Writing - part x241, Novel Form, Foreshadowed Tension and Release

4 September 2017, Writing - part x241, Novel Form, Foreshadowed 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.  This is a continuation of the previous scene.  Not often do we get to see the full release of a developed tension or foreshadowing in a scene.  In this one, you do.  Not often do we get to experience a past tension development that is redeveloped and reintroduced then given a release in a scene.  In this you, you do.   

 

The entertainment and creative elements in this scene just keep coming and coming.  I like to have multiple entertaining items or events in my scenes—this scene is chock full of them. 

 

We saw the first two yesterday.  The first was the confrontation with Katrinka.  The second was the proof of French with the artist and his friend.  We also saw the reintroduction of Svetlana, Stalin’s daughter.  The scene continues.  I left off part of the scene with Svetlana and the university students.  I continue with the unveiling of the painting.  This is also a foreshadowing.

 

The unveiling is the climax of the scene, but not a release of the tension at all.  The scene continues apace as if the unveiling were unimportant—it is unimportant.  What is very important is the conversation that Sveta overhears.               

 

Here is the scene:        

 

        The group monopolized Sveta’s attention until the unveiling of Eremeevich’s new painting.  Then they moved as a group toward the center of the room where Eremeevich said some forgettable words and pulled the cloth cover from the large canvas.  It was a typical piece of Socialist Realism.  Unmemorable to anyone in the room, but seemingly important to the Soviet State.

        After the unveiling, Sveta moved back toward Father Nikolay and His Beatitude.  They both spoke with Comrade Abakumov and another man.  Sveta came up behind them, heard her name used, and decided to sit nearby.  She was short enough that none of them noticed her in the crowd, but she could clearly hear their conversation.

        Abakumov spoke, “I want to use her when you don’t require her skills, Father Alexius.”

        His Beatitude answered, “You will turn the poor girl’s world upside down.”

        “We know she is a novice in your convent, and that she is exploited by a Jewish bookstore during the day.  She might have to give up her job at the bookstore.”

        “Comrade Abakumov, you don’t understand anything about this young woman.  She requires special care.  That is why we took her into our convent in the first place.”

        “She can remain in the convent; that is not a problem for us.  We just require her during normal working hours and for some evening events.”

        “I must be assured she will be my exclusive translator when we share events.”

        “I will agree to that, but point out, she has handled multiple conversations before in my presence.”

        “I must also be assured you will look after her injuries.”

        “What injuries specifically?”

        “You understand her lungs were damaged, but her lameness should also be obvious to you.”

        Abakumov stroked his chin, “Yes, that is obvious.  Do you have a recommendation?”

        “Yes, I would like to send a person with her all the time to ensure her health and care.”

        “To evening events also?”

        “No, only during the day.  That is as long as, in the evening, you let her sit often and give her your arm when necessary.”

        “I can assign an operative to carry her, if necessary.”  He bobbed his head, “Your requirements are acceptable.  Who is this person to look after her?”

        “A nun.”

        Abakumov curled his lip, “Of course.  How will that look in SMERSh and the NKVD?”

        “Frankly, comrade, I really don’t care.”  His Beatitude laughed, “I think it will be delightful.”

        “She will dress as well as she does now.”

        “That depends entirely on how much you are willing to pay her.”

        “Let’s start at 2500 rouples a month.”

        “That is good.  If she were my own daughter I would not let you pay less than that.”

        Abakumov put out his hand, “You will ensure she is maintained at her peak of skill and appearance?”

        His Beatitude took Abakumov’s hand, “You have not seen any problems in the past.”

        They shook.

        Abakumov put his hands on his hips, “Monday morning at NKVD headquarters, yes.”

        “Yes.”

        Out of sight, Sveta stood and headed to the other side of the party.  She was immediately filled with apprehension.  She knew they were talking about her.  She knew they meant for her to work in the NKVD.  Would she translate all day?  She knew she would be able to listen all day, and she realized how important this work might be.

        At the other end of the room, a hand gripped her shoulder and a familiar voice spoke to her, “Is that you, Sveta?”

        Sveta looked up into the eyes of Vasily Grossman.  She smiled, “Yes Vasily, it is.”

        He led her a little way out of the crowd, “I barely recognized you.  How are you getting along?”

        “I am very well.  They take very good care of me at the convent.”

        He stared at her clothing, “I should say they do.  I am astounded by how well you look and how grandly you are dressed.  Does every nun in the convent attend these soirées?”

