Writing - part x265, Novel Form, Confession and Tension

28 September 2017, Writing - part x265, Novel Form, Confession 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.  Then Sveta is using Aleksandr as her companion for attending different events.  Indeed, they look like a couple.  In this scene, we see an example of the kinds of outings they make in the name of the MVD and Soviet culture. 

 

This is an excellent method to show a unique event in a series of repeated events.  The first paragraph indicates that this is one of many and is a transition scene, then bang, we get an example that is first connected through foreshadowing and incident, and second through humor to the plot.

 

The point of this scene is to reveal more of the way Sveta views herself and to show the humor in Sveta’s first experience of vodka.  It also shows how must of a gentleman Aleksandr is.           

 

Here is the scene:        

 

        Sveta began to invite Aleksandr to many of the gatherings she was asked to attend.  He was generally a good companion.  He was respectful and did not try to kiss her again.  He was courteous and genteel.  He did not drink too much.  Sveta was sure her own dossier was growing.  She really didn’t care—there was nothing salacious to record.  The early winter months were busy for her office and for her.  Stalin didn’t call on her talents often, but she found herself attending more parties, and then the theater and the ballet.  She almost convinced herself it wasn’t because of Aleksandr.

        In December, they found themselves at another artist gathering.  Abakumov was in attendance and watched Sveta carefully.  She wasn’t needed as a translator, but jumped from group to group trailing Aleksandr in her wake.  The American ambassador, Mr. Walter Smith, had become ill and was expected to be replaced.  So far Sveta had no report on his replacement.  The British ambassador had passed over this smaller gathering, and the French ambassador had not arrived yet.   

        Unexpectedly, Sveta found herself face to face again with the actress, Katrinka and the theater producer, Yuri Petrovich Lyubimov.  Katrinka wore her red dress.  Sveta was about to spin around and go the other way, when Katrinka exclaimed, “Please wait a moment, Svetlana Evgenyevna.”

        Sveta turned slowly.

        Katrinka’s look was almost loving and gentle, “I have been looking for you Svetlana Evgenyevna, for a while.  I have an apology, and I want to thank you.  Yuri told me what you did.  A single word to Abakumov could have sent me to the basement of the MVD.  You didn’t let that happen, and you could have.” 

        Sveta didn’t say anything.

        “My comments were very unkind.  Will you forgive me?”

        Sveta took a deep breath, “Katrinka, what you said was in the main true.  I walk like a vulture, and I croak like a crow.  How can I forgive you for telling me the truth?”

        Both Aleksandr and Yuri began a spirited defense of Sveta’s beauty and qualities.  Sveta and Katrinka ignored them both, and they gradually quieted.

        Katrinka’s hand reached out toward Sveta, but she didn’t touch her.  Katrinka took in a ragged breath that seemed to hide some emotion.  Her eyes widened, “No, Svetlana Evgenyevna.  You are still young.  I should not have said what I did to you because you are so beautiful.  I would take back every word.  I would.  You could have caused me so much pain, and you didn’t.  That is great beauty.  You are perfection.  In that, the sound of a voice doesn’t matter, and the way someone walks is inconsequential.”  Katrinka held out her hand, “Please, Svetlana Evgenyevna, say you will forgive me.”

        Sveta took her hand, and Katrinka smiled brightly.  Sveta cocked her head, “What you said was true, Katrinka.”

        Katrinka slowly shook her head, “It was not true.  It was not, Svetlana Evgenyevna.  It was an unkind comment.”

        “But it was true.”

        “Yuri tells me, sometimes the truth may be wrong.  What I said was wrong, Svetlana Evgenyevna.”

        Sveta took Katrinka’s hand again and smiled, “I will forgive you.  I did already a long time ago.”

        “Thank you, Svetlana Evgenyevna.”  Katrinka’s voice was full of emotion, “Will you drink with us?”

        Sveta glanced at Aleksandr.  He whispered, “The party is kind of dead—why not?”

        Yuri led them out into the street and to a cozy bar, “This is one of the Vakhtangov’s theatre performers’ favorites.”

        The owner led them to a small table at the back.  Aleksandr sat next to Sveta.  Katrinka ordered vodka for them all.  Sveta sipped on a single glass all evening long, and she still felt a little woozy.  Yuri and Katrinka drank glass after glass.  They spoke of the theater and their work there.  They asked Aleksandr and Sveta about their work, but that wasn’t nearly as exciting as performing on stage, or so Yuri and Katrinka made it sound.  At the end of the evening, Yuri handed tickets to Sveta, “These are for you, Svetlana Evgenyevna.  If you have not been going to the theater, you should.  If you need more, you know where to find them.”

        “Thank you Yuri Petrovich.”

        “I told you already, Svetlana, you must call me Yuri and Katrinka, Katrinka.”

        Sveta smiled shyly, “Yes, Yuri.”

        Yuri and Katrinka headed up the street while Sveta and Aleksandr made their way back toward the building with the party.  It was late and the party assuredly had ended long ago.

        Sveta’s head was a little unclear, and she clung to Aleksandr’s arm.  As they approached her automobile she glanced at him, “I never had vodka before.”

        “Never?”

        “No.”

        “It is the Russian primeval drink.”

        “I thought that was tea.”

        “But not with milk and sugar.”

        She hung her head, “No, not with milk and sugar, but I know what I like.”

        “And I hope you won’t change.”

        When they arrived at the car, Sveta’s driver came running from the pub across the street.  He threw a cigarette out of his mouth and opened the door for Sveta then Aleksandr.  Before he closed the door, Sveta told him, “Take us to the university first.”

