Writing - part x272, Novel Form, Critical Scenes and Tension

5 October 2017, Writing - part x272, Novel Form, Critical Scenes 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.  This is the showing of history in the novel—at the same time, it is acritical scene in the novel itself.  Svetlana Iosifovna, Stalin’s daughter comes to Sveta’s office. 

 

This scene has been set up since the beginning of the novel.  I worked hard to have Sveta meet Svetlana, use her, and become trusted by her.  Since this isn’t a novel about Svetlana, but about Sveta, I didn’t need to give you any other details. 

 

Although, this is not the climax of the novel, in some ways, the entire novel has been pointing to this scene and the scene this one portends—the death of Stalin.  I have pointed over and over again to Sveta’s precarious position.  She is safe as long as the faction who needs and uses her are in power.  The moment they are not, that is the end of her.  It is possibly the end of the Orthodox Church that is depending on which faction wins out as the successor to the Soviet Communist party leadership. 

 

Since we know the history, we know that Beria will lose.  Sveta’s supporters and protectors will all be gone.  Most gone into the basements of the MVD while new party members fill their offices and homes.  Their end will be just and not swift.                 

 

Here is the scene:        

 

        The real turning point came in March 1953.  When Sveta and Marya entered the office in the morning of the second, Svetlana Iosifovna waited for her.  Svetlana Iosifovna was pale and smelled of stale cigarettes and vodka.

        Sveta wearily put down her handbag, “What’s wrong Svetlana Iosifovna?”

        Svetlana Iosifovna shut the door, “Stalin is dying.”

        Sveta stood straight and said nothing.

        “Didn’t you hear me?  I said Stalin is dying.”  She stared at her feet, “I want you to go with me.”  She sighed, “I’m afraid, Svetlana Evgenyevna.”

        Sveta picked up her bag, “Let’s go.”  Sveta spoke to Marya as they stepped through the outer office, “Marya, call my car.”

        “Do I need to go with you, Svetlana Evgenyevna?”

        “No.  Stay here.  I will be back soon.”

 

Svetlana, Stalin’s daughter knows that she is also at risk.  When Stalin dies, her privilege and power will likely end.  In reality, Stalin was remembered with such fear as well as respect that she lived largely untouched.  She realizes her danger at this time.  She also realizes Sveta’s danger.  Their association has been good for Svetlana, but there is also risk.  While Sveta is a fictional character, Svetlana is real, historical, and we know much about her.  I don’t think I do any damage to her history or reputation.  I simply reflect her as she was.

 

This is the power of this type of historical fiction.  A novel based in history is driven by the history.  The reader should expect it, if he or she is familiar with the times.  If not, then such a novel can inform and teach.   

   

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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