Advice for writing themes into the story without hitting the reader over the head with them

[UltimaBahamut93]

Some of my favorite stories of all time have had layers to them. On the surface it's a story about X, but really it's also a story about Y. Might not be the best example of this but let's take the OT Star Wars. Is it a story about space battles and laser swords? Yes. But is that it? No, on a deeper level it's about family and good vs evil. I imagine stories like this to be a layered cake. It's all one cake but there's several layers going on, and some of them might be different flavors, but they all intentionally go together. (Great now I'm hungry)

Some of my ideas I didn't do intentionally but other ideas I have, where there will be an overarching theme of a story, or at least of the main character. Let's say the MC has to deal with finding his identity while living under the shadow of his deceased father who he hates. So there would be a theme of "Finding your identity." Other characters can be examples of different paths that the MC can go down to try to find the answer to the question of "Who am I?", some good and some not.

But I want to be careful of not writing a story to fit a theme, rather have it be natural and existing in the story without me shouting at the reader with a megaphone "Hey! Remember the theme? You should feel [insert emotional response here] now!"

So what is some advice for doing this well? My favorite books/movies are the ones that you can think about on a deeper level a week after experiencing it and it still makes you reflect on it. I want my stories to be silly goofy adventures with dragons and magic, but also dealing with depression, love, and finding hope in a dark world.

 

[The Dark One]

You're talking about subtext and this is just about the most complex topic in literature.

Off the top of my head...

If you care about an issue, the likelihood is that it will emerge in your writing.

Try not to deal with the issue directly, eg by naming the issue or having the characters state opinions on the issue. Test your characters with situations which show opposing aspects of the issue and let the readers reflect on what happened to the characters and how they feel about that.

 

[pmmg]

Well...what do you want to say?

Cause if you have something to say, you kind of have your theme.

I find in my own writing, there are some themes that are kind of over-arching, and some that just kind of spring up without me being aware that I was shooting for it.

What was the theme that Mr. Lucas wanted to say with his Star Wars story? Ultimately, I think it was about the belief that 'there is still good in him'. (I am not sure Lucas recognized that from the start though....I think initially, he just wanted a fun movie about space. But the themes popped out at him).

If I take a theme of 'there is still good in him', well, I have something to work with. One being....seems I have to make someone really bad to make the statement seem soooo unlikely. And what happens if someone is really bad, and makes a huge mess that characters must oppose them? Well...I start to get things that make up my story. If someone is really bad, and someone has to believe there is still good in him, what must that character be like?

I dont have to think in terms of 'I have to keep beating my theme into them', instead, I just have to start with what I want to say, and figure out what it all means in a story format. If I know what I am trying to say, I kind of start with how far away from that can I be, and then who starts the journey.

But....I suspect you will find, as you create the tale, the theme may end up being something much different than originally expected. Cause stories gain depth as you explore them. I bet if you had asked Lucas way back before Star Wars was a big hit what he thought the big theme was, he would have said something like 'farm boys can have exciting adventures in space too.'

 

[The Dark One]

You also have to be brave and unflinching depending on what your theme / subtext is.

My first novel had a number of subtexts but one was racism. That meant I had to have some racist characters saying racist things (which appalled even me). None of the other characters ever said anything about racism being bad but the racist characters were (a) stupid; and (b) very bad things happened to them.

To have actually started writing an anti-racism polemic would have ruined the book and made the message waaay less effective.

 

[Finchbearer]

Yep, subtext is also what I would say. I have no finished works yet but so far I have been drawn to write subtext into every story. It is actually helping me have a plot structure and gives me a foundation with which to work from. Subtext is good. Both fantasy and SF are great mediums to talk about big subjects without, as you say, hitting readers over the head with them.

 

[Finchbearer]

Well...what do you want to say?

I want my stories to be silly goofy adventures with dragons and magic, but also dealing with depression, love, and finding hope in a dark world.

 

[The Dark One]

While on the surface a swashbuckling, white knuckle ride, my most recent novel (sci-fi) is also a satire on the ravages of psychopathic leadership.

No-one would touch it if it said that in the blurb.

 

[Demesnedenoir]

Don't take a side is an option and pretty much the only way to avoid a version of a straw man argument. Explore a theme more like a reporter should report a story instead of as an advocate, and you'll be less likely to hit folks over the head.

The world needs fewer authors thinking they proved their point because of their carefully constructed narrative ending as they make it end, heh heh.

 

[Finchbearer]

Hmm, I’m no ‘point prover’ when it comes to the themes I explore in my writing. There’s no moral high ground I sit on - it more about some relatability at times, if a reader can relate to the subtext of the overarching narrative then I’m happy, if not then hopefully it’s still just a good story.

 

[pmmg]

Not able to quote for some reason...

Finch said:

>>pmmg said: Well...what do you want to say?

>>>>UltimaBahamut93 said: I want my stories to be silly goofy adventures with dragons and magic, but also dealing with depression, love, and finding hope in a dark world.


