Writing - part x273, Novel Form, Critical Revelation and Tension

6 October 2017, Writing - part x273, Novel Form, Critical Revelation 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.  More history.  This is the death of Stalin as recorded by those who observed it.  His daughter was there.  I placed Sveta in the same place—she is your conduit to this event in history.  If you remember, in my novels, I try to make them real by placing my characters at actual historical events.  I provide them as accurately in my novels as I can.  I use primary sources and information.  I don’t tell you, I show you.

 

The place, the time, the people, and the events are all accurate.  The reactions of Sveta are accurate.  I took them from a primary source director in the Soviet Government.  I thought his reaction of terror and emotions about the death of Stalin would fit her as well.  I tried to convey the feeling of impending doom.  The death of Stalin will mean the death of many highly and lowly placed people in the Soviet Government.  This is the way with autocracies.                  

 

Here is the scene:        

 

        Sveta did not return that day.  The automobile drove Svetlana Evgenyevna and Svetlana Iosifovna about fifteen kilometers west of MVD headquarters.  They arrived early to Stalin’s residence at Krylatskoye.  After they identified themselves at the checkpoints, the guards led them both immediately up to Stalin’s room.  In the outer sitting area were Lavrentiy Beria, Georgy Malenkov, Nikolai Bulganin and Nikita Khrushchev.  They glanced at the women, but ignored them. 

        The guard allowed them into Stalin’s room.  Stalin was surrounded by his doctors.  The doctors had only just arrived.  Svetlana Iosifovna stared at Stalin for a long moment.  She backed away and took a seat in the room.  Sveta sat beside her.  After a while, Sveta pulled out her rosary and began to pray.

        Svetlana Iosifovna took out a cigarette and lit it, “Why are you praying?  My father doesn’t believe in God, and God will certainly not help him.”

        “God believes in him, and it will not hurt him.”

        Svetlana Iosifovna grunted.  They sat in the room.  Svetlana Iosifovna smoked cigarettes and Sveta prayed.  When the day ended, they were offered food and a room to sleep.  For the next few days, Sveta watched with Svetlana Iosifovna and prayed, all the while Stalin sunk lower and lower.  He didn’t speak much or get out of bed.  

        Finally on the fifth day Svetlana Iosifovna and Sveta watched over him, Stalin suddenly opened his eyes and cast a heavy gaze over everyone in the room.  Svetlana Iosifovna stood and rushed to his side.  Sveta followed.  Stalin gave them all a terrible look.  Then something incomprehensible and awesome happened.  He suddenly lifted his left hand as though he pointed to something above and were bringing down a curse upon all of them. The next moment, after a final effort, his spirit wrenched itself free of his flesh.  The doctor ran over to his side and felt his pulse.

        Svetlana Iosifovna raised her eyes, “He is dead.  Stalin is dead.”

        The doctor nodded his head.

        Svetlana Iosifovna turned to Sveta, “That is all.  There is nothing more to do.  Your prayers were futile, and I had no entreaties to make.  In any case, he is dead.”

        Svetlana Iosifovna and Sveta exited Stalin’s room.

        The men in the outer room stood.  Beria asked, “Is he dead?”

        Svetlana Iosifovna didn’t say anything.  She walked out of the suite and out of the house.  Sveta followed closely behind her.  At the front of the building, the guards called an automobile for them.  They entered the motorcar and headed toward Moscow.

        In the car Svetlana Iosifovna lit a cigarette.  She was trembling, “Svetlana Evgenyevna, I am very afraid of what may happen.”

        “Beria is in position to take his place.”

        “They all hated Stalin, and they all hate each other.  Khrushchev is the worst of them.  He doesn’t like you, Svetlana Evgenyevna.  He hates your church.  I have heard things…”  She shouted at the driver, “Stop here.  This is close to my place.”  Svetlana Iosifovna swung out of the car.  She held the door open, “Be careful, Svetlana Evgenyevna.  Your prayers can’t help you against these men.  They have killed millions, and they will kill millions more.”  She rushed across the street and was lost in the crowd.

        Sveta told the driver, “Continue to MVD headquarters.

        Sveta arrived at her office.  She hadn’t washed in days—had barely slept.  Her clothing and hair were in terrible shape.  She opened the door to the silent stares of her office staff and without a word went to her private office.  Marya stood immediately when Sveta opened the door.  She closed the door behind Sveta, “Where have you been?”

        Sveta didn’t say anything.  She went to inner office and opened the door.  Aleksandr stood, “I’ve been waiting day and night for you Svetlana Evgenyevna.”  He took a long look at her, “Are you all right?”

        Sveta shook her head, “Close the door.”

        Marya and Aleksandr gathered around her.  Sveta staggered and Aleksandr steadied her with his hand.  She pulled her arm out of his grasp and almost fell over.

        Aleksandr opened his arms toward her, “What is wrong, Svetlana Evgenyevna.”

        Sveta gazed around at the room and whispered, “Stalin is dead.”

        Aleksandr and Marya both jerked up.  Aleksandr beetled his brows, “Are you sure?”

        “I was there when he died.  He is dead.”  Sveta turned around and almost fell again.  Aleksandr reached out to her.  She pushed him away and cried, “Don’t touch me.”

        Marya stepped forward, “Svetlana, you need to go home.  Let Aleksandr and me help you down to your car.”

        “I don’t want him to touch me.  I don’t want anyone to touch me.”

        “Why Svetlana?” Marya grasped for her hand, but she pulled it back and did topple to the floor.  Sveta lay on her side gasping.

        Aleksandr knelt beside Sveta, “What is wrong with her?”

        “She is exhausted and half out of her mind.”

        “But why?”

        “She is Stalin’s Little Ptitsa.  Stalin is dead.  All the work she has done for Father Alexius and Vasily Grossman and for the interests of the Soviet through the embassies will be made light.  Do you know what will happen to her?  She is half out of her mind with fear.  I remember the first time they came to get me in the convent.  I was the same.  Now help her to her feet.  We will take her home.”

        “Shouldn’t we get her a doctor?”

        “So they will take her to the hospital or perhaps a people’s asylum?”

        Aleksandr stood Sveta on her feet.  She didn’t protest this time.  She was half asleep.  Marya called Sveta’s automobile, and they drove her back to the convent.  After Mother Anna opened the door to them, Aleksandr left them at the postern and returned to his flat at the university.

 

This is a revelation scene.  If first reveals Stalin’s death as recounted by those who saw it.  Additionally, it reveals Svetlana’s, Stalin’s daughters, thoughts and feelings—through showing.  It further reveals Sveta’s thoughts and feelings, through Marya.  Notice at the end of the scene.  Here I give the clearest explanation of the reasons for Sveta’s terror and worry.   

 

        “She is Stalin’s Little Ptitsa.  Stalin is dead.  All the work she has done for Father Alexius and Vasily Grossman and for the interests of the Soviet through the embassies will be made light.  Do you know what will happen to her?  She is half out of her mind with fear.  I remember the first time they came to get me in the convent.  I was the same.  Now help her to her feet.  We will take her home.”

 

In this scene, I set up the rest of the novel.  The climax scene for this novel should and must resolve Sveta’s telic flaw.  The internal telic flaw is that she doesn’t know who she is.  The external telic flaw is that she needs to escape the Soviet Union to return to her past life.  This was the point in Marie’s recognition of Sveta.  This was the reason for everything in the novel—the physical escape from the Soviets, and the escape from not knowing who she is. 

 

Stalin’s death sets up the crisis that drives the climax of the novel.  If you realize the tension development has been all about this specific event from the beginning of the novel, I think you can see exactly what every scene example has been about.

   

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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