One additional approach to highlight the theme is through all the characters in a story, with each character representing an aspect of the theme, like in Godfather tales when the subject of electricity is introduced with each character representing another aspect of electricity.
Fiction by its very definition is unreal. After we see a novel we know that the narrative and the characters in it are only a product of imagination of the writer. When we view a movie we are aware that the characters are only acting their parts essentially pretending to be somebody other than themselves. Still we are emotionally affected by the turns and twists in the narrative. We laugh, weep together, and even sense indignant towards the bad guys. The lovable hero or heroine may be despicable in real life and the protagonist may be a perfect gentleman, but we identify them with all the characters they’re portraying. In essence for this brief period we get transported to the imaginary world of the writer. Strangely enough this happens also with the author at least to a number of them. He or she goes through the very same emotions while writing and possibly later also.
And I am only talking here of references to proper names and titles. Additionally, there are inferences that have to be created and known in the event the work is to be properly appreciated. For example, a woman complains about her philosophy path:
“I thought we were going to learn about good and evil, human nature, the way to be great. You know. Exactly what God is really like. You know. The Way to live. But we’re learning about P and Q arrows or S. What is that, haw? I work daily, and sail for two weeks, and what exactly do I get? P plus Q arrows R.”
The first type is what I will call Fiction Enhanceable via Web, or FEBI for short. The second is a Type of antithesis, the opposite – Fiction Not Enhanceable by Web, or Non FEBI. An example of the first is Tripmaster Monkey by Maxine Hong Kingston; of the moment, Mohawk by Richard Russo. I would imagine, without really having any means of knowing, that there are almost infinite examples of every sort, so consequently the examples I select here are fully random.
If it comes to superheroes, I like Spider-Man, BECAUSE he had doubts, and has been insecure… therefore I linked to him the most. Not all of us will have the specialized knowledge to compose some thing as earth-shattering as Jules Verne’s “20,000 Leagues Beneath the Sea” that many claim was the real motivation behind the first nuclear submarine. However, what you’ve got is your life experiences. The effects of important source, not only on you but a lot of others, is a fact that has to be acknowledged. There are so many scenarios and variations – twists and turns, that maybe you see how difficult it can be to cover all bases. But I wanted to pause for a moment so you can reflect on the importance of what you have just read. This is the type of content that men and women need to know about, and we have no problems saying that. As usual, we generally save the very finest for last.
Yes, I now have a character that is a author, and I have a character that’s a photographer. My stories are character driven by feelings that I know. I am NOT saying settings and plot are not important. What I’m saying is to use your strengths. You do not need to be a cop to resolve a mystery. You do not have to fly to write about superheroes. What you must do is write about everything you know to grab people’s attention. Can I think a man can fly? No. Do I think Lois loves Clark? I don’t have any doubt.
Another frequent technique is hinting in the subject from the dialogue, however, the danger here is in becoming too obvious. Although this may be done successfully by an experienced author, the beginning writer should try to avoid blurting out the theme through the dialog.
Even if the plot is all about something out of the writer’s imagination that may not emotionally involve us the story becomes memorable if the motif makes itself understood. We might not care for Luke Skywalker’s intergalactic victory as much as we care about good winning over evil. Theme is very important to the overall success of any piece of fiction. When handled deftly, it will become a faithful servant to any writer.
If you read a great deal of sci-fi stories, you will have things to speak to people in discussions. You will often find yourself getting stuck in the middle of a dialog and don’t know what to discuss if you meet new people. If you have nothing to talk about in conversations, individuals will find you boring. If you know a lot of tales, you can cite them into the new person you’re talking to and this can arouses the conversation. So, if you want to make a lot of new friends, you need to try and read a lot of stories. You can use excerpts from these types of tales to tell jokes or entertain friends and family. There are different approaches you can follow when storytelling.
I wrote a short story called “Shooting Goliath” as a realistic narrative of what happened to me once I fell off a waterfall. BUT I also have a scene in my own time traveling adventure where my main character jumps off a waterfall to catch someone else’s interest. Now I KNOW that’s fiction… because I’m scared of heights, but I have had the experience which makes that segment believable. I have a character in that book that lost their spouse after 30 decades, and it has happened to me. My narrative is based on the concept that you can’t help others if you can not help yourself. Every character has doubts and fears to overcome before they can finish their assignments. I concentrate on what I do know, not on what I don’t.
Writing fiction is a bit like baking a cake. You need the proper ingredients in the right quantities, or it’ll turn out dreadful. For fiction, you need the right combination of plot, action, description and character development to bring your story to life to your reader.