^ Not a direct question. To UB93, its meant to put his thoughts in the right place. For everyone else, the same, but in their own context.

If I was, however....

'Silly, goofy adventures with dragons and magic' is not a theme.

'Dealing with depression, love and finding hope in a dark world' is.

If I was to write this and want to use that as my theme, I would begin with the dark world. What makes it dark? how did it get that way? Why does it persist?

Then the characters... I need one who is dealing with depression and struggling with love and hope. Along with that, I need other characters who represent other facets of the same thing. So...a love interest... Maybe others who are in different places on the same issues. One who just broke up, one who is suicidal, one who is happy in the dark world.

Seems to me, setting and character are making themselves.


Course...I do need a conflict for a story, so what about the dark world needs to change might be a place to start.

The world needs fewer authors thinking they proved their point because of their carefully constructed narrative ending as they make it end, heh heh.

Gonna disagree with this sentiment. The world needs them all...those trying to prove their stuff, and those asking the questions. Its not a fewer or more thing. As we go long some of all flavors will bubble up, and maybe for a time, win the day, but without it, none of us have anything to chew on, and humanity suffers. If you got something to say...say it. If what you got to say is that no one should have anything to say, say that instead, but say it.

 

[Finchbearer]

I thought your ‘what do you want to say?’ question was directly aimed at the OP pmmg, and so I highlighted where they stated what they wanted to say.

I don’t think it would need to be more specific than exploring love, depression etc. for it to be subtext. Subtext is usually broad.

 

[Demesnedenoir]

Most of it is a cacophony of sanctimonious echoes in the chamber. Derivative and redundant isn't necessary, just inevitable, heh heh.

Gonna disagree with this sentiment. The world needs them all...those trying to prove their stuff, and those asking the questions. Its not a fewer or more thing. As we go long some of all flavors will bubble up, and maybe for a time, win the day, but without it, none of us have anything to chew on, and humanity suffers. If you got something to say...say it. If what you got to say is that no one should have anything to say, say that instead, but say it.

 

[pmmg]

Most of it is a cacophony of sanctimonious echoes in the chamber.

Most is not all. Most of everything is not worthy.

Without the cacophony that you find sanctimonious echoes, we would have only the sanctimonious echoes of those saying the only value is in not reaching. That is its own type of derivative and redundant.

It hardly matters, the world is always going to have some of each. We can accept and reject it as we will.

 

[Jackarandajam]

Most of it is a cacophony of sanctimonious echoes in the chamber. Derivative and redundant isn't necessary, just inevitable, heh heh.

I partially agree. I think this typically stems from not solidifying "the lie" well enough. An mc should go from a perfectly comfortable, or at least familiar, lie, into a very uncomfortable truth that, after alot of back and forth, turns out to be the right choice for the mcs internal struggles (in a positive arc, I mean).

No one needs to be told "adventure is good," but in The Hobbit, Tolkien did a great job introducing Bilbo as someone who didn't want it and didn't seem to need it.
He also did a masterful job showing how difficult and painful it was along the way.
Also, the bittersweet ending that left several dead dwarves on the battlefield.
In the end though? Adventure is what BILBO needed. Not necessarily everyone, but that's why the story is about the MC.

So Maester Tolkein gave us an honest, balanced argument over the truth (theme), and directed the series of questions and answers (plot) specifically at his protagonist.


When the subject of a universal truth is presented as universally true, and an honest argument not made to judge its truth, a writer wags a finger self-righteously at the reader and turns a book into nauseating propoganda.

 

[Finchbearer]

Have you watched one of the BBC interviews with Tolkien where he masterfully rebukes the (rude) interview when he’s asked if his work is several things that they are most definitely not, such as an allegory about the H bomb, communism and propaganda, and you can see how intelligent the man clearly was, but I’m sure he was probably annoyed by the interview questions trying to skew his words.

 

[Finchbearer]

When the subject of a universal truth is presented as universally true, and an honest argument not made to judge its truth, a writer wags a finger self-righteously at the reader and turns a book into nauseating propoganda.

Oh, R F Kuang did this with Babel IMO, and it was indeed the finger wagging type of nausea.

 

[Devor]

But I want to be careful of not writing a story to fit a theme, rather have it be natural and existing in the story without me shouting at the reader with a megaphone "Hey! Remember the theme? You should feel [insert emotional response here] now!"

^ So this is mostly about two things: Finding a theme that's more subtle than, say, a political talking point. And then executing it well. You don't commonly hear people complain that somebody hit that coming of age theme a little too hard, or that they felt like they were being beat over the head with that overcoming adversity theme.

Aside from things which play into the obvious political dynamics right now, I did read a criticism of the Orville for being a little too obvious with its themes, which has episodes like "the social media gone evil planet" and "the horoscopes gone evil planet." I agree with that criticism, but the sentiment wasn't widespread or filled with animosity. Still, those are kind of lame episodes.

