As a fiction writer, I don’t speak message. I speak story. Sure, my story means something, but if you want to know what it means, you have to ask the question in terms appropriate to storytelling. Terms such as message are appropriate to expository writing, didactic writing, and sermons — different languages from fiction.
The notion that a story has a message assumes that it can be reduced to a few abstract words, neatly summarized in a school or college examination paper or a brisk critical review.
If that were true, why would writers go to the trouble of making up characters and relationships and plots and scenery and all that? Why not just deliver the message? Is the story a box to hide an idea in, a fancy dress to make a naked idea look pretty, a candy coating to make a bitter idea easier to swallow? (Open your mouth, dear, it’s good for you.) Is fiction decorative wordage concealing a rational thought, a message, which is its ultimate reality and reason for being?
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What you get out of that story, in the way of understanding or perception or emotion, is partly up to me — because, of course, the story is passionately meaningful to me (even if I only find out what it’s about after I’ve told it). But it’s also up to you, the reader. Reading is a passionate act. If you read a story not just with your head, but also with your body and feelings and soul, the way you dance or listen to music, then it becomes your story. And it can mean infinitely more than any message. It can offer beauty. It can take you through pain. It can signify freedom. And it can mean something different every time you reread it.
—Ursula K. LeGuin, "A Message About Messages"
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