Writing - part x252, Novel Form, Revelation and more Tension

15 September 2017, Writing - part x252, Novel Form, Revelation and more Tension

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.  The Harrimans were posted from Moscow to Britain—I told you this was a foreshadowing.  I’m using actual historical events to drive this novel.  This is the way I write all my historical novels.  I use detailed historical information to move my plots and the tension and release in each scene. 

 

In this scene we see the introduction and conversation between Ambassador Harriman and Mrs. Harriman with Marie Bolang.  Marie Bolang is Sveta’s sister.       

 

Here is the scene:        

 

        In May 1946, W. Averell Harriman, as the American ambassador to Britain, attended a party given by King George the Sixth.  He and his wife, Marie Whitney-Harriman, were introduced to a young woman Marie Bolang.  Her fiancé was a nephew of Lord Hastings and the expected heir to the Lordship and estate.  Marie spoke delightful American and British English.  She was a slight woman, petite and exquisitely beautiful.  Her skin was the color of cappuccino, and her hair was black, long, and silky.  Marie’s eyes, more appropriate on an Egyptian tomb painting were large and brown and exotic.  The Harriman’s were immediately taken with her—Mrs. Whitney-Harriman especially.  After a long conversation about the weather and fashions, Mrs. Harriman mentioned, “I am astounded by your fluency, Marie.  Are you American?”

        “No, Mrs. Harriman, I am actually French.”

        “French?  You speak with a perfect American accent.”

        “I lived and was born in America.”

        “I have only met one other person who could use language like you.”

        “Really, Mrs. Harriman.  Who is that?”

        “In Russia… I really should say, the Soviet Union, shouldn’t I?  The Soviets had a young woman who spoke English, American English, precisely like you do.  She even looked like you.”

        Marie’s features changed abruptly, “Where did you meet this person?”

        “She is a translator for the Soviet State.  They call her the Little Ptitsa, the little bird.  She has your coloring and your eyes—although, her eyes were green.  I shopped often with her, and I always tried to match them with her clothing.  She speaks all types of languages—perfectly.”

        Marie trembled, “What was her name?”

        “Svetlana Evgenyevna.  It’s a beautiful name.  Svetlana means ‘light’ in Russian.  Averell, do you remember Svetlana Evgenyevna’s last name?”

        Mr. Harriman leaned toward the ladies, “I’m sure it is in our records, but not off hand.”

        Mrs. Harriman put out her hand, “Are you all right, Miss Bolang?”

        “Yes, quite all right.  What else do you remember about Svetlana Evgenyevna?”

        “Her voice was always quiet and breathy—raspy.”

        Mr. Harriman added a point, “She was injured during the war.  In Berlin, I believe.  She walked with a limp.”

        Marie’s hand reached toward her chest, “Injured in Berlin?”

        Mr. Harriman spoke, “Yes, but she is Russian.  She spoke the language perfectly and came from Moscow—I think.”

        Mrs. Harriman rolled her eyes, “When he says, I think or I believe, that means that is what our intelligence told him.”

        “Come, come, Marie.”  He glanced over at Marie Bolang, “I mean my wife, not you Miss Bolang.”

        Mrs. Harriman continued, “I would say she was the most beautiful woman I have ever seen.  Astonishingly beautiful.  Her injuries didn’t seem to reduce her beauty, and when she spoke, it was as though her words were the most important, for that moment in the world.”

        “Pardon me, Mrs. and Mr. Harriman.  I must sit down.  I’m sorry.”

        “You are all right—aren’t you dear?”

        “Very well thank you.  I have had a bit too much to drink.”  Marie turned back toward the couple, “Just one more question.  How old was Svetlana Evgenyevna?”

        Mr. Harriman spoke quietly, “That is what is so amazing.  She was about fifteen.  Isn’t that right Marie, I mean my wife, of course.”

        “Yes, she was fifteen.  I was amazed the Soviets would put so much responsibility in the hands of a girl that young, but there you go.”

        Marie appeared crestfallen.  She racked her thoughts, “Do you have any pictures of her?”

        “I… I don’t know.  What do you think Averell?”

        “We might.  We have pictures of all kinds of people and things—part of intelligence gathering.  I’d have to look through our records.”

        Mrs. Harriman reached for Marie, “Are you well, dear?”

        “I must get some air.  Thank you.”  Marie covered her face and moved off into the crowd.

You can tell that Marie recognizes her sister in the report of the Harrimans—only the age is wrong.  The Russians mistook Sveta as younger because of her lack of development.  She was caged in Berlin for years.  This scene is a revelation to the reader and Marie.  As of yet, no one else knows.  This is the great secret of Sveta—who is her family and where did she come from?  The novel is over half finished before we get to this revelation, and it is only half formed.  We have only part of the revelation.  The rest is yet to come.

 

By the way, I’m not giving you every scene in the novel—only the ones I think give examples of strong tension and release in the context of writing about tension and release. Every scene in the novel has a powerful tension and release, but I’m giving you scenes in order to entertain and educate.  That means if the novel is ever published, you will want to read it to get the full effect of the story.      

 

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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