Regardless, here's some tips for using theme.

First, think about your MC's character arc. People say they "stumble" into themes by accident, and that's because they're mostly the result of the character's personality and choices as they develop over the story. But how does the character grow over time? What kind of choices do they have to make? Do they have to make any sacrifices? - what won't they sacrifice to get their answer? You don't need to articulate your theme like a literature student. Just, think about the points in the story which answer these questions. Then do some of the following:

- Build those moments up. Use those points in the story to make deep-sounding comments about life. Do more to really deliver on the emotion and power of those moments.

- Give those moments more of a throughline in your story, where characters worry about the coming choice they'll need to make or mull over the consequences afterwards. Don't let it just be a flash in the pan.

- Find ways to mirror those points in other characters of your story with different outcomes (i.e., you turned away from your friends to get here, while I leaned into mine...)

Finally, if you really want to nail a theme, you can try an idea statement. This is a simple statement that shifts and grows and gets more complex as different things happen in the story. It's not like a thesis, which is something you set out to prove. An idea statement might start out, "I need my friends to help me overcome." But what happens in the middle of the book when your friend isn't strong enough to help in a fight? The idea statement shifts. "I need to nurture my friends to help me overcome." (You don't need to literally include the exact line, but you do need to reflect the changing idea.) What happens in the end, when your friends have to fight the underlings so you can face the boss alone? "I need to nurture my friends, so they can bring me to this point.... because they're the ones I'm fighting for!" That kind of thing.

A good thing about the Idea Statement: Having one can help you with the "muddy middle." You've got some story time to kill just after the heroes escape? Look for a way to challenge your idea statement. If you're "fighting for your friends," take the chance to put a hurdle in your friendship and see what happens. If you're seeking justice, what happens when a villain wants to make a deal? An idea statement can make a great guide for filling in some of the gaps of your story in between those big plot points.

((edit))

Oh. Another thought, but this is mostly for longer works, like series.

Different characters might have their own themes, as an extension of their different personalities. Think Hermione Granger and Luna Lovegood, or Jaime Lannister with Brienne of Tarth. Developing those themes over the character's appearances and then pitting them together can create a fun clash of ideas and tons of interesting developments, especially when you need an occasional break and tone shift from your book's main themes.

 

[Demesnedenoir]

It must have both, but like The Force, there should be balance, heh heh. I'd argue there are too many damned Sith running around these days.

But as you say, it doesn't matter, though I'd advise all writers to exit the chamber if they're able.

Most is not all. Most of everything is not worthy.

Without the cacophony that you find sanctimonious echoes, we would have only the sanctimonious echoes of those saying the only value is in not reaching. That is its own type of derivative and redundant.

It hardly matters, the world is always going to have some of each. We can accept and reject it as we will.

 

[Jackarandajam]

There are alot of topics right now that everyone wants to talk about, but everyone is TERRIFIED to debate. For a theme to work and not be propaganda, the plot must be a debate.

Also, shoehorning popular issues in where they don't make any sense. Also a theme issue.
If the theme is about greed, make the villain greedy. If the show makes the villain greedy but ALSO hideously racist (bad huh? Look how BAD he is), sure it makes me hate him, but I've lost the plot. I thought the story is about greed, why am I being bludgeoned with an unrelated topic now? Is this story about racism? My mind flies back over the story trying to find why the topic is relevant, but it isn't there. I am subconsciously annoyed. Is this a story, or just an amalgamation of hot topics?

Hence, lately alot of media hits like a virtue signaling fever dream.
It isn't that I don't agree with alot of the virtues, it's that I'm just supposed to vigorously nod my head and cluck along for a few hours and then get a "You're welcome, plebian" charge on my account.

I like thinking. I want something that makes me think, even if I expect to agree with the conclusion of the story.

 

[Mad Swede]

So what is some advice for doing this well? My favorite books/movies are the ones that you can think about on a deeper level a week after experiencing it and it still makes you reflect on it. I want my stories to be silly goofy adventures with dragons and magic, but also dealing with depression, love, and finding hope in a dark world.

My advice as a published author? Just write. Don't worry too much about the themes in the story, or what layers there are in the story. As The Dark One wrote, if you care enough about (or are driven/motivated enough by) something then these will come over in your writing. You may not give this much thought as you write but your subconcious will put it in somewhere.

When my first book was published I was a little surprised to read some of the reviews. They were picking up things I had never intended to include. I couldn't quite see it even after that, but when comments about my "usual themes and styles" got made in reviews of the third book I talked to my editor about it. Her comment was that my books do have an underlying theme and have several layers to them. She had also got to know me very well by then and added that those themes and layers reflect things which have happened in my personal life and which led me to start writing.

I still don't think about what themes I include or why when I write. That's partly because of the way I write, but mostly it's at the encouragement of my editor. She feels my writing is more natural and unforced when I just write the story I see in front of me, and that this in turn makes for a better novel since the underlying themes are then more subtle. So I just write.