12 April 2017, Writing Ideas
- New Novel, part x96, Creative Elements in Scenes, Plot Devices, Taboo
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.
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
Taboo – Current
discussion.
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
Taboo: here is my definition – Taboo is the use of a restriction to further a plot.
Taboo
is usually not a legal restriction—it is usually a cultural or a social
restriction. Thus, many Victorian novels
use the taboo plot device. A taboo restriction
is a restriction that can be infringed by a protagonist or a protagonist’s
helper either intentionally or accidentally.
For example in Pride and Prejudice, various characters with and without
their own knowledge infringe on cultural mores (taboos). These trespasses of cultural norms result in
all kinds of trouble and problems. As I
noted, in some cases, the infringements are intentional, however, in most it is
unintentional. Japanese and Oriental
cultures experience similar cultural taboos and issues. In general, in cultures where direct communication
is not allowed or discouraged, you have a ripe environment for a taboo plot
device.
You
can also bring in a taboo plot device with admonitions, restrictions, or
illicit events. An admonition could be
when a parent, teacher, or priest warns a person, child, or student concerning
some type of restricted behavior or activity.
A restriction is when a person of authority pronounces a specific
control on another. An illicit event is
when a character is breaking a cultural but not necessarily a legal restriction—an
affair for example.
I
have used taboo in many of my novels.
Most specifically, I’ll give you an example from School.
Here
is a piece from School:
Christmas
day fetched everyone to the table and the parlor. Mr. Calloway took a rare day off, but his
pager remained always on. A fire filled
the fireplace in the formal parlor and the family parlor. Sorcha received some gifts from the Calloways
and from Deirdre. She didn’t have any to
give, but that didn’t seem to bother anyone.
After lunch, Mrs. Calloway invited Deirdre and Sorcha into her sunroom. The day was cold, but the sunroom always felt
warm.
Mrs.
Calloway served tea. It was a little
early for a proper tea, but tea was always proper for the kinds of
conversations Mrs. Calloway liked to indulge in. She picked up her teacup, “Deirdre, I’m very
happy with you this Christmas.”
Deirdre
acknowledged the compliment, but didn’t say anything.
“I’m
also very pleased with you Sorcha. We
have a few things we need to discuss.”
Deirdre
mumbled, “Thought so.”
“You
should know so. The first is this. From Sorcha, I expect a first again this
semester.”
Sorcha
nodded.
“You
both will face a slight trial when you return.
I know Sorcha has an appointment with Ms. Goodland, the
headmistress. I want Deirdre at this
meeting.”
Deirdre
looked to the side, “What if she tries to exclude me.”
“She
may. You will be there. Luna can help.”
“Yes.”
“The
discussion will be about Sorcha’s attendance at Wycombe. This has been worked out as necessary. You two will not say anything untoward, and
you, Deirdre will ensure Ms. Goodland understands the situation. Nothing needs be said about the how. Do you understand me?”
“Yes,
ma’am. I understand, but I’m not sure
how we can push through.”
“Consider
this a Luna elective. You are to not let
anything out about the how Sorcha hid in the school for three years. She was just there.”
Deirdre
groused, “We’ll try.”
“I
know you will. I’d rather you not say
anything about our meeting with the Queen.
You may explain about Sorcha being a student under scholarship, just
don’t say where it comes from. Ms.
Goodland has been briefed as necessary.
I believe the Archbishop’s office told her. Now about a few other things. Why are you two sharing a bed?”
Deirdre
frowned, “I only have a single in my room at school. I let her share it with me. We’re kind of used to it.”
“I’m
not saying you can’t. I understand now,
but Ms. Goodland is supposed to work out the details for Sorcha’s accommodation.”
“May
we still share a room? Plus, if they
know she has been in my single all semester, they’ll discover everything.”
“That’s
one of my questions. Exactly how did
Sorcha remain hidden in Wycombe for three years without anyone finding her
out?”
Sorcha
piped up, “I’d rather not say.”
“Dear
child, I know you are the product of an Unseelie fae and a human man. Did you use fae glamour?”
Sorcha
hung her head, “Yes.”
