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Friday, September 4, 2015

Writing Ideas - New Novel, part 512, Telic Flaws Character Change Q and A

4 September 2015, Writing Ideas - New Novel, part 512, Telic Flaws Character Change Q and A

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  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

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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the ComputerLilly is my 24th novel.
Cover Proposal
The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 3. 3.  Change, complexity of relationship, and relation to issues/theme

In a classically designed novel (there really isn't any other kind unless it doesn't follow the five parts of a novel), the protagonist's telic flaw is tested by the climax.  If the protagonist overcomes her telic flaw, the novel is a comedy.  If the protagonist doesn't overcome her telic flaw, the novel is a tragedy.  Usually in a tragedy, the protagonist dies.  The telic flaw is a tragic flaw and the climax is deadly.  This is the relation between the change of the protagonist, the telic flaw, the climax, and the theme.  The theme must result in a character whose telic flaw can solve or resolve the climax.  This is also the relation between the theme and the plot.  I realize this can be a little confusing--these concepts are all interrelated.  Let's start with the theme statement.  Conveniently here is a theme statement

The theme statement of my 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

The theme statement includes a setting.  This is usually the setting for the initial scene.  In this theme statement, the setting is Mrs. Lyons' pantry.  The theme statement usually includes the protagonist, protagonist's helper, and/or the antagonist.  In this case, the theme statement includes, the potential protagonist, Mrs. Lyons, and the potential antagonist or protagonist's helper, the shape-shifting girl (it isn't clear which she is).  Is isn't clear which part either the girl or Mrs. Lyons will play.  Third, the theme statement always must have a verb to describe the basic theme of the novel.  In this case, we have two verbs: capture and rehabilitate.  Thus, the theme statement has provided us enough information to begin to build the novel, but it isn't complete.  

First, we know we must design the characters and the plot.  Characters first.     

More tomorrow.

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

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

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