23 April 2016, Writing Ideas - New Novel, part 743, Details 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.
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.
Mannerism suggested by
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).
No conversation in any novel is a real conversation. Listen carefully to any real conversation. Better yet, read a transcript of any conversation or a talk show. Real conversation is nothing like a play or a movie or a show or a novel. Real conversation is filled with sentence fragments, extraneous words, filler words, sounds, and a whole host of other things that would never be acceptable on the printed page. If in a play, movie, or show, real conversation would bore and confuse. In a novel, no one would read it. Real conversation is unprintable and not entertaining.
What a playwright, screenplay author, or novelist does is write conversation as a reader imagines it is written. In reality, the author writes conversation the way he imagines a conversation to sound. The conversation of a good novelist is number one entertaining. Number two, it reveals and forwards the plot, characters, and the theme.
Number one, it is entertaining. I wrote that real conversation is not entertaining. Real conversation requires at least 50% nonverbal communication to be understood. The author doesn’t have this latitude. The best the writer can do is provide some gestures and some expression. An author can’t get near 50% and some scientists tell us nonverbal communication is 80% of a conversation. Because an author can’t write a real conversation and he can’t express all the details or nuance of the conversation, he must do something else.
That something else comes out of the author’s imagination. This is where we get manner of writing, style, and absolute differences between authors. It isn’t just conversation, but conversation fits perfectly in this concept.
Every person sees the world differently—the point of the author is to express her ideas in a way that her readers both understand and are entertained. Just look back at my rules for writing. Because the author sees the world in a certain way, she must turn her imagination into something every reader can understand and enjoy. This is the beginning of manner and style.
For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
http://www.ancientlight.com/fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic