11 April 2017, Writing Ideas
- New Novel, part x95, Creative Elements in Scenes, Plot Devices, Retrieval
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
I
finished writing my 27th 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 Sorcha:
Enchantment and the Curse.
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|
Cover
Proposal
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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 28th novel, working title Red Sonja. I’m also working on my 29th novel,
working title School.
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: transition from input to output focused on the telic
flaw resolution)
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.
For novel 28: 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.
For novel 29: Sorcha, the abandoned child of an Unseelie
and a human, secretly attends Wycombe Abbey girls’ school where she meets the
problem child Deirdre and is redeemed.
These are the steps I use to write a
novel:
1.
Design the initial scene
2.
Develop a theme statement (initial
setting, protagonist, protagonist’s helper or antagonist, action statement)
a.
Research as required
b.
Develop the initial setting
c.
Develop the characters
d.
Identify the telic flaw (internal
and external)
3.
Write the initial scene (identify
the output: implied setting, implied characters, implied action movement)
4.
Write the next scene(s) to the
climax (rising action)
5.
Write the climax scene
6.
Write the falling action scene(s)
7.
Write the dénouement scene
Here is the beginning of the scene
development method from the outline:
1.
Scene input (comes from the previous
scene output or is an initial scene)
2.
Write the scene setting (place,
time, stuff, and characters)
3.
Imagine the output, creative
elements, plot, telic flaw resolution (climax) and develop the tension and
release.
4.
Write the scene using the output and
creative elements to build the tension.
5.
Write the release
6.
Write the kicker
Below is a list of plot
devices. I’m less interested in a plot
device than I am in a creative element that drives a plot device. In fact, some of these plot devices are not
good for anyone’s writing. If we
remember, the purpose of fiction writing is entertainment, we will perhaps
begin to see how we can use these plot devices to entertain. If we focus on creative elements that drive
plot devices, we can begin to see how to make our writing truly entertaining. I’ll leave up the list and we’ll contemplate
creative elements to produce these plot devices.
Deus ex machina (a machination, or act of
god; lit. “god out of the machine”)
Flashback (or analeptic reference)
Story within a story (Hypodiegesis)
Third attempt
Secrets
Judicial Setting
Legal argument
Prophecy
Two way love
Three way love (love rival)
Rival
Celebrity (Rise to fame)
Rise to riches
Military (Device or Organization manipulation)
School (Training) (Skill Development)
Supernatural
Comeback
Retrieval – Current discussion.
Taboo
Impossible Crime
Human god
Revolution
Games
Silent witness
Secret king
Messiah
Hidden skills
Fantasy Land (Time Travel, Space Travel)
End of the --- (World, Culture, Society)
Resistance (Nonresistance)
Utopia (anti-utopia)
Fashion
Augmented Human (Robot) (Society)
Mind Switching (Soul Switching)
Unreliable character
Incarceration (imprisonment)
Valuable item
Identification
Contest
Search
War
Brotherhood (sisterhood) (camaraderie)
Crime
Retrieval: here is my definition – Retrieval is the use of the need to find and return
a person, place, or thing to further a plot.
Usually,
a retrieval is made on a person or a thing, but I can see it with a place. You occasionally see in science fiction or
normal fiction novels the return of a place or the return to a place. Note, you can also express the return of an
idea or feeling. The retrieval of a person
or thing are the more common uses of this plot device. I have used both in my novels.
The retrieval
plot device is similar to a MacGuffin, but where a MacGuffin can be a
meaningless item or unreal or unseen person or thing, a retrieval is always
accomplished on an item or person who has some inherent value and is real in
the context of the novel. For example,
in Sister of Darkness, and Sister of Light, the retrieval is a
human. In Sister of Darkness there is also the retrieval of an item of
importance. Here is a piece from Sister of Light:
At the
hottest point of the day, Leora sat out on the covered veranda of the cottage
and read one of the books Paul’s parents had sent them. It was a difficult read in classical Greek,
and the marginalia of the second hand scholar whom Madam Bolang bought the book
from didn’t make the reading any easier.
Leora thought his translations were not very accurate, and his scrawling
notes certainly obscured some of the Greek letters. Leora was so absorbed, she didn’t notice the
motorcar that turned at their gate and rumbled down the gravel and sand drive
until it was almost in the yard. She
jerked up her head and rose from her seat.
Out of
the car stepped a tall man in a light summer suit. He wore a thin tie and a sweat marked
shirt. He wiped his neck with his
handkerchief before he walked up to her, “You are Leora Bolang?” The words though spoken gently came as a
sneer.
“Oui, and you?”
In his
thin nasal voice, the man continued, “Who I am means little, but you may call
me Monsieur Nefis.”
“Very
well, Monsieur Nefis. What do you want?”
“I have
instructions from your husband, Major Paul Bolang.”
“From
Paul?”
“Yes, from
Paul. May I come in?”
Warily,
Leora gestured toward the door, “The children will be back soon. Please come in.”
Leora
led Monsieur Nefis into the main room.
She left the front door open, “For the children.” Leora pointed to a
seat, “May I get you tea, a glass of water?”
“Nothing,
thank you.”
Leora
seated herself across from the man, “Where is Paul?”
“Ah,
that I cannot tell you, but I have a message from him. He sent me to retrieve something very
important to his work.”
“Yes, a
book on hieroglyphics perhaps? What is
his message?”
Monsieur
Nefis’s brow creased, “A book of hieroglyphics?” He quickly continued, “Paul told me to tell
you that all is well, and that he is still working on the project he was sent
to complete.”
“Paul
told you this. What is he working on?”
“I
cannot tell you.”
“When
will he return?”
“I
cannot say. You must realize Madam
Bolang, all this is very secret. That is
why he needs something very desperately that he sent to you.”
“What
did he send to me?”
“He
sent a package, and he needs it to be returned to him immediately.”
“A
package? I received no package.”
The
man’s eyes narrowed, “I assure you that you did, Madam. I tracked it through the postal service to
the Bolang estate in Paris
“I will
not play these games with you.” Leora spat, “I know my husband, and I know he
would not send you to deliver his message or to retrieve some imaginary
package.”
“Madam,
in that case, you will get out of my way, and I will search this house for the
package I know is here.”
“You
will do no such thing. I don’t know who
sent you, but I can guess. You know what
I can do to you.”
Monsieur
Nefis smiled nervously, “We appear to be at a standoff. I could try to force you to give me the
package.”
“You
know you cannot force me.”
“Or I
can use much more subtle means.”
“For
example…?”
“Paul
Bolang is a hero of the Legion Etrangere. What if it became common knowledge that he
was involved in peculiar events at Fort
Saint
“What
peculiar events?” Leora’s throat tightened.
“What
if there were proof that Paul Bolang deserted his command and allowed a
murderer to freely roam the fort without taking any action to stop him.”
“None
of this is true.”
“The
records of a British archeologist, Mr. Lionel Audrey and a French official, Monsieur
Claude Parrain tell an entirely different story. When they are supplemented by the notes of a
certain Doctor Robert Flair, these allegations gain the strength of truth. Paul Bolang will go from national hero to a
military criminal.”
“None
of this is true,” Leora repeated.
“But it
is true. There is more. The toast of Paris, the brilliant and brown
wife of Paul Bolang, who is she really?”
Leora
touched her neck.
“Monsieur
Claude Parrain calls her a dirty desert whore whom Paul Bolang brought into Fort Saint
Angry
tears filled Leora’s eyes, “None of this is true.”
“All of
this is true, Leora Bolang, and you know it.”
“It is
all a lie.”
“Ah,
but what is truth, Madam? For Paris
“I
don’t know what you are talking about.”
“Very
well. My mistress said you would be
difficult to convince.” Monsieur Nefis
stood. He laid a piece of paper on the
small table between them. “If you change
your mind, you may attempt to contact me by mail or telegram at this address. If you do not, don’t worry, I will eventually
contact you again.” He paused a moment
and glanced around as though his bluff had been called, “I will give you one
more opportunity. If you do not give me
the package now, in one month, you will see Paul Bolang’s name smeared in every
newspaper in Paris
Leora
stood, her fists clenched tightly. She
raised one hand toward Monsieur Nefis face, “I could kill you with a single
word.”
