4 May 2017, Writing Ideas - New
Novel, part x118, Creative Elements in Scenes, Plot Devices, War
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
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 – Current
discussion.
Brotherhood (sisterhood) (camaraderie)
Crime
Theater
One way love
War: here is my definition – War is the use of a national or international armed conflict to further a plot.
I’ll
give you that war includes civil war (conflict) and cold wars. War is probably the most powerful plot device
imaginable. You can see from the numbers
and types of novels that war is not just a theme or plot concept. It is not just a setting. War is a means to get a plot moving and to
turn it in a new direction—thus a plot device.
Novels
that use this plot device are legion: For
Whom the Bell Tolls, 1984, The Spy Who came in from the Cold, The Ugly American, Ice Station Zebra, Memphis
Bell, The Letter, and all. The list is not endless, but it is long. War is an abiding human situation that makes
great writing. War isn’t entertaining in
itself, but it exposes the best and the worst in humanity and makes powerful
expressions of pathos possible. I forgot
to mention some other novels: Dune, The Forgotten War, Starship Troopers, Space
Cadet, The Forever War, and
more. These are science fiction novels
that use the war plot device.
I’ve
used the war plot device in many if not all of my novels. Aegypt
has backstory from World War One and relates the conflicts in Tunisia in
1926. Centurion concerns the Roman Empire’s constant war around its borders
and in protecting and managing the groups and people within it. In The
Second Mission, war is not in action, but many of the driving incidents are
previous wars in Greece. My published science
fiction novels are all about war—hot and cold.
My two novels on contract are about the run up to World War Two and that
war. In fact, the entire Ancient Light series is about the wars
hot and cold of the Twentieth Century.
Only in my Enchantment novels
do I get away from the war plot device to some degree—however, since they are
based in history, the war plot device either provides a basis or some
background for the novels. War is a very
powerful plot device—it is a key driver of human history and motivation. It provides a powerful entertainment and
creative element boost to any writing.
Here
is an example from Sister of Darkness:
“Mother!” out of breath, Robert rushed
through the door and into the house.
Leora laid down her book, “Why are you
home from school so early? Where are
your sisters and brother?”
“Mother, listen!”
Leora sat up straighter, “Tell me.”
“The Germans have invaded France
“Why did the school send you home?”
“Father Degaré said he and the Sisters
needed to spend the rest of the day in prayer.”
“That is right and very good. We should all spend today in prayer.”
Jacques followed by Marie and Lumière
fell through the doorway.
“Mama!” Marie screamed, “Is Leila coming
to get us?”
Leora pulled the girl to her and held
her. She glanced around at her other
children. Their eyes were wide and
questioning, “Don’t be silly, Marie, she is not coming to get us. Whatever put that thought in your head?”
Marie glanced at Lumière.
Leora frowned and put her fingers over
Marie’s lips, “And don’t say that name again—or I will tell your father.”
Marie ducked her head.
Jacques grasped Leora’s arm, “But why
not, Mama? What is so important about
her name?”
“Some names have power. Her name is one that has power in this
world…” Leora paused a moment, “Just as my name has power in this world.”
Lumière stared at her, “Your name?”
“Yes.
My name.”
“But why? How?”
“It is just like I call in the
light. It is something no one else in
the world can do. The Aton God gave this
to me. It is a protection for you and
for those who trust the Aton God.”
Robert stepped closer, “Lumière can call
the light.”
Leora sucked in her breath, “Yes. I know.
But that shouldn’t worry any of you.
Robert pursed his lips, ”You told us the
Aton God is the God Jehovah, the God of Abraham, Jacob, Israel, and
Christ. His name is a name of power?”
“Yes, but you must say it
correctly. The name of God that is His
name is יהוה.”
The sound of the word reverberated in the room, and the children all stared
around in alarm.
Lumière grasped Leora’s hand and shook
it, “Mother, how do you know these things?
How do you call the light? Why
are we so different—all of us?”
Leora pulled Lumière closer to her. She kissed the girl’s forehead. Leora pursed her lips then tapped her teeth,
“I am not sure your father will approve of me telling you. You have asked a reasonable but difficult
question.” Leora settled Marie more
easily on her knees. She motioned for
the others to sit at her feet, “I will tell you, but you must never reveal to
anyone what I say. You must swear to me. All our lives may depend on your silence.”
The children glanced around at each
other then at Marie. Marie started to
put her fingers in her mouth, but as a nine year old, suddenly thought better
of that and dropped her hand to her lap, “I know what you are all thinking, and
I promise not to say anything.”
“Marie, are you sure this is a promise
you can keep? If not, I can tell you
when you are ready.”
Marie’s face turned up in distress, “I
promise. I swear I won’t tell.”
“Then listen carefully. Just to be certain, I will recite everything
to you in Egyptian—ancient Egyptian, and I will place a ward on my words. You will understand them, but you will not be
able to repeat them or what they mean except in the tongue you hear them.”
This
novel should be published soon—I hope.
Paul, Leora, and their children live and fight through World War
Two. They are fighting spiritual battles
as well as physical battles. War is a
plot device, but it is also a setting element and a creative element.
Here’s
another example from The End of Honor:
A full company of Huscarls stood
at stiff attention on the edge of the Delta.
Their commander, the former chief of the Palace guard stood by John at
their head.
“Her
ashes were cast here,” the Huscarl officer said with certainty, “The Imperial
Marines removed Her body and head and brought them directly to the
crematorium.”
