Writing Your Story's Theme: The Writer's Guide to Plotting Stories That Matter

by K.M. Weiland

Theme Is What Your Story Is Really About

Theme—the mysterious cousin of plot and character. Too often viewed as abstract rather than actionable, theme is frequently misunderstood and left to chance. Some writers even insist theme should not be purposefully implemented. This is unfortunate, because in many ways theme is story. Theme is the heart, the meaning, the point. Nothing that important should be overlooked.

Powerful themes are never incidental. They emerge from the conjunction of strong plots and resonant character arcs. This means you can learn to plan and implement theme. In doing so, you will deepen your ability to write not only stories that entertain, but also stories that stay with readers long after the end.

Writing Your Story’s Theme will teach

How to create theme from plot and character.Why every supporting character and subplot should enhance the theme.How to prevent theme from seeming preachy or “on the nose.”What to consider in identifying the best theme for any given story.And much more!Conscious mastery of theme will elevate every story you write and allow you to craft fiction of depth and meaning.

Take Control of Your Story Via a Powerful Implementation of Theme

Genres: Writing, Nonfiction, Crafts

180 pages, Kindle Edition

First published January 1, 2020

About the author

K.M. Weiland is the award-winning and internationally published author of acclaimed writing guides such as Structuring Your Novel, Creating Character Arcs, and Writing Archetypal Character Arcs. She writes historical and speculative fiction and mentors authors on her award-winning website Helping Writers Become Authors.

Reviews

[Josiah DeGraaf · Rating 4 out of 5]

This is an ambitious book.

There aren't many works out there that I'm familiar with that seek to unpack a comprehensive approach to theme-building in fiction writing. (The closest I've found is Truby's Anatomy of Story, and it isn't even a work primarily about theme!) You have several that touch on the subject and some--like Weiland's earlier Creating Character Arcs that do an impressive job of hitting certain aspects of theme really well. But I'm not familiar with many that focus specifically on the subject.

This book endeavors to change that--with an exploration of theme that draws from a number of great writers and thinkers, contains a variety of philosophical and theoretical insights into the nature of storycraft, and offers a comprehensive approach to the subject.

The first thing potential readers should know is that this book is going to feel quite different from Weiland's previous books. It's not as "formulaic" or "model-focused" in its approach (as, say, Creating Character Arcs or Structuring Your Novel are), and it tends to spend more time unpacking the theory of storycraft than her previous books. (Which is not to say it isn't practical... simply that she talks more about higher-end concepts in this work.) In my mind, this fit the topic well, but it did take some adjustments on my end in what I was expecting. This book is less about presenting a model and more about establishing principles, and the chapters can sometimes feel disconnected from each other as a result.

Enough, however, about what the book is generally like. What about its content? If it's more about establishing principles, what are those principles actually like?

Unsurprisingly to anyone who's read any of her previous books or follows her blog, her principles are, of course, solid through-and-through. There are a lot of lists in this book that give a variety of helpful tips for tackling the various aspects of theme. I particularly appreciated her points about why themes don't need to be unique (simply powerful), how the plot of a story meaningfully grounds the exploration of the story's theme, and how theme effectively solves the plot vs. character debate. Her section on subtext was also quite excellent.

So how well does this book live up to its goals? It's one of the best unpackings of the Truth/Lie model of thematic development I've seen--not in a way that's focused on simply providing a model, but in a way that's focused on unpacking the theories and principles behind the model so writers know how to use it effectively. As a storyteller, I still find the Experiment in Living model to fit my personal writing style better than the Truth/Lie model when approaching thematic development. But I still learned several useful principles and techniques by reading this book and for writers who use the Truth/Lie model, this is pretty essential reading in my book for how to expand that into your plot, subtext, and side characters.

My recommendation would probably be to read Creating Character Arcs first to get the foundation of the character arc that will form the core of your character's theme. But after that book, this work is a very natural sequel to it that will be a fantastic guide for authors looking to take their story's theme beyond the character arc.

My one complaint about the book is that I read the digital version and I really need the physical version so I can mark it up appropriately. (It's in the mail as I write this.) You'll want to go with a physical edition of this work if possible.

Recommended.

Rating: 4 Stars (Very Good).

[Caleb CW · Rating 4 out of 5]

This one wasn't as impressive as her other works on writing. I found most of it to feel a little repetitive, but there was one chapter that I found extremely helpful, and that's where the four stars come from. K.M. has a wealth of information available about writing through her podcast and through her books. I've read most of her work on writing and found it to be helpful in my own journey. I highly recommend reading or listening to her podcasts.

There it is and there you have it.

[Peter · Rating 4 out of 5]

