What is Theme?

Question: I've read that theme can be an opinionated message or a one-word concept that the story explores. Which one is it? What is theme? For example, is "revenge" a theme, or is "revenge is unhealthy and can lead to unhappiness" a theme?

Answer: Unfortunately, "theme" has several definitions, which causes a bit of confusion. When people talk about the theme of a book, they may be referring to...

1. The subject matter being explored. This can be a particular mileau, such as the world of horse racing, Silicon valley startups, or fashion. It can be a social issue or topic like gay marriage, artificial intelligence, or surviving cancer. Or it can be a principle, such as "revenge."

2. Motif. This is a repeated illustration or feature of the story world that binds or unifies the story. For instance, in James Joyce's short story "The Dead," music is a motif. Throughout the story, characters are either talking about music or performing music, so that music is a constant element.

3. The thematic message. This is the message, premise, or "moral" of the story, such as "power corrupts" or "love conquers all." Many writers are taught to use a premise as the starting point for designing a plot.

Personally, I believe the thematic message is the best definition of theme for the purposes of writing fiction.

Dramatica points out that the thematic message is usually an evaluation of opposing principles, such as "self-interest" versus "morality." Different events in the story will illustrate why one or the other is better and the reader is invited to decide which of the two is more desirable or advantageous.

Adding to the complexity, each throughline can have its own thematic argument. The overall throughline will evaluate the values of the community or story world. The main character throughline will evaluate the main character's personal values. The impact character throughline will look at the impact character's values. And the relationship throughline will evaluate the values that are shared by the main and impact characters (which the rest of the story world may not).

This creates a complex web of values and evaluations, which lets book clubs and English students get into great arguments over what is "the real message" of a given story.

Theme as Opposed to Story Goal goal?

by Raymonde Zuckerkandel
(Lawrence, NY USA)

Question: What if I chose to write a literary novel rather than a genre novel? How about theme as opposed to story goal? Should I use both theme and story goal in literary fiction? You do mention theme but do not elaborate on literary novel structure. I am confused. Are both structures the same?

Answer: Theme is not the same as goal. Goal can be an objective the protagonist wants to achieve that will affect or involve most of the characters as well, or it can be a concern that the majority of characters share. In either case, achieving the goal will bring balance/healing/safety to the story world. Failing to achieve the goal (as in a tragedy) will result in an unfortunate consequence -- a threat made manifest.

Theme has several meanings. Some consider it to be a subject matter to be explored. Others, including dramatica theory, consider it to be an approach to handling a problem that will be evaluated in the story. Some events will show this approach in action, while others will show the opposite (counterpoint). The reader must evaluate which approach is the best.

For instance, if the goal is achieved because the main character chooses the correct approach to take at the climax, the thematic message of the story then becomes, "When faced with this type of problem, this approach is the best."

On the other hand, if the main character makes the wrong choice and the goal is not achieved, the message becomes "When face with this type of problem, this approach is the worst."

The above is oversimplifying things a little, because a novel may contain several related thematic arguments, but that's the general idea.

As for literary fiction... one of the defining characteristics of literary fiction (if any) is that it downplays plot structure in favour of style, voice, authenticity, originality, and depth of characterization. It tends to emphasize internal rather than external conflict. That doesn't mean the structure isn't there. But it's as though it has been moved into the background and often underdeveloped while these other elements are made the foreground and are much more developed.

It's hard to generalize about literary fiction, because literary writers try to avoid predictable patterns. However, one common approach is to use extensive flashbacks to elucidate the experiences that influence the main character's decision (but the decision still matters). Another is to use multiple POV characters to distance the reader from the main character and give them a more objective view of the story while still providing an intimate and authentic look at each character's inner life.

Literary fiction, as you suggest, can also emphasize theme over story structure in an attempt to evaluate a philosophical premise. This doesn't mean you should dispense with goal. An excellent way to evaluate a premise is to depict it in action. In other words, give the characters problem to solve or something to achieve. Then have them wrestle with a philosophical dilemma that will determine what approach they take to solve the problem.

Without a defined goal, a threat or consequence, requirements to achieve the goal, and forewarnings that the consequence is looming, even a beautifully written literary novel can seem pointless and static. The reader can get bored because "nothing is happening" and "nothing seems to have any point."

Maybe that's the philosophical message you want to convey, but you will retain more readers by telling them the story of how someone reaches that conclusion than by avoiding story altogether.

Best of luck.

