Writing - part x250, Novel Form, Historical Tension and Release

13 September 2017, Writing - part x250, Novel Form, Historical 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 novel is about Sveta in the Soviet Union.  She begins as a hapless and injured waif found in Berlin by Vassily Grossman.  She comes to Moscow and eventually enters a convent of the Orthodox Church to protect her from being sent to a people’s asylum.  She becomes the translator for Hi Beatitude, the head of the Orthodox church, and from there gains the attention of Beria in the NKVD and Abakumov in SMERSh.  Eventually, Sveta comes to the attention of Stalin. 

 

The focus of this scene is history.  We have no records of this specific event, we just know generally who was there and what it was about.  The ambassadors and their wives attended.  This was an important event in the history of the Soviet Union.

 

Did the specific issues happen during this party?  Who knows?  My job as an author is to convey the history we know with the conjecture I can devise along with the entertainment a reader wants and needs. 

 

My goal is first to entertain.  At the same time, I must get Sveta into the good graces of Stalin and make her stand out in a positive way.      

 

Here is the scene:        

 

        Beria’s advancement party was the main affair of the season.  His Beatitude would attend although Sveta had orders to keep up with Comrade Beria for the entire night.  Father Alexius had to do without or use the guest’s translators.  This evening, Marya also attended.  Sveta and Mother Anna helped find her appropriate attire the week prior.  Sveta took special pains to place her office’s special translators all around the party location.  Many were now assigned directly to the ambassadors and their staff. 

        At the height of the event, Stalin made an appearance.  He came in surrounded by his guards.  Sveta recognized many of them as SMERSh agents.  Without a single word being spoken, it was immediately evident the General Secretary of the Communist Party of the Soviet Union had entered the gathering.  He abruptly became the center of attention.  Each person he passed made a comment and hoped for a greeting in return.  Stalin’s glance of approval was enough to reassure.  His glance of displeasure usually meant a firing or a firing squad.  He stepped up to Beria with a congenial smile on his face.  He glanced at Sveta and grinned.  His large moustache rose slightly.  His features were distinctly Georgian and his face pockmarked.  Sveta recognized his daughter’s features in him.  Stalin grabbed Beria’s hand and shook it, “Congratulations old friend.  I see your many comrades celebrate with me your new role as Deputy Prime Minister of the Soviet Union.”

        “Thank you, Comrade Stalin.”

        The other members of the MVD gyrated near them.  They were loosely ranked according to their positions in the MVD.  Sveta stood right next to Beria.  After a few more moments of general conversation, Stalin looked straight at Sveta, “Who is this lovely lady, Beria?  Is she the People’s Prodigy Svetlana Evgenyevna.”

        Beria motioned for Sveta to speak for herself, “Yes, Comrade Stalin.  I am Svetlana Evgenyevna.”

        “Abakumov calls you the MVD’s Little Ptitsa.  I see you are little and much younger than I imagined.  You put my useless daughter to good work.  For that I am grateful.”

        “Svetlana Iosifovna is a great help to me.  She manages my English translators.”

        “I heard that, and it pleases me.  I hear all kinds of rumors about you, and I would like to know their truth.”

        “In that case, you must speak to Comrade Beria and Abakumov.  I myself translate for the Soviet state—it is my skill and my pleasure.”

        “Perhaps I will speak to them about you.”  He tuned reluctantly back to the other directorate and Party leaders. 

        As the evening wore on, Stalin did not leave for a long time.  The visitors came to congratulate Beria and to address Stalin.  Sveta’s skills came into play when the ambassadors and their wives finally made their way to them.  In some cases, they still held on to their official translators and not Sveta’s.

        The British ambassador entered into a long conversation with Stalin that his non-MVD translator had trouble keeping up with.  Beria immediately brought Sveta to the forefront.  She aided in the translation.  When Mr. and Mrs. Harriman came up to Beria, Sveta grudgingly turned her attention to them.

        The conversation with Stalin had become somewhat animated, so Sveta kept half her ear on that.  Finally, Stalin opened his hands, “Ambassador, the Soviet only intends to bring peace and communism to these states that were once under Fascist rule.  We don’t see any need for English or American help.  There is no iron curtain as your Mr. Churchill has claimed.”  Stalin chuckled.

        The British Ambassador frowned, “Don’t you see, Comrade Stalin, that is as futile as carrying coal to Newcastle.”

        The translator did not understand the euphemism.  He paused only a moment and interpreted the saying, “Comrade Stalin, your actions are burying the people with hot coals.”

        Stalin and the other officials next to him abruptly silenced.  Stalin’s face was a sudden mask, that poorly concealed his anger.  Sveta immediately stepped to the side of Stalin.  She whispered in his ear, “Comrade Stalin, the ambassador did not say your actions are burying the people under hot coals.  He said, not using the help the British and Americans can provide is like not using all the tools available to you.”

        Stalin’s features changed in an instant.  The flustered British ambassador looked first to Stalin and then to Sveta, “Is there a problem?”

        Stalin glanced at Sveta then back at the Ambassador, “Little Ptitsa, please explain to everyone what the British Ambassador said.”

        Sveta repeated her translation out loud.  The climate eased immediately.

        The Ambassador and Stalin continued their conversation for a few moments with Sveta’s help, and the Ambassador grudgingly continued on his way.

        When Sveta turned back to the waiting Beria and the Americans, Stalin took her arm, “Beria, I wish to borrow your Little Ptitsa for the rest of the evening.  Beria’s brows lifted, but he nodded congenially.

        Sveta then stood beside Stalin for the remainder of the event; that is until before dinner, when the leader of the Soviet state took his leave.  Stalin didn’t say anything more to Sveta directly that evening.

        The rest of the event proceeded with few other problems.  Sveta did learn that Mr. Harriman was being recalled to take over as the United States Ambassador to Britain.  Sveta and Mrs. Harriman said a poignant farewell.

If you have translating and different languages going on, the most obvious means of interjecting entertainment and excitement is misunderstandings caused by mistakes.  The most common mistakes are a misinterpretation of idioms and euphemisms.  This happens all the time, but it usually doesn’t result in war.

 

I used a similar scenario with Abakumov.  The Soviets are on a hair trigger—most totalitarian regimes are. 

 

In this exchange, I have the opportunity to show the reader about all kinds of historical events, people, and things.  Notice the people.  I bring up the Iron Curtain.  This is important and historically places the events and time.  The kicker at the end is also of historical importance.  This was the replacement of Harriman as ambassador to the Soviet Union.  This was a very important event because other ambassadors were not as astute or connected as the Harrimans.

 

Also, the Harrimans connect in other ways in the novel.  This is a foreshadowing of events to come.   

 

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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