Writing Ideas - New Novel, part 641, still more Conjunctions English Syntax/re-arrangement of Words in a Sentence Tools for Developing Tone Q and A

12 January 2016, Writing Ideas - New Novel, part 641, still more Conjunctions English Syntax/re-arrangement of Words in a Sentence Tools for Developing Tone 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 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.

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

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 Escape from Freedom.  Escape is my 25th 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'm on my first editing run-through of 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.  Historical 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 - how tone is created through diction, rhythm, sentence construction, sound effects, images created by similes, syntax/re-arrangement of words in sentence, the inflections of the silent or spoken voice, etc.

14.  Mannerism suggested 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 13. 13.  Tone - how tone is created through diction, rhythm, sentence construction, sound effects, images created by similes, syntax/re-arrangement of words in sentence, the inflections of the silent or spoken voice, etc.

If tone is the feel of the writing, the author must start first with what tone he wants to convey. 

The first method of developing tone is through scene setting--the second method is through tension and release.  Let’s look at the specific tools used to create tone in tension and release (these can also be used in the scene setting).  I like the list from the question—it is nearly exhaustive:  diction, rhythm, sentence construction, sound effects, images created by similes, syntax/re-arrangement of words in sentence, the inflections of the silent or spoken voice, etc.  Why don’t we look at each of these tools?

Syntax/re-arrangement of words in sentence as tools to develop tone.  What makes English so versatile and so difficult as a language are the many verb forms that allow subtle changes in the syntax and meaning of the sentences.  We looked at verb tense and then auxiliary verbs including the do form.  There is much more we can do with syntax in English. 

 

One of the very powerful tools of syntax is the conjunction.  Conjunctions put together phrases and words.  The most common are but, and, and or.  These are coordinating conjunctions; however, English also has subordinating conjunctions and correlative conjunctions.  I looked at subordinating conjunctions yesterday.  Correlative conjunctions are paired conjunctions that are always used together to provide some type of comparison.  Here is the full list of correlative conjunctions in English: both / and, not only / but also, either / or, neither / nor, whether / or, as / as, such / that, scarcely / when, as many / as, no sooner / than, and rather / than.  I’ll give a few examples:

Not only is she beautiful, but she is also kind.

Either you accept my bargain or I’ll destroy you.

Neither of the creatures will scare you nor will their mother.

Whether his ideas are good or they are bad are immaterial.

As much as I would like to show you, I can’t.

No sooner did she hear it than she rejected it.

 

Correlative conjunctions are very powerful and very useful, when they can be used.  If you take a look at them, you will see, they are very specific.  They allow comparisons that can’t otherwise be made or they offer connections that are very detailed and specific.  For the writer, these are elegant tools for expressing your writing.  I’m a fan of using all English word and verb forms in your writing.  Many English syntax and forms are like these—razor sharp and laser directed.  You won’t have an opportunity to use them all the time, but when you need them, they are more than extremely useful—they may be the only tool you have.  Or they may be the only elegant tool.

Because English is so complex, you have many many ways of expressing similar ideas.  In spite of what many writing schools or advisors will tell you, there is no single correct way to write anything.  There are many ways of writing about anything and this allows the development of many subtleties of thought and tone.  The thought is the most important concept, but oddly, the tone seems to follow the thought.  We still have more acers to plow to just look at syntax and tone.      

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  

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