Wht is Theme Exactly?

by Krishna
(US)

Question: I've had difficulty understanding this for quite a while. What is theme exactly? What I mean is, why is it needed in a story? Isn't it because everything is and/or should be centred around it or is it because it's more like a 'moral of the story' type of thing? I personally think it's both. However, I don't understand how it affects the story and its characters. The theme is kind of like the accomplishment or tragedy at the end of a novel or movie, it's what has been driving the story since the beginning, isn't it? I don't understand. Does the theme cause characters to do certain things? Can it change throughout the story itself? How does the story build itself around the theme itself? For example, the theme "good vs. evil," just because my hero wants to beat up so n' so doesn't exactly give a person a story to work with. There are many things to mix and match throughout a story to get any and every outcome. Your hero could be a little kid standing up to a bully, running for his/her life from a secret society that killed their family - the possibilities are endless. What I would like to know, is how this works. What kinds of themes are there and if I pick a certain theme, how can I portray this in a novel? How could I portray this through dialogue, character actions, etc.,? In the Hunger Games, I guess the theme is "Survival," right? I can vaguely see how that affects a story. Regardless, how can certain actions influence the overall outcome of an event, launching a character into something they didn't expect, so that now they have to do a certain 'list' of things to return to their 'normal,' which at the end of their story, they realize this can never happen, and must accept their 'new normal.' That would be a 'Voyage and Return' type of plotline, but what would a type of theme would be? I hope this somehow makes sense. I really have no idea. Thanks for reading, I know it's probably really long! :)

Answer: Your confusion is perfectly understandable. The word 'theme' has at least three different meanings which are often treated as interchangeable. So it can depend who you are talking to.

For instance, theme can mean...

1. The subject matter of a work. A story can explore and depict various topics or areas of human experience, such as autism, race car driving, 16th century France, space exploration, war, etc. Often, the point of this exploration is simply to give readers the experience of learning about a subject or a world of experience that is outside their own lives.

2. Motif. Writers can repeat particular ideas, items, or subjects within a work as a unifying element. The idea is not to inform the reader (as above) but simply to add a sense of structure to the story world. For example, in James Joyce's story, "The Dead," music is a motif. Throughout the story, characters are either talking about music or performing music, but the reader is not really being informed about music and music is not being explored as a subject matter.

3. Message. When we talk about the thematic message or moral of a story, we are talking about various approaches to solving problems and which approaches are more valuable.

For instance, you might have a story set in a world where everyone values pursuing their own self-interest. Then you would set up the opposite value as a counterpoint, for instance altruism. Various events in the story will demonstrate what happens when either of these two approaches is taken. As the evidence piles up, it invites the reader to weigh up which approach is really the most valuable. So the message of the story becomes, "When faced with this type of problem, X is a more valuable approach than Y."

Of course, each of the four throughlines can have it's own thematic argument. In addition to the debate taking place in the overall story world, you can have a ...

Main Character Theme: in which the main character struggles to resolve a conflict of values within him/herself.

Impact Character Theme: in which we see the impact character wrestling with a conflict of values.

Relationship Theme: in which the main and impact characters wrestle with the fact that they share a particular value that sets them apart from the other characters in the story world.

All this makes theme a very complex subject, which makes for fun debates among readers over what the real theme or message of a particular book is.

For instance, in The Hunger Games, while the story goal is survival, there is a debate about the right way to achieve this. Katniss, for example, survives by hiding her feelings for the and adapting to the conditions of the world around her. Peeta, on the other hand, believes that survival means being true to himself, acting in accordance with his feelings, and not letting himself be changed by the world.

We see a world struggling with whether people are commodities whose only value is in serving the Capitol, or whether they are valuable in themselves. We have a debate about whether fear can be used to divide people or ultimately makes them into allies.

Then we have various subjects being explored, such as the exploitation of children, political power, stardom, reality television, propaganda, the Roman games, resource depletion, income inequality, etc.

Can you have more than one theme?

by Debbie Erickson
(Mishawaka, IN US)

Question: Can you have more than one theme in a story?

Thanks.

Answer: Absolutely. In fact, dramatica theory states that a completely developed story will explore four thematic issues, and their counterpoints. That's one issue and counterpoint for each of the four throughlines.

The real meaning and thematic message of a story is ineffable, and is located in the blindspot at the intersection of all four throughlines, which is why no one can ever definitively say what the real meaning of a story is, though it is certainly possible to say what the thematic message is for any one throughline.

Appearance vs reality

by Jim Utley
(Braintree Ma)

Question: ...Also my novel has begun to shape up with some heavy appearance vs reality themes where I thought it was going down the loss, redemption and hope road. Can the two themes exist together? What are some sub themes from appearance vs reality?

Answer:

This is why some writers ignore theme altogether, preferring to let the thematic argument take care of itself. Themes will assert themselves, emerging from the same part of your subconscious as other narrative elements. Sometimes, you may find you don't really know what a story is about until after you have written it.

Fortunately, novels seldom have only one theme. Usually they have a number of themes layered in. Individual plot, relationship, and character arcs can have their own themes as well.

If your original intended themes still resonate with you, you may still consciously weave those into the story. But don't be too worried about other themes that emerge. Once you finish a draft, you will be able to go back and ask yourself what elements truly fit the story, and what may be better left out of the second draft.

Best of luck.

Questions About Theme

by Faye
(Jackson, Wyoming)

I have two burning questions about theme and main characters.

1) My story is about domestic violence; however, it focuses on the wife being the perpetrator. The story is told through (possibly) a series of conversations between the son and his mother. The mother desperately tries to convince her son to leave his wife; however, the son does not believe in divorce and hopes for his wife to change. In the end, it is the mother that puts a stop to the violence, by killing the daughter-in-law. I have been struggling with my Main Character and Impact Character. Since it is the mother that eventually makes the choice to “do something,” is she my Main Character?

