We all may be players on the world stage, nevertheless the question remains why we show the psychological responses to the happenings depicted in the fiction, whether in print or visual demonstration, like in real life? Just like dreams our imaginations become presented to us on the mental screen as though we had been watching television or movies. And as in dreams the actual world becomes supplanted by the imagined virtual universe although we are fully awake. That planet still has perfect resemblance to the actual one and everything happening in it appears real due to something shifting in our cognition school. But the mechanism that activates our emotional responses remains unchanged and therefore we respond to the fiction in the exact same way as in real life.
Here we have some similarity with the digital reality of the contemporary computer technologies, which can be an artificial environment created by software. It’s presented to the viewer in such a manner that the person temporarily suspends own opinion pattern and accepts it as a real atmosphere. In a way it isn’t different from the phenomenon of being hauled to the imagined world of fiction, except that the computer doing the job is in mind and we don’t have any clue as to what is the applications and who’s your developer.
That brings us into the cause of emotional response. In respect to fiction that the most common emotions are likes and dislikes that could turn into their stronger types of love and hate. In real life we love or hate a person because of some attachment through kinship, friendship, or through indirect knowledge of the person. One cannot love or hate a person one does not know at all. Attachment can also be to other living beings, material things, and even to imaginary things. We love or hate a narrative or even a notion. For a typical person it is not possible to live unattached to things on the planet. If a person is able to eliminate attachment, one unites the rank of enlightened souls that are indeed rare. We carry our ability and desire for attachment even into the fanciful world of fiction. We view the characters that we come to understand as the narrative progresses, shape our preferences, and respond in precisely the same way as in real life except that we cannot interact with them physically. But we do socialize with them in our minds and hearts from where the feelings come. As we have just stated, Go Here is something that cannot be dismissed – or at least should never be ignored. No one really can effectively address all the different situations that could arise with this particular topic. So we feel this is just an excellent time to take a break and assess what has just been covered. This is the sort of content that people need to know about, and we have no problems saying that. The balance of this article is not to be overlooked since it can make a huge difference.
The simple fact is that in a specific sense life itself is fiction. Just like a story it has a beginning, an end, and lot of stuff in between. We do not know who writes this fiction will ever understand. Thus we’ve got an innate affinity with fiction and cannot fully detach ourselves from it. And maybe that’s why, while studying or viewing fiction we get lost subconsciously in the wonderland of creativity, but for that brief period we operate exactly in the exact same manner as we would in the actual world of our understanding. In that sense fiction is simply invented reality.
Theme is why fiction matters, because it’s the quality that gives the narrative a universal appeal. Some state theme is what the story is all about, but that is too ephemeral a definition, which might get confused with all the idea or the storyline.
Theme enriches and inspires the reader when saying something profound about the human condition. Theme is the abstract concept behind the narrative forming the story’s heart and soul which the exposition, dialogue, and action reflect every chance they get.
Theme isn’t the characters or the storyline or the original idea that started the narrative. By way of instance, a writer may begin with the concept of exploring family relationships between girls, but as his story progresses, his subject may shape up 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 implied, sometimes without the author’s understanding of it at the beginning; however, more seasoned authors usually work on their theme harder than any other part of the narrative once they grab on to what it is they are writing about.
In non-fiction, the author is suggested to hone in to his subject and begin referring to it at the first paragraph. In fiction, on the other hand, the motif usually flowers through the writing as the narrative progresses.