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.

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→ Read the transcript for this episode.

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"You can't market subtext, man." — Tom Vaughn @ 00:36:51

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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

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Full show notes at: https://draft-zero.com/2025/dz-120/