Do you struggle with expressing the underlying core message of your script? Aspiring screenwriters are often aware it's important to include a screenplay theme, but are not quite sure how to express it.
What Exactly Is a Screenplay Theme?
Put simply, the theme in a screenplay is a dramatic question. It's the writer's point of view that they wish to express about a specific subject. Whether that's love, money, human nature, or whatever.
For example, in When Harry Met Sally, the theme is not just "love" but the dramatic question: Can men and women ever just be just friends?
The writer's personal answer to this question forms the screenplay theme. In this case, that men and women can't be friends, which is shown at the climax when Harry and Sally finally become a couple.
You may have heard that a screenplay theme can be expressed in many different ways. Maybe through imagery, dialogue, setting, etc. But these explanations are usually pretty vague.
So, here are the three most powerful ways to include a script theme in your screenplay.
When learning how to express a screenplay theme through characters, it's important to first understand that the three most important ones are the protagonist and antagonist and stakes character.
Each character represents a side of the writer's argument and, therefore, the screenplay theme.
♦ The protagonist represents the "unknown" side of the writer's argument, the side that still has to make up their mind.
♦ The antagonist represents the "bad" side of the argument.
♦ The stakes character (often the love interest) represents the "good" side of the argument.
Throughout the film, it's up to the protagonist to choose which side of the thematic argument he or she wishes to fall on.
Then, at the climax, either the antagonist or the stakes character prevails, winning the thematic argument.
Is money necessary to be happy?
♦ Jerry is the protagonist.
♦ The kidnappers, Carl and Gaear are the antagonists.
♦ The policewoman, Marge, is the stakes character: the only character who already knows the answer to the thematic question.
With Marge's simple outlook on life and uneventful but cozy marriage, Marge represents the argument "No, money is not necessary to be happy." And all the unnecessary carnage in the film backs up her point of view.
At the end, the Carl and Gaear are either captured or killed and the protagonist, Jerry, also loses when he is caught. Again, this backs up the stakes character's side of the argument.
Overall, however, the protagonist is the most important character in the script. This is because they're the one who usually changes the most, which they do by learning the lesson of the theme.
The second most powerful way to express a screenplay theme is through its dialogue. This is usually done by making each of the three main characters—the protagonist, antagonist and stakes character—express their opinion on the theme.
However, it's important not to go overboard and let your characters talk and talk about the theme, or their dialogue will feel unnatural.
Let's use Fargo again as an example. Right after the climax, Marge asks Gaear if all the killing was worth it "just for a bit of money." The theme that money is not necessary to be happy is stated like this at key moments throughout the movie.
Here's a slightly more advanced screenwriting tip on how to convey a screenplay theme: give your protagonist an object that they carry around and/or identify with. This should symbolize themselves and/or their struggle through the movie.
Think of this object as a visual motif. It can be anything, from a necklace to a burrito, and should be highlighted in selected scenes as a symbol of growth, and consequently the screenplay theme.
For example, at the start of the dramedy, Lonesome Jim, Jim (Casey Affleck) arrives at his parents' house, depressed having run out of money. As they fuss around him, he tearfully asks for some water.
Then, throughout the film there are several key references to Jim and water, as he rebuffs the local nurse Anika (Liv Tyler) while waiting to leave town.
[Spoiler alert!] In the last scene, having decided to stay and make a go of his relationship with Anika, her son gives him a bottle of water. We then see him drink heartily for the very first time.
In other words, the thematic object for Jim in this film is water, which represents his "life force" or "spiritual energy." At the beginning of the movie, his dehydration symbolizes his "emotional dehydration." He's worn out, physically, mentally and emotionally.
But when he drinks the water at the end, this is an expression of the screenplay theme saying he's been "revitalized" by finally making the right choice in life.
Adding a symbolic object to your protagonist's world, like Jim's water, or Ryan Bingham's suitcase in Up in the Air adds an extra layer to your script theme.
These kinds of thematic details are usually added after quite a few drafts when your screenplay is beginning to really take shape.
When considering your screenplay theme, it makes things much easier to think of the theme as a tug of war between three opposing points of view on the same subject. And at the climax, the winner is the writer's own personal point of view.
