22 April 2016, Writing Ideas
- New Novel, part 742, Types of Conversation, My Distinct Manner of
Writing 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.
4a. Show what can be seen, heard, felt, smelled, and tasted on the stage
of the novel.
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, proposed
title, Essie: Enchantment and the Aos Si,
is this: Mrs. Lyons captures a shape-shifting girl in her pantry
and rehabilitates her.
I
just started writing my 27th novel, working title, Claire, potential
title Sorcha: Enchantment and the Curse. This might need some tweaking. The theme statement is something like this:
Claire (Sorcha) Davis accepts Shiggy, a dangerous screw-up, into her Stela
branch of the organization and rehabilitates her.
Here is the cover proposal for Essie:
Enchantment and the Aos Si. Essie is my 26th novel.
The most important scene in any
novel is the initial scene, but eventually, you have to move to the rising
action. I’m editing many of my novels using comments from my primary
reader. I finished editing Children of Light and Darkness and am
now writing on my 27th novel, working title Claire.
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)
One of my blog readers posed these
questions. I'll use the next few weeks to answer them.
14. Mannerism suggested by
speech
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 16. 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).
Conversation drives my novels. Conversation is a characteristic of most good
novels, and the focus of many great novels, so the question is still: what
makes my novels different?
I’ll stand by the concept of focus—that
is the fact that the novel’s climax, creative elements, tension and release
cycle, plot, and theme are all based in and resolved dependent on the character’s
conversation. Further, the characters
are revealed mostly through conversation.
I think these qualities set my novels apart from others, but there is
still a question of manner of writing and style.
The creative elements within the
conversation, I think, gives a stronger and more definitive answer to the question
of differences. I try to fill my
characters’ conversation with creative elements, figures of speech, analogies,
double entendre, double speak, lies, truth, revelations—many times all at
once. I love to have two characters speaking
at cross purposes or on different levels.
These characteristics of the conversation are more than gaps, silences,
non-sequiturs, fragments, or apparent inconclusiveness. These are all evidences of technique for the
author’s voice to be heard in the conversation.
When I write author’s voice, I don’t mean the thoughts or ideas of the author—what
I mean is how the author hears conversation and repeats it on the written page.
The author’s voice (manner or style)
is how the author communicates conversation.
I’ll review this idea because it’s important. No conversation in any novel is a real
conversation. Let’s continue with this
idea.
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
fiction, theme, plot, story, storyline,
character development, scene, setting, conversation, novel, book, writing,
information, study, marketing, tension, release, creative, idea, logic
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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