provides a powerful underlying tone and intensity to the scenes you write which can be nullified by the reveal of all the information which everyone is hoping to piece together as they go alone.
I'd much rather read a scene like the one above than read that the assassin walked up to the Count, said "Duke Edmund sent me to... silence the competition," and then kills the Count. While it's simple and shows the confidence and skill of the assassin to get that close, it's kinda boring to have the scene start and end so quickly in a fashion like that. Hopefully I'm not alone in thinking that.
Again, if it's your style to be revealing with everything that's going on behind the scenes and beneath the surface, go for it. But remember that subtext exists for a reason and has a place in writing. And if you try using it, it's quite fun! So I encourage you to give it a go!
Cheers!
~ GojiBean