Writing - part x237, Novel Form, Rebuilding Tension and Release

31 August 2017, Writing - part x237, Novel Form, Rebuilding 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 28^th 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 29^th novel, working title Red Sonja.  I finished my 28^th 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.  In this scene Sveta translates for the head of the Orthodox Church, but ends up the attention of the party because of her skills. 

 

This is a complicated but entertaining scene.  This scene introduces an important foreshadowing, introduces important characters, and shows exactly how Sveta sneaks her way into the Soviet apparatus.  You will need to carefully note the last part of the scene.  I don’t want you to miss who is manipulating the circumstances to take advantage of the events.  This is also an example of something not directly expressed to the reader that the reader is supposed to figure out on their own.            

 

Here is the scene:        

 

        At dinner, Sveta’s real work began.  She hardly was given a moment to eat from the wonderful food on her plate; she was so busy translating the numerous conversations.  In many cases, the foreigners insisted Sveta translate for them.  The Russian NKVD had not had time, due to the war, to perfect their language training, and because of a lack of travel, most of the translators were unfamiliar with common euphemisms or slang terms in other languages.  Also their heavy accents made many Russian translators difficult to understand.

        In the middle of a conversation, the American Ambassador made a witty comment to Comrade Abakumov that included a euphemism.  The translation came out as a Russian insult and Abakumov and the Russians at the table near him immediately quieted.

        Sveta whispered to His Beatitude, “The translation was wrong.”

        Abruptly he ordered her, “Correct it.”

        Sveta half stood so she could be seen at the table, “Comrade Abakumov, pardon me, but our American friend and ally, Mr. Harriman simply made a joke about the weather in Moscow.  The proper translation is that the Moscow weather is so difficult to predict, he is not sure whether to wear his raincoat or take a sled or both.”

        Comrade Abakumov slowly nodded his head and smiled.  The table broke into laughter.  Abakumov then glared at his translator.  He turned back to Sveta, “Comrade…?”

        His Beatitude gestured, “Comrade Abakumov, you may address my translator as Svetlana Evgenyevna.”

        Abakumov grimaced at the formality but he pronounced, “Svetlana Evgenyevna would you please also translate for me?  I wish to understand the jokes rather than appear the brunt of them.”  He glared again at his translator.

        His Beatitude nodded to Sveta.

        “Yes, Comrade Abakumov, I would be glad to translate for you as long as it does not distract from the work I perform for Father Alexius.”

        Abakumov opened his hands.

        Sveta translated for half the table.  Except that she only could take a single taste of her dessert, everything went well.  The only ones who were unhappy were the other translators.  They were relegated to a secondary status, with each guest waiting for Sveta to endorse their translations.

        At the end of the evening, Comrade Abakumov intercepted His Beatitude in the foyer, “Father Alexius, I am impressed with your translator.  Where did she learn to understand these languages so well—especially American English?”

        “Trained by our excellent Soviet schools Comrade Abakumov, I am sure.  Our own church schools have not been around long enough to graduate anyone.”

        “You, Svetlana Evgenyevna, you have been to America, perhaps?”

        “No comrade.  I just understand these languages well.”

        His Beatitude put his hand on Sveta’s, “What Svetlana Evgenyevna will not tell you is that her papers extend further than her memory.”

        “Is that so?”

        “Yes, she was severely injured during the siege of Berlin.”

        “She was a soldier?”

        “No, a prisoner repatriated by the Fifth Shock Army.”

        Comrade Abakumov took a deep breath, “I did not realize.”

        “Her language skills are intact and that is what matters—eh?”

        “Yes, of course.  I must not forget to thank you, Svetlana Evgenyevna.  You prevented an issue of political dimensions at the table.”

        Sveta turned her head in a half bow.

        “Again, goodnight Father Alexius and to you Svetlana Evgenyevna.”

        Outside the door, His beatitude handed Sveta over to Father Nikolay.  They put on their cloaks, and Father Nikolay helped Sveta with hers.

        Sveta and Father Nikolay entered his car and headed back to Novodevichy Convent.  As they turned into the first street, Father Nikolay looked back behind them, “I don’t think they are following this time.  They will eventually.”

        “Why?” 

        “They will want to know where you come from and where you go.  They will not ask for your papers at these parties, too embarrassing for them.  They will want to see your papers, of course.  Oh, before I forget about it.  I brought this for you.”  Father Nikolay took out a box with the dessert from dinner in it.  He handed it and a spoon to Sveta, “The kitchen fixed it for me.  Comrade Abakumov was happy to provide it when I reminded him his request prevented you from finishing your dessert.”

        Sveta’s eyes shone.  While she ate the dessert, Father Nikolay continued, “You acted exactly as you ought tonight.  I probably should have warned you about the many translation errors we note at these affairs.”

        Sveta pulled the spoon out of her mouth, “That’s why you need me?”

        “Exactly.  In most cases, His Beatitude would like you to point out the errors and correct them.  The purpose is to establish you as authoritative.”

        Sveta stared at him.

        “Don’t worry why right now.  You saw the effect of your intervention?”

        “Yes,” Sveta spoke around a mouthful of chocolate cream.

        “You prevented a war—or at least reduced the tension that could lead to misunderstandings.”

        “This happens often?”

        “Very often.  There may be times when His Beatitude will not want you to point out an error or intervene.”

        “What if they ask me to clarify?”

        Sveta could hear the smile in Father Nikolay’s words, “His Beatitude will instruct you in exactly what to say.”

        They arrived before midnight at the postern, and Mother Anna let them in.

This scene introduces Beria and Abakumov.  These are very important historical figures and two of the worst butchers in Soviet history.  Beria is the head of the NKVD, the predecessor to the KGB, and Abakumov is the head of SMERSh (Death to Spies). 

 

Father Nicolay, Mother Anna, and His Beatitude all want to introduce Sveta to these men.  Their intent is to display her usefulness with the knowledge that they will want her capabilities.  I, the author, want to show you, the reader, these capabilities too and let you note that their plan is working.

 

Thus, I have Sveta solve a political problem caused by poor translation at the dinner table.  Because of the clarity of her speech and language skills, Sveta is then asked to provide translation services for Abakumov and other officials at the table.  This leads to Abakumov’s interest.

 

I also wanted you to note how I didn’t shy away from just showing, in conversation, exactly what the men discuss.  I could have written: Father Nicolay told Abakumov how Sveta escaped the German Army.  Instead, I gave you a blow by blow of their words and conversation.  First to remind the reader, and second to limit exactly what Nicolay told Abakumov.  This is a game of subterfuge.  I have no problems repeating in conversation events and scenes that happened earlier or the recounting of previous events.  I’ve discovered that many, if not most can be explained in a few paragraphs.  I wouldn’t repeat verbatim, except when that is specifically called for, and I wouldn’t repeat the scene or add extraneous information.  I would recount the events just as I did it in the example scene.  Sweet, simple, and in conversation.

 

The end portion is an entertainment created by a creative element.  The creative element is dessert.  Sveta didn’t get much because of her work.  If you notice, the dessert was provided by Nicolay through Abakumov.  The resulting conversation shows the plan of the Church for Sveta.  This completes the foreshadowing.  The point of everything should have become clear to the reader, if it wasn’t already.  Sveta is the tool the church expects to use to infiltrate and learn more about Soviet plans and politics.  They have a plan and are working that plan as the knowledge and strength of Sveta’s capabilities become more evident.  

 

I’ll give you more examples.

 

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  

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