Noodling on theme

I attended Surrey International Writers’ Conference this year – a first for me and the first virtual conference for them. They did a superb job of offering interesting and inspiring content to writers at all stages in their writing careers. Although circumstances prevented me from attended more than a few live sessions, I’ve seen several recorded sessions and enjoyed them as well. Of particular interest for me:

  • Crafting a Page Turner with Hallie Ephron
  • Building the Character Network with Maria Reva
  • Embracing Conflict with Eileen Cook
  • Refining Your Theme with Susanna Kearsley

In Refining Your Theme, Susanna Kearsley said that a lot of writers keep trying to work out the same issue in their novels. Her own issue centres on the meaning of home: Where is home? Where do I belong? Who are my people? Kearsley doesn’t begin with theme. Rather, she finds the theme grows organically as she writes, often emerging unexpectedly in dialogue–what Kearsley refers to as an ‘aha moment’. Susanna Kearsley believes that her subconscious is at work while she writes, which is why her characters often reveal the theme through dialogue.

This session got me thinking about theme as it relates to historical fiction. Theme is one of the seven elements of historical fiction, but to my way of thinking themes are universal; they transcend time and place. Themes like the one Susanna explores are just as relevant now as they were hundreds of years ago.

Popular themes addressed in today’s fiction include: love, death, good vs. evil, coming of age, power and corruption, survival, courage and heroism, prejudice, individual vs. society, and war. While the historical context and events surrounding these themes vary depending on the time period, I would suggest that the way people react, cope, and change is the same.

My own novels – Time and Regret, Unravelled, Lies Told in Silence and the soon to be published, Paris in Ruins – address war, courage, and love. They feature ordinary people in extraordinary times, a theme that asks each of us what we would be willing to do to defend our country and those we love. The Admiral’s Wife – as yet unpublished – deals with love and prejudice. The story behind You Don’t Know Me, a contemporary novel currently in my editor’s hands, considers power and corruption as well as survival.

At one point in her talk, Susanna Kearsley advised attendees to “let your story be what it wants to be.” Good advice.


M.K. Tod writes historical fiction. Her latest novel, TIME AND REGRET was published by Lake Union. Mary’s other novels, LIES TOLD IN SILENCE and UNRAVELLED are available from AmazonNookKoboGoogle Play and iTunes. She can be contacted on FacebookTwitter and Goodreads or on her website

Theme in Historical Fiction by Lucille Turner

Lucille Turner has been on the blog before talking about Mona Lisa – 500 Years of Mystery, The Fall of Constantinople, and most recently offering insights on Research in Historical Fiction. Today she talks about theme in historical fiction. Welcome back, Lucille.

Theme in Historical Fiction by Lucille Turner

Writing is a very subjective activity. A writer becomes immersed in the fictional world he or she creates for the time it takes to finish the book, be it a few months or a few years. But however dedicated a writer you are, one of the greatest challenges you face is how to communicate the core of what your book is really about to the reader, because not every reader emerges from the same book with the same understanding of it. This can be frustrating; it can mean negative reviews, or even no reviews at all. Sometimes the significance of a book can be entirely lost on a reader. The plot may be thrilling, the characters may seem real, but the reader still needs to make sense of the book at a deeper level in order to enjoy it, and this is particularly true for literary and historical fiction, which are often driven by character and setting more than by plot.

What is theme, really? It is easy to say that theme is the central idea of the story, but in fact theme is not so much an idea as what the book has to say about an idea. Several ideas may emerge from a good novel, but where do they lead the reader, and how strong are they? A weak theme leaves you feeling there is something you have missed, or something the author has missed. A strong theme delivers that deeper level of enjoyment and understanding; it is the key to the book, which must be unlocked by the reader. Once unlocked, it will take the reader to that core of the book: its message, which is what the reader takes away once the book is finished.

In my recent historical novel, The Sultan, the Vampyr and the Soothsayer, one central idea that arose from the book was the struggle between good and evil. As the characters evolved and the plot moved forward, the emerging theme and message (hopefully) became apparent: that the struggle between good and evil is not played out in a church or a mosque or a monastery, but in the hearts and minds of individuals; it is about the choices that we make throughout our lives, and how we act on them.

A good historical novel uses setting to power theme. Setting is not just where and when events happen, it is also why they happen. It is the underlying context to events. Without the context of the American Civil War, for example, Gone With the Wind would be nothing more than a love story. Instead, the setting of the novel shapes the character of Scarlett O’Hara, making her the bearer of a message and a theme: to survive a civil war you must be ruthless and strong-willed; if you cannot change with the times you will die with them. Gone With the Wind, like the Civil War itself, was about the death of one way of life and the rebirth of another. The theme was so powerful and the message so relevant, that the book soon became a classic.

To grasp the message of any book requires a little bit of thinking, but not too much. Ideally it should dawn on the reader slowly during the course of the book; it should linger longer than the plot and longer than the characters, who cease to exist as the book ends, even if we will them on as readers long after the final page is read. A character cannot live on beyond the scope of the book, but fortunately a message can, and only a well-developed theme or themes will deliver one.

For a writer, theme doesn’t always reveal itself at the moment a story is conceived. It usually arises during the writing of the novel, organically. Imposing a theme from the outset can be a mistake because it means putting the cart before the horse. The best themes are those that work themselves into the story naturally, as a result of other elements. While setting may deliver the background to a theme, it still has to be played out by the character(s) of the novel. They are the ultimate drivers of theme, deciding on a left turn over a right one, and so leading the outcome one way or another towards this conclusion or that one. When Scarlett O’Hara decides to get Rhett Butler back at the end of Gone With the Wind, she is not only being true to herself, but also to the theme of the book, which demands the kind of strength and purpose only true adversity can fuel. Many things may be ‘gone with the wind’ but Margaret Mitchell’s Southern heroine will certainly not be one of them.

Further thoughts on theme in historical fiction can be found at 8 Steps for Outlining a Novel and Author Tips on Writing Historical Fiction.

FOR MORE ON READING & WRITING HISTORICAL FICTION follow A WRITER OF HISTORY (using the widget on the left sidebar)

M.K. Tod writes historical fiction. Her latest novel, TIME AND REGRET was published by Lake Union. Mary’s other novels, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, NookKoboGoogle Play and iTunes. She can be contacted on Facebook, Twitter and Goodreads or on her website