He
began to sweet profusely, “My mistress told me that you might.” He shrugged as though nothing were amiss, “If
I don’t return, my companions will send the information to the papers.”
“Dear
God. Dear God. Give me any reason that I should not end your
life right now?” Leora raised both hands
and her finger began to trace a mark in the air. Her lips started to invoke a deadly
incantation.
Lumière
ran though the front door and grabbed Leroa’s hands, “Mother don’t!”
The
rest of the children rushed into the room.
Robert and Jacques stood before Monsieur Nefis with their fists on their
hips. They pointed toward the door,
“Monsieur, you must leave now.”
Marie
dragged her bunny through the door and glared at Monsieur Nefis. She stuck two fingers into her mouth.
Monsieur
Nefis ran from the cottage, and Leora collapsed on the small couch. The roar of the car’s engine and the loud
crunch of gravel spilled through the open windows as the car spun out and
rushed up the drive.
Leora
put her arms around her children and held them close. They felt their mother’s tremors, and she
washed their faces with her tears. She
would say nothing to them—could say nothing.
When the sun went down, the strength rushed completely out of her her. She still lay on the couch unmoving, finally
asleep—exhausted. The children said
their prayers beside her sleeping form and went to their own beds.
Here
we have a touch of both the item and the person to be retrieved. The item is in the hands of Leroa. Paul is missing. I hope you can read this novel soon. It is supposed to be in publication, but has
been delayed.
The second
example is from Sister of Darkness:
Paul
and Leora sat in a small holding room.
Leora walked from side to side, she did not like being confined. She reminded Paul of a lioness in a
cage. He read his paper. They had learned the inside and outside of
“the Department” since Lumière’s abduction, and spent a lot of time inside it
preparing for their anticipated mission.
The details were classified and many, Paul thought, were as yet
undetermined.
“The
Department,” generally, was the system of military intelligence organizations
in the British government. Major Lyon’s
department was specifically MI19. MI19
was in charge of foreign languages, cultural infiltration, interrogations, and
the odd assortment of special issues the other MIs could not handle. Almost all of its operations were coordinated
through the brownstone building at Kensington Palace
Gardens
Major
Lyons poked his head through the door, “Come on. We have it all together.”
They
followed the Major through a guarded security doorway into a working
vault. A long table filled the
room. Paul and Leora sat down. Lyons
Paul
and Leora nodded. Leora sighed, “If it
means finding Lumière, I will do anything—and everything.”
“You
both realize; it is impossible for us to search directly for Lumière. We don’t have enough field agents in the
countries involved, and to tell you the truth, she, personally, is a very low
priority for our operations.” He looked
up, “There are many dying and abused children in the wake of this war. I can’t justify a mission just to recover her.”
Leora
began to protest. Paul put his hand over
hers.
Paul
and Leora nodded. Leora didn’t seem too
happy about the Major’s pronouncements, “I realized this in my heart. I hoped…”
Paul
stared at Leora, “This may be the only way to get to her.”
Leora
bowed her head, “I will do anything…”
“Good. Then listen carefully. I will outline the mission and give you your
dossiers. You must memorize everything
in them. You will be tested by our
training operatives. When you meet their
standards, we will be ready to proceed.
Paul
and Leora’s daughter is the person who is the object of the retrieval. This novel should be available for you to
read soon. In this novel, there is also the
retrieval of an item. I like retrieval plot
devices. I’ve used them in many of my
novels. They aren’t MacGuffins. You can see Paul is a real person and so is
Paul’s daughter. The item of the search
in Sister of Darkness is in the hands
of Paul’s daughter. The item must be retrieved,
but is real and an item of real importance.
I
recommend the retrieval plot device in any novel it can fit it properly. This is an excellent device for furthering a
plot. You can see it engenders
entertainment from the two examples I gave, and like I wrote, I’ve used it in
other novels.
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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