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Tuesday, July 22, 2014

Writing Ideas - Vampire Novel, part 103, more developing Plot, Entertaining, Storyline Rising Action

22 July 2014, Writing Ideas - Vampire Novel, part 103, more developing Plot, Entertaining, Storyline 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

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.
Today's Blog: To see the steps in the publication process, visit my writing website and select "production schedule," you will be sent to

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 my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:
I decided on a white cover style.  You can see more at

The plot is developed directly from the theme.  The first steps are fleshing out the characters (not accomplished in the novel, but before writing the novel) and the setting.  The main characters and the setting come directly out of the theme.  The characters are revealed through the storyline that is based on the plot.  Then how do you get to the plot?

In the scene I am describing, my point is to show how the theme, plot, and storyline intermesh, and how I came to develop this particular scene.  As I mentioned, the scene was intended to be a confrontational one.  The confrontation is between Valeska and Sveta.  Caught in the undercurrent of the action are George and Daniel, Sveta's husband and George's boss.  When I show you the scene, you will see the tension caused between Valeska and George and the tension caused between Sveta and Daniel.  There is a slight tension between George and Daniel as well. 

The tension in the scene is between all the characters in varying degree.  If you note that the point of every scene should be tension and release, then you will understand why this is important. Tension is necessary in every scene.  The tools an author has to build entertainment and excitement is tension and release.

In this scene, the tension is the meeting of Valeska and Sveta.  The release (or continuance) of the tension should culminate the scene.  For example, I could have had Sveta go on a hunt for Valeska--that is continuance of the tension.  I could have had Sveta attack Valeska or vise versa--that is a release of the tension.  Instead, I cast Sveta as a very wise and mature person.  Even though she does not like Valeska, she is wise enough to see a potential use for her in Stele.  Since Valeska did not immediately attack Sveta, there is always the possibility of conversation and compromise.  Sveta invites Valeska to a private tete-a-tete.  I wrote before that conversation should drive the revelation in any novel.  Here more than any place, conversation can turn an ugly and potentially deadly moment into one of control and communication.

Within the context of the conversation, Sveta does not know who (or what) Valeska is.  That is the wonderful irony in the event.

More tomorrow.

For more information, you can visit my author site, and my individual novel websites:

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