This Week's Theme Is, Well, Theme

I know this opening paragraph isn't going to win me any fans in a blog about writing action-driven genre fiction, but I'm just going to write it anyway. I can't tell you how often I've heard fellow writers say in convention panels that they don't really think about or care about theme because they just want to tell a fun, action-heavy story that entertains a reader and leaves everything the same when it's over. Well, I cringe every time I hear that. I really do. 

Why? Because (1) it means those fellow creators don't really understand what theme actually is and (2) they're totally full of shit. 

Yes, I said it. 

Theme Is Historically and Contextually Important for Stories

I teach high school English in addition to writing, and our current unit is one about Short Stories and the art of small fiction. We've read Edgar Allen Poe, Ernest Hemingway, Alice Walker, Raymond Carver, Ambrose Bierce, and Louise Erdrich. Each of these writer's stories continues to resonate with readers because they say something and do more than just "pass the time." 

Now, just so you know, I'm not only referencing the kind of stories we read in English Lit classes, I am an avid reader of detective, horror, sci-fi, and pulp hero stories. The best of these genres too, in addition to wanting to tell a ripping yarn, also have themes that elevate them beyond just being fun, action-heavy stories that entertain. 

In fact, I'd go so far as to say the reason they can entertain in the first place is because they have something to say to the reader. Stephen King writes about childhood trauma carried into adulthood... a lot. Raymond Chandler writes about personal loss transmuted into public good. Walter Mosely writes about changing racial norms and trying to overcome them. Ray Bradbury writes about whimsy being the basis for both technology and horror. Stephen Donaldson writes about how our bad decisions play a great hand in determining what we think of as our fate. The Golden Amazon tells us about absolute power corrupting absolutely while The Spider tells us that sometimes fighting evil can taint us with some of that evil. 

Don't get me wrong, the trouble with much "Literature" with a capital L is that it has a lot to say but fails to entertain. However, that doesn't make the opposite a better, more honest option. It's equally a failure to write a story that entertains but fails to have something to say. Those stories (and trust me, I've read more than a few in old Pulp mag reprints) disappear from my brain almost immediately. 

It's the ones that do more that stick around, even if they're not the best written or the kind that gets anthologized in high school and college textbooks. Theme isn't about longevity. It isn't about your Literature class. It isn't about being discussed at author forums and writing conventions. It's about every story being itself. It's about every story, no, your story mattering to someone, anyone, a reader out there. 

Again, writing with a theme doesn't mean said theme has to be an indicator of high art. Some may. Some may not. But ultimate, for me, it gets down to this statement from Abbie Emmons: 

If we don't understand why what's happening matters to our characters, we don't know why it matters to us. 

(from https://www.youtube.com/watch?v=ot3jkbmBKsc)

I want to break that down into two parts. 

What Is Theme and Why Does It Work?

The first part of Emmons' statement is "why what's happening matters to our characters." That covers PLOT and STORY. Plot is exactly that, what's happening to our characters. Story is why it matters to them. Plot alone can't sustain a story, either novel or short story. It's why even bad horror movies usually involve a character trying to overcome some kind of trauma instead of a generic anybody (except when that's the central theme -- that it can happen to anyone) as a hero or most often final girl. The horror of the killer/ghost/monster is what enables them to process that trauma (loss of a kid, family member, sight, job, etc.) It's what is at stake beyond simply living and dying or beating the villain. It's that awesome marriage between plot and CHARACTER. Get those two together with a bottle of wine and some Wynton Marsalis, and trust me, soon you'll see a baby called story. 

Story then determines your THEME even if you're not planning it out on the front end of storytelling. It's this second part of Emmons' statement: "why it matters to us." 

This is where, I'll admit, a lot of the issues genre writers (particularly pulp writers) can have with theme begins. Theme usually involves change, or at least the opportunity to change, or failure to change. But, the argument goes, pulp heroes aren't supposed to change. That's the whole point of reading their stories. They have a fan base because they're consistent characters. 

I agree. There are certain things about certain characters that can't change, at least not permanently. Frank Fradella had a saying while I was Vice President of Cyber Age Adventures/iHero Entertainment that went like this: "Don't blow up Cleveland; we're going to need that later." 

This works to the benefit of some characters, particularly those who can face their flaws, traumas, and issues and still refuse to change no matter the pressure they face. Batman often faces the need or desire to kill the Joker, and the theme of that story is not whether he actually will or not, but how he walks that tightrope. That can be compelling every time even though the reader knows there's no way Bruce is going to pull the trigger. 

On the other hand, this works to the detriment of some characters, particularly those who are perfect and have no flaws or struggles, no matter the pressures or issues they face. It's the one reason I've never been a fan of Doc Savage. I don't mind that he is physically perfect and always wins, but he never struggles with anything. He never faces any failure in his past or present. He never struggles with emotional baggage. And rarely does his support cast. They can be as flat as cardboard cut-outs. 

I know, if you didn't tune out at the first paragraph, that comment about Doc Savage just sent many of the rest of you running for the hills. 

I present Superman as a counter to the good Doc though. Although Clark is the pinnacle of physical perfection and the sheer embodiment of American values of mom, baseball, and apple pie, he still struggles. He knows that his superheroic identity puts those he loves in danger, so he fights to keep it secret, which can screw up his everyday life (with work, with Lois, etc.). He also faces doubt when his choices for winning don't include an "American values" option. How does a man with a perfect record choose between two bad options and then live with the consequences? Those are great Superman stories. Of course, the best Superman stories figure out a way to choose neither but it doesn't come easily, hence "why what happens matters to the characters" is still a part of the story. The theme of trying to remain true to your own nature is also a theme. But without a conflict that forces that theme, a hero like Doc Savage never changes for different reasons than Superman. 

Note: Maybe this happens in other Doc Savage novels, but in the several I've read before I gave up, Doc Perfect is never allowed to have a flaw or less-than-perfect choice to confront.

What Isn't Theme?

I hope you didn't miss this sentence just a few paragraphs above: "Story then determines your theme." Theme is always an organic outgrowth from your story. Now, remember, story isn't plot. Story is plot and character working together to make the plot matter. 

That's why many writers who may not consciously write with a theme in mind tend to have them show up by nature of the kind of characters they write, the kind of stories they tell, and the kind of outcomes that happen in those stories. As most writers know, it's a difficult thing to keep yourself out of your stories -- and not just in a Mary Sue or Marty Stu way. The beliefs that have guided you through life, the ideals to which you ascribe, the politics you try not to discuss at Thanksgiving -- all of that stuff seems to find a way to seep into your work as if it escapes through your fingertips as you type. (Hell, maybe it actually does. That's as good an explanation for it as any other I've seen.)

If you can't find it yourself, and you're any writer worth your storytelling salt, don't worry. Astute readers will find it for you. Even if you're one of the writers I was talking about in the first paragraph. You still end up writing variations on a theme, and the sum total of your body of work will shine a spotlight on it. Just be warned, sometimes those themes may not say the kind of things you want to be said about your writing. (Such as women only exist for saving and men who don't punch their way out of trouble aren't real men, but that's an essay for another day.) 

Nor is a theme a moral. We're not talking about fables or allegories when we talk about theme. Yes, the best of those still have themes. You can't turn a page in Lord of the Rings, A Swiftly Tilting Planet, or even "The Little Match Girl" or "The Ugly Duckling" without bumping into theme. But the moral isn't the theme. Themes can lead to lessons as we confront things about ourselves as readers, as writers, as critics, etc., but the lesson itself is never the theme. 

So, all this to say: Don't be afraid of the concept of your story having a theme. Don't be afraid to talk about it or bring it up at convention panels. And for god's sake, don't think that decrying the concept of theme from your position behind a table or podium at a conference or convention makes you somehow more honest than other writers. That's about as honest as being an ironic hipster. If your work resonates with someone, you have a theme that reader has identified and identified with -- even if you didn't intentionally approach the work with a theme as you pantsed your way through writing. 

