Theme isn’t the characters or the storyline or the first idea that started the narrative. By way of instance, a writer could begin with the concept of exploring family relationships between girls, but as his story progresses, his subject may appear as forgiveness and understanding between different generations of guys.
This brings us into the reason for psychological reaction itself. In respect to fiction that the most common emotions are likes and dislikes that may turn into their stronger types of love and hate. In real life we love or hate a person because of a few attachment through kinship, friendship, or through indirect knowledge of the individual. One cannot love or hate a person one does not understand at all. Attachment can also be to other living beings, material things, and to imaginary things. We love or hate a story or even a notion. For an ordinary person it is not possible to live unattached to things on the planet. If a person can get rid of attachment, one joins the rank of enlightened souls that are indeed rare. We carry our ability and desire for affection into the fanciful world of fiction. We see the characters that we come to understand as the narrative progresses, form our preferences, and react in the same way like in real life except that we cannot interact with them physically. But we do socialize with them in our heads and hearts out of where the emotions come.
Fiction by its very definition is unreal. When we see a novel we know that the narrative and the characters in it are only a product of imagination of the author. When we see a film we know that the characters are just acting their parts basically pretending to be somebody besides themselves. Still we are mentally affected by the twists and turns in the narrative. We laugh with them, weep together, and also sense indignant towards the bad guys. The lovable hero or heroine may be despicable in actual life and the protagonist might be a perfect gentleman, but we identify them using the characters they are portraying. In essence for that brief period we get hauled to the imaginary world of the writer. Strangely enough this happens also with the writer at least to some of them. He or she travels through the same emotions while writing and perhaps later also. There simply is no denying about the ability of look at here now to dramatically alter some situations is incredible. No one really can effectively address all the different circumstances that could arise with this particular topic. So we feel this is just an ideal time to take a break and examine what has just been covered. In light of all that is offered, and there is a lot, then this is a great time to be reading this. The balance of this document is not to be overlooked because it can make a huge difference.
In conclusion, you may enjoy reading science fiction tales if you’re fascinated about futuristic science. You can learn about scientific discoveries which are actual as well as those who are composed by the author. It may also help you to take care of the stress you’re facing. You can escape the issues on your current situation into a new fictitious world.
We all could be players on the world stage, still the question remains why we show the psychological responses to the happenings depicted from the fiction, whether in print or visual demonstration, like in real life? Just like dreams our imaginations become introduced to us over the mental screen as though we had been watching movies or television. And just as in dreams the actual world gets supplanted by the imagined virtual world even though we are fully awake. That planet still has perfect resemblance to the real one and everything happening in it seems real due to something shifting in our cognition school. But the mechanism that activates our psychological responses remains unchanged and therefore we react to this fiction in precisely the same way as in actual life.
It isn’t only a philosophical point either. We spend a considerable part of our own life in the fictional universe. We muse about the things in future and dwell over the past imagining what could have been. The imagination about the future is based on our hopes and aspirations and also to some extent it’s a positive in the sense we’re in a position to mould our future when we sincerely try. But musing over the past is really a futile exercise because we know for a fact that ‘what could have been’ is mere fantasy that never happened. Still it serves the same function as fiction from the perspective of entertainment. We amuse ourselves by imagining how life could have been, knowing fully well that it has no reality whatsoever. In a metaphorical sense ago, at the remote past, is fiction. In a particular sense history is fiction as it always includes the abstract bias of the author. What we know of Buddha and Jesus now is more fiction than facts. You can always check different fiction stories for reference.
Let us start with Tripmaster Monkey. Kingston’s novel is astoundingly erudite, and also her erudition is largely responsible for what concerns me here. How so? Only this – the first chapter (I’m using the first paperback Classic edition of July, 1990) runs from page to page thirty five. In that area I rely forty references to either literature or cinema. (The rest of the book is much the same, although maybe not in quite so high of a ratio.) I will list a few of them shortly for purposes such as.
Character growth can be one of the most important things about writing fiction. You want to produce a realistic group of characters to move your plot together and to do this you need to know them. But how much do you must know about these before you start composing?
And I’m only talking here of direct references to proper names and names. There are also inferences which need to be created and understood if the work is to be properly appreciated. By Way of Example, a woman complains about her philosophy path:
One other way to highlight the motif is through all of the characters in a story, with each character representing an element of the motif, as in Godfather tales once the subject of electricity is introduced with each character representing another facet of power.
Theme is why fiction things, because it is the quality that gives the story a universal appeal. Some say theme is what the story is all about, but that’s too ephemeral a definition, which may get confused with all the idea or the storyline.
Here we have some similarity with the virtual reality of the modern computer technology, which can be an artificial environment created by software. It’s presented to the audience in this way in which the person temporarily suspends own belief pattern and takes it as a real atmosphere. In ways it is not different from the phenomenon of being transported to the imagined world of fiction, except the computer performing the job is in mind and we don’t have any clue as to what is the software and who’s the developer.