I write fantasy. I also play fantasy Role Playing Games (RPGs). In the typical RPG, a varied group of individuals, each with separate powers, abilities and agendas, somehow come together, explore an old castle, kill the monster and steal the gold. Lots of what K.M. Weiland may refer to as character and plot. Yet we are warned not to try and translate RPGs into a novel and the reason may be they lack KM’s third key element of a good story: theme.
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Now, I have been reading KM’s emails, tweets, posts and books for about as long as I have made writing a novel a life project (about two years). In all of her work she emphasizes the importance of each of the three elements, as well as such things as character and story arcs, the Lie and the Truth, conflict and the protagonist, and many other things. These are certainly represented in her book: Writing Your Story’s Theme. Yet with theme as the primary subject, what follows are a few specific tidbits I got out of the book.
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Of all the things KM presents in her novel-writing theory, none has been as hard a nutshell for me to crack as understanding scene writing. She writes that what seems to be one idea (a scene) is actually broken down to six in two sets of three ideas. In Theme, much of the detail is set aside. Keeping it simple is done to accent how a scene is an interweaving of the inner development of the character (internal conflict) with the outer action of the scene’s plot (external conflict). KM thus demonstrates how theme is built upon by logically sequential scenes. Building the big theme of the story through the many mini-themes of scenes is a discussion I found useful.
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I also found KM’s advice on the antagonist (in developing theme) sharpened my vision of just what he could and should be in my story. Reading Theme, I often drifted into how I could clarify my antagonist’s role, making him more powerful figure and relevant to the character arc of my primary protagonist. Once, I even had to stop reading in order to jot down a few ideas. Now, I dare say, my protagonist has a lot more on her plate than she did before.
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The chapter on message was particularly striking. (To skip the spoiler below, understand that KM basically warns the writer from emphasizing message over theme.) From it I found a new perspective on what I believe is a shortcoming of Lew Wallace’s Ben-Hur: A Tale of the Christ.
***SPOILER ALERT***
Ben-Hur’s primary theme can be summarized by one word: Revenge. The theme is masterfully explored in the heart of the novel (Wallace uses sections he calls “books” each with its own set of chapters)—books 2 through 7. Yet in the concluding book 8, the theme is lost to the message of Jesus on the cross as it is commonly understood in mainstream Christianity. This overwhelms the theme and is thrust upon the protagonist (and reader). The story becomes preachy (KM describes this as didactic) and the protagonist’s development stagnates. It becomes predictable to anyone who attended Sunday School. By contrast, the 1959 movie adaptation does not make this story-telling faux pas. The concluding scenes focus on Ben-Hur and his personal discovery of the story’s Truth (using the word as KM does). In Ben-Hur’s case, it’s how a life spent seeking revenge is a life wasted (or something like that). This is exemplified by the foreshadowed “gourd of water” scene in the march to the crucifixion.
***END SPOILER***
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Likewise, KM’s chapter on symbolism had much to offer. KM reviews five different ways to incorporate symbols. For me, I use the trees and the forest for my characters home—especially making use of the word “root.” At one point, a tree breaks apart in a blizzard. KM’s tips have had me rethink these story features into something metaphoric along the lines of how their world is falling apart. KM doesn’t intend for a writer to put meaning into every twig that snaps, but does turn on the idea to look for something deeper in the course of creating your story.
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Of all that I got out of Theme, the most important may be the easiest to understand: I learned how to write my theme in a sentence. This may seem small. I knew my Elven love story was built around “interpersonal love,” and was able to work with just that. Yet, it wasn’t until after reading Theme that I was able to put my theme into a complete answer to some random person’s question: “What’s your book about?”
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In sum, I got a lot out of Theme. Again, KM goes over all her theory in the book, so someone well read in her writings will find a lot of repetition. I can’t say it could or should be the first thing a new or curious writer should read of hers—that I reserve for 5 Secrets of Story Structure (the book that pops up each time you open her website). Yet it is fair to say that Theme offers its own angle to what K.M. Weiland teaches.

[Rachel McCollin · Rating 2 out of 5]

I've read KM Weiland's other writing guides and have found those very useful, but unfortunately this book had very little original content. Once you've read the first few chapters, the rest is just the same content presented in a different way, or content from her other books with just a slightly different slant. There's way too much jargon and little to no evidence to back up the author's assertions about writing the perfect novel. I hate leaving negative reviews but in this case I didn't bother finishing the final chapters, and feel I wasted my money.

[Sophia Nicolopoulos · Rating 5 out of 5]

Totally loved Weiland's new book! It provides so many helpful and practical tips about locating the theme in your WIP and using it to embellish on plot, character and story. I've been editing my own stories based on Weiland's models of writing, and using theme has tremendously impacted the way I craft my work.

K.M Weiland is a true inspiration and an amazing creative writing coach. If it weren't for her ideas, I wouldn't have been able to outline my stories let alone identify the things that need work and provide effective solutions.

If you want to spend time on a creative writing course, choose Weiland's books instead. They're cheaper and much more effective and specific than any writing course I know of.

[Abhinav · Rating 4 out of 5]

Great book.

I approached this book as a sceptic. I'm sceptical of the idea of story structure itself, in several different ways. I'm sceptical that a single, universal set of very fine-grained plot beats underpins every story ever written. At my most cynical, I see such efforts as little more than seeing human faces in the red sands of Mars: the very human tendency to see patterns in chaos. On the flip side, the idea of story structure has a sort of self-fulfilling power: like Yuval Harari's idea of human myths, if a large group of people believe in the idea of universal story structure, and output according to that formula, then it will be true that stories have universal structure. That makes me sad; the beauty of writing, and all art, lies in not following formula. But myths cannot be discarded off-hand; human constructed myths have enormous power - try telling your bank that your loan should be waived off because money is a made-up construct.

Anyway, why did I approach this book if I was so sceptical? The chief reason I think is just to make this vast, impenetrable enterprise of novel writing *feel* doable. Books on structure, no matter how much they overreach, at least offer some kind of step-by-step framework that lets this software engineer iterate. A sort of planner-helper to bookend my chunks of unfettered creativity. The other, more pragmatic, reason, that I only allowed myself to think in moments of weakness, is that developing a feel for understanding the story structure myths of today would make my book more likely to be successful.

That's how little I expected of this book (or indeed any story structure book I read). But this book forced this sceptic to sit up and pay attention to its core argument. Well, it has several, but the most fundamental one is that every good story has a strong theme, and that strong themes are universal. They're universal in that they resonate with aspects of the human condition. Things like "the human spirit endures". This is an argument that strongly resonates with me. As a reader, I'm always looking for books to say something interesting on the human condition. As a writer, I probably start most things off with theme first, then plot, and then character.

K.M. Weiland would strongly argue against there being any stories that just 'entertain', and have no theme. At best, they are unconsciously tapping into the zeitgeist, and likely not in interesting ways, given that they are unaware that they're doing so. I would agree. With that out of the way, she sets out to the nuts and bolts of applying theme to the work of writing a story. How does theme integrate with plot? How does theme integrate with character? How does this work on a scene level? How do you have theme without coming off too heavy-handed?

