[00:00:00] so today what I want to talk to you about is how to create subtext. It's the age old question. Everybody talks about how story must have subtext. And we all know this on some level. But there tends to be a breakdown between knowing it cognitively and then knowing how to do it. How to actually execute that in your story.
[00:00:32] So, today I wanted to break down how, on a practical basis, how can you actually create subtext in your story. And the very first thing that we need to do to be able to create subtext is we need to have a better understanding about what subtext is. So, subtext is the communication underneath the text.
[00:00:55] It's sub. It is the non overt communication. And this is an important concept to understand Because it means that subtext is accomplished in a way that is sort of backdoor, in a way that is not overt, it is covert communication.
[00:01:13] Now, here's the thing. We all are familiar with it. Because this is not something that just occurs in story. Subtext, subtext is a very human phenomenon that we all experience all the time because of the fact that we are in human relationships with other people.
[00:01:33] And I want to explore this phenomenon a little bit because it's here where we learn the principles or techniques that we can employ to actually recreate this in our stories.
[00:01:43] So again, we're all familiar with this in our own lives.
[00:01:46] This is the subtle snub of the boss in the big meeting because of the way something was phrased. Or it's the stuff that the boyfriend didn't actually say when you finally confronted him about this particular issue. or it's the mask of friendliness that we put on or that others put on when we know something that they don't know that we know.
[00:02:08] and the air of protectiveness that we project because we know that thing.
[00:02:13] and sometimes in addition to the protectiveness, we're also projecting some sort of hostility or anger, but it's coming out sideways. It's covert communication. It's all subtle and indirect, so as to be socially acceptable and also to give us room to backpedal.
[00:02:33] So that's a very interesting part of the phenomenon. In other words, it's indirect communication, but it's still communication. It's communication that avoids It's direct confrontation. It's communication that avoids direct laying it out exposure on the table.
[00:02:54] And we see this again in a number of types of behaviors. Subtle jabs or snide remarks. Contradictory human behavior Like smiling when we're also rolling our eyes, contradictory human behavior at one and the same time being smiley, but saying something mean underneath it's contradiction In that moment, defensive posturing or suspicion where we're dropping little hints, we're dropping subtle hints.
[00:03:26] We're intentionally probing with our questions, but it's intent. It is. But it's intrusive. It feels like an attack, even if we're just asking questions. And then the other person could be like, Hey, what's going on here? Why am I getting the fifth degree?
[00:03:40] What is this? The Inquisition? And you can be like, What? I'm just asking questions. So it's a way to deflect our own feelings on the inside. it's also a refusal to communicate. This is where we don't answer texts or we avoid phone calls or we duck into a classroom when we see the other person coming down the hallway because we don't want to see them.
[00:04:06] We're avoiding them. It's also taking your anger or frustration out on somebody else. It's where those things come out sideways. So we're mad at the person sitting across from us, but we snap at the waiter who's taking our order.
[00:04:22] Or it comes out sideways in behaviors. It's where we slam the door and say, Yes, dear. Or we set the plate down just a little too roughly, but we have a smile on our face. Again, contradictory human behaviors. It's where it comes out sideways.
[00:04:36] So, one of the best things you can do to learn how to craft subtext in story is to look at the ways in which we actually do this sort of thing in real life. But also, we look at why. Why do we do this? Why do we do this in real life? And I think it all comes down to fear. At the end of the day, all subtext is based on this notion of fear.
[00:05:04] That is the fuel that motivates it.
[00:05:08] We need to understand the motive. And here's the thing. I firmly believe that
[00:05:13] the more fearless we become, the less we rely on these methods in real life because we're willing to And this is key to accept the outcome of whatever our direct communication brings, which also gives us a clue as to what we're afraid of. I don't know if you're familiar with Jordan Peterson, but he has this wonderful statement that he makes that he says, living honestly is about the most courageous and bold and adventurous thing that you can do.
[00:05:45] The more you can live honestly, that is the greatest adventure. Why? Because you're willing to accept the outcome. See, what happens when we are communicating in these subtextual or underhanded ways is because we're afraid of the other person's reaction.