Yes, I acknowledge that even Doc Savage has a theme that folks resonate with. I see my own hypocrisy just fine, thank you. (LOL). 

To paraphrase Aerosmith: Theme on, theme on, theme on, theme until your writing dreams come true! #sorrynotsorry

[Link] How to Develop the Theme of Your Story

by Jerry Jenkins

Without a deeper meaning than just its plot, your story remains a shell of what it could be.

A story with a theme answers, what does this mean?

That’s the kind of a story that resonates with readers and stays with them.

Getting Started: What Is Theme?

Plot is what happens Theme is why it happens. Why you’re telling this story. It’s the message you want readers to take away.

In fact, I urge you to determine why you want to tell a story before you even begin. Know why you’re writing what you’re writing. Don’t just write to write. That’s not a good enough reason to be a writer. Write because you have something to say.

Ask yourself:

What will this story teach my reader about life?

If you write to merely entertain, don’t expect your stuff to be memorable.
Clear Theme Examples

• Aesop’s Fable "The Tortoise and the Hare" (The danger of overconfidence)
• George Orwell’s 1984 (The beauty of individual freedom and the danger of absolute power)
• Lord of the Rings by J.R.R.Tolkien (Love and mercy overcome evil)
• The Old Man and the Sea by Ernest Hemingway (Endurance and perseverance know no age)
• "The Gift of the Magi" by O. Henry (The timeless beauty of sacrificial love)
• The Wizard of Oz by L. Frank Baum (The dearest things to us are often found at home)

Allowing Theme to Speak for Itself

Resist the urge to explicitly state your theme in the story. That may have worked in a quaint way with Dorothy at the end of The Wizard of Oz, but readers today don’t need the theme writ large. Tell your story and it should explore your theme and make its own point.

Readers are smart.

Subtly weave your theme into a story and trust readers to get it. Don’t rob them of the experience.

Read the full article: https://jerryjenkins.com/story-themes/

Nugget #54 -- Beyond Familiar

Yes, I want to write stories that feel like something 

familiar, but not merely something familiar. I want 

my stories to go beyond that and say something new, 

something memorable, something intrinsic to the reader. 

The Writer Will Take Your Questions Now #323 -- What Makes a Good Story?

What do you think makes a good story?

The answer you're probably looking for from me would be this: A good story has memorable characters, an inventive plot, rising action and falling action and some sort of resolution. So there. To me that's a merely good story. For those who are comfortable with for an answer, you can stop reading now and let the rest of us go for something a bit less generic.

For me a good story has all of that, yes, but it also has something to say about the human condition.

It has a theme.

It has some sort of failure and need to be redeemed on either a physical (save the kidnapping victim), emotional (get the lover whose heart you broke all those years ago to forgive you), or spiritual level (to become a better person by escaping the clutches of past failures). Or even if such a redemption fails, it was at least attempted.

It has a conflict that pits imperfect people against other imperfect people in some way that has lasting repercussions.

And perhaps most important to me as a writer, it has what I'll call "The Unattainable Thing." It needs that one thing the protagonist wants desperately but knows he or she will never get. It could be a relationship (as with Rick Ruby and Evelyn). It could be the opportunity to see a lost loved one and say goodbye (Starlord). Or it could be any number of other things, but it needs to be there as a driving force to keep the protagonist going. 

To use a recent example, The Avengers was a good movie. It had memorable characters, and inventive plot about an alien invasion, and lots of action along the story triangle. But aside from "there's the alien, hit it!" it didn't offer too much along the lines of anything deeper than surface tension. The Age of Ultron, on the other hand had all that PLUS the hubris of a man who believed himself to be able to make decisions for the whole world, the question of what makes us human underneath the skin, the idea of putting aside serious harms done to us in order to create a new family, and whether or not two people who know that they are monsters can really ever find happiness as people. So, the second movie, at least in regards to my understanding of what makes a good story, was a great story with deeper ramifications that I will take with me far beyond when the taste of popcorn fades away.

(Then again, I'm a lit major, so your mileage may vary.)