THREE PART SERIES THE PART ONE: FRIDAY 3:30 PM – 5PM VISUAL STORY TELLING (90 MIN LECTURE)

2. THREE PART SERIES THE PART ONE: FRIDAY 3:30 PM – 5PM VISUAL STORY TELLING (90 MIN LECTURE) PART TWO: SATURDAY 3:30 PM – 5PM THEME, STORY AND DIALOGUE (90 MIN LECTURE) PART THREE: SUNDAY 3:30 PM – 5PM PUTTING IT INTO WORDS (60 MIN WORKSHOP) CONTAINED – PROJECT WITH BAD HAT WITH 20TH CENTURY FOX

3. WHAT IS SUBTEXT ? WEBSTERS DICTIONARY SUBTEXT: The implicit meaning or theme of a literary text, speech or performance. The concept deals with the content hidden within the meaning of a word, image or action... In storytelling, subtext deals primarily with the interests surrounding the expressions of symbols, metaphors, themes and motifs.

4. WHAT IS SUBTEXT ? Taking an analogy from psychology/psychiatry – it can be said that the text represents the - visible symptom– while the subtext is the underlying concealed - cause of illness. A good writer chooses symptoms that hint at the cause (subtext) without directly expressing it. In psychoanalysis it’s referred to as manifest expression (visible) and latent meaning (not visible). This exactly expresses the relationship between what we call text and subtext.

5. SUBTEXT AND THE LOADED QUESTION Part One: Terms and Concepts Subtext : “Do you still find me attractive and you better say - YES!”

6. How subtext is thought of and used • In dialogue – subtext is the unspoken thoughts and motives of characters - what they really think and believe. • In stories - subtext is a frequently used method of subtly inserting social or political commentary into fiction. Subtext is often also inserted in narratives where explicit themes are unable to be shown or expressed due to censorship or simply interested in appealing to a general audience. • Frequently, these subtexts may be of, but not limited to, a sexual nature or possible references to sexual orientation. Their inclusion is such so that they are easily overlooked by younger viewers but may be caught by more mature viewers. Subtext also serves to add a complexity to a premise that may superficially appeal to younger viewers but may also attract older fans, as is often the case with cartoons, sci-fi and fantasy. • Subtext delivers exposition by inferring or suggesting - the needs, interest or issues - of a character, or a story, in a very economical way, manifest in code, symbols and metaphor.

7. Instinct vs Craft Tools not Rules: Knowing where you’re going.

8. THEME A subject of discourse, discussion, meditation, or composition. A unifying or dominant idea – THEME: SEASONS. MOTIF: a distinctive and recurring form, shape, figure, subject, theme, idea, etc., esp. in a literary, artistic, or musical work.

9. concepts Plane of Events Link to Narrative and Plot Plane of Discourse Link to Theme and Story

10. concepts DRAMATIC Identity and Motivation Plane of Events THEMATIC Perception and Meaning Level of Discourse

11. concepts Note on Plane of Discourse: Setting up METAPHORS GIRL WITH THE DRAGON TATTOO

12. metaphor The word stems from the Greek meaning “to borrow or transport” thus metaphor borrows meaning from one place and carries it to another. Example:Life is a river. The long arm of the law. Metaphors: Transfer and Transcend Metaphors manifest in our stories consciously and unconsciously based on the needs of the characters and the issues they must contend with. Most of which are buried in the subtext of their actions, comments, choices and behaviors. Example: A limp can reflect a wound in the soul of the character. Blindness as a need for inner sight.

14. IN MEDIAS RES in the middle of things CONTEXT CONTEXT CONTENT meaning SUBTEXT

15. concepts FRAME OF REFERENCE EXTERNAL: Sci-Fi and Horror TITANIC – historical (foregone conclusion) INTERNAL: Comedy and Drama

16. TOOLS

17. SYNECDOCHE (si-nek-duh-kee): a figure of speech in which a part is used for the whole or the whole for a part, the special for the general or the general for the special, as in ten sail for ten ships. SYNECDOCHE: in literary terms, combines aspects of characters, scene and setting to imply a short narrative that suggests background exposition as well as future consequences – frame within its own context.

18. Metonymy: a figure of speech that consists of the use of the name of one object or concept for that of another to which it is related, or of which it is a part, as “scepter” for “sovereignty,” or “the bottle” for “strong drink.” Metonymy: In literary terms, allows for bias, comments, opinions and slights to be made about or over the subject matter depicted. This can add color to metaphorical speech and subtext. In film terms, metonymy allows for ordinary objects and words to become symbols and metaphors, taking on new meaning and purpose.

19. NEEDS and ISSUES A.) Defines motive (motivation) for characters to act – and the reason you are writing it. B.) Create an emotional context for the story as a whole – to help express the theme. Need:by definition speaks to the notion that something is lacking. Issue: deals with a point in question or a matter that is in dispute between two or more parties. EXERCISE A helpful tool to find out what the need or issue the story deals with often comes in the form of a one-word answer. My story is about? LOVE My character is? ANGRY Example: My story is about: Acceptance. Hope. Revenge.Balance. Enlightenment. Redemption. …Etc.

20. Analogy: compare two things with something in common Simile and MetaphorExpressed and Implied

21. Analogy, metaphor and dialog: Paralleling physical action with analogous or metaphorical dialogue is the realm of well written subtext. Example: TODD (30s) in janitor over-alls, horsing teeth and a winning smile stands in the middle a grey patch of coastal land over looking the sea. At his side is Sheryl (30’s) the sleepy, pie faced princess in a waitress uniform is preoccupied, anxious. Todd walks the land, describing his dream house to his Sheryl. TODD Sun room out back, and here… French doors, with a stairway leading down to the beach. Be a great place for kids? SHERYL Sun room? Really…Keep dreaming. Cause that’s all it’s ever going to be.

22. Subtext in dialog: Lying, complaints and accusations also help off-load tons of subtext. “I don’t like how much time you spend in the office? Is there something? Someone I need to know about? Sometimes accusations are dealing with true insecurities. But they are also vehicles of SUBTEXT to accuse someone of something your characters are actually participating in. DREAMS Example: “I had this dream, I was downtown and it was raining - everyone had an umbrella accept for me. Then this cute girl walked up and offered to share hers - but I didn’t take it. And I ran away.”

23. IRONY AND OVERCOMPENSATING FACTORS Irony: the use of words to convey a meaning that is the opposite of its literal meaning. Examples: You tell someone you have to work a double shift after no sleep the night before and they respond with - “Lucky you!” or “How nice” Awesome, sounds like fun” is an ironic response.

24. Overcompensation:The exertion of effort in excess of that needed to compensate for a physical or psychological characteristic or defect. Or, an attempt to make up for a character trait by over-exaggerating its opposite. Examples: Men in sports cars, monster trucks, on loud motorcycles, big guns = lack of confidence. (Generally related to finance or body image – balding, small “certain body part” and lack of muscles.) Any - Arnold Schwarzenegger – or Fast and Furious film.

25. Overcompensation:The exertion of effort in excess of that needed to compensate for a physical or psychological characteristic or defect. Or, an attempt to make up for a character trait by over-exaggerating its opposite.