“Perodus
didn’t want a body left as an evidence to his tyranny,” Count Acier’s voice was
cold.
“Continue,”
John encouraged the officer.
“Perodus
himself poured out her remains here. I
accompanied the guards. The winds
quickly scattered her ashes across the Delta.”
The
officer’s voice trailed off into the wind.
Except for the sound of it whipping through their uniforms, there was no
sound.
Finally,
John raised his head, “Bring forward the campaign flag of the Emperor’s Guard.”
The
Commander motioned the guidon. At a slow
and deliberate march, the guidon carried the heavy flag, decked in nearly 500
campaign ribbons. Beside the commander
and John-Mark, the warrior halted and lowered the flag toward John-Mark.
“Here
rests a woman of honor,” John’s voice grew in strength. “The Imperial Princess Lyral Neuterra died in
her attempt to defend our Emperor Maricus.
Her death is an example of our fealty and honor. This planet became her tomb. Henceforth, let the name Imperial Princess
Lyral Neuterra be spoken in the lists of heroes of the Imperial Huscarls. Let her be remembered in the naming of the
battle dead of the Huscarls. The First
Company, first battalion, first brigade, first division, first corps, the
Palace Guard shall honor her as a life unselfishly given in the defense of the
Empire,” he paused. “I remember the
Princess Lyral Neuterra.” John-Mark took
a small rose-shaped gold pin and attached it to the flag. He kissed the pin and the flag.
“I
remember the Princess Lyral Neuterra,” said the Commander and he kissed the
pin.
“We
remember the Princess Lyral Neuterra,” said the Huscarls as one.
“Present
arms,” said John-Mark.
“Present...
arms,” repeated the Commander loudly.
The
guidon raised the flag and lowered it in salute. The Huscarls saluted the flag.
“Order...
arms,” said the Commander.
“Dismiss
your troops. Prepare to evacuate the
Capitol, Commander.”
John-Mark
gazed over the triangle of concrete for a few moments then he walked slowly
back to their waiting armored vehicle.
As he sat down, John continued the conversation he and Count Acier were
embroiled in before they had reached this spot by the Palace, “Ian, how many
Huscarls can we take off planet?”
“A
thousand, perhaps,” the Count answered, “Five hundred if we take their
families.”
“We
will not leave their women and children,” John stated firmly.
“You
will be left with no fighting force either way, 95 percent of the soldiers will
be left on Arienth and in the Fringe.”
“That
can’t be helped. The Intergalactic
Combine will not carry any of our fighting men.
They allied themselves with Perodus and will not be persuaded from that
position,” said John shaking his head.
“The
Combine does not support Perodus, they will just not support either the banned
Houses or the Emperor.”
“We
will take as many of the Huscarls and their families as we can. I want training troops and experienced
soldiers, a large mix of officers and NCOs.
We will train up a ground arm if we can’t take one with us.”
“Now
we know why Perodus released the Huscarls.
He doesn’t trust them and he believes they cannot leave Arienth to
support us,” said Ian.
“None-the-less,
all in all that was a small victory for him.
Perodus flouts the Accords. The
Landsritters will eventually have to confront him about that.”
“We
need to get our ships out of orbit, the Imperial Fleet is due back within the
week.”
“In
two days we will leave. Pass that to the
other Houses,” said John.
“They
are ready. They would go now.”
“Send
them to rally at Neuterra. Instruct,”
John stopped himself, “request rather, they be ready with all their forces to
fight.”
“Is
that wise?” asked Ian.
“It
is essential. You must convince them;
only together can we face the Emperor.”
John
continued, “I know Perodus possesses 35 capital ships. Ten he built in contravention to the
Accords. He has potentially 21 Kingdoms
in his train, that is 105 heavy ships.
Some of the main support for Perodus ambitions will come from Count
Rathenberg’s supporters. The chief of
whom is Count Yedric. Yedric built five
capital ships of his own.”
“In
direct opposition to the Accords?”
“Yedric
is an ambitious man. He was granted the
Duchy of Neuterra so his ships are now legal by that technicality.”
“That
makes a possible 145 capital ships along with up to five times that many
smaller combat and support ships we might face.
We have only 45 capital ships to oppose them.”
“I
have had time to think on these things, and I have a plan that may well finish
off the Emperor’s designs—and his forces.”
“Very
good,” the Count sounded dubious, “ Then we meet on Neuterra.”
“We
meet on Neuterra ready to defend ourselves and our holdings. I will join you at the appointed time, but I
desire Duke Neuterra’s cruiser for a short detour.”
“You
know it is yours.”
“I
must also face Duke Neuterra.”
“He
will have been told already; the courtiers left a week ago”
John
covered his face, “For Lyral’s sake, treat him gently. He would have been my father.”
“I
shall do so.”
“I
must go now.”
“Where
will you be?”
“I
must assure the Huscarls and give them the message of the Emperor’s
release.” Then with a sharpness in his
voice, “Many may desire to pledge fealty to Perodus.”
Count
Acier took his leave at the space port.
From there the Hall of Accords was still visible, a red dipped spire
reflecting the setting sun.
You
can read The End of Honor for
yourself. This point marks the beginning
of a rebellion with Prince John-Mark at the lead.
I do
have a few novels that do not use the war plot device. In any case—it is a worthwhile and a powerful
plot device. It does produce great
entertainment. I’d say the concept of
war itself is not entertaining, but the human pathos—courage, cowardice, self-denial,
and loss encompassed by the war plot device builds entertainment almost like no
other plot device can.
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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