Writing - part x257, Novel Form, more Plot Twist and Tension

20 September 2017, Writing - part x257, Novel Form, more Plot Twist and 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.  To complete her life goals, Sveta determines that she must be able to get to and communicate in China—that means she must learn Chinese.  Since she controls the language instruction in the universities in the Soviet Union, she can immediately get the training she desires.

 

Sveta learns languages very easily.  We know this from the beginning of the novel where she learned Russian in a matter of a month.  Sveta intends to learn Chinese the same way.  The problem is the professor has no idea Sveta can learn like this.  Most directors in the Soviet Union are managers and not really skilled in their areas of control—Sveta is different. 

 

The creative elements in this scene lead to some ironic entertainment.  Take a look.       

 

Here is the scene:        

 

        The automobile let Sveta off at the front of the language offices at the University of Moscow.  The dean of the department met her at the curb, “Good afternoon, Svetlana Evgenyevna.  Your secretary called.  I have set up everything for you.”

        When they entered the university offices everyone stood.  The dean helped Sveta with her cloak and hat.  He led her through the main offices to a small office near the back.  The door was open.  The dean cleared his throat.  The young man behind the desk jerked up in alarm.  He was lanky with a light complexion and blond hair.  His face was clean shaven, thin, and somewhat handsome.  It was well formed with a straight nose and a firm chin.  He abruptly put down the book he was looking through and stood, “Comrade Dean, I was just preparing for Svetlana Evgenyevna’s visit.”

        The dean blew through his nose, “Svetlana Evgenyevna, may I introduce Aleksandr Nikolayevich Diakonov.  He is our associate professor of Oriental Languages and History.”  The dean glanced at Aleksandr, “If he is not acceptable, I will have to recall the head professor from his holiday.”

        Sveta stepped into the office.  Aleksandr stared at her, “This is Svetlana Evgenyevna?”

        “Indeed she is.  She is the Director of the Special Directorate for International Understanding that controls our university department.”

        Aleksandr still stared at Sveta, “You are Svetlana Evgenyevna?”

        Sveta nodded.  She sat down in front of the desk.

        The dean stepped over to Aleksandr and whispered in his ear.  Aleksandr stiffened and responded aloud with a slight tremble in his voice, “Yes, Comrade Dean.”

        The dean walked to the door and turned around, “Svetlana Evgenyevna, if Associate Professor Diakonov does not meet your needs or requirements, I will dismiss him immediately.”   

        Sveta nodded.  The dean closed the office door.

        Aleksandr sat down.  He began with a slight quaver in his voice, “Now Svetlana Evgenyevna, I understand you wish to learn to speak Chinese.”

        Sveta’s breathy rasp came quietly to him, “Yes, my secretary, Marya, should have relayed to you my requirements.”

        He started at the sound of her voice, “Well, yes she did, but I have some important questions to ask you.”

        “Yes?”

        “Chinese is a family of languages, for example, Mandarin, Cantonese, and other variants.  There are many versions and each is different.”

        “What is the official language of China, and the language most commonly spoken?”

        “Mandarin.”

        “That is the language we will start with.”

        Aleksandr covered his mouth with his hand, “Would you also like to study the writing and character systems too?”

        “Certainly,” Sveta was slightly exasperated, “Why are you smirking at me?”

        “I’m sorry.  I don’t mean to offer any offence.  Learning Chinese is difficult.  The written form is the labor of a lifetime.”

        “You don’t look too old.”

        “I was born near the border with China.  I spoke the language from birth.”

        Sveta’s eyes lit up, “You speak the language well?”

        “If I didn’t look like a Norwegian, most Chinese would think that I was Chinese myself.”

        “Very good.  We will begin now, today.”

        Aleksandr half stood, “I will have to get you books.  Do you have a notebook?”

        “We will not need books at first.  You may bring me Chinese books when we learn some of the written language.”

        “But…”

        Sveta scowled at him.  She ticked off on her fingers, “Start with nouns tell me what to call everything in this room.  Next we will learn the verbs and verb forms.  Then adjectives and adverbs and so on and so on.  Why is this so difficult for you to understand?”

        Aleksandr sat abruptly in his chair.  Without saying another word, he began to tell Sveta each thing in the room.  She repeated the words.  Her pronunciation was precise and exact.  She never pronounced a word wrong unless Aleksandr said it incorrectly in the first place.  At the end of a string of five words, he repeated them.  She was picture perfect.  Sveta squinted at him, “I don’t require testing.  Single repetition is sufficient for now.  Correct my pronunciation and inflection if I say a word incorrectly.”

        Aleksandr gulped, “Yes, Comrade Director.”

        Sveta smiled slightly.  The lesson continued.  Sveta would have liked to continue longer, but the light began to fail through the high window in the office, and she knew it was time for her to go.  If she hurried, she would just have time to make a final check at her office and return to the convent.  She stood abruptly, “That is sufficient for today.  Tomorrow, I wish you to come to my office in the MVD headquarters.  Do you have classes?”

        Aleksandr stared at her.

        Sveta glowered at him in annoyance.  She pushed open the door, “Comrade Dean.”

        The dean came running, “Yes, Svetlana Evgenyevna.”

        “The associate professor is acceptable.  Please send him to my office in the morning.  If you need further directions, contact my secretary.  Would you call my motorcar?”

        “Yes, Svetlana Evgenyevna.”  The dean helped her with her cloak and hat and saw her to her automobile.

The fun and entertaining part of this scene is the response of the young professor to Sveta.  He expects a lack of language skill and an ignorance of languages.  He basically expects the typical Soviet director.  Sveta is anything but normal.

 

The fun in this scene is both Aleksandr’s reaction to Sveta, and Sveta’s reaction to the entire situation.  We shall see how this plays out.

 

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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