17 May 2014, Writing Ideas - Vampire Novel, part 37, Vampire Conversation Rising Action
Announcement: There is action on my new novels. The publisher renamed the series--they are still working on the name. I provided suggestions as did one of my prepub readers. Now the individual books will be given single names: Leora, Leila, Russia, Lumiere', China, Sveta, and Klava--at least these are some of the suggestions. They are also working on a single theme for the covers. I'll keep you updated.
Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.
I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.
The four plus one basic rules I employ when writing:
1. Don't confuse your readers.
2. Entertain your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.
5. Immerse yourself in the world of your writing.
All novels have five discrete parts:
1. The initial scene (the beginning)
2. The rising action
3. The climax
4. The falling action
5. The dénouement
The theme statement of this new novel is: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.
Did you get it already? One of the most powerful tools to the writer is conversation--not yelling, or argument, although they do have their uses. If you can get your main characters into a position of calm conversation, you have the seeds of revelation. In the most action oriented novel, there are always halts in the action. The narrative has to bow at some point to conversation. To me, conversation (dialog) in a novel is the most important and powerful part of the novel. In the conversation (dialog), I can begin to revel the inmost thoughts of the characters.
Let's imagine a secret agent, like George Mardling in the book I'm writing now, you see his actions--don't you wonder about his motivations. Doesn't he wonder about his motivations? Do you wonder about your own motivations? In the action narrative, I can show you an agent in action, but what makes him an interesting character isn't his actions, but rather his mind. The thoughts of your character make them who they are--not necessarily their actions. I still acknowledge the adage, you are what you do, but I realize something much deeper in this statement. You may be "what you do," but you are then "what you think." For example, a secret agent character who does so for money is pretty low on the good registry. One who is a secret agent for the excitement is a little higher. One who does it for patriotism is higher. The secret agent who does her work to better the world is higher. The one who acts to rid the world of evil might be higher or lower depending on how they go about their work. None of this can be brought out in the action narrative--all of it must come through conversation (dialog)--unless you tell. Don't tell.
For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites: