A simple phrase such as, "That's a nice pen" can be the center of an entire scene or conflict. What if the pen is the final case breaking clue in a murder? What if the pen is being used as a line-opener in a Romantic Comedy? Or, in Seinfeld's case, what if your father's crazy Florida neighbor uses it against you later when he forces you to take the pen and then later tells everyone about the nerve you had?
A great television show that is all subtext is Mad Men. The writing on this show is exquisite. What seem to be on the surface simple every day conversations with family and friends reveals deeper conflicts in relationships and in the character's individual lives. Watch any conversation between Betty and Don Draper and you can see the constant tension in their marriage. Betty is an ice queen and Don is a liar. Both are adulterers. On the surface, they appear to be the perfect couple with the typical home life, but the subtext shows us so much more. It is what is unsaid between them that keeps the viewer riveted.
When writing dialogue, its best to go through your drafts to make sure you're not saying more than you need to. Can you cut your dialogue by half? Remember, some of the most memorable lines in books and film are just that. . .lines. What if James Bond said, "Shaken, over the rocks, not stirred, add a swizzle stick, and an olive, Love." Not as catchy as, "Shaken, not stirred," is it? And what if Bogey said, "Play it, Sam until I cry my eyes out in my gin or fall on the floor unconscious." A little too much. . .
Remember, less is more. Let your readers use their imaginations.
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