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Tuesday, September 29, 2015

Writing Ideas - New Novel, part 537, more Historical Speech Language and Style Q and A

29 September 2015, Writing Ideas - New Novel, part 537, more Historical Speech Language and Style 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 5. 5.  Language and style

Short digression:  I'm writing from Denali Alaska. 

No conversation in any novel is "real."  All the author has to do is make the conversation "feel" "real" to the readers and magically, it is real.  This applies to every type of cultural difference you can imagine.  I don't have to write an entire conversation in German or in a stilted German accent.  All I have to do is make the speech rhythms of the speakers seem German to the readers.  I don't have to make an elderly character always speak like an elderly person--only the general speech or speech rhythms.  In other words, the conversation must be different at some points, but it doesn't have to be constructed so differently.  In fact, the language of all conversation should still be in standard English (for an English novel).

What then is standard English and how do you make the characters sound different on the page?  This is accomplished with speech rhythm.  For example, to write in an older person's speech pattern, I just have to use standard English and then use the proper decade's or period's standard English and idioms.  Here's an example of a greeting.  The greetings are the best place to show differences.

Mrs. Lyons opened the door, "Good afternoon, Constable Wyght."
"Afternoon, Mrs. Lyons.  May I inquire about Essie's whereabouts?"
"She is right here with me."  Mrs. Lyons called out of the room, "Essie, dear, come greet Constable Wyght."
Essie entered the foyer.  She blinked the gave a slight curtsy, "Hello, Constable.  How are you?"
"Very well, thank you," he smiled.

I depict three cultures and three ages in a single modern period.  I'll note the details tomorrow.

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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