How to Connect Everything in the Fiction Story

It is important that, when exploring a piece, we allow the ideas to be focused

Paul Auster would bring up other novels in his stories and connect them to his

When writing fiction, we should keep in mind where we are exploring. A character goes on a journey which leads to a change in their perceptions of the world. Another character, a cop, kills for the first time. We can have these examples, because they are themes. But often, writers forget how they should connect everything to the theme or general vision of the story. This essay will offer solutions for the fiction writer.

If there is an absolute to the works of Henry James, it would be how he connects everything-characters, plot, and theme, for instance-to the visions he had for a story. James is popular just for this fact. His prose may be grand, but he merely followed a few simple rules in writing. All the dots connect in stories like "Portrait of a Lady." He could do this in both the short story and the novel.

The novel can be harder because, supposedly, we are allowed to roam. Consider the protagonist in Paul Auster's "City of Glass." He is a writer by trade and, because he loves reading, adds in his viewpoints on stories like "Don Coyote." Auster roams, but when he brings up a book, to study in his novels, he connects it to the story. The aimless writer lives a story much like the character Don Coyote, where he finds what he thinks about something may be far from the truth.

Hemingway worked this idea too; anything that did not connect would be cut out. His iceberg theory proposed that any portion of a story could be cut; if these did not, he knew something was wrong with the story.

A short story usually focuses on one theme. Perhaps a character wants to be happy. They want love. They desire riches. All of these themes will work. The novel can be hard because, as stated, the novelist is allowed more room to breath. But, the writer should still consider what Dan Simmons said about every scene: each scene should move a story in three ways. If it does not connect the character to the story, for instance, something is wrong.

This rule is hard to follow. We are supposed to enjoy our writing. But our visions of publication will come about if we consider every scene a chance to develop the theme, plot, or character. When we do this, we are praying to the publication gods. And the prayers, which were answered for Henry James, Ernest Hemingway, and Dan Simmons, can be answered.