Writing - part x268, Novel Form, Meetings and Greetings and Tension

1 October 2017, Writing - part x268, Novel Form, Meetings and Greetings 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.  Sveta went with Aleksandr to visit his parents.  They took the opportunity because they were already on business to China and the far east of the Soviet Union. 

 

This is a fun scene.  It is filled with humor and entertainment.  Just like any time where a man or woman “meets the parents,” there is much unsaid and much alluded too.  This is the fun part of writing and reading this type of scene.  The author should determine what should be said by imagining a similar scene in real life.  Perhaps real life isn’t anything like what e find in a novel, but in a novel, the reader expects something similar to real life.  I’ve written about developing conversation before.  This scene follows all the ideas fro developing conversation.         

 

Here is the scene:        

 

        The train rolled into Belogorsk, and they suffered a slight delay until they could continue on the same train to Blagoveščensk.  As they crossed the slight hills into the valley of the Zeja river basin, Aleksandr pointed out the many Gulags, “There is Srednye-Belbskiy ITL, corrective labor camp.  That is where I spent many years until my parents were released to Blagoveščensk.  I learned Chinese in the streets there.  I haven’t shared half those words with you,” he chuckled.

        “Why not?”

        Aleksandr stared at her and shook his head, “Really, Svetochka, you amaze me.”

        “Why wouldn’t you share those words with me?”

        “Because half of them are blasphemous, and the other half are slang terms for female body parts and sex acts.”

        “Oh,” she looked down.

        Aleksandr leaned forward and pointed out the window, “The snow covers everything.  This valley is a scar during the summer.  Almost no vegetation, the runoff from the mines kills everything.  They can only raise crops away from the river—where there isn’t enough water.”  He continued to talk until they pulled into the station.  Aleksandr helped Sveta put on her cloak and hat.  He gave her his arm.

        She held on tightly but replied, “I’m not a cripple.”

        Aleksandr ignored her.  He carried their bags and helped her to the back of the car.  From the rear platform of the passenger car, Aleksandr caught sight of his parents.  He waved to them then helped Sveta down the steps, and laid their bags at her feet.  She stood on the station platform while he ran to his mother and father.  They were both slim and tall, like him.  His father’s face was weather-worn and wrinkled.  Sveta could see the strength in it.  He looked much like Aleksandr only older and grey haired.  Aleksandr’s mother had a strong face as well, but it was aged by worry.  Sveta saw hope in her eyes.  Sveta could observe the trials like those in Mother Marya’s eyes, but Aleksandr’s mother had not held up against them as well as the resilient Marya.  Sveta didn’t think any less of her.  She wished Marya were here now.  She would know just what Aleksandr’s mother needed—just as she always knew what Sveta needed.

        Aleksandr hugged and kissed his father and his mother.  He grabbed their hands and pulled them to where Sveta stood.

        “Mother, father, this is my friend, Svetlana Evgenyevna Kopylova.”

        “Svetlana, this is my mother, Vera Timofeyevna and my father, Father Nikolay Aleksandrovich.”

        Sveta shook first his mother’s hand and then his father’s, “Another Father Nikolay, I don’t know how I will keep that straight.”

        He laughed.  His voice was deep and slightly harsh from use, “Just say, Father Kolya.  That is what everyone else calls me.”

        Sveta looked a little embarrassed, “Very well, Father Kolya.”  He picked up Sveta’s bag.  Aleksandr picked up his bag and gave his arm to Sveta. 

        Vera walked beside Sveta and Father Kolya beside Aleksandr.  His parents chatted with Aleksandr as they stepped through the snow and wet slush to the large church.  Everyone they passed said hello, first to Aleksandr and then to them all.  They all stared at Sveta curiously.  Behind the church was a small house.  They walked around the church to it.                  

        In the foyer, Aleksandr took Sveta’s cloak and hat.  He hung his coat and hers on pegs.  His parents pulled off their coats and hats.  They dropped the bags and Aleksandr’s mother led them into the kitchen.  The stove was hot, and the room was warm.  Aleksandr sat Sveta at the table.  They all sat down.  Aleksandr smiled widely, “See how special you are Svetlana, my parents asked you into the kitchen instead of the parlor.”

        Father Kolya pulled out his pipe and began to fill it, “Sasha, we are so glad you could visit.  Tell us everything about your work and your job in Moscow.  You are an associate professor?  When will they make you the professor?  You were in China?”

        Vera held up her hand, “Papa, why are you badgering the boy?  Finish filling your pipe.  I want to know about his friend, Svetlana.  You are traveling together?”

        “Mother,” Aleksandr opened his hands, “We are traveling for business.  Svetlana is a translator.”

        Father Kolya struck his match, “She is called Stalin’s Little Ptitsa.”

        Sveta’s mouth opened.

        Vera scowled at Father Kolya.  She put her hand on Sveta’s, “We get Pravda here too.”

        Sveta let out her breath, “Oh, I see.”  She didn’t pull away her hand.

        Vera grinned, “You are Sasha’s boss?”

        Sveta grinned back, “I am.”

        Father Kolya’s pipe began to smoke, and his face broke into a great smile, “It serves him right going to Moscow.”

        Aleksandr gently punched his arm, “Svetlana is an excellent supervisor.  I am happy to work for her.”

        Vera asked, “She is your friend?”

        Sveta looked up, “Sasha is a very good friend.  He is my best friend.”

        Father Kolya puffed on his pipe, “I married my best friend.”  He glanced meaningfully at Vera. 

        Vera rolled her eyes, “Papa, you promised you wouldn’t bring that up.”

        Father Kolya laid his hands on the table, “I thought it might be the surprise.”

        Sveta pursed her lips, “The surprise?”

        “Why else does a young man bring a young woman thousands of kilometers out of their way to see his parents?  He wishes us to meet the young woman.  Is that not obvious?”

        “Papa, he might want us to meet his friend and his boss.  They might want to see Blagoveščensk together…”

        Father Kolya snorted.

        Sveta laughed, “Perhaps he brought me to let me meet you, so I could see what his parents were like.”

        Father Kolya leaned back in his chair, “In that case, I should mind my own business and keep my mouth shut.”

        They all laughed.

        Vera stood, “Would you like tea?”

 

This scene is chiefly a scene of introductions and meeting.  The way conversation should be developed always begins with introductions.  First, the characters meet.  Second, the characters are introduced.  Third, the characters greet each other.  Forth, the characters start with small talk.  Fifth, the conversation moves to deep talk.  If the conversation continues to completion, sixth, you have farewells.

 

If you follow-through the scene, you can see each of these elements up to small talk—this conversation doesn’t move into deep conversation or to farewells.    

 

Let me point out humor development in this scene.  Humor is always build like a joke.  You set up the joke and then deliver the punchline.  If you look closely, much of this conversation was foreshadowed in past scenes.  Many of the jokes were set up already, and many of the ideas were set up already—the punchlines are delivered both intentionally and unintentionally.

 

The intentional punchline comes from Father Kolya as a kicker to the scene and the conversation. This was setup through the entire conversation and the previous scenes.  The other punchlines are unintentionally said and directed to very similar ideas that were brought up in other conversations and scenes.  You can see them in this scene above.

 

I like to use droll humor.  I like to provide a gentle and slowly moving ambiance to this type of scene.  In cases like this, initial introductions, there is much to set up and begin to build.  In closer scenes, the characters can begin to express their minds.  These are intimate scenes that allow characters to speak intimately.

   

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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