Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy. I'll keep you informed. More information can be found at www.ancientlight.com. Check out my novels--I think you'll really enjoy them.
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 my 25th novel, working title, Escape, is this: a girl in a fascist island nation will do anything to escape--a young cargo shuttle pilot not following the rules crashes on the island.
Here is the cover proposal for Lilly: Enchantment and the Computer. Lilly is my 24th novel.
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| Cover Proposal |
Let's review my guidelines for conversation.
1. Cultural norms (greeting, introduction, small talk, big talk)
2. Logical response (characters must respond to each other in the conversation)
3. ID the speaker
4. Show us the picture of the conversation
5. Use contractions (most of the time)
6. What are you trying to say?
7. What is unsaid in the conversation?
8. Build the tone of the conversation.
9. Show don't tell.
10. Keep proper names to a minimum.
I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. I'll describe this technique (and style) again if you are new to my blog or you missed it before.
Short digression: I'm writing from Dubai on another around the world tour. Still recovering from the time change, but breakfast is good, and I found the cigar lounge.
I've written about new novels for a year. I intend to continue on this subject. In this time, I've finished three novels--so, the experience of starting and finishing three novels has been encapsulated in one year's worth of blogging. I will continue to write about developing the novel, but I will eventually get into revising. That's what I'm doing at this moment--revising and editing.
Radio communications are more specific than phone communications, and if you don't want to look like an idiot, you need to research and listen to them. All radio communications, especially for aircraft (and spacecraft) follow a pattern and have their own language. I'll give you an example of a written radio communication from my novel, Escape, but literally, don't try this at home unless you know what you are doing.
He
turned on the electrical controls and fired up the HF radio. Scott tuned the Air Operations Center
frequency. He pressed the microphone key
for a second and released it. He heard
the tone in the mic as the system aligned the antenna coupling unit. Scott took a breath, then transmitted, “Air
Operations Center, Atmospheric Shuttle 023.”
He waited a few moments, then transmitted again, “Air Operations Center,
Atmospheric Shuttle 023.”
The
radio receiver crackled a moment, the auto tuner was adjusting the frequency
and gain slightly. Then they distinctly
heard, “…023, Air Operations Center, go ahead.”
Reb
gave yell and grabbed Scott around the neck.
She didn’t let go, just draped her small body against him to listen with
him to the radio.
Scott
replied, “This is the pilot of Atmospheric Shuttle 023. I had an engine malfunction and landed on the
island of Freedom.”
There
was a slight pause, then another voice came across the radio, “AS 023, thought
you were a gonner. We are still picking
up your emergency locator beacon.”
Scott
keyed, “What about rescue?”
“Kind
of dicey that…we are negotiating for you and the shuttle from authorities in
Freedom. What’s your status?”
“I’m
free with plenty of food. Evading the
authorities at the moment.”
“Evading
is not authorized. You need to turn
yourself into the authorities of Freedom immediately. Do not commit any crimes in Freedom, like
evasion, or we’ll never get you out of there.”
Scott
took a deep breath, “You may not be aware of the conditions here—it isn’t safe
to be in their hands.”
The
radio blasted, “It’s already an international incident here. Turn yourself in and there might be a
possibility for your return.”
Scott
didn’t key the mic. He mumbled, “I
can’t.” Then he keyed it, “I can’t turn
myself in. I am being helped by one of
their people. I need a rescue for two.”
The
radio barked, “Not possible.”
Scott
transmitted, “You don’t seem to be aware of the situation here. The authorities are highly dangerous to
approach.”
Over
the radio came, “Look son, we don’t have much leverage with those people. We are sending a delegation to the Capital to
negotiate for the shuttle and the pilot—no one else. If you aren’t there, you aren’t getting
out. It’s highly likely our negotiations
will fail. They see the incident as an
act of aggression. You weren’t supposed
to be that close to the place to begin with.”
Scott
didn’t reply.
The
radio continued, “You still there?”
“Still
here.”
“These
are your instructions. Turn yourself
into the authorities. Our team will try
to negotiate for your release. What is
the condition of the shuttle?”
“Emergency
landing made on the atmospheric reserve.
The shuttle and cargo are whole and were safe when I left it. The engine failed at altitude. I was able to glide to the island. The authorities in Freedom took control of
it, but I don’t think they can fix, move, or fly it.”
“Understood. How did you stay out of their hands?”
“I
had help from one of their Citizens.
Evading now.”
“I
told you—you need to turn yourself in…”
“They’ll
kill her, and they might kill me.”
“Understood. I might kill you myself if you ever make it
back.”
Scott
sighed, but didn’t transmit, “Yeah, I figured.”
He came back on the radio, “We’ll attempt to contact your delegation in
the Capital.”
“Just
a warning. We have a triangulation on
your position based on your transmissions.”
Scott
cut in, “Can you send a rescue?”
“No
way—we already have problems with Freedom and international ones here because
of your unexpected landing. The reason
for the warning, is if we can do it, so can they.”
“I
see.”
“Recommend
you turn yourself into the authorities.
If you can’t or won’t, try to contact the delegation in the
Capital. We can’t risk a rescue under
the current circumstances. If we have
more information or you need to contact us, use the same time and the alternate
AOC frequency.”
“Understood.”
“Look
AS 023, we are trying our best to get you back, but our hands are tied.”
“Understood. If there isn’t anything else, over and out.”
Except
for static, the radio receiver went dead.
A radio transmission always starts with a callout of the identification of the station you want to speak to followed by the identification of the caller. Therefore, in the example, Air Operations Center is the station Scott is trying to reach. His callsign (ID) is Atmospheric Shuttle 023. Once you are in contact, you can use plain voice (normal communications) as long as they are succinct and clear. In the old days, the radio instructions were to say "over." at the end of each transmission. This is unnecessary today and isn't accomplished anymore. "Over and out," means the entire communication is over. This is rarely used, but sometimes appropriate. Note, I used it as the finality of the communication between the AOC and AS023. You can see, radio communications can be a very important means to move the rising action forward. In Escape, this communication drives Scott and Reb to go to the Capital of Freedom. This was their original plan, but the hope of communications and rescue changed that plan. The AOC told them straight out, there was no rescue for them--not unless Scott gave himself in.
Part of the tension in this novel is that Scott doesn't really want to take Reb with him. Reb will and has done everything to escape, but Scott isn't keen on the idea. Reb may or may not realize this through the novel--to Scott it is a constant problem for him. The resolution of the novel is about not just escape, but who will escape. This drives the tension in the rising action.
More tomorrow.
For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
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