As the book progressed, and K.M. Weiland tightened the screw further, pushing theme deeper and deeper into a story, I started to worry. Would this be another hyper-detailed formula to churn out books by specification, just that this specification would now have this cool thing called theme? Not entirely. K.M. Weiland would insist that theme has to come from the soul, or a place deep within your belief system. She would also insist on honesty, and she has a very nuanced take on what honesty is: not that it is your truth as the author, but the truth according to the story you're telling. She would say, and indeed has said something to this tune, that writing a story according to spec would still not be a good story, if it doesn't have a piece of you in it. I found that reaffirming. I don't know if it was enough to cure me of my worry about formula, but there was another thing I realised that brought me closer.

As the list of things that K.M. Weiland demanded of authors grew, I, somewhat paradoxically, grew calmer. They were exceedingly difficult to achieve, and probably impossible for a first time novelist like me. The author would say that's by design; the craft of writing a good story is not meant to come easy. It is a skill, and the ceiling is the sky, a target that can never be reached but only aspired to. And that was a relief, because all things formulaic have a secret, hidden feature: they seek to make the difficult simple. But K.M. Weiland's formulas are hard to simplify; arguably, they complicate, by bringing the hidden structures that animate good stories and the craft it takes to write them, to the light. This probably means I can never apply them to construct a new story by specification. Instead, when I'm in a place where my n-th draft is somewhat done, I can check how it does by the formulas in this book. Then, I would already have poured a giant piece of me into writing what I have, and I could do something similar for all the things I will inevitably find I've missed.

So, how does the book help with my original tasks? It doesn't do very well as a planner-helper. If anything, I'm even more impressed (intimidated) by the amount of work it takes to write a good novel. But maybe that's unfair. It can be a very good reference for revision (I'll get back to you when I get there). Like all good books, this one confounds my expectations, in a good way: it makes a very strong case for theme being a crucial, conscious element of writing.

I still dock a star because this book suffers occasionally from that bane of all non-fiction it seems: repetition. I wonder if authors, knowing that readers are going to blaze through their books exactly once, resort to banging us over the head with the same point said slightly differently, to defeat our speed-reading and stick? But K.M. Weiland has some brilliant turns of phrase, and a subtle sense of humour, that made the repetition as enjoyable as it could be, particularly in the first half of the book.

[Meg · Rating 4 out of 5]

4.5 stars.
It occurred to me while reading this book that every reader should understand writing composition. It would make everyone a stronger reader. I loved reading this book. One question I had going into this book was "How do you write a strong theme and story without coming across as preachy?" After reading this book I've found my answer: by offering the reader questions, not answers.

"Theme is... not the same as message. A message, by my definition, is a political statement. It is a principle that concerns people in a particular situation and is not universally applicable to any member of the audience." --Michael Hauge

"If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water." --Ernest Hemmingway

"What moves men of genius, or rather what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough." --Eugene Delacroix

"There are only two or three human stories, but they go on repeating themselves as fiercely as if they never happened." --Willa Cather

I'm going to write down key points from each chapter so I can refer back to it:

INTRO: THEME = CHARACTERS = PLOT
-Theme, character, and plot are the holy trifecta of story writing.
-The mirroring layers that can be found in almost every part of every story:
1a. Exterior Plot Action
1b. Main conflict
2. Character arc
3. Theme

CHAPTER 1: DISCOVERING YOUR THEMATIC PRINCIPLE
-Definition of theme: Theme is a unifying idea or subject, explored via reoccurring patterns and expanded through comparisons and contrasts.
-The best way to explain theme is to express thematic principle. It is the story's reflection of a universal truth. It can have many forms:
-It may try to prove a commonly held belief or try to disprove a commonly held belief.
-It make tackle the deepest questions of human existence or explore our most deeply held values.
-It may offer answers or raise questions.
-It may focus on moral dilemmas or simply highlight certain patterns.
-It can comment or observe
-It can be high-minded or mundane
-It may be optimistic or pessimistic
-It cannot be vague

Three ways to find your thematic metaphor:
1. What does your story look like from afar?
2. Does your story have shape?
3. What does your story look like when stripped to bare essentials?

CHAPTER 2: USING CHARACTER TO CREATE THEME (AND VICE VERSA)
Theme supports character and character supports theme.
Follow this checklist to create harmony throughout your story:
1. The thematic premise's explicit argument
2. Inner Conflict, Pt 1: Lie vs. truth
3. Inner Conflict, Pt 2: Want vs. need
4. Inner conflict becoming outer conflict
5. Change within the character, change within the plot

Choosing a protagonist who is thematically correct:
1. What does your protagonist bring to this particular conflict that no other character does?
2. Why is your protagonist's conflict your protagonist's plot-- and not anyone else's in the story?
3. What is your protagonist's greatest virtue?
4. What is your protagonist's greatest flaw?
5. How does this virtue and this flaw directly influence the plot-- and what do they say about both the plot and the protagonist?

CHAPTER 3: USING PLOT TO PROVE THEME
Plot should always be about theme. The risk of not doing this might mean the plot ends up "proving" something the writer never intended and/or the writer unintentionally proves one thing via the plot, while consciously trying to prove another through theme.

A checklist to make sure you've married the correct plot and theme together:
1. Why this plot? Why this theme?
2. Does this plot facilitate a character arc that proves your theme?
3. Can your plot's external conflict be a metaphor for the character's internal conflict?
4. How do the external changes of your plot catalyze your character's inner changes?
5. Have you vetted the thematic pertinence of every scene?

The antagonist force as direct challenge to the protagonist's relationship to the theme. The conflict between the two must be evident from the beginning.
What is the connection between your protagonist and antagonist?
1. Protagonist and antagonist are positively connected.
2. Protagonist negatively connected to antagonist
3. Antagonist negatively connected to protagonist
4. Antagonist as a mirror for protagonist
5. Protagonist and antagonist oppose each other ideologically

The thematically appropriate antagonist for each of the three main types of story:
1. If your protagonist is following a positive-change arc: Protagonist begins the story in disagreement with thematic truth and the antagonist may also reject the truth/promote the lie OR may be a bigger version of the lie.
2. If your protagonist if following a flat arc: Protagonist does not change their viewpoint throughout and neither does the antagonist, but they disagree.
3. If your protagonist is following a negative-change arc: Protagonist starts off with a positive relationship with thematic truth and the antagonist represents the lie.

The four qualifications of the right antagonist for your story:
1. The antagonist directly opposes the protagonist
2. The antagonist directly opposes the protagonist thematically (does the antagonist believe the truth or the lie? Is the antagonist painfully similar to the protagonist in some ways? Is the antagonist an example of someone the protagonist desperately wants to be or someone they resent? Will this character be able to persuade or argue with the protagonist or challenge their beliefs?)
3. The antagonist is a reflection of the protagonist
4. The antagonist creates obstacles for the protagonist from the start

Ask yourself:
-What antagonist will be present in the climax's final confrontation?
-How can this antagonist be the major opposing force against the protagonist and all of the major structural beats?
-How can this antagonist be set up as an obstacle (or the inevitable potential for an obstacle) from the very first scene?
-How will the protagonist "brush" against this antagonist's power in the Inciting Event?
-How will this antagonist drag your protagonist into the main conflict at the First Plot Point?

CHAPTER 4: USING MINOR CHARACTERS TO DEVELOP THEME
How minor characters define theme:
-Emphasize your minor character's different approaches to theme.
-Contrast your sidekick with your protagonist.
-Compare your antagonist with your protagonist.

Refining your supporting characters and theme:
1. How does each supporting character represent the theme?
2. Which supporting characters reflect positively on the theme and which reflect negatively? Do they have...
-A stalwart, unchanging relationship with the truth
-A stalwart, unchanging relationship with the lie
-A change arc from lie to truth
-A change arc from truth to lie
3. Which characters will influence your protagonist's relationship to the theme and which will be influenced by the protagonist?
4. How does each minor character's personal goal/conflict comment upon theme?
5. How does each supporting character's climactic moment reflect your protagonist's thematic climax?
6. What if a supporting character doesn't provide a thematic reflection? The smaller your cast, the tighter your thematic representation must be. The more important the character, the bigger his or her thematic footprint must be.

Thematically complex supporting characters.
1. What does this supporting character want?
2. What is your supporting character's goal?
3. What lie does your supporting character believe?
4. What flaw results from your supporting character's lie? Psychological flaws or moral flaws?
5. What truth will your supporting character discover? (Embrace the truth and reject the lie-- ending on a positive note? OR reject the truth and cling tighter to the lie -- ending on a negative note?)

Use minor characters to flesh out your protagonist. Even small characters provide background. They provide context for the four most important characters in a story: the protagonist, the antagonist, the sidekick, the love interest.
The protagonist: represents the main thematic principle
The antagonist: represents the flip side of the protagonist's thematic principle
The sidekick: proves the value of the protagonist's thematic principle
The love interest: acts as an impact character

CHAPTER 5: DIFFERENTIATING THEME FROM MESSAGE
Theme is a general principle. Message is a specific example of that theme in action.

"Writing is interpretation. You are obliged to offer yours. If you want to say nothing, offend no one, tell a happy little tale, and otherwise act the innocent, that choice is available to you. Just remember that even them you are saying something and that we are watching.... You can play it safe or you can speak your mind. Why venture into the public space of readers and audiences if your goal is to keep your real thoughts private? if you are bothering to write, say what you mean.... Make a list of the issues you are willing to shed some blood over. Read your list over. Are you writing about any of these? If not, why not?" --A Writer's Space by Dr. Eric Maisel

How to create a complex moral argument:
-It's not the author's job to make up the readers' minds. Rather, it's your job to present all the facts, so they can make up their own minds.
-There are three truths. My truth, your truth, and the truth.
Option #1 Find a new conflict
Option #2 Look to a different aspect of the story for the moral argument

CHAPTER 6: DEEPENING YOUR STORY'S SUBTEXT
The five steps to cracking story subtext's secret code:
1. Story subtext arises from the space between two known, fixed points. If subtext is the shadow behind your story, there must first be figures standing in the sun, casting that shadow.
2. Story subtext must explicitly exist beneath the surface. The author must be very familiar with the subtext in order for it to translate to the reader. But this does not mean that the author TELLS the reader what the subtext is.
3. Story subtext must remain under the surface. Resist the urge to explain. Have your characters talk around subjects instead of having them say things on-the-nose. Whenever a character says exactly what they mean, question it.
4. Story subtext is created by dichotomy. There should be dichotomy between interior and exterior behavior. That is the heart of subtext.
5. Story subtext exists in the silent spaces. Sometimes silence is the best dialogue.

Deepening your characters' subtext.
1. Limit the number of POVs. This encourages subtext and elements of uncertainty/mystery.
2. Limit the insights of your designated POV character(s). Let your readers interpret POV character's thoughts, motivations, etc. This might mean refraining from your characters self-analysis. If they're self-aware, don't let the reader see it.
3. Create dynamic characters
4. Trust your characters

Deepening subtext in dialogue. Good dialogue must:
1. Advance the plot
2. Accurately represent characters
3. Mimic reality
4. Entertain
5. Offer subtext
Rule #1: Don't say what you mean
Rule #2: Bring dialogue full circle
Rule #3: Surprise your audience
Rule #4: Understatement and Irony. Again, sometimes silence is best. Here is when you know to keep your character quiet:
-When strong emotions are at play.
-When an action communicates more strongly or more succinctly.
-When dialogue adds nothing important.
-When too much information damages the suspense.
-When it best serves the character.

