Writing - part x246, Novel Form, Reflection Tension and Release

9 September 2017, Writing - part x246, Novel Form, Reflection 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, I show you how to handle reflection about events and characters.  In this short scene, we also see how time can be moved forward and new characters introduced.    

 

Most scenes should and will include the protagonist.  On occasion, you will have a reason to not include the protagonist in a scene.  One such type of scene is the reflective scene.

 

In this particular scene, I introduce another historical character, I show you his interaction with Abakumov, and I let you see Sveta through the eyes and thoughts of Abakumov, but without any mind reading or thought showing.

 

This is the way to show reflection about the protagonist without telling and with only showing.  This also provides an entertaining and exciting way to see behind the scenes (so to speak).  Both Kruglov and Abakumov are highly placed party members and officers in the Soviet hierarchy.  I use these types of scenes to inform the reader about Sveta’s effect on the Soviet apparatus and the people within it.                   

 

Here is the scene:        

 

        General of the Army Sergei Nikiforovich Kruglov was the First Deputy People's Commissar of Internal Affairs for the NKVD.  He was a bloodhound faced man with soft soulful eyes, a large nose, and full lips.  His cleft chin almost seemed inopportune at the end of his face since it did not lend any strength to it.  But he was not a man to underestimate.  Viktor Abakumov stepped into the car and sat beside him.  Kruglov tapped the glass and the car began moving, “What is Beria doing with that girl?”

        Abakumov lit a cigarette, “He is playing a game with the offices—setting them up for the event.”

        “Why put this child in this office?”

        “Have you heard her speak?”

        “Bah, Viktor, I have many translators.”

        “None like her.”

        “You hired her, and Beria took her from you to set up this office—Embassy Relations.  What can he have in mind—what could you have in mind?”

        “Svetlana Evgenyevna is unbelievable.  She speaks numerous languages.”

        “So do I.”

        “Perfectly!  No accent!  No word out of place.  The minute she speaks, they hang on her every word.”

        “Who listens?”

        “Everyone.”

        Kruglov spat, “Are you in love with the little girl, Viktor?”

        Abakumov laughed out loud, “Quite the contrary.  Bewitched is a better word.  Have you seen her?”

        “No.”

        “You must meet her.  You will, of course, but soon.  She is the most exquisite looking woman you may ever see.  A godlike being, she is so attractive she almost seems to take away your desire with your breath.”

        “I never thought of you as a dreamer, Viktor.”

        “Dreamer, no.  Realist, yes.  I wanted her in SMERSh for the same reason Beria snatched her up.  The minute she speaks, she acquires every man and women’s attention.  Her voice is torn, injured, but it contains such power and authority—they listen, all of them.  She listens to them too.  Almost as though she sees each person to the core of their being.  You must read her reports.  Her assessment of individuals borders on the intimate.”

        Kruglov lit another cigarette, “As you say, I must meet this person.  My question is what will we do with this new office after the event?”

        “We’d be fools to shut it down.  Already Svetlana Evgenyevna is invited to every embassy fete.  They are inviting her to their homes and privately inside the embassies.”

        Kruglov smiled and let out a large breath of smoke, “I see what you mean.  You are receiving reports from this new office?”

        “A few.  Beria is keeping most of them to himself.  I understand those are even more detailed.”

        “After the event, we must see just what secrets Beria has uncovered.”

        “Perhaps we should ask her for a report on Beria.”

        “That is a thought, Viktor.  That is a thought.”

A lot is always happening in the Soviet Union.  The event these men keep referring to is the time Stalin elevates Beria to the position just below him in the communist party.  This event was the eventual downfall of Beria.  Stalin and Beria thought that elevation to a position just below Stalin would allow the easy transition of Beria to that of the head of the Soviet Communist Party.  What actually happened was that Beria was shorn of his office in the NKVD.  That office allowed him power beyond measure—without it, he was vulnerable to other political figures and their mechanizations.  In the end, Khrushchev was able to use his position of power to wrest control from Beria.  Beria ended up in the same prison under the NKVD that so many of his enemies and others filled.

 

There is much more in this simple and short scene.  Some ideas are very difficult to portray in literature.  One of those is the effect a person, especially a protagonist, has on others.  You can show all you want, but until you get an actual candid expression, even showing can fall short.

 

In this scene, Abakumov tells Kruglov how impressed he is about Sveta’s skills.  He also gives us his impression of those skills.  This is a powerful capability.  Set it up whenever you can and whenever it makes sense.

 

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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