        “No, of course not, Vasily.  I am the translator for His Beatitude, and soon to be a translator for the NKVD.”

        “For the NKVD?  How far you have come, dear girl.”

        “I owe my life to you Vasily.  I would not have any hope without you.  What about Klava?”

        “I am sorry to tell you Sveta, that Klava was killed in an accident in Berlin.  She will not be coming back to find you.  I just received the information a couple of days ago.”

        Sveta hid her face.

        “Don’t cry Sveta.”

        “She was so kind to me, and she didn’t have any reason to be.”

        “Her death may have been the kindest thing of all.  The PPZh, campaign wives, don’t fare too well when they must return home.  Colonel-General Berzarin, her lover, was himself killed in a motorcycle accident a few weeks after we left Berlin.  Klava likely was heading home to nothing but poverty and squalor.  She may have delayed her return for just that reason.”

        “Yet it should have been to life.  Next to salvation, life is the greatest gift of God.”

        “Your optimism is powerful, Sveta.”

        “How are Katya and Olga and Fedya?”

        “They are all well and miss you.”

        “I miss them too.  I have no one my age to speak to.  Some things are very hard when everyone assumes you are grown.  I am not certain I am ready to be a woman.”

        “Yet, you are a very beautiful woman.”

        “Don’t let Olga hear you say that.  How is Efim?”

        Vasily smiled, “Efim is fine.  I must let you go, now.  I see your employer is looking for you.”

        Father Nikolay headed directly for them.

        Sveta held out her hand, “Goodbye Vasily Grossman.  I hope our paths cross again, soon and often.”

        He shook her hand, but Sveta hugged him much as Katya hugged him, and Vasily choked back a tear.

        Father Nikolay came up to them, “There you are Svetlana.  Hello Comrade Grossman.”

        Vasily nodded, “Good evening, Father Nikolay.  Sveta looks very well.  I thank you for your care of her.”

        Father Nikolay grasped Vasily’s hand, “No, I thank you, very much for bringing her to us.”  He turned to Sveta, “Svetlana, it is time to go.  His Beatitude has left already.”

        Sveta smiled at Vasily.  She took Father Nikolay’s proffered arm and followed him out of the room.  They gathered their cloaks from the foyer and went out into the cold evening.

        In the car on the way to the convent, Father Nikolay looked behind them, “They are following us this time.  I don’t know why.”

        “SMERSh?”

        “Yes or just the NKVD.  We have come to an agreement with them.”

        “I am to be a translator for them during the day at 2500 roubles a month.  Who will you send with me?”

        She could see Father Nikolay’s jaw drop in the dark car, “How did you know this?”

        “You told me to listen—I listen very well.”

        He took a deep breath, “We will send Mother Marya with you.”

        “Will that distress her?”

        “You do listen well.  I don’t think so.  Mother Anna will handle the arrangements.  We shall see, Svetlana.  We shall see.”

        “The Moscow University wants me to lecture for them on American English.”

        “Of course they do.  Do not do anything for them unless the NKVD arranges for them to also pay you.  You might hold out for some level of accreditation—you are the best English speaker they have heard.”  He chuckled, “That is, other than the American Embassy staff, but they don’t speak Russian as well as you.”

The climax of the scene is the unveiling, but this is not the release in the scene.  This scene has at least five releases.  The first two are the ones I discussed yesterday.  That was the confrontation with Katrinka and the proof of French with the artist.  These provided tension and release and entertainment. 

 

The next and most important part of the scene is the conversation between Nicolay and Abakumov.  Sveta overhears, and this is another tension and release. This drives her to another part of the room where she meets Vasily Grossman.  The meeting provides another tension and release. 

 

Father Nicolay takes Sveta back to the convent.  During this event, we have another release from the previous tension.  The foreshadowing was the previous conversation.  We have a completed release here that provides more foreshadowing.  Who indeed will Mother Anna choose to go with Sveta? 

 

This is all a setup.  The Church wants eyes and ears in the NKVD.  They want connections with Stalin that allow them to preempt the raids on their Churches and organizations. 

 

This scene is a pivotal scene in the novel.  In this scene, the NKVD invites Sveta into their organization.  Abakumov wheels and deals with Father Nicolay to get the interpreter he wants, which is Sveta.  Everyone gets what they want—even Sveta.  There is no or very little telling in this scene.  The scene is all about showing the reader what is going on without any telling.

 

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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