Writing Ideas - New Novel, part 790, The Expected but Unexpected Climax

9 June 2016, Writing Ideas - New Novel, part 790, The Expected but Unexpected Climax

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 27^th novel, working title, Claire, potential title Sorcha: Enchantment and the Curse.  This might need some tweaking.  The theme statement is: 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.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I started writing my 28^th novel, working title Red Sonja. 

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)

 

How to begin a novel.  Number one thought, we need an entertaining idea.  I usually encapsulate such an idea with a theme statement.  Since I’m writing a new novel, we need a new theme statement.  Here is an initial cut.

 

Red Sonja, a Soviet spy, infiltrates the X-plane programs at Edwards AFB as a test pilot’s administrative clerk, learns about freedom, and is redeemed.

 

The climax should be obvious in every novel.  Listen very closely and you shall hear…the tale of the climax.  The climax always is the resolution of the protagonist’s telic flaw—this means the climax should be obvious to any reader.  For example, in Red Sonja, the climax has to resolve her internal and external telic flaw of being a Soviet agent.  In a tragedy, she dies, in a comedy, she survives.  The expectation of the climax drives tension and release through the entire novel.  A good novelist will not let the reader forget this tension.  This is the expectation of the climax.  The writer knows it—the reader should pick it up from the beginning.  It is what drives the rising action and the plot.  The climax is expected, but it unfurls unexpectedly.

 

What does this mean?  I already tried to communicate this about Red Sonja.  I haven’t decided yet how to resolve the telic flaw in the climax—I have some great ideas.  I want every climax to be expected, but to occur unexpectedly.  This is what many refer to as the surprise ending.  The reader should pick up on the expectation of the conflict in the climax, but the climax should occur in a way the reader can’t foresee, and the expectation should turn to wonder.  Perhaps the best way to show you his is through example.  I’ll use my own writing and give you an example of the climax.  If you haven’t read any of my novels, please do—and try to read them before I get to their climax.  Really, I’ll try to not give any spoilers, but I’ll give you examples of the approach to the climax and the resolution of the climax.  I want to show you how they are expected but with unexpected results.  Further, I’d like you to see their action basis and how they tie into the telic flaw of the protagonist.  We’ll start with The Second Mission.         

     

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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