18 August 2017, Writing - part x224,
Novel Form, still Another Example of Building Tension and Release
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.
These are the steps I use to write a
novel including the five discrete parts of 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
I
finished writing my 28th novel, working title, School, potential
title Deirdre: Enchantment and the School. The theme statement is: 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.
Here is the cover proposal for Deirdre:
Enchantment and the School.
 |
|
Cover
Proposal
|
The most important scene in any
novel is the initial scene, but eventually, you have to move to the rising
action. I continued writing my 29th novel, working title Red Sonja. I finished my 28th novel, working
title School. If you noticed, I started on number 28, but
finished number 29 (in the starting sequence—it’s actually higher than
that). I adjusted the numbering. I do keep everything clear in my
records.
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 29: 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.
This
is the classical form for writing a successful 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 (protagonist,
antagonist, and optionally the protagonist’s helper)
d.
Identify the telic flaw of the
protagonist (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
The
protagonist and the telic flaw are tied permanently together. The novel plot is completely dependent on the
protagonist and the protagonist’s telic flaw.
They are inseparable. This is
likely the most critical concept about any normal (classical) form novel.
Here
are the parts of a normal (classical) novel:
1.
The Initial scene (identify the
output: implied setting, implied characters, implied action movement)
2.
The Rising action scenes
3.
The Climax scene
4.
The Falling action scene(s)
5.
The Dénouement scene
So,
how do you write a rich and powerful initial scene? Let’s start from a theme statement. Here is an example from my latest novel:
The
theme statement for Deirdre: Enchantment
and the School is: 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.
Here
is the scene development 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
If
you have the characters (protagonist, protagonist’s helper, and antagonist),
the initial setting, the telic flaw (from the protagonist), a plot idea, the
theme action, then you are ready to write the initial scene. I would state that since you have a
protagonist, the telic flaw, a plot idea, and the theme action, you have about
everything—what you might be lacking is the tension and release cycle in your scenes.
Here is an example of developing or
building tension and release in a scene.
This example is from Shadow of Darkness
an Ancient Light novel. This is an early scene, but not the initial
scene. The power in this scene is not
what is said, but rather in what is not said.
This is what I would like you to look for.
The girl in this scene is Lumière. She was wounded while she was trying to
escape the Germans and the Russians during the battle for the Reichstag
building. She would have escaped too—except
a German soldier decided to fire an anti-tank weapon at her. She was gravely wounded. She survived and is healing. Vasily Grossman who is a real person in
history, and a person I have tried to describe and reflect as realistically as
possible has become Lumière’s mentor and guardian. He is taking her back to Moscow at the end of
the war (WWII).
Look carefully at the setting elements
that are turned into creative elements and how they build tension and
entertainment in the scene. Apart from
the characters, the first is the passenger car.
The second is the dress. The
third is the book, a gift from Efim.
Efim is based on a real person in history. For that matter, Klava is based on a real
person in history. The next is the
papers. Notice especially what is left
unsaid concerning the papers. There are
unspoken points about Efim’s book and the dress. I don’t point these out to the reader,
because the reader can figure it all out for him or herself. The unsaid points are just as important as
those directly expressed. There is more,
but read the example.
In
June with little fanfare Vasily packed up his gear, said goodbye to his
friends, and prepared to board a train with Sveta, headed toward Moscow Moscow
Efim held Sveta at arms length and
kissed her cheeks. He handed her a very
thick book.
Sveta stared at the book with great
desire. She held it out in front of her
and spoke in her raspy whisper, “I can’t take your favorite copy of War and Peace, Uncle Efim.”
Efim mumbled, “Take it. The trip to Moscow
Sveta put her arms around his neck and
hugged him as hard as her weak arms could.
Efim finally took one hand out of his pocket and patted her
shoulder. He explained lamely, “You like
to read so much.”
Klava came close to Vasily, “I won’t
give these to the girl. You must explain
everything to her during your trip.” She
handed him a packet of papers, “I gave her the name Svetlana Evgenyevna Kopylova.”
“That is your own patronymic and last
name.”
“Don’t worry Vasily. I didn’t have to sign any of the papers. I got Colonel-General Berzarin to sign
everything.” She blushed, “You needn’t
ask how.”
“I wouldn’t, Klava.”
“I would do anything for Sveta,
now. She is like my little sister. I wish I were going to Moscow
“Thank you, Klava. You are a great friend,” Vasily shook her
hand, and Klava kissed his cheek.
Efim half lifted Sveta onto the train
and Vasily followed closely behind. At
the step, Klava grasped Vasily’s hand, “Watch carefully over her, Vasily. Treat her like you would my sister or your
daughter. I will seek her out if I am
able, when I am able.”
Vasily nodded.
The train car was almost empty. The train service had just recently been
restarted, and the Soviet machine was too slow to start pulling general
soldiers back using this method. There
was also some worry about the Americans and other Allies at the borders of
captured Soviet territory. The Politburo
was additionally concerned about the condition and internal security of the Soviet Union . The
Soviet troops would stay in place for all these reasons.
Sveta moved slowly. The conductor stopped in front of her, and
she turned her head slightly back toward Vasily.
Vasily pulled out his papers and hers
with their travel vouchers, “I have her papers also.”
The conductor moved to the side and
allowed Sveta to pass. She continued
forward leaning on her cane and wheezing at each step.
Sveta found a seat at the back. When the conductor was content with their
authorization, Vasily threw their bags on a seat and sat across from her. She stared around the train car and took in
everything before she settled into the seat as comfortably as she could and
opened the thick book Efim had given her.
When she came across his note to her, she smiled with delight. By then the train was already moving, and the
military siding was long out of sight.
When they were well away Vasily spoke to
her, “Sveta, did you make Klava think you were not right in your mind?”
Sveta did not reply.
“Sweet Sveta, I understand why you
would. I think I am beginning to
understand something about you.”
She glanced up with apprehension.
“You do not need to fear me, Sveta. This I promise you.”
Sveta smoothed her dress and focused
again on her new book.
“Are you ready to tell me what was
happening in the world when I first found you?”
Sveta violently shook her head.
“I will ask you again. This, I promise you.”
Sveta stared out the window.
“This is something you are afraid to
discuss. I wonder why and hope my
curiosity is one day satisfied. But I
will not burden you with this again for a while. There are other things much closer I must
burden you with now.”
Sveta raised her eyes again in apprehension.
“Yes you should worry. I have papers here for you. Klava took a lot of risk to put them
together. She loves you—you have that
affect on people, and I’m not sure why.
Your name is Svetlana Evgenyevna Kopylova.”
Sveta smiled at that.
“You like the name. It has a ring to it.”
“The papers say you are fifteen. You are an orphan from Moscow
Sveta leaned forward, “May I read them.”
Vasily had to listen closely to hear her
soft voice over the noise of the train.
He handed the packet to her.
“You must be careful with your
papers. You must not lose them. Klava has done a fantastic job. These may be almost impossible to reconstruct. I have no way of knowing who you really
are. I can’t believe you are a simple
waif whose mind is slightly addled.”
Vasily spoke gently to take the sting out of his words.
Sveta glanced up at him and cocked her
head.
“You understand me well. I know you are hiding your past. I think I know why. In this time and this day, no one will think
the worse of you. I think you are a well
educated child of a wealthy family from France France Germany Soviet Union , that gives you
status and if not power, then the ability to live.
“I need to tell you about me and what to
expect in Moscow
“My common law wife is now Olga
Mikhailovna Guber. I adopted her two
boys, Fyodor, my little Fedya and Misha.
Misha did not survive the war,” Vasily stared out the window. “Olga will be the problem. She is not naturally jealous, but she will
not know how to take you. I don’t wish
arguments with her on the eve of victory and homecoming.”
Almost a whisper, “Why don’t you leave
me here?”
Vasily shook his head, “At this point I
could not leave you unprotected any more than I could leave my daughter
alone. Do not ask me nor expect me to
cause you that pain. A little suffering
for Olga and me will be small recompense for your safety.”
“Why would you care about me, Uncle
Vasily?”
He sat back and settled into his seat,
“That is a very good question. I have
thought about it for a long while. The
first reason is the simplest. You are
somehow a remarkable being who appeared to take the world into your control.” He ignored Sveta’s pained expression. “I don’t believe in anything supernatural
anymore, and yet, you gave me a sudden reason to believe. I can’t quite understand it. Second, you are likely the most beautiful
woman I have ever seen. Don’t misunderstand
me, I don’t desire you, but you are like a painting, excruciatingly beautiful
and necessary to observe daily. Third,
you are remarkably intelligent. I have
met many intelligent people. Most want
you to know just how bright they are.
You can’t get away from them and their intellectual preening. You, on the other hand, try to hide your
native abilities and knowledge. You made
Klava think you were slightly deficient.
Efim thinks you are an idiot savant.
That is the only way he can explain your absorption of the Russian
language. I know you have a marvelous
intellect. You hide it well—too
well. Fourth, somehow you make people
love you.” Sveta blushed. “How this can be, I do not know. My mother once told me that old people and
children had the power, if they desired it, to make people love them. She taught me French, by the way. You made Klava love you. You made Efim love you. You have made me love you. Why and how?
I can’t readily fathom.”
Sveta stared at Vasily for only a moment
more. Without a word, she returned to
the book Efim had given her.
Vasily smiled down his nose at her. Under his breath, so he could not be heard
above the noise of the train he said, “The right thing. You do the right thing every time. How can that be?”
Items
and conversation drive this scene. The
unsaid becomes a very powerful part of the expression and entertainment. I ask the readers to become participants in
understanding the things that can’t and that should not be said. This is a very powerful method of scene
development. I like to imagine that much
of what my scenes are about are not spoken.
I want to allow my readers to build their own conclusions based on what
I have revealed to them and what they know from history.
History
is an abiding point of this and all of my novels. I interject a part into real history that
wasn’t there, but could have been there.
I use history to drag you into a suspension of disbelief concerning all
the other things I want to reveal to you.
To me, this is reflective and powerful.
I love to present scenes like this.
I love to build ah ha moments for my readers.
I
also want to point out Vasily’s observations about Lumière at the end of the
scene. This is my chosen method of the
revelation of my characters’ thoughts. I
don’t want to show you their mind or what they are thinking—I want them to have
the opportunity to reveal their thoughts in conversation, just like in real
life. You can’t know anyone’s mind, and
they might be lying to you. You can’t
read minds, so why do we have mind readers in novels?
Vasily’s
reflection to Lumière about her is a classic and wonderful technique and
reveals much in the context of the scene that the reader has somewhat surmised and
guessed—Vasily’s reflection just cements the ideas and knowledge. This contrast of spoken and unspoken is a
powerful tool in scene development.
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
No comments:
Post a Comment