7 May 2017, Writing Ideas - New
Novel, part x121, Creative Elements in Scenes, Plot Devices, Theater
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
Brotherhood (sisterhood) (camaraderie)
Crime
Theater – Current discussion.
One way love
Theater: here is my definition – Theater is the use of a classical arts to further a plot.
I
should have titled this arts rather than theater, but I think you get the
point. The use of theater as a plot
device includes opera, ballet, plays, the circus, painting, writing, not to
mention other classical art forms. This
is not the use of crafts or other skills.
The reason this does not include crafts or skills or modern nonclassical
art forms is that the point of theater is to enable the author to reflect the
art presentation in references, allegory, or analogy. In other words, theater allows the writer to
use the art form presented as a form of figure of speech and analogy in the
writing.
Theater
is not used much or enough at all in the modern era. It is used very very well in classical
literature, but most forms are literary.
What can I use for examples?
Almost any piece of writing prior to 1950 and many classical pieces of
writing after that. Any work that
references another piece of literature or art uses a theater plot device.
I
want to expand this plot device for you.
I use it extensively in my writing, but I like to use it in ways most
authors never have. I like to have my
characters go to plays, opera, ballets, and other art events. I like to have my characters admire art and
read novels. The going to plays, opera,
ballet, and other art events is specifically what I mean. I use the event as a spring board for my novel. I don’t necessarily use the work as an
allegory, but I do provide connections.
I’ve
used The Pirates of Penzance, The Magic
Flute, The Nutcracker, Copellia, Frogs, Clouds and many other works in my
novels. My characters addend these
events and remark on them, reflect them.
When you use these types of art work, you need to either synopsize or at
least relate some of the details. Then
you need to use the work in your writing.
There must always be a purpose in the art—remember Chekov’s Gun.
Here
is an example from Aksinya: Enchantment
and the Deamon:
The landau drove them only a few blocks away
to the Wien State Opera. The building
was large and classical. It wasn’t as
brightly lit as the Palais Coburg Hotel Residenz. The gaslights flickered in the chill
breeze. Ernst escorted Aksinya into the
building. When they entered, Aksinya
wobbled a little shakily on her feet.
She held tightly to Ernst’s arm, and almost fell when she entered the
enormous foyer. She almost lost her feet
again near the center of the large entranceway.
Aksinya whirled when she thought she spotted Asmodeus in the crowd, but
immediately lost sight of him. Ernst
clasped her arm tightly under his and kept her from falling. Natalya steadied her. She followed right behind Aksinya. Ernst took care of their coats. He led Aksinya to a box seat. She finally concluded that she was unsteady
on her feet from the wine at supper, so she held even more tightly to Ernst’s
arm so she wouldn’t stumble. Ernst seated
her and then Natalya. He took the chair
between them both.
As
though the ballet master waited just for them, at that moment, the lights
dimmed and the conductor walked across the stage and climbed into the orchestra
pit. Aksinya leaned forward and held the
side of the rail. She kept a tight grip
on her flowers.
The
music started. It was bright and
melodic. Aksinya was entranced. Ernst propped his elbows on the top of the
rail. His face was close to hers, “I
didn’t tell you the ballet we are going to see.
It is Coppellia and a
comedic ballet.”
Aksinya kept her eyes on the stage, “A
ballet that is a comedy. I didn’t know
there was such a thing.”
“Ah, you Russians are so dower. I can’t remember a Russian comedy.”
“Do you think I am dower?”
“You are entirely too serious, but I find
that engaging in you. I have never met a
serious woman before.”
Aksinya’s eyes moved toward his face, “I
would indeed like to be taken seriously.
I am a serious woman.”
“Also a dangerous woman.”
“I don’t wish to be thought a dangerous
woman.”
“But you are. That makes your seriousness necessary.”
“Or, I am just dower. What is this Coppellia about?”
Ernst turned his face toward hers. Aksinya kept her eyes on the stage and
orchestra. He laughed, “It is a story
about an old man, Dr. Coppellia, who tries to use magic to give life to a
mechanical woman.”
“Does he succeed?”
“No.
He believes he has, but in the end it is all a trick. At the conclusion, the young fool does marry
the wonderful and smart heroine. A match
between a serious girl and a frivolous boy.”
Aksinya mumbled, “I am like the old
man. I have made a terrible thing.”
“You said, Countess?”
“Nothing.
I said nothing…”
The curtain rose and the ballet began. Throughout, laughter from the audience
punctuated the performance. Natalya and
Ernst both chuckled under their breath.
Aksinya didn’t laugh. She had
never laughed in the theater. Her lips
did turn up many times in a gentle smile.
During the very delightful ballet, Aksinya
remembered the words of Fraulein Trauen.
