A theme is an idea exemplified throughout a story. A motif is a concept repeated in words only, rather than action. Death is not exemplified in the Brown rewrite, merely referenced. The two concepts often become blurry as motifs support the themes.
“….theme is an abstract idea; motifs are the concrete objects that build that idea.”
Certain varieties of story exist where the theme’s abstract idea is not exemplified in the story’s action. Beyond those varieties, however, my conviction is that concrete repetition and abstract ideas have greater importance when they’re exemplified within the story’s action.
I think you need an example here. Is this what you mean?
{For example: the themes of North by Northwest is that 1. coincidence can lead an innocent person, albeit a flake when it comes to relationships), (Cary Grant) into other people’s agendas and 2. people may not be what they seem 3. trust no one. The motifs are the examples of just how sinister these agendas and aliases can be. Eva Marie Saint comes on like a seductress, but she’s actually a CIA operative, who hides him (guess that really does make her a saint). People are trying to kill him and he doesn’t know why (and neither do we at the start), reality keeps changing, even by the “good guys” (Leo G. Caroll) …}
Great, concrete examples. It felt a little meandering in the middle, but that is your audience. We like to meander.
The one thing I'd note is on the theft of those that came before. If you could showcase a strong example there of how a classical author did rob what came before, either through research or through anecdotal evidence, I feel like that idea is going to be stronger.
I love these chapters that you put out. I feel like compare to many essays I read about writing, I am impressed at how deep you go, and how much I always learn from it.
Weirdly, I don’t think I have such a thing as the Pratchett draft, at least not written down. I tried to write perfectly in order like that once, and it takes out all the energy. Usually I have the rough beginning and end in my head following from the theme or core idea, then I will construct the rest in my head while I write. I start at the beginning, but I usually don’t write linearly, and I have some favourite scenes that I will polish and edit before finishing the rest. I always imagine it more akin to chiselling an image into stone: You worl on different parts in random order until the whole end result satisfies you.
The idea of writing in the popular fiction that you like to read and bringing the skill into it really opened my eyes! I started with fantasy as a kid, and later read more classics as an adult, but I always felt there was such a wealth of things to do with fantasy ideas and admired the authors who elevated that (Pratchett being one).
Is this a whole chapter or just an excerpt? I had the feeling it sort of fizzled out in the end.
A theme is an idea exemplified throughout a story. A motif is a concept repeated in words only, rather than action. Death is not exemplified in the Brown rewrite, merely referenced. The two concepts often become blurry as motifs support the themes.
“….theme is an abstract idea; motifs are the concrete objects that build that idea.”
Certain varieties of story exist where the theme’s abstract idea is not exemplified in the story’s action. Beyond those varieties, however, my conviction is that concrete repetition and abstract ideas have greater importance when they’re exemplified within the story’s action.
I think you need an example here. Is this what you mean?
{For example: the themes of North by Northwest is that 1. coincidence can lead an innocent person, albeit a flake when it comes to relationships), (Cary Grant) into other people’s agendas and 2. people may not be what they seem 3. trust no one. The motifs are the examples of just how sinister these agendas and aliases can be. Eva Marie Saint comes on like a seductress, but she’s actually a CIA operative, who hides him (guess that really does make her a saint). People are trying to kill him and he doesn’t know why (and neither do we at the start), reality keeps changing, even by the “good guys” (Leo G. Caroll) …}
I do agree that an example will elevate this chapter.
Great, concrete examples. It felt a little meandering in the middle, but that is your audience. We like to meander.
The one thing I'd note is on the theft of those that came before. If you could showcase a strong example there of how a classical author did rob what came before, either through research or through anecdotal evidence, I feel like that idea is going to be stronger.
I love these chapters that you put out. I feel like compare to many essays I read about writing, I am impressed at how deep you go, and how much I always learn from it.
Weirdly, I don’t think I have such a thing as the Pratchett draft, at least not written down. I tried to write perfectly in order like that once, and it takes out all the energy. Usually I have the rough beginning and end in my head following from the theme or core idea, then I will construct the rest in my head while I write. I start at the beginning, but I usually don’t write linearly, and I have some favourite scenes that I will polish and edit before finishing the rest. I always imagine it more akin to chiselling an image into stone: You worl on different parts in random order until the whole end result satisfies you.
The idea of writing in the popular fiction that you like to read and bringing the skill into it really opened my eyes! I started with fantasy as a kid, and later read more classics as an adult, but I always felt there was such a wealth of things to do with fantasy ideas and admired the authors who elevated that (Pratchett being one).
Is this a whole chapter or just an excerpt? I had the feeling it sort of fizzled out in the end.