Decide on a theme/overarching meaning before writing a short story?
I want my short story to have a specific point, to highlight a certain truth. But I wonder in which order I should proceed: make the plot, characters etc. first and worry about fitting my theme into the story later, or start with the point I'm trying to make and build my plot and characters around it?
Of course, the plot needs to be engaging in any case. But my instinct is to build the story around the theme/meaning, and I'm wondering if that is considered a good practice.
A potential downside is that the story will feel more artificial, but the other way around it might feel as if I'm shoehorning in my point into a story that does not support it.
As a response to some of the answers, I might also add that I have a specific theme in mind - so an emerging theme is not what I'm interested in, really.
Rather than focusing on a single point as if you are writing an essay, you may want to focus on an ethos you want to cre …
14y ago
If you have a point that you do want to convey, this is certainly a legitimate practice. You shouldn't make artificial p …
14y ago
Although I don't write themed stories (or the theme emerges naturally), the way I would approach this is kind of like a …
5y ago
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If you have a point that you do want to convey, this is certainly a legitimate practice. You shouldn't make artificial points just to have them, however.
It is important to ensure that your point does not become too contrived, as well. There are cases where everything should be a microcosm of your main theme, but they are rare, even in a short story. You do need to have a strong plot and characters and setting as well. The point will be lost if the writing falters because of it.
Many stories are written as an allegory of a specific point, but even if you do not take it so far as to be that obvious, there is nothing wrong with this.
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Rather than focusing on a single point as if you are writing an essay, you may want to focus on an ethos you want to create.
View your story as world-building (this is something you will find Orson Scott Card, author of Ender's Game reference frequently). The world you are building will reward certain behaviors by your characters and punish others. The world you are building may have a certain "bent," to it.
As an example, the in Ellison's The Invisible Man, all sorts of random things happen to the protagonist that end up making his life more complicated. The result is a story that leaves the reader feeling as if the entire world of the story was meaningless and nihilistic. Rather than hitting the reader over the head with nihilism, Ellison showed the reader a nihilistic world.
It is also possible to construct an absolutely wonderful story that does not try to move the reader towards seeing the world in a different way. In writing these stories the author is usually focused on showing the reader a specific character in all of his or her loves, wants, needs, desires, dreams, and fears. These characters don't necessarily have to drive towards a point in their existence in the story. They have to be themselves.
You can combine both of the above, or use just one for a successful story. In many ways Victorian novels and good science fiction or fantasty epitomize world-building, while modern short stories such as Olive Kitteridge move towards the opposite end of the spectrum.
And then again, you can write a plot-driven work of pure action fiction - it works for some writers.
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Although I don't write themed stories (or the theme emerges naturally), the way I would approach this is kind of like a detective murder mystery story: Backwards.
In a murder mystery, you basically start at the end of the story (somebody is dead), and then work out the twists from who really killed him, to the beginning of the story. You have to come up with everything in reverse, and then tell it forward. The false leads, the misinterpreted clues, the dead ends, the clues that straighten that out.
A story (even one with a theme) is, first, about a character. Second, they find a problem (or it finds them). [After these two steps, a discovery writer is off and running with it]. Third, They try to solve it and fail. They try again and fail. They try again and -- third time's a charm, they succeed. They live happily ever after, or until the next problem.
So once you have your theme, you need to find a character with a personality trait that will serve to exemplify the theme. Often it is a personality trait pretty much the opposite of your theme. Then you need to devise a problem whose solution depends almost entirely on your theme; so it will bring out the worst in your MC and cause a head-on collision. So they try and fail (not getting the message). They try and fail again (not getting the message). Then out of desperation they finally GET the message, and try again and -- succeed, because they got the message.
The rest is details; it is usually considered ham-handed to make the theme too obvious, or to baldly state it. You can include secondary and walk-on character to violate the theme and end up dead or punished or miserable. You can have people, even your MC, argue the opposite of your theme.
An example: If your theme is "charity is rewarded", they argue convincingly against it. But arguing for "selfishness" will make them sound like jerks, and you want the reader to sympathize with them. So find a way to argue against your theme that sounds halfway reasonable. Off the top of my head versus charity: People need to learn self-reliance, and their personal experience that hardship is a test that can make a person better, or brings out innovation. Necessity is the mother of Invention! The world moves forward because people have to work through their hardships. Give a man a fish, he eats for a day, but if he has to learn to fish to fill his stomach, he will eat the rest of his life. So I might loan him a few of my fish so he doesn't starve while learning, but I expect them paid back!
(Note I don't personally believe any of that, I'm just devising a necessary character).
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