All of us may be players on the world stage, nevertheless the question remains why we reveal the emotional responses to the happenings depicted in the fiction, whether in print or visual presentation, as in real life? Much like dreams our imaginations get presented to us on the mental screen as if we were watching movies or television. And as in dreams the real world gets supplanted by the imagined virtual world although we are fully awake. That world still has great resemblance to the actual one and what happening in it seems real due to something shifting in our cognition faculty. However, the mechanism that activates our emotional responses stays unchanged and consequently we respond to this fiction in precisely the same way as in real life.
Here we have some similarity with the virtual reality of the modern computer technologies, which can be an artificial environment created by software. It is introduced to the viewer in this way that the person temporarily suspends own opinion pattern and takes it as a true environment. In a way it isn’t different from the phenomenon of being transported to the imagined universe of fiction, except the computer doing the task is in the mind and we have no clue regarding what is the software and who is the programmer.
This brings us to the reason for emotional response. In regard to fiction the most frequent 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 a few attachment through kinship, friendship, or even through indirect understanding of the person. One cannot love or hate a person a person does not know at all. Attachment can also be to other living beings, material things, and even to fanciful things. We love or hate a narrative or even a notion. For a typical person it is impossible to live unattached to things in the world. If one can eliminate attachment, one joins the rank of educated souls that are indeed rare. We carry our capacity and desire for affection into the fanciful world of fiction. We view the characters that we come to know as the narrative progresses, form our preferences, and react in the identical manner as in real life except we cannot interact together physically. But we do socialize with them in our minds and hearts out of where the emotions come. We have included a few basic items about useful reference, and they are important to consider in your research. But there is so much more that you would do well to study. We believe you will find them to be beneficial in a lot of ways. Getting a high altitude overview will be of immense value to you. But we have kept the best for last, and you will know what we mean as soon as you have read through.
The fact is that at a certain sense is fiction. Just like a story it has a beginning, an end, and lot of things in between. We do not know who writes this fiction will ever understand. So we’ve got an inborn affinity with fiction and cannot fully detach ourselves from it. And maybe that is the reason why, while reading or viewing fiction we get lost in the wonderland of creativity, but for that short period we function exactly in precisely the exact same manner as we want in the real world of our understanding. In that sense fiction is just invented reality.
Theme is the reason fiction things, since it is the quality that gives the narrative a universal appeal. Some say theme is exactly what the story is all about, but that’s too ephemeral a definition, which might get confused with the idea or the plot.
Theme enriches and inspires the reader while saying something profound about the human condition. Theme is the abstract notion behind the narrative forming the story’s heart and soul that the exposition, dialogue, and action reflect every chance they get.
Theme is not the characters or the plot or the first idea that started the story. For instance, a writer could begin with the idea of exploring family relationships between girls, but as his story progresses, his subject may appear as understanding and forgiveness between different generations of females. There are some topics on which it is very hard to write any kind of story.
Theme is indicated, sometimes without the writer’s understanding of it at the beginning; however, more experienced writers typically work on their subject more difficult than any other part of the story once they catch on to what it is they’re writing about.
In non-fiction, the writer is advised to hone into his subject and start referring to it right at the first paragraph. In fiction, on the other hand, the motif usually blossoms through the writing as the narrative progresses.