Communicating both sides of the argument equally, sometimes through both the antagonist and the protagonist, can define the theme with more impact. In Les Misérables, our softer side may adhere with Jean Valjean, but we also find the righteousness in Inspector Javert.
Fiction with its very definition is unreal. After we see a novel we know that the story and the characters in it are merely a product of creativity of the writer. When we view a film we know that the characters are only acting their parts essentially pretending to be someone besides themselves. Still we’re mentally affected by the twists and turns in the narrative. We laugh, weep with them, 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 the characters they’re portraying. In essence for this short period we get transported into the imaginary world of the writer. Strangely enough this happens too with the writer at least to some of them. He or she travels through the very same emotions while writing and possibly later also.
And I’m only talking here of direct references to proper names and titles. There are also inferences that have to be made and understood in the event the job is to be properly appreciated. By Way of Example, a woman complains about her philosophy course:
“I believed 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 understand. The Way to live. But we are learning about P plus Q arrows R or S. What is that, haw? I work all day, and commute for 2 weeks, and what exactly do I get? P plus Q arrows R.”
Character development can be one of the most important things about writing fiction. You want to create a realistic set of characters to move your plot along and to do that you want to understand them. But how much do you really have to know about them before you start writing?
At a philosophical sense the phenomenal world itself could be considered fiction. This is exactly what Shakespeare perhaps meant when he wrote: “All the world’s a stage, and all women and men merely players”. We may also think of everything in the universe (space, time, matter) as gamers because everything has its own entrance and exit. We of course run into the problem of saying what the stage is and who wrote the script. Shakespeare most likely believed in God, strict determinism, and in the truth of earth, so he didn’t have this problem. Now it is generally thought that the world also includes a beginning and will have an ending. If the world is also a participant, are there multiple universes or does this come exclusively on the platform and then introduces other players? But what’s the point in this case? Quantum physics points to a single possibility. At extremely tiny scales of time and space there’s a quantum emptiness that is not really empty but filled with energy which is constantly transforming itself to virtual particles and back. What remains after the conclusion of the universe could possibly be an infinite version of this quantum emptiness filled with energy into which all the matter has transformed itself. This universal energy is the source of and background for everything. Do you have any thoughts at this point? You may already have thought that you could try here is a large field with much to find out. You can find there’s much in common with topical areas directly resembling this one.
You never really know about any one aspect because there are a lot of varied situations. It is always a wise decision to determine what your situations call for, and then go from that point. You will discover the rest of this article contributes to the groundwork you have built up to this point.
Yes, I have a character that is a writer, and that I have a character that is a photographer. My stories are character driven by feelings that I understand. I’m NOT saying settings and plot are not important. What I’m saying is to utilize your strengths. You do not need to be a cop to solve a mystery. You don’t need to fly to write about superheroes. What you must do is write about everything you know to catch people’s attention. Can I think a man can fly? No. Do I believe Lois loves Clark? I have no doubt.
Folklore is the first genre within fiction which we are exploring. Folklore are songs, stories, myths, handed down by word of mouth. Folklore is usually the proverbs of a single person and during generations it becomes “folk”. Folklore is a type of literature that’s widely held but constantly fake or false and based on unsubstantiated beliefs. Horror is the next genres of fiction which will be explored, and it could possibly be among the most monetized through history. Meaning, it has always been among the most popular and many entrepreneurs, publishers, and filmmakers have taken advantage of its own popularity. Horror can be defined as an overwhelming and painful feeling brought on by literature or films that’s frightfully shocking, frightening, and revolting. This genre of fiction contains events that take place that evoke a sense of dread in both the characters as well as the reader. Historical Fiction is a story with fictional characters and events in an historic setting.
Even when the plot is about something from this author’s creativity that may not emotionally involve us, the story becomes unforgettable if the theme 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 extremely important to the overall success of any piece of fiction. When handled deftly, it will become a faithful servant to any author.
So what do these terms mean? Allow me to preface the discussion by saying that I am not interested in literary criticism or investigation here – that is, I will not be speaking about plot, character, style, point of view, theme or anything like that. I’m going to be discussing how readers can improve, or not enhance, the reading experience – the way they can, or cannot, create the reading of a novel or short story more pleasurable and produce a fuller grasp and understanding and increase enjoyment considerably by looking things up on the internet in a manner that, before the net was accessible, could have been impossible as a matter of practicality. In a FEBI this is nearly an essential element of the reading, and in an Non FEBI it cannot assist at all because there’s nothing to Google. There are different approaches you can follow when storytelling.
I wrote a short story called “Shooting Goliath” as a realistic story of what happened to me once I dropped off a waterfall. BUT I have a scene in my time traveling adventure where my main character jumps off a waterfall to grab somebody else’s attention. Now I understand that is fiction… because I’m scared of heights, but I’ve had the experience that makes that section believable. I have a character in that book that dropped their spouse after 30 decades, which has also happened to me. My story is predicated on the concept that you can not help others in the event that you can not help yourself. Every personality has doubts and fears to overcome before they can finish their assignments. I concentrate on what I do understand, not to what I do not.
The reader must understand that the character clearly does not know that the subject of Philosophy is broken down into many subdivisions; she signed up for a course in Mathematical Logic, a la Gottlob Frege, when what she wanted was a course in Ethics. But if the reader doesn’t know this, or does not have the capacity to research it, the entire passage will be hieroglyphics. This is what I mean by Fiction Enhanceable by Internet – that the job becomes infinitely more interesting, clear, enjoyable, and appreciable.