Response

The main character generally has two qualities. She is the character whose choice at the climax determines the outcome, and she is the character through whose eyes we see the story.

If the mother is the main character, either the son or the daughter-in-law could be the impact character. For instance, if the mother's habitual approach is to take action, the son might argue that inaction is the better approach in this case. If so, for the mother to refuse to change and take action via murder would make her a steadfast character.

On the other hand, if the daughter-in-law is the impact character who provides the example of using violence to get one's way, and
the mother adopts her approach by choosing violence, that would make the mother a change character.

You have to decide (though my money is on the son).

Either way, while murder may solve the immediate problem, if the mother faces consequences, that would make the story a comi-tragedy (personal failure) or perhaps an outright tragedy if it results in the son losing both wife and mother. (It depends what your chosen story goal is.)

2) I am trying to work out the story using Storyweaver first and then attempting to use Dramatica. However, I am struggling with the Thematic concepts and Moral Issues in Storyweaver. I know the moral issue is the conflict for the mother to just let things be versus taking matters into her own hands, but I am getting confused on how to provide illustrations on this. Is there anyway you can provide some examples of how this is supposed to be demonstrated or point me in some direction. I have come up with a couple of examples, but I think I am definitely on the wrong track. I just don’t think saying violence is okay if it is for the protection of your child.

Thank you

Response:

You'll notice Storyweaver and Dramatica work a little differently, since Dramatica helps you structure a separate thematic argument for each of the four throughlines, whereas Storyweaver doesn't separate these.

One way to translate things would be to make the mother's decision to commit murder reflective of the OS issue. The opposite approach would be the OS counterpoint. You have to look at the various options in Dramatica to see which of the possible issues and counterpoints seem like the closest fit.

In the course of the story, you might have events or situations that show whether the issue seems advantageous or not in the world of your story. Different characters may offer different perspectives on it. (For instance, do people in the story world think violence is justified in certain situation? Are there examples of this?) Ditto for the counterpoint. This would mean the reader is invited to weigh up which of these two principles is of greater value. When the main character makes her choice the reader should have some sense whether this is a mistake or not.

A great example is the film The Bounty which is a retelling of Mutiny on the Bounty. In the film, there are instances where Captain Bly's hardnosed, authoritarian approach seems to be wrong, and instances where he seems to be right. There are instances where Christian's laidback approach seems to be right, and instances where it seems to be wrong. For part of the story, the balance of evidence seems to be on Christian's side, but in the end Bly wins more loyalty from his followers. Nonetheless, viewers can have great debates as to who was really in the wrong.

Best of luck.

Thematic Issue in Dramatica

by Danielle
(Oklahoma)

Question: I am stuck on the question about thematic issue in Dramatica software. It is asking me about the passionate struggle between my main character and his lady friend, my impact character. It wants to know what theme I want my story to explore here. Either Investigation, Appraisal, Reappraisal or Doubt. I have absolutely no idea which would be correct. My main character avoids the Impact character (who is pursuing him), for fear of loving her because that would interfere with his goals. Would appreciate any help with this.

Answer: Whenever you come across a problem like this when using the Dramatica software, it is usually best to work on a different aspect of your story for a while. Here are some options...

1. If you don't have a sense of what theme you might want to explore in this throughline, try looking at the Overall throughline. See if any of the theme options for that throughline resonate with you there. If so, choosing the theme for the Overall throughline may then let the software determine the best theme for the Main/Impact character relationship throughline. (There is a relationship between themes in different throughlines that the software reflects.)

2. If that doesn't help, you can look at the themes for the other two throughlines and see if any choices resonate.

3. You may find that making other choices, either in the Query system, the Story Engine, or other windows will also let the software determine the best theme choices for the M/I throughline.

4. Another option is to not make any choices yet. (This is especially helpful of you find the terminology confusing.) Go to the Story Points window and write descriptions of the different aspects of the story as you see them. After you've written some descriptions, see which of the choices the software offers you (like "investigation, appaisal," etc.) comes closest to what you have described. Sometimes you have to be a little creative about this.

A few other tips:

A. When working with the software, you always want to make the choices you feel most strongly about first. The software works by narrowing down the list of possible story forms with each choice you make until there is only one story form that fits all your choices. You don't want to get to the end only to find out that a choice you feel strongly about has been excluded. For instance, if you know for certain you want a happy ending, you can begin by going to the Story Engine and choosing an Outcome of Success and a Judgment of Good before you do anything else.

B. If you find a conflict between what your passion tells you the story should be and what the software suggests, go with your passion.

C. Remember also that the theory is a little more flexible than the software. For instance, the software will recommend an order for the signposts of each throughline. However, this is only a recommendation. The theory actually says that exploring all four signposts is more important than the order you explore them in. So if it makes sense to you to mix up the order, go right ahead. Similarly, getting the crucial elements right can be helpful, but not actually crucial.

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