        The automobile started, and it was a while before they felt any heat at their feet.  Sveta moved closer to Aleksandr, “I’m cold and a little woozy.”

        He put his am around her shoulders and held her close.

        “You know I would not allow this familiarity except I am very cold and slightly woozy.”

        Aleksandr pulled the hair away from her face.

        Sveta didn’t look at him.  She slumped in his light embrace, “You aren’t going to try to kiss me again.”

        “I might.”

        “Think of other things.”

        “When I am with you Sveta, I can think about only one thing.”

        “Really?  How I croak, or how I limp?”

        “You are being as cruel to yourself as Katrinka once was.”

        “Is it cruel to tell the truth?”

        “It can be very cruel to tell the truth.”

        “I don’t mind it, but it hurts.”

        “Sveta, Katrinka really loves you.”

        Sveta turned a strange look up at him.

        He laughed, “Like a sister.  You could have sent her to the MVD basements.  I know of many who went there for much less.  But you didn’t Sveta.”

        “I couldn’t.  I wouldn’t.  It still doesn’t take away the truth of her statement.”

        “The present can never wipe away the past.  That, Sveta, is why I don’t ask you if you love me.”   

        Sveta’s reply was slightly slurred, “What do you know about love, Aleksandr Nikolayevich Diakonov?  I left my mother and father, my sister and brothers because of love.” 

        Aleksandr stared at her, “What can you mean Svetochka?  How can that be love?  To leave those who love you best?”

        “I can’t explain it to you.  I can’t explain it to anyone.”

        “My mother fought, fights depression to this day.  She stays were we can always love her and take care of her.”

        “Oh, Sasha, you don’t know.  I am the one in need.  I am the one who had to rush away from their love.  I would have brought such sadness to them.  I’m afraid they could never have loved me again.  I am a terrible person.  I am evil and tainted.”

        “I know what the Germans did to you.  You aren’t tainted.  I was not your fault what they did to you.”

        “You don’t understand.  It has nothing to do with that.  It has nothing to do with the physical world…. You don’t know what I am, Sasha.  You don’t know how tainted my body and soul are.”

        “Why should that matter to someone who loves you?”

        “Because, someone who loves; might possibly lose their life.  Someone who loves me might lose their soul.”

        Sveta and Aleksandr didn’t say anything for a long while.  He noted by her regular breathing that she was asleep.  Aleksandr tapped on the glass between the front and the back.  The driver and Aleksandr rolled down their windows, “Take Svetlana Evgenyevna home first.  I will help her in.”

        The driver nodded and turned left at the next street.  On the way, still asleep, Sveta spoke in a strange language to him more than once.  They arrived at the convent, and Aleksandr helped Sveta out of the automobile.  The driver pointed to a door at the back of the convent.  Sveta was still asleep.  He half led, half carried her through the snow to the postern gate and knocked.  Almost quickly the door opened and a stately woman dressed in an Exorassa and Epanokamelavkion stood before him.  The woman appeared shocked, “Who are you?”

        “I am Associate Professor Aleksandr Nikolayevich Diakonov.”

        “Oh, you.”

        “I brought Svetlana Evgenyevna home.”

        The nun stared at him accusingly.

        “I haven’t touched her.”

        The nun sniffed Sveta’s breath, “She is drunk.”

        “She just had one glass of vodka.”

        “One glass?”

        “Yes, one glass.  She hadn’t had vodka before.”

        “I should say not.  Come bring her in here.”  Mother Anna led Aleksandr as he now carried Sveta through the foyer and into her office.  “Put her in the chair.” 

        “Can I help you get her in bed?”

        “Of course not.  This is a convent—you aren’t supposed to be in here at all.  I must ask you to leave.”

        Aleksandr gazed at Sveta, “Mother…?”

        “Mother Anna.”

        “Mother Anna, Svetlana… I’m not sure how to say this.”

        Mother Anna’s face softened, “To say what?”

        “She is the most beautiful person I have ever met, but she thinks she is repulsive.  Can’t you do anything to help her?”

        “She possesses the strongest faith and the most unassuming character.”  Mother Anna turned to Aleksandr, “I don’t know how to help her.  Only God can.”

        He repeated, “Only God can.”

        Mother Anna let Aleksandr out of the postern, and Sveta’s black motorcar took him back to his flat at the university.  

 

Proper humor in scenes intentionally directs the pathos in pity and fear.  This is the purpose for humor.  In some cultures, humor is used to take the bite from the pity and fear, but this is usually considered a bad technique in Western writing. 

 

The reason for this scene is to show Sveta’s view of herself.  If you notice, we have been moving from the revelation of Sveta’s skills and person to the revelation of her mind.  There is no telling, there is only showing.  I don’t tell you what Sveta thinks about herself, I let her tell you about herself.  This is the power of a protagonist’s helper (Aleksandr) and dialog.

 

Katrinka is not a safe person to converse with, but you notice, she is repentant of her words to Sveta.  She had no idea who Sveta was when she insulted her.  Katrinka is an artist who is used to getting her own way.  You might wonder why she is at a party with the MVD.  I don’t write about it directly in the novel, but the MVD used artists especially ballerinas and actresses to seduce and get information from Western diplomats and leaders.  This is one of Katrinka’s purposes in the Soviet state.  If you think about her position, you might realize why she was so unhappy at an MVD event.  On the other hand, since she learned what Sveta did for her and Sveta’s powerful position, she wishes to apologize.  This apology gives me the opportunity to reveal Sveta’s view about herself. 

 

Those views are repeated and enhanced with Aleksandr.  The vodka event allows more revelation.  We also get to see Aleksandr’s personality and the humor that provides strong irony and satire in the scene.  

   

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  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic