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/