She took surreptitious glances to see where Ernst’s eyes dwelt. Every time she looked, his eyes were focused
on her profile. She couldn’t help but
blush. She wasn’t certain he ever
glanced at the very beautiful ballerinas who danced on the stage.
At the intermission, a butler delivered
caviar and Champaign
“I do like vodka, but Champaign
Ernst refilled her glass. Natalya watched closely. She barely sipped at her still filled glass.
Aksinya watched the second Act with greater
enjoyment. Ernst thought he heard a
giggle from her a couple of times.
Natalya frowned.
They returned home late. It wasn’t too late, but still late. Aksinya leaned sleepily against Natalya the
entire trip back to the house. Aksinya
could not stand without help. Natalya
wouldn’t let Ernst sit next to Aksinya.
When they exited the landau, Natalya did let him help her on one side
while she held Aksinya on the other.
A
little about the ballet—that informs your readers and your characters. The jokes are all related to the ballet. This is just fun.
Here’s
another example from Aksinya: Enchantment
and the Deamon:
They ate in the Red Room again. This time, Aksinya’s dress didn’t clash with
the décor. After a wonderful dinner,
Ernst’s landau delivered them to the Wien
State Opera. The Die Zauberflöte held Aksinya enthralled. A faint scent of sulfur touched Aksinya’s
nose for a single breath, but she didn’t see the demon. Although she had drunk a little
too much at supper, her mind wasn’t fuzzy at all through the opera.
At the
intermission, an attendant delivered Champagne Champagne
“Yes,
Countess.”
“It
is all about marriage…”
“It
is indeed about marriage and magic.”
“Yes,
I couldn’t miss that part too. So who am
I cast to be?”
Ernst
poured Aksinya another glass of Champagne
Aksinya
raised her glass, “It’s all right Natalya.
I’m thirsty and it matches the opera and my mood. So, who am I cast to be in this opera by
Mozart?”
Ernst smiled, “Who do you wish to
be?”
Aksinya
took a deep breath, “I wish to be Pamina, the heroine, but I think I am The Queen of
the Night.”
Ernst
grinned, “If you are the Queen of the Night, then I must be the traitorous
Monostatos.”
Aksinya
raised her eyes to his, “You can’t be Monostatos—that role has already been
cast.”
Ernst
stared at her, “You aren’t kidding, are you?”
“I’m
not kidding at all.”
He
tried to take her hand in his, but she pulled it back at the last moment. Ernst’s appearance was very serious, “Then, I
do have a rival in love?”
Aksinya
giggled, “Only if I am truly the Queen of the Night.”
“I
beg you not to play with my heart, Countess.
I love you. I am serious…”
Aksinya
sobered immediately, “I am also serious.
If you wish to be my Tamino then you must find a way to transform me from
the Queen of the Night to Pamina.”
Ernst
grasped her hand, “Listen to me, Countess.
I don’t intend to lose you to anyone in this world.”
Aksinya
laughed. She couldn’t stop her
laughter. It was slightly wild and
uncontrolled. The other guests in the
box seats next to and above and below them became silent. The audience close to
them silenced. The conductor stepped
across the stage and still Aksinya’s sweet laughter sang out in the suddenly
quiet opera house.
Finally,
Natalya put her arms around Aksinya. She
whispered in her ear in Russian, “Please mistress, be quiet. You are embarrassing yourself.”
Aksinya
immediately sobered. Her lips turned
down. She appeared like she might cry
but that lasted for only for only a moment.
She turned her face to the side and pushed Natalya away.
The
music started and the lights came down.
Aksinya
held out her empty Champagne flute, “Ernst
fill my glass and continue to fill it.”
Ernst
poured the remainder of the bottle into Aksinya’s glass. He moved a little closer to her and
whispered, “I’m terribly sorry. What did
I say that so upset you?”
“It
was nothing you said.”
“There
had to be something.”
“Are
you arguing with me, Herr von Taaffe.”
Ernst
shut his mouth.
Aksinya
sipped on her Champagne
Ernst
stared directly into her eyes, “That may be so, Countess, but I swear I will
overcome anything for you.”
Aksinya
put her hand against his lips, “Do not swear anything in regard to me.” She turned back to the opera and held out her
glass to be refilled.
In the end, Ernst
had to carry Aksinya into her house. Sister Margarethe frowned at him the
entire time. Ernst said nothing at all
and after he placed Aksinya on her bed, he simply glanced around her room and
quickly left. Sister Margarethe stepped after him to speak to him, but Natalya
took her arm, “Sister, it was not his fault.
He simply accommodated the Countess.
She could not be reasoned with tonight.”
Again
a light synopsis—enough to excite and intrigue the reader. The novel uses these plot devices to direct
the novel and the plot. They are
embedded in the novel and in the characters.
There is more and more examples, but I won’t give them here. I love this plot device and I recommend its
use. There are many more ways to use it.
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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