“Good
keep it up, but try not to use it without cause. Practice is good, but we don’t need to unduly
excite the unbelieving or the uninitiated.”
Sorcha
stared at her wide-eyed, “You know about the glamour?”
“Of
course I do. I guessed that Deirdre saw
through it. That’s what brought you
together. Luna has kept me apprised.”
“Oh.”
“Next.”
Deirdre
made a face, “I knew there was more.”
“Of
course there’s more. I don’t want any
hanky-panky with the MacLeod’s or the Fletcher’s son. A little knoddling is acceptable, but you are
ladies. I don’t want any difficulties
with them or you know what…”
“You
know what?”
“Sweet
girls, you are becoming wonderful women.
I don’t need the scandal or the ire of the MacLeods or the
Fletchers. They are as concerned as I
about illicit and too early connections.”
“You
mean like Sveta? Or like you?”
“That’s
exactly what I mean. The yoke of the
Dagda is easy, but temptations are easy too.
Finally, I need to tell this to Sorcha particularly. Our family is involved with British
intelligence. You don’t need to know how
or what, I just hold out to you that your skills are exactly what we will need
in the future.”
Sorcha
asked, “Does this have anything to do with Luna being the Steward of Wycombe.”
Mrs.
Calloway sat bolt upright, “How did you know that?”
Deirdre
remarked, “I bet it has to do with Aife too.”
Mrs.
Calloway’s eyes bore in on theirs, “How did you find this out and how much do
you know?”
Deirdre
grumped, “You need to ask Luna. It was
her electives.”
Mrs.
Calloway wiped her palms together, “What’s done is done. You know more than I like and more than I
expected.”
Sorcha
asked, “What does this have to do with British intelligence?”
“Ah,
connections. Yes. I’ll tell you only because you know so much
already. We don’t use just normal
intelligence forces to protect Britain.
We also occasionally have the need to counter and confound supernatural
forces in Britain. That’s why I said,
your skills, Sorcha are sorely needed by us.
Luna’s job is to instruct you to learn how to use your skills and to
mold you into women who are useful to the Realm.”
Sorcha
sucked on her lip, “How much does the Queen know about this?”
“Everything,
my dear. Everything.”
Deirdre
asked, “What if I want to go to Cranwell and Sorcha with me?”
“I
could always use people with the skills, both military and aviation, they teach
at Cranwell. I also need agents who can
sing and travel without restrictions.”
Deirdre
sat up, “Do you really? I’m not sure I
want that as an occupation.”
“Not
an occupation my sweet, a cover.”
“I’m
still not so keen.”
“Learn
everything you can at Wycombe. Fill your
quiver with skills. Become the women I
need in society and in the Organization and we shall see what you can
achieve. Your boyfriends are reaching
for this kind of service.”
Sorcha
remarked, “I’m not so sure I have a boyfriend yet. Does that mean Tim wants to work in intel?”
“Why
don’t you ask him? I know his
family. I know he wants to follow in his
father’s footsteps. These are good
things for young men to aspire to. They
also need the support of and they need to support good women who understand and
operate in the business. It’s the family
business, after all. Plus Deirdre, I don’t
have any other children with your current skills. Do you understand this?”
“I
guess.”
Mrs.
Calloway rolled her eyes, “As long as it’s reasonably clear to you. Now go upstairs. Let Sorcha choose your clothing. Dress in a fitting way to greet your young
men. Perhaps you’ll have the opportunity
to speak with their parents tonight.”
They finished their
tea and Sorcha and Deirdre went upstairs to see what was left in Deirdre’s
closet that wasn’t dungarees or hand me down boy’s clothing.
The
restrictions placed by Mrs. Calloway on Sorcha and Deirdre are the use of the
taboo plot device. Now, I know you will
note that it is really only a taboo if it somehow plays in the rest of the
plot. This is true. The girls could hold to the restriction or
break the rules. In any case, if the
rules come into play in either self-restricting or in some other way affecting their
behavior, then you have a taboo. As I wrote,
if the girls resist temptation and control themselves, that in itself invokes
the taboo—it also can add great fun, danger, excitement, and intrigue to the
novel.
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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