CHAPTER 7: INCLUDING MEANINGFUL SYMBOLISM
You can convey symbolism through small details, motifs, metaphors, universal symbols, or hidden symbolism.

CHAPTER 8: CRAFTING THE BEST THEME FOR YOUR STORY
-Look for your character's theme. What does he want? Why does he want it? What is he willing to selflessly sacrifice in order to get it? What is he willing to selfishly sacrifice? What will he gain and what will he lose by the story's end? How will he have changed?
-Look for your theme. Characters are reflections or extensions of you. Write what you know.
-Honest ficiton is..
1. Truthful fiction. "Fiction is the lie through which we tell the truth." --Albert Camus
2. Fiction that has nothing to do with personal convictions. Present not YOUR truth but THE truth by being true to your characters' truths.
3. Personal fiction. "Write what you know" means to be honest and tell the truth.

CHAPTER 9: WRITING YOUR THEME IN THE FIRST DRAFT
When you plot out and draft consider the following:
1. Weaving your plot, characters, and theme.
-When you work on your character's external goal (a plot question), you must also consider how it is influenced by the thing he wants (a character arc question), which is, in turn, influenced by the lie the character believes, which stand in opposition to the truth (a thematic question.)
-When you work on your story's external conflict between protagonist and antagonist (a plot question), you must also consider how this conflict is driven by and/or representing the character's concurrent inner conflict (a character and theme question).
-When you work on how your character will demonstrate his changing attitudes over the course of the story (a character arc question), you must also consider how this will, in turn, change his outer goals and his responses to the external antagonistic force (a plot question).
2. Weaving your protagonist's goals and your antagonist's goals consider:
-When you work on your protagonist's overall plot goal, you must then consider how this will be blocked by your antagonist's overall plot goal.
-When you work on your protagonist's scene goal, you must consider how it will block the antagonist's goals-- and, in turn, inspire a defensive or offensive response in the form of a new scene goal for the antagonist.
-When your protagonist is off by herself, making plans, you must also be aware of the plans your antagonist is, in turn, making off by himself.
3.Weaving your POVs/timelines/plot points consider:
-Which POV will you use to tell each scene?
-If your story includes multiple plotlines or timelines, how will you order their scenes within the story?
-If your story includes multiple plotlines or character arcs, how will you harmonize their respective plot points?

Think about the role of the theme in your story's climax. Ask yourself if your story will end with a positive assertion of your theme. If your story ends with this affirmation of your thematic truth, then it needs to begin with a negative assertion; the story's beginning must posit that the thematic truth is false. (You could also do the opposite. Begin with positive assertion, end with negative.)

Use a truth chart. Here is what they look like:

STORY'S BIG TRUTH (MAIN THEME):
STORY'S BIG LIE:
CHARACTER'S SPECIFIC TRUTH:
CHARACTER'S SPECIFIC LIE:
THE THIGN THE CHARACTER WANTS:
THE THING THE CHARACTER NEEDS:
THE CHARACTER'S BACKSTORY GHOST:
1ST ACT- SPECIFIC MANIFESTATION OF THE "BIG LIE":
1ST ACT- THE STORY'S "SMALL" INTRODUCTORY TRUTH:
2ND ACT- AN ASPECT OF THE TRUTH ACTING AS AN ANTIDOTE TO THE SPECIFIC LIE (MOMENT OF TRUTH)
3RD ACT- REMAINING "BIGGEST" CHUNK OF THE LIE:
3RD ACT- CLIMACTIC TRUTH:

Finding answers for any character arc. Ask:
-Why am I here?
-Who am I supposed to be?
-What is my destiny in this life?
-What is my responsibility in this life?
-What is life's narrative?

Intertwining plot, character, and theme in every chapter. Plot on the scene level. Every scene's goal is pertinent to the overall plot goal. Every scene's outcome moves the plot by changing the plot.
-Action>reaction
-Question>answer
-Action>lesson
-Emotion>opposite emotion

CHAPTER 10: CREATING STORIES THAT MATTER
1. Every piece must contribute to the plot
2. Plot must contribute to theme
3. Stuff can't happen just to have stuff happen
4. Characters must change
5. Realistic cause and effect must arise from character motivation

How to write weighty fiction.
Factor #1: Subtext (no subtext = no depth = no weight)
Factor #2: Passage of time (generally, the longer the timeline, the more time there is to develop plot)
Factor #3: Multiple settings (show how plot affects the characters in more than one place.)
Factor #4: Subplots (should still be thematically pertinent)
Factor #5: Emotional and Intellectual Sequel Scenes. Every scene in your story is made of two halves: scene (action) and sequel (reaction.) The action in the scene is what moves the plot. But the reaction in the sequel is where the character development and thematic depth will almost always be found.

Using theme to create cohesion and resonance.
-What is cohesion? It is logic and organization. It is when everything in the story is there for a reason. Structure is the backbone to your story. Structural events tell you what the story is about and they need to form a continuous line of catalytic change. The three most important moments for keeping structure on track are the inciting event, the midpoint, and the climax.
-What is resonance? Keeping the theme at the center. Theme is what your story is really about. Theme is the central question. Theme unites plot and character. Theme is not dogmatic (meaning it does not necessarily give concrete answers. It gives questions.)

[Ietrio · Rating 1 out of 5]

weiland is one of those failed writers who discovered that selling classes to worse writers than you brings more money than scamming people with bad literature. well, those who take classes aren't exactly bright as the most these teachers can lift them is as high as they could game the algorithm on amazon kindle. the book is mediocre, but it is relevant to create an aura of respectability around the classes.

[Julie Cordiner · Rating 3 out of 5]

Maybe I wasn’t in the right mood for this book, but I really struggled with the first two-thirds of it. The style was more academic and technical than I’ve come to expect from Katie; it wasn’t as personable as her others. It felt as if the topic didn’t justify a whole book and was being extended with too much repetition. The later chapters were the best..

