First, go through your script’s dialogue, scene-by-scene, line-by-line, looking for instances of characters saying things “on-the-nose”: characters saying exactly what’s on their mind (and exactly what they feel).
Then . .
Convey subtext through action rather than words
Show what your characters are thinking through their actions, rather than have them say what they’re thinking.
If Tom’s driving really fast and wearing a scowl, we get that he’s upset about something that’s just happened at the party. If Jane reaches over and uncovers lipstick on his collar . .
Convey subtext through words, but not the obvious ones
Characters don’t show their vulnerabilities, they hide them. Their language disguises what’s really going on in their head.
Jane says: “Glad to see you made some friends."
Tom says: “Too bad we couldn't get better acquainted."
Brainstorm a range of reactions
For any “on-the-nose” dialogue a range of possible alternatives exists.
In Sideways, after Miles discovers his book isn’t being published, he doesn’t say “I can’t believe my book isn’t being published,” he demands a full glass of wine at the wine tasting. When the pourer refuses, Miles picks up the spit bucket and pours wine down his throat and shirt, before being thrown out.
Brainstorm and discard all other less visual, less true to character options before deciding on the one that will be in your screenplay.
FROM: http://www.scriptreaderpro.com/3-ways-to-master-subtext/
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