Setting it up this way should give your screenplay theme a clearer direction. It should make it easier to drop in the extra nuggets of thematic dialogue and objects that elevate the script above the competition.
We recommend you start considering your screenplay theme soon after writing your concept and logline. It could save you a lot of work further on down the line. This is because you can only make your characters act a certain way once you know why they're acting that way.
In other words, once you know what their opinion is on the script's theme.
What do you think of these three ways of expressing a screenplay theme? How do you get across what your script's really about thematically? Let us know in the comments section below.
I am an advocate and disciple of Blake Snyder's "Save the Cat" book. He places great emphasis on the logline, and the theme, amongst many other items in his BS-2 explanations. As a result of his emphasis on the logline, I have re-written it three times now and it is getting closer to exposing the theme for me. This article is a great multiplier in learning this screenwriting business of which, by the way, I am enjoying immensely . Please continue with the Script Reader Pro series. They are very beneficial to me and I am sure others agree.
Yes, the Save the Cat series are great on theme. Thanks for the shoutout!
You have some nice thoughts in here on theeme. Any way keeep up wrinting.
This makes sense. I will apply this to my next draft that I'm starting on next month.
I'm loving this site so much. My #1 screenwriting resource from now on for sure.
This is great! Really enjoying the Script Hackr course by the way- I've been writing for a few years, but am learning nuggets that are plugging holes in my technique I was not even aware I had. Thank you!!!
That's great to hear, Mark! Let us know if you have any questions about the course.
Hi, I have already done the examples given. My issue isn't the start or the middle it's the end. The way my story is moving I get the feeling it shouldn't have an end. The conclusion should be left for the reader to decide. It's finding the right direction and point to end the story with out really giving the reader the satisfaction of judging the end rather force the reader to come to their own ending. Bring the reader into the story as if the reader is on the jury deciding on which chapter is being honest and or trustworthy and the villain the opportunity to find themselves or forever be lost.
That is where I am and why I need time to decide how to word it so everyone (reader) is pulled into the story.
Is there any way I can call you to talk about my screenplay theme?
We have a Skype Call service if you'd like to chat with one of our readers. Thanks.
This is excellent. I wanted to know about theme so bad and didn't know who to ask.
I really like what you have done here to make theme easier to add to a screenplay. Keep it up!
I'm pretty clear on my theme – finding closure with an ambiguous loss. My protagonist refuses to give up in his pursuit for answers in the disappearance of his younger brother due to a catastrophic natural calamity, while those around him, his love ones, want only to move on with the healing process without knowing the facts involved with the disappearance, thinking they are undiscoverable. This manifests also as an inner conflict for the protagonist, as possible explanations for the disappearance become deep seated fears which are supported by antagonistic characters. The stakes builder is Mother Nature herself who as the cause of the disappearance, threatens and create obstacles the protagonist must overcome in his quest for answers.
Does this sound like a clear script theme as explained in the post?
I am sure this has been asked before but what's the theme to The Big Lebowski?
I have an amazing movie. Contact me, and see what we can do together Script Writer Pro!
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signs you have a great theme: it resonates with the audience and leaves them with something to think about after seeing the movie.
How do I ad a theme?
"Little Fockers", a sequel to Meet the Parents", (Director Paul Weitz, starring Ben Stiller, Robert De Niro, and the Others, 2010), applies all the three discussed methods to express the movie's theme: shaping the family relations towards more democratic relations. For that reason, this comedy is so homogenous and impressive at the same time.
ANDREW'S solution (as above): "leave a conclusion to the reader/viewer" was discovered by the expressionism in the 1920s.
With my MANY THANKS to SCRIPT READER PRO for THEIR FANTASTIC JOB.
What a great comment! Thanks William you're spot on.
Just what I needed. My script's theme is the hardest part always but this really helps. Kudos guys!
Does anyone know where I can find the themes to movies? Like written out in a list of each movie?
What;'s the theme in Batman Begins?
That's great to hear, Gautam, and thanks for reaching out! We'll be posting more articles about theme for sure.