DZ-120: Subtext is Overrated!

Listen if you're struggling to write subtext without it feeling forced! Or, how focusing on good drama will result in good subtext. We often hear how subtext is important for good screenwriting. We're here to tell you it isn't. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how? In this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext. We kick off the discussion by talking through Tom's article "Why Subtext is Overrated" and break down his core idea that subtext is a byproduct of character goals, tactics and fears. We explore this further through close examination of "the other way" scene from MICHAEL CLAYTON, "the strudel" scene from INGLOURIOUS BASTERDS (both known for their subtext) and the "new years" sequence from THE SUBSTANCE. Inevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker's subtext. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. LIKE THIS EPISODE? Discuss with our Patrons on Patreon. Watch and comment on YouTube. Send us feedback. Thanks to our Patrons, especially Lily, Paulo, Alexandre & Natalie, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob. → Read the transcript for this episode. ——— "You can't market subtext, man." — Tom Vaughn @ 00:36:51 ——— CHAPTERS 00:00:20 – Intro: What is Subtext? 00:00:21 – Cold Open 00:18:59 – MICHAEL CLAYTON 00:23:18 – › How character tactics generate subtext organically 00:27:26 – › Scene structure breaks down three beats of deniability 00:35:25 – › Subtext requires narrative groundwork to land 00:42:59 – INGLOURIOUS BASTERDS 00:46:34 – › French scene structure and dramatic setup 00:53:38 – › Filmmaker subtext versus character-driven tension 01:08:35 – › Writing the score: action lines as emotional music 01:13:48 – THE SUBSTANCE 01:17:41 – › Originality vs. universality in thematic storytelling 01:23:42 – › Reading the script's literal big print as filmmaker subtext 01:35:46 – › Irony and denial as competing interpretations of the ending 01:42:23 – › Subtext through fear: the date scene as contrast 01:46:13 – Wrap up & Key Learnings 01:48:00 – › Two layers of subtext: character awareness vs. filmmaker control 01:49:18 – › Subtext as spectrum between explicit and implicit meaning FILMS MICHAEL CLAYTON (2007) — (w) Tony Gilroy INGLOURIOUS BASTERDS (2009) — (w) Quentin Tarantino THE SUBSTANCE (2024) — (w) Coralie Fargeat SCRIPTS Study the script: MICHAEL CLAYTON (2007) — Tony Gilroy Study the script: INGLOURIOUS BASTERDS (2009) — Quentin Tarantino Study the script: THE SUBSTANCE (2024) — Coralie Fargeat LINKS Read: The New Literalism Plaguing Today's Biggest Movies Read: Emotional Truth Over Subtext: Unlocking Compelling Scenes in Your Screenwriting Website: Story and Plot YouTube: Raising the Stakes - What is Subtext? RELATED EPISODES DZ-40: Tactics and Scenes DZ-108: The Emotional Event with Judith Weston DZ-119: Final Character Choices & Great Endings ——— More Draft Zero is brought to you by our awesome Patreons. If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser. We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter. Full show notes at: https://draft-zero.com/2025/dz-120/