[Julia Garcia · Rating 5 out of 5]

I had no idea I needed this book so much until a friend talked to me about what she was learning about it. My eyes went wide and I quickly ordered it.
It's taken me a while to finish it because I've been taking reams of notes, but hopefully my story will be stronger for it.

[Annie Lima · Rating 5 out of 5]

This is a useful resource for any author wanting to strengthen their novel's theme. I've never read anything so in-depth on the subject! But don't try to read this book when you're tired or at less than peak mental alertness - it's so deep and rich that takes a lot of brain power to fully absorb the details. There are so many useful concepts here that I found myself highlighting dozens of separate passages, which I'll have to look back over when I'm plotting out my next book. Thank you, K.M. Weiland, for another excellent writing resource!

[Shalene · Rating 5 out of 5]

I’m often skeptical of books about writing, especially when the authors don’t seem to have successful writing careers themselves. However, Weiland clearly has an eye for what makes both movies and books work thematically. I agreed with many of her insights and appreciated the numerous nuggets of wisdom throughout. She also included many excellent examples. I’ll definitely be checking out more of her writing books!

[Janet Sketchley · Rating 5 out of 5]

Practical advice, complete with examples. This book is helping me think through deepening my current work in progress and I can see referring back to it to help with future novels as well.

[Nell Bryce · Rating 5 out of 5]

K.M Weiland's "Writing Your Story's Theme," which I was grateful to receive a review copy of, is an exceptional book over a topic in the writing community that rarely gets discussed, but that is absolutely essential to the writing process.

I have been an avid reader of K.M Weiland's books and blog articles for years. She's one of the few people I can rely on for insightful, consistent, and practical writing advice. What makes her books particularly useful for new writers, like myself, is that each book has a specific purpose behind it that can be used as a tool or technique to improve writing. This is different to other writing books that give a lot of general writing advice. These can be helpful too, but it's less obvious how it's impacting and improving your writing. With K.M Weiland, you leave her books knowing a specific principle or technique for improving writing and every time you use it from there on, you know where it came from.

I've been waiting for a book on theme for a while, because it's one of those areas in writing that is immensely important, but has a pretty terrible reputation. If you ask the average writer about theme, they either can't tell you what it is in any specific terms or will warn you that too much attention to theme will result in trite and preachy writing. In reality, the misuse of theme or the misunderstanding of theme is what can lead writers to these unwanted results, which only makes learning about theme all the more important. Even if you're a masterful writer who always gets theme right without being conscious about it, you will want to know the mechanism behind every part of writing so that if a part of the story ever starts causing problems, you know what to do, and don't have to guess at it.

What you get in this book is a great foundation on theme. You'll learn the practical definition of theme, its function in the story, the difference between message and theme, the way you can find theme through plot or character, as well as how to deepen your theme once you have found it, through subtext and symbolism.

I'd absolutely recommend this to anyone who has an interest in learning more about theme, or someone who has never considered theme until now. In both cases, this book will either help you expand what you already know about theme, or get over some of those misconceptions that may be keeping you away from learning about theme.

[Chris Moore · Rating 5 out of 5]

In Writing Your Story’s Theme, K. M. Weiland goes deep to help us write stories with depth.

Theme is the point of a story. It provides a why to the plot’s how. Weiland prescribes a kind of “bob and weave” technique to mesh plot, character, and theme. To help us navigate this complex choreography, she once again opens her toolbox of probing questions, checklists, and examples from books and movies.

At the heart of theme is an honest parley between two opposing viewpoints. In chapter 5, Weiland writes, “A powerful theme is not an answer—it’s a question. And questions very often have more than one answer ... Theme is about exploration ... You must be willing to look at the exact opposite of your theme’s posited truth and explore it just as earnestly and honestly as if you believed it.”

Consider two power players that you may have overlooked: Supporting characters working in tandem with theme can significantly deepen the reader’s emotional and philosophical takeaway. Subtext reveals truth through action rather than words—without preaching. Weiland guides us through the process of using both.

Chapter 8 alone is worth the price of the book (“Crafting the Best Theme for Your Story”). This is where Weiland helps us dig deep to identify our own life themes, visceral fears, or the big questions we always seem to be asking—and then extend them to our characters. She tackles the difficulty of looking “beyond the easy surface clichés to find the honest emotional and thematic truth at the heart” of every scene.

Theme pushes our story’s people and problems to stir deep emotions, to transend the words on the page and produce a tale that MATTERS and lives forever in the hearts of readers. And what writer doesn’t want that?

[Melanie · Rating 5 out of 5]

K.M. Weiland has helped you to outline your novel, structure your novel, and create your character arcs. Now, she completes the “holy trinity” of craft with Writing Your Story’s Theme.
What is theme and how can you identify it in your story? How does theme relate to story structure (plot) and character arc? Why should every character and subplot reflect or enhance your theme? How can theme help you to outline your novel? How is theme related to but distinct from message and how can you keep your theme from reading as too preachy or on-the-nose?
As with all of Weiland’s craft books, Writing Your Story’s Theme is meticulously researched and full of insights the author gained through her own writing practice. There are additional resources to help you dig deeper into the topic in the appendices at the end.
If you’re a fan of Weiland’s craft books, you need to pick this one up. If this is your first of Weiland’s writing books, it will leave you wanting to complete your library (and you should—they’re that good). Weiland’s writing advice is accessible and consistent with her blog, podcast, and other craft books. If the pattern holds, Weiland will likely have a workbook coming in the next year.
I always have “lightbulb” moments when I read one of Weiland’s craft books and Writing Your Story’s Theme was no exception.
My highest recommendation.

