Good Themes for BooksTopics for books
Why is the topic important in a story?
Many novelists hardly ever refer to the subject of a novel, if at all. Isn' it because the subject is not important in a narrative? When you want your novel to reach the reader long after they've turned the last page, it needs a more profound level of significance that only the subject can have.
Isn' it because the subject is something you can certainly overlook? Was it because the subject is a fiddly approach to nailing it down? In novels and classes, the subject is often ignored because it is an abstract notion, not a specific one - like nature, action and settings.
That''s the "who," "what," and "where" of the novel. However, the subject of a tale (the "why") is hidden. The subject can also be bewildering. Oh, and how the hell are you gonna put a topic in your novel? Every other part of novelism has its own set of stages that you can take to reach your goal.
Building a property, for example, is like building a home of timber and tacks. Well, the subject isn't. You' re not "building" it so much that it comes out of your history while you're writing it. You do it with a slight contact, so the subject is subtile - but not there.
It'?s a theft of a house in a mystery story. All that is specific in a novel (the figures, the places, the events) lies on the superficial world. The subject, on the other side, happens under the couch. It would not be taken up by the cinematographer because the subject is abstracted and not specific.
However, it is still there in the shape of the lessons that the history of the surfaces teach us (and teach the characters), or the conclusions one can draw from the specifics. The subject is the lower level of significance that runs beneath the superficial layers of a history. This is probably not the greatest romance ever narrated.
But hey, it's good enough for an example! Well, everything I was talking about above was on the top of the narrative - the figures, the storyline and the settings, in other words. Didn't even say anything about it, but it's still there. You' ll have a lot more room to research your subject than I had here.
Up to now we have been defining the subject as what the happenings of a novel "mean". "Event (and the related character and attitudes) lie on the superficial layer of a tale. The subject goes below. This superficial narrative fulfils the reader's need to be escaped and amused. History's underground "meaning" meets its need to learn a lecture or deduce a deduction from it.
The subject is a testimony or a set of related observations concerning an aspect ofthe state of humanity, interpretation from the authors view. When you don't get all agitated by your subject, your "statement about an aspects of the state of man " will ring empty. When a subject means something to you and you make sure that you "interpret" it from your own singular perspective (instead of giving us the generally acceptable wisdom), the reader will listen and listen, even if they are not sure exactly why.
The subject is the lower level of significance that runs beneath the superficial layers of history. Whilst superficial history is entertaining to the reader, the subject is helping them to gain a new comprehension of an aspects of the state of man. Those are your deductions. What is the importance of this topic? In other words, why even deal with the subject if you only want to tell an exciting narrative?
So if you are writing a novel with round character, a page-changing storyline, but no subject, the novel may be a "good read", but you will soon be forgetting. However, if the novel on a lower plane is also an investigation of loneliness, let's say, it will not only be a good reading. That'?s the strength of the subject!
However, here's the thing: It's not good to add a bit of gravity or dimensions to a bit of imagination if the subject is obviously stereotyped or somehow untrue. Let us assume that you select "love" as the subject of your novel. Instead, make it an investigation of what the subject means to you when you make your own experience of it.
The subject doesn't have to be deep, but it must always remain faithful to the narrator. The most basic motive for novel authoring is to uncover the reality as you see it - sharing your experience of living and showing humans what this universe looks like through your own eye.
Unless you do it with bare sincerity, songwriting becomes a meaningless practice. Shooting in the flesh in the real life is not always from the bottom of our hearts, but in novel writing nothing less than absolute sincerity is enough. The purpose of creating fictions is to peel off the strata and reveal through your own eye what humans, places and things are for what they really are, or at least what they are.
Also, that reflecting on one or the other aspects of the state of humanity leads to the novel staying with the readers for a long time after closing the covers. We are all in search of "meaning" from an early age, whether we are conscious of it or not. Wherever we see a good documentation on TV, or have one of those "deep and meaningful" talks with a boyfriend in a pub - or, of course, reading a novel - we sometimes talk to ourselves and sometimes try to comprehend.
If your narrative is easily thematic, or if the subject is there but not particularly deeply felt, you will be leaving your reader dissatisfied. You can be cured by a letter that has some matter. When you have had a grievous episode (and who hasn't?), typing about it in a novel can help you deal with everything you feel.
What I don't mean is to write about what literally happens (writing pure auto-biographical and fictional stories is seldom a good idea). What I mean is, to write about the emotion behind the experiment. The subject functions as the "guiding system" of a novel (hence the picture of a compass at the top of the article). The subject will tell you what should and should not be in history.
For example, if you have selected "mourning" as the subject, then each of the scenes and chapters in your novel must somehow help to explore that subject. All of a sudden, if you research blame or avarice, you are somewhere off your trail and your history will loose momentum.
Firstly, you are brainstorming for topics you have something to say about, basing on your own experience of living. Then, select the topic that best matches the character, storyline and environment you have chosen. Could a novel have more than one subject? In the ideal case you should only concern yourself with one topic. These themes are all somewhat different, but for me they are all connected in some way to the overall subject of the novel, mourning.
Begin to deal with these themes and the novel will loose its topicality. Any number of topics can be edited. You do this after you have selected an inspiration for your novel, but before you get down to it. What do you think of the subject in your mind?
So if the issue is a dilemma that needs to be solved, what is the answer? To what extent do your real experiences with the subject differ from the "accepted wisdom" on the subject? While chewing the subject in your head, put your thoughts on piece of hardcopy. You' re doing a novel, not an academical work, but right now you're pretending to be doing research.
It is more likely that you will have different emotions for your topic if you look at it from different angles. Subsequently, the action is concerned with the type of outcomes. Make your own comments on your topic longer and more in detail (and, of course, correspond to yourself). So, the notion is to put these people in a position (the action) that will test their faith.
However, as you evolve your storyline and your character, the "morality" of the storyline and the way it ends will finally become clear to you. That' s why you have to treat the subject with a gentle touch, not a hard one. As soon as you have had a working meeting in which you think about the topic and put your thoughts on tape, put your note down and forgett it!
Yes, the subject is important. However, the way to reach this "deeper level of meaning" without having to compose a bulky "message" novel is to put the subject second. Too much trying to "fit" the character and the event somehow to your messages means putting the subject in the foreground. As the subject should stay beneath the level of your history - but not there - so it should not penetrate your consciousness as you evolve and compose the history.
If you turn to the "concrete" element of your novel (characters, action and setting), the subject will lead your choices whether you are conscious of it or not. That' s what I mean by topic as an "internal guiding system" for your novel as a whole. This is why the development of your topic is one of the first stages in the entire novel creation proces.
First "" prime your brain"" by reflecting on your topic in detail. One then forgets the subject, at least on a deliberate plane. However, your subconsciously instinctive will tell you whether the plot is on course or not. When I " test " my subject, I realize that things become more clear by casting my figures in related scenarios.
I' m not going to compose a clumsy "message" novel, or make it ring like a scientific work for philosophy 101. Therefore I will now focus on forgetting the subject and tell a good one. As soon as you have taken the trouble and amount of your own energy to plant "the seed of the theme" in your spirit, you must let go and rely on it.
You will be guided by your unconscious mind as you compose a focussed novel that has a deep semantic level in the shape of a powerful subject. One more way to give your story a significance. Homepage > What is a topic?