15 April 2017, Writing Ideas
- New Novel, part x99, Creative Elements in Scenes, Plot Devices, Revolution
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
Taboo
Impossible Crime
Human god
Revolution – Current discussion.
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
Revolution: here is my definition – Revolution is the use of a resistance movement to further a plot.
Le
Mis uses a revolution plot device—so does The
Hunger Games. So does the sparkly
Vampire novels. So does Harry Potty to a
degree. You don’t have to have a full
blown revolution. You don’t have fight a
government. All you need is to resist
some type or degree of authority. The
novel doesn’t have to have a theme of revolution, but just need a little resistance. As you can tell, this is a very effective
plot device. I’ve used it a few times in
my novels. Most of the use has been in
my science fiction—specifically, The
Chronicles of the Dragon and the Fox novels. This series is all about revolution and
resistance. I’ll give you an example.
Here
is an example from The End of Honor:
The stone platform before the
throne was cleaned of papers and gore, but John still smelled the scent of
death in the place. He had known death
too often and had seen it on too many planets not to recognize its stench.
Emperor
Perodus waved them forward into the Hall.
A large contingent of the Imperial Marines stood at attention against
the walls.
John
and the other six leaders of the banned Houses did not move forward to be
received until the rest of the body of the Landsritters sat in their places. Slowly, then, followed by their contingent of
Huscarls, they moved to stand before the Iron throne.
Perodus
called to his brother at their approach, “John-Mark, welcome. How go the wars on the Fringe?”
“I
don’t know brother. There are even more
important wars to be fought here, the Fringe can take care of itself.”
“Why
are you here, John-Mark? I did not
recall you. I didn’t recall the Marshall
The
new seneschal shook his head, “No, your majesty.”
“John-Mark,
why did you leave your post?”
“I
learned, from Count Acier, that I was banned.”
“This
is not true. Six Houses were
banned. You were not.”
“I
was called traitor.”
“The
Princess Lyral was found to be a traitoress,” Perodus stroked his chin.
John-Mark
took out his sword and spoke with great deliberation, “I proclaim now, in the
presence of my peers, the peers of the realm, that it was I who in any and all
degrees planned the mischief attributed to the Royal Princess Lyral Neuterra. She was innocent of any wrong doing and acted
only at my bidding and in the interests of the Empire. I further swear by my rank and degree that
the Emperor Maricus had full knowledge of the actions I had taken to procure a
House and standing.”
Perodus
spoke coolly, “Who is there here to believe your confession?”
“Mine
is a greater confession than you allowed the Lady Lyral.”
“Indeed,”
spoke Duke Centri from the banned Houses, “Why should the Prince John-Mark take
on the obligation and guilt of one who is already dead? That is—unless it is true.”
“What
do you really want, John-Mark?” interrupted the new Emperor.
“We
will speak of Lyral again, brother,” an implied threat shaded John’s words. “I
came to petition for the banned Houses.
They are banned because of me. If
you will grant their status again, I freely accept their obligation.”
“I
promised their holdings to others already.
I have plans for their titles and lands.
You ask me to change my opinion of their actions and insurrection just
because you claim their guilt.”
“Yes. I appeal to your justice. Will you not remove the ban?”
“Read
the charges against the banned Houses, Count Rathenberg.”
The
seneschal swept an electronic pen across his slate and read the Emperor’s
charges without pause.
When
the Count finished John spoke loudly into the ensuing silence, “I ask you
again,” he said with energy, “Will you remove the ban?”
“I
will not.”
“Then
I petition the Landsritters.”
“You
have no right.”
“I
am a peer.”
“You
have no right nor position.”
“You
said yourself, I am not banned.”
“By
your confession and your dereliction of your post, you name yourself traitor.”
“Then
I speak for Neuterra and the banned Houses.”
“Is
this true Acier? Does the Prince speak
for you?”
“Yes.”
“He
speaks for Centri,” spoke the gruff Duke.
“Also
Anas.”
“Deneb.”
“Reinland.”
“He
speaks for House Rathenberg,” Duke Rathenberg’s response was dangerous and
level.
Prince
John-Mark approached the Landsritters, “The Emperor Perodus will not remove the
ban. Yet, he has no justification for
it. I demand you reverse the action of
the Emperor Perodus.”
The
nobles shuffled in their seats but none spoke.
“Nobles
of the Landsritters,” John cried in anger, “Where is the Emperor’s body. The
Emperor Maricus, where is my father’s body.
It is by blood right that I should see it. It is by the Code that it should be presented
as proof of the Emperor’s death. The
body is not to be seen because Maricus was murdered treasonously. You heard the rumors. You know the actions of my brother. You know the innocence of the Princess Lyral,
but you did not act to stop this assassin.
“Six
of the most honorable and ancient Houses of the Empire are now banned. The Emperor gathers his forces above
you. What does he possess 25 perhaps 35
heavy ships. Which of you can face so
many capital ships and defend your holdings.
Each Duchy is limited to five capital ships plus two in build
status. Is that not correct, Count
Rathenberg? Maricus defended the
Kingdoms of the Empire with his forces, yet this Emperor begins his reign with
force and a threat of force against you.”
John
turned half toward Perodus still staring directly at the Assembly, “Where do
you intend to strike first Perodus?
Centri? Deneb? Neuterra?
Surely you don’t expect the banned Houses to simply give up their lands
and title without at fight.”
“I
expect them, like you, to be ruled by the dictates of their Emperor,” Perodus
hissed between his teeth.
“Nobles
of the Landsritters, you have not acted, you will not act. I ask then, not for a removal of the
ban. Not for the removal of the new
Emperor. I don’t ask for revenge for the
Princess Lyral, that I shall undertake myself.
I ask instead, who will retrieve the honor of this incompetent
body? Who will stand as a man and be counted
among men and not worms? I ask you, who
will join the banned Houses? Who will
join us to regain our peace and freedom?
What of you El Rashad? You stand
between Neuterra and Centri and Anas. Do
you think you can weather the war the Emperor will wage against them? Or you Aurora and Belgesa, you stand between
the old and the new. What concessions
has Perodus asked of you already? Are
you ready for more?”
Perodus
broke in with a tired voice, “Cyan, El Avrel, Neuland, Launch — I believe these
are also beholden to or near the banned Houses.
Let them answer for themselves.
Are you willing to join the banned Houses and yourself be banned?”
You
can read this novel yourself—it is in publication as a paperback and as an
electronic book. John is leading the
other houses in a resistance against the Emperor. Emperor Perodus is a really bad guy, but you
need to read the novel to see just how bad.
The point is that I use a revolution plot device to forward the plot of
the novel. This happens to be a creative
element of the novel as well.
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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