[Joseph Brink · Rating 5 out of 5]

This book has changed how I view writing. Never before did I know that you could actually consciously work on theme. No wonder all my previous novels have sadly lagged in thematic depth!
Thank-you K.M. Weiland for writing this inspiring, practical book that will totally change how I view the art of writing.
Through this easy-t0-read book, K.M. Weiland makes the mysteries of theme as easy to tackle as character and plot - and shows how all three really rely on each other. She will help your writing become cohesive and resonant by having all the characters, plot, and theme perfect for one another.
I personally think this book is best read with her amazing writer-help books "Structuring Your Novel" and "Creating Character Arcs".

[Howard · Rating 5 out of 5]

I love her information about story themes. This info is new to me, and I think is very helpful. Her examples are very well thought out and clear to a newbie like me. Her info of creating subtext is the clearest I've heard so far. Excellent addition to the writer's arsenal!

[Claire · Rating 5 out of 5]

Really helpful information on how to use plot, structure, and characters to establish and tighten a story's theme!

[Jon Stonecash · Rating 5 out of 5]

In the interests of full disclosure, I received an early copy of this book to allow me to review it. Since I buy almost all of Katie's books, the free part should not affect my review.

One of the things that I find most attractive about Katie's books is that they are a wonderful mixture of the theoretical and the practical. She will explain the theoretical aspects of an aspect of the writing craft in sufficient detail that even the most inept of aspiring writing can figure it out. A lot of those who write about craft can do that. What distinguishes Katie's books is that she will add practical examples. I read these and often say, "Ah Ha! So that is what I have to do to master ." Of course, it takes more than one (or even a few) readings of the material to be able to apply the new knowledge to one's current work in progress.

This book covers one of the most difficult concepts of writing: the theme of the work. Theme is perhaps the most important part of the story: why does this story exist? I read a lot and more than a few of these stories fall into what a category I call, "travelogues through a strange and unfamiliar land". The journey may well be interesting and even enjoyable but it lacks purpose and meaning. The characters are largely unchanged, the resolution of the plot resolved nothing, and, a short time later, the story fades from memory. A story with a solid theme digs into the reader and refuses to let go. Even if the story is uncomfortable to read, it stays with the reader, challenging and perhaps enhancing the reader's understanding of the world. These are the stories that demand to be re-read and then re-read again.

This book is straightforward handbook on how to get closer to writing stories that have a fighting chance to be more than travelogues. Hemingway wrote on the craft of writing, "Writing is something that you can never do as well as it can be done." And somewhere else he mused that no matter how much you had learned about writing, there was always more to learn.

Read this book, try to apply the insights, rinse, repeat.

[Chris · Rating 5 out of 5]

I listened to the audiobook for my first read: excellent production, articulation and tone of voice.

My understanding of character and plot points did include my novel’s theme before Weiland’s treatment of this important element to storytelling. Her overview of how theme plays a vital role —it does not have to be unique—gave new insights into how to use mini themes to filter story theme in scenes and character arcs. She taught me that theme helps me solve the plot vs. character writing challenge.

I will re-read her fascinating section on subtext and symbolism, two ways to deepen theme. I’ll also re-read her treatment of the truth vs. lie—the best I’ve read to date. Identifying the lie a character believes presented a challenge for me before this book. Thank you, K. M. Weiland. You cleared that up for me.

Although I’ve written non-fiction for thirty years, this book proves its value as I write my first novel. Weiland provides useful principles and approaches to theme, a topic not covered in over a dozen other craft books I’ve studied. I will be ordering the paper copy or ebook because I want to see (I’m a visual learner) the lists she provides. The summary of the five main character arcs in her appendix was outstanding and succinct. She has a book on this (Creating Character Arcs) but this appendix gave me just what I needed without having to read another book.

I learn best from examples and Weiland gives plenty for why some famous books and films fall flat without well-developed themes. Plot, character, and theme are now a “holy trinity” of storytelling. I love threes. By focusing more on my theme and subtle symbols to reflect it, I feel more confident in how to avoid preaching while providing a powerful impact in storytelling for readers to unpack.

[Lauren Waelder · Rating 5 out of 5]

K.M. Weiland is absolutely correct. Theme is as much an integral part of any story as plot and character. Yet despite this, it is almost never mentioned directly, save for the constant warning to avoid any emphasis on theme. Her book explains how, still without too much direct emphasis, it still can become a part of each page and end up as the reason readers remember your book.
This lesson is not only important but also unique, something few have actually explored at such length. The understanding of such a difficult concept is also aided by K. M. Weiland’s use of numerous examples, from both literature and cinema, of examples we have already read or seen, and how they used the same principles to create their own memorable works. She also includes an appendix elaborating the analysis of the character arcs. Her work on characters was the first of her books I read, Creating Character Arcs, and reading it as well will aid anyone considerably in writing. However, the appendix ensures that this book is just as powerful on its own as with her other works.
I received a copy of this book for my honest review. However, that does not in any way change my thorough enjoyment reading it, studying it, and applying it to my own writing. I recommend this work with no hesitation to any writer, whether just starting out or well into the field, who wishes to explore this little-known yet fundamental part of writing.

[Roy Gomez · Rating 5 out of 5]

Everything You Always Wanted To Know About Theme

Terrific book!

A trove of insights on the craft of novel composition, K. M. Weiland deconstructs the elusive topic of theme in so practical a way that novelists are sure to find it useful.

“Writing Your Story’s Theme” can help writers hone their skills. Weiland shows how to identify theme. She presents outstanding examples of how literary conventions express it. I enjoyed realizing how addressing theme early, during pre-writing stages, can help ease the entire writing process.

The most amazing observation Weiland offers is this: Theme is a synergistic phenomenon. The resonance of brilliant works lies in effective uses of plot, character arc, story structure, and a host of other supportive, dramatic devices.

Theme underscores the ultimate purpose of craft–authorial intent, or message. It’s the reason we write, no? We have something to say. To communicate a message, understand this: Message speaks in the collective use of your novel’s conventions.

