Fiction Writing and the Creative Process

Theme isn’t the characters or the storyline or the first idea that started the narrative. By way of example, a writer could begin with the idea of exploring family connections between girls, but as his story progresses, his theme may appear as understanding and forgiveness between different generations of females.

That brings us into the cause of psychological reaction. In respect to fiction the most common emotions are likes and dislikes that could turn into their more powerful types of hate and love. In real life we love or hate someone because of some attachment through kinship, friendship, or even through indirect knowledge of the individual. One cannot love or hate a person one does not know at all. Attachment can also be to other living beings, material things, and to fanciful things. We love or despise a story or even a notion. For a typical person it is not possible to live unattached to things in the world. If a person can eliminate attachment, one joins the rank of enlightened souls who are indeed rare. We carry our capacity and desire for attachment even into the imaginary world of fiction. We see the characters that we come to know as the story progresses, form our likes and dislikes, and react in precisely the same way like in real life except that we cannot interact with them physically. But we do interact together in our minds and hearts from where the emotions come.

Fiction with its very definition is unreal. After we see a novel we are aware that the story and the characters in it are only a product of imagination of the author. When we view a movie we are aware that the characters are just acting their parts basically pretending to be somebody other than themselves. Still we’re mentally affected by the turns and twists in the story. We laugh with them, weep with them, and even sense indignant towards the bad guys. The adorable hero or heroine might be despicable in actual life and the villain might be a perfect gentleman, but we identify them with the characters they are portraying. In essence for this short period we ourselves get hauled to the imaginary world of the author. Strangely enough this happens too with the author at least to a number of these. He or she goes through the very same emotions while writing and perhaps later as well. We have included a few basic things about Find Out More, and they are essential to consider in your research. But there is a great deal more that you would do well to learn.

They will serve you well, however, in more ways than you know. However, we always emphasize that anyone takes a closer look at the general big picture as it relates to this subject. So we will provide you with a few more important ideas to think about.

As you browse the science fiction narrative, you will encounter words you don’t know. Every time you locate a difficult term, you should look up the dictionary and discover out its significance. If you did not buy a dictionary, you can use the online dictionary to look up the meaning of this word. You can learn how to announce the new word properly by playing the audio for the pronunciation in the online dictionary. The more science fiction stories you read, the more wide your vocabulary will become.

An experienced and competent author never pronounces what his subject is all about inside his narrative. For a story to be successful, its theme needs to remain invisible but hinted at with subtlety through other apparatus of fiction.

It isn’t only a philosophical point either. We spend a substantial part of our own life from the imagined or fictional universe. We muse about the things in long run and also dwell over the prior imagining what could have been. The creativity about the future is dependent on our hopes and ambitions and also to some extent it’s a positive in the sense we are in a position to mould our future if we sincerely attempt. But musing within the past is really a futile exercise because we all know for a fact that ‘what could have been’ is mere fantasy that never happened. Still it serves the same function as fiction in the perspective of entertainment. We entertain ourselves by imagining how life could have been, knowing fully well that it has no reality whatsoever. In a metaphorical sense ago, at the remote past, is fiction. In a particular sense history is fiction as it invariably contains the subjective bias of the writer. What we know of Buddha and Jesus now is more fiction than truth. You can always check different fiction stories for reference.

Fiction is an essential part of human life. Man has an inherent need for recreation to get away, even if for a few moments, from the humdrum of life. Story telling has been one of the first methods for accomplishing that and above the ages it has become the diverse types of entertainment we’ve got in the present day world. Entertainment is basically of two kinds – passive and active. The busy entails physical participation in 1 way or other, while the passive does not. Fiction is essentially a passive entertainment though the brain has an important part within it. Fiction constantly involves visualization whether it is covert or overt. The earliest type of overt visualization has been the enacting of dramas since the civilizations developed. The growth of technology brought in its contemporary forms – cinema and television. The covert form is inherent to story telling and reading. It’s an inherent feature of the human (or perhaps any) mind a notion is always accompanied by an image. So as soon as one hears or reads a story the brain visualizes the scene and the characters; this procedure continues throughout the story and often even after it has finished.

“I thought we were going to learn about good and evil, human nature, how to be good. You know. Exactly what God is like. You know. How to live. But we’re learning about P plus Q arrows or S. What’s that, haw? I work daily, and commute for 2 hours, and what exactly do I get? P plus Q arrows R.”

A popular means to demonstrate a theme is through the actions of the protagonist and the antagonist, with the antagonist revealing the dark side of the motif and the protagonist the positive side.

1 other approach to highlight the motif is through all the characters in a story, with each character representing an element of the theme, like in Godfather stories once the theme of electricity is introduced with each character representing another facet of electricity.

Theme is the most visible in the protagonist’s best choice in a story. The simplest way to nail a motif is to put it in question form. Here the question to ask is: what is the protagonist’s biggest emotional decision to resolve the story’s conflict?

The first kind is what I’ll call Fiction Enhanceable via Web, or FEBI for short. The next is a Type of antithesis, the reverse – Fiction Not Enhanceable by Internet, or Non FEBI. An example of the first is Tripmaster Monkey by Maxine Hong Kingston; of this moment, Mohawk by Richard Russo. I would imagine, without really having any way of knowing, that there are nearly infinite examples of each kind, therefore hence the examples that I select here are fully random.