SUBTEXT: THAT PASSIVE/AGGRESSIVE FRIEND YOU HATE, BUT CAN’T DROP or WE’RE GOING TO NEED A BIGGER BOAT


For questions: hcasner@aol.com

First, a word from our sponsors: My short film 8 Conversations in 15 Minutes 58 Seconds will premiere at STUFF, the South Texas Underground Film Festival on January 27th, 2019 http://www.stuftx.org/

Check out my Script Consultation Services at http://ow.ly/HPxKE. I offer several types of service. Testimonials can be found at the blog entry.

Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  Check out the second edition of my screenwriting book, More Rantings and Ravings of a Screenplay Reader published on Amazon at https://www.amazon.com/dp/B07GD1XP9Y

Finally, I have published two collections of short stories, The Starving Artists and other stories, https://www.amazon.com/dp/B07FS91CKJ and The Five Corporations and the One True Church and other stories, https://www.amazon.com/dp/B07KY5Z3CF

    This is the second in a series of articles on various screenwriting topics. Further entries will include exposition, voice overs and passive central characters. The previous entry was on diversity in film.

On facebook and a myriad of other places, people put forth various requisites or must haves, do’s and do nots, they claim are needed to write, if not a great screenplay, at least a perfectly serviceable one.

One of the most popular ones is subtext. Now, I prefer writers not worry about things like this, at least at first. I’m on the side of the angels who say, concentrate on writing a good story that is successful on its own terms and if it has subtext, good, if not, good. I mean why tamper when you’ve got a good thing going?

I prefer elements like subtext to grow organically out of the writing, not be foisted upon it. Still, if you are receiving constant feedback that your dialog is too on point, or that the reader feels as if they are being told how to feel, rather than being allowed to feel, you may need subtext, taken four times a day on an empty stomach.

One problem with subtext is that everyone seems to know what it is, but have difficulty coming up with a clear, concise and satisfactory definition that everyone agrees with. It’s like art: no one can define it, but they all know it when they see it. Continue reading

A CAMPING WE WILL GO: Mad Max: Fury Road and In the Name of My Daughter


First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS
mad max fury roadI’m sorry. I didn’t get it. I just didn’t.
I know, I know. Everybody and their mother loves the new movie tribute to stunt performers and second unit directors, Mad Max: Fury Road. It’s received 98% on Rotten Tomatoes and has made a fortune at the box office.
But I just didn’t get it.
As far as I can tell, the plot of the movie revolves around The Man With No Name who helps an Amazon with one arm rescue a bunch of Playboy playmates from Bane and his army of albino soldiers who all have great six packs in a post-apocalyptic world of little water, and worse, little gas.
In other words, we’re in the land of pure camp, but I’m not sure it’s of the high variety. Continue reading