“Writing Your Story’s Theme” is an extraordinary work. To appreciate it, consider reading Wieland’s growing canon. Read “Creating Character Arc.” Read “Structuring Your Novel.” Each book is an instrument of compositional precision. Each tip can help writers realize a dream.

[John · Rating 5 out of 5]

Many books and podcasts on the craft of writing contain a discussion of theme. They usually start with an acknowledgement that theme can be a nebulous concept and throw out lots of good—but mostly the same—ideas and advice. What this book does differently is tie theme into the other aspects of the craft, like structure, plot, and characterization, in a way that makes the advice *actionable*. It’s still true that there’s significant art in actually implementing it in your own work, but the author does a good job of clarifying how things can or should tie together and provides lots of useful examples. I found myself leaving the book repeatedly to jot down notes on how I could tweak this or that scene or character in my own work in progress to better support the theme. It’s the best value per hour of time invested that I’ve experienced since first encountering story structure. It’s my favorite of the author’s work thus far. It builds upon her earlier work, and you definitely want to understand story structure and character arcs to get the most use out of this book, but if you’re unfamiliar or rusty with respect to those topics, there’s a nice appendix that will probably give you what you need.

[Maureen Pandraux · Rating 3 out of 5]

Another book about writing ?

Well, yes. I believe it’s important to educate myself about my craft and keep improving as much as possible. And since I’m a firm learning-by-reading kind of person, what better than reading about technics to increase my writing skills ?

This one I found via Twitter. A writer that I follow posted a thread of book recommendations that had helped her as an author. And since theme isn’t my strongest point, I thought I’d give it a go.

I must admit I was bit worried at the beginning. The first three chapters weren’t concrete enough to my taste, and I got sleepy each time.

But then it got real interesting (imo of course, the author of this book knows obviously much more than me about writing so i’m no one to judge). The next chapters were much more “practical” I’d say, and it made me realise a few things about my wip and the way I outline in general. ALSO led me to change the ending of the book I’m writing, because it’ll make much more sense that way.

Basically I wasn’t a huge fan of the way the author presents all this. Many things are repeated and some stuff is a bit vague. But it does have some incredibly eye-opening points and I would recommend it to those who struggle with the “theme” part of their book.

[Madi Taskett · Rating 5 out of 5]

I was on the third draft of my book and struggling- I knew there was something structurally off with my plot and my characters but couldn't pinpoint what the issue was or how to fix it. I bought 'writing your story's theme' hoping it could help, but not understand how something as simple as theme could take up a whole book.

Turns out, 'writing your story's theme' is a comprehensive book on fixing your book's soul. It covers everything from story structure, to each major and minor character, to all the little details in between. Every page in this book has a purpose, and every page helped me make my book better.

I highlighted and dog-eared basically the whole thing, and took 35 pages(!) of notes to apply to my current book. Now I know that my characters are not all aligned on the theme, that my minor characters had way more depth than I gave them credit for, and that simple tweaks in my storyline will have massive impact.

I'll refer to this book often in the future, and I feel like it'll become one of my 'holy grail' writing references.

[Jaljes · Rating 2 out of 5]

Es el segundo libro que leo de la serie. Los libros anteriores hablan sobre la estructura y los arcos dramáticos de los personajes, y en este la K. M. Weiland explora la dimensión temática de la narración. Para la autora son aspectos estrechamente relacionados, y aunque no funcionan por separado, en cada entrega de la serie se explican las características específicas de cada dimensión. Los argumentos de la autora son muy sólidos, pero me parecieron muy repetitivos. Cada capítulo se sentía como una elaboración del anterior. Además hay muchas listas: los 5 secretos de las grandes historias, 5 pasos para crear subtextos en la historia, 5 características de un buen diálogo, etc. Si tuviera que elegir entre los dos libros que he leído, me quedaría con la entrega #7 en la serie: "Creating Character Arcs".

[Viggo · Rating 4 out of 5]

K. M. Weiland was the one who got me started on studying story structure about six years ago. Since then, I’ve read a lot of other writers’ works on the topic, but never really gone back to Weiland until now.

This book provided exactly what I had hoped, which was a deep-dive into theme; what it is, how it works, and how you can develop and implement it into your writing. I found a lot of the content of this book very helpful, often providing concrete methods that I will use in my own writing.

There is a part in the second half of the book where i felt like Weiland started repeating herself and strayed into general but not specific explorations of theme. But the earlier parts of the books were so helpful that it weighed up for that, and the final appendix on Character Arcs was a nice addition.

[Ramzy Hamdy · Rating 5 out of 5]

I picked up this book because I was having difficulty understanding theme, theme v moral premise, how theme weaves through stories.

This book offers all the theory to understand theme to allow one to apply that understanding through narrative.

With the practice of mixing theme into my narrative, I feel I have the foundation to execute it well because of this book. I imagine there’s plenty I will revisit (willingly and eagerly) in this book to fully understand as I wet my foot in the application, but I feel way more confident after having read it.

If you’re having difficulty understanding theme, understanding the heart of a story, understanding text, context, and subtext, or understanding what makes a novel resonate, then allow this book to be your guiding light to understanding.

[Nikki Morton · Rating 5 out of 5]

Another home run by K.M. Weiland.

I’ve read all but one of Weiland’s books on story craft (that one is to follow shortly) and you want to know what I like best about her guides?

She makes me think. I mean, dig deep.

My humble opinion is that she took the often elusive topic of theme and brought it to the forefront in the best way possible. As she even states, theme is not an easy topic to definitively grasp, and few have ventured to write about it. I’m seriously appreciative of this book…through the process of my learning curve to story crafting, I have been sadly lacking in the area of subtext and theme cohesiveness and resonance. This work brought these topics to life for me, and I will certainly be referencing it every time I start putting an idea in motion.

Highly recommend.