[00:06:05] We're afraid of rejection. We're afraid of knowing the truth. Because once the truth is laid bare, it demands a response. It demands a different trajectory. Which is why sometimes we don't want it to be stated overtly. We want to allow it to be subtle. Or we want to hint that we know it, but without stating it overtly, so that you are not required to change anything.
[00:06:34] We just want the other person to know that we know and we're pissed, but we don't really have to make a change. However, once it is stated out in the open, it demands a change. And a lot of times we just are too afraid of that because a lot of times the change means that the other person is going to leave us or the other person is going to reject us.
[00:06:57] So we're afraid of the other person's reaction. We're afraid sometimes to face the pain. The pain of the consequences that must follow when the truth is laid bare, laid out in the open.
[00:07:11] When I say that we're afraid of the other person's reaction, this could include a number of things. One, it could be that the other person is going to be enraged. Because they're enraged that they've been called on something and nobody wants to be held to account. They're also enraged maybe that they've been held, that they've been exposed, and now it demands that they change, or they have to leave because they're not willing to change.
[00:07:34] And they also want the status quo.
[00:07:37] they might be enraged because they've been seen. And that is one of the primary ways that we deal with shame is we either have other centered contempt where we lash out at other people or we lash out at ourselves and have self centered contempt.
[00:07:56] But either way, it is a deflection. Because one thing I learned in therapy is that anger is always a secondary emotion. The primary emotions are either fear or sorrow. We rage because we're super sad. Because we have to grieve something now. The loss of something. Or we rage because we're so afraid of what's going to come now.
[00:08:25] And of course, we are afraid of the other person's rejection of us then, or their admission of guilt. What happens if you confront somebody that you suspect has cheated on you and they admit it? Again, if they admit it, it means that we have to change our behavior. It means that we might have to change the status of the relationship and sometimes we just are so afraid of being alone that we don't want to do that.
[00:08:50] Therefore, what do we do? We adopt these manipulative, underhanded behaviors and techniques
[00:08:59] that ironically don't make us feel less alone and don't alleviate the problem. They only prolong our angst and yet we still do it. So.
[00:09:11] what conclusions can you draw here? Well, if you are looking to create more subtext in your stories, I submit to you that subtext is energized by secrets, by our secret fears in particular. And I also submit to you that subtext is the language that humans speak when they are afraid of something being exposed.
[00:09:38] And once we know that then, now we can figure out how to apply it in our story. All you have to do is figure out who or what your character is afraid of, and then cultivate scenes where they are trying to keep a lid on that thing. Where they're trying to keep the truth hidden, but it keeps coming out sideways.
[00:09:58] It keeps rearing its ugly head. And they keep having to stuff it back down. Now you've got subtext. ask yourself what your character is hiding. What don't they want the other character to know directly, but they do want the character to know it indirectly. See, a lot of times that's our pride, right?
[00:10:18] We don't want to state it directly because that means something has to change, but we want them to know they didn't get away with it. And so now you both walk on eggshells knowing that the other one knows but never communicating directly. It's a fascinating thing. It all is about direct knowledge versus indirect knowledge.
[00:10:38] Direct communication versus indirect communication. Because direct knowledge changes everything. We have to react, we have to make different decisions once it is known out in the open. But if we keep a lid on it, and we keep it hidden and veiled, now we can stay in our casually convenient relationships without truly causing change.
[00:11:04] But it does mean that we speak and behave in subtextual ways.
[00:11:09] so hopefully this will help you when it comes to creating subtext in your own stories. If you need help to do this, My dog is snoring. That's subtextual. Just kidding.
[00:11:26] If you need help learning how to write great subtext, then you need to take my course, Hollywood Story Structure Made Easy. Now, you might be thinking, what does that have to do with subtext?
[00:11:37] It has everything to do with subtext, because story is all about character. Story unfolds according to the choices that your character makes under pressure, and subtext is very much a part of it. So if you are interested in learning how to write an excellent story that is well structured and that has all the nuances that you need to become a true master of your craft, you do not want to miss.
[00:12:01] this class. Click on the link provided, find out more about it, and sign up today, while you can, for Hollywood Story Structure Made Easy. It is available for this price for a very limited time, and now is the time to sign up. I look forward to seeing you there.