Writing - part x247, Novel Form, Introduction Tension and Release

10 September 2017, Writing - part x247, Novel Form, Introduction 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.  Here is the continuance of the foreshadowing from yesterday.  I showed you reflection from Abakumov and then the introduction of Kruglov.  These historical people are very important in the Soviet.  This next scene becomes fun (entertaining) because Kruglov finally meets Sveta.    

 

This scene also includes some very important information that then leads into the next and future scenes.  The introduction of Kruglov to Sveta and then the interjection of the Harrisons gives the reader even more information about Sveta and all she is accomplishing through her office and in the Soviet Union.                   

 

Here is the scene:        

 

        In late December, Sveta arrived at a party with His Beatitude.  Comrade Abakumov greeted them at the door and led them both to the center of the affair, “Svetlana Evgenyevna, I would like to introduce General of the Army Sergei Nikiforovich Kruglov, First Deputy People's Commissar of Internal Affairs.”

        They approached the general from behind.  Sveta wore her silk blue dress and hat, “Good evening General Kruglov.  Our offices are only a few steps from one another, but I have not met you before.”

        General Kruglov turned to stare at Sveta and nearly dropped his drink.  He barely choked out, “Svetlana Evgenyevna, I am very pleased to meet you.  I understand you speak English.  I do myself.”

        Sveta effortlessly continued their conversation in English, “Yes, I do speak English, General Kruglov.”

        Mr. Harriman, the American ambassador and his wife stepped up to them, “Svetlana Evgenyevna, there you are.  I heard you across the room.  I would recognize your sweet American voice anywhere.”

        Mrs. Marie Whitney-Harriman, Harriman’s wife took Sveta’s hand, “We are shopping tomorrow, are we not?” 

        “Yes, Marie, I have the time scheduled.  I know a very nice shop you would like to visit.”

        “You are the finest dressed woman I have seen in the Soviet Union.  I must know your secrets.”

        “I’m sorry,” Sveta raised her hand, “Do you all know General of the Army Sergei Nikiforovich Kruglov, First Deputy People's Commissar of Internal Affairs?”

        Mr. Harriman put out his hand, “I believe I know your boss well, Comrade Beria.”

        General Kruglov smiled slightly, “I don’t often have the opportunity to go to these parties.”

        “You speak English very well, General Kruglov.  Not as well as your Little Ptitsa, Svetlana Evgenyevna, but very well.”

        “Thank you, ambassador.  I studied the language.”

        “Astounding how easily Svetlana Evgenyevna can speak English, and she has never visited our country.”

        “Yes, it is astounding.”

        “You probably hear this all the time, but she has made communication with your government almost effortless.  This is very important to us.”

        “I did not know.”

        “The office of Embassy Relations has had a great effect on our countries.  It was a stroke of genius.”

        During the evening, His Beatitude stayed near General Kruglov.  Sveta had the occasion to translate for both the General and for His Beatitude.

Much of the entertainment in these scenes is the way people react to Sveta.  She is disconcerting.  Abakumov said she has a commanding presence even as a young woman.  This is part of the power of the being and character who is Sveta.  She is commanding and powerful not because of what she looks like, but rather because of who she is. 

 

When I write, who she is, I don’t mean just because of her birth or abilities, but rather what she is doing with her skills and abilities.  I am trying to build Sveta as a very powerful character.  I am doing this through showing you who she is.  You are seeing this through the eyes of others.

 

The beauty of this approach is that you are getting a view of Sveta that you might see if you knew her and were a highly placed member of the Communist Party in the Soviet Union.  This is exactly what I want you to see—as well as the historical events and people all around her.

 

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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