Writing - part x276, Novel Form, Endings and Tension

9 October 2017, Writing - part x276, Novel Form, Endings 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.  We are moving toward the climax of the novel and of the revelation of the protagonist.  At this point, Stalin is dead and Beria is in the basements of the MVD (predecessor of the KGB).  It looks as though Sveta’s organization will be purged.  To protect her friends and associates, she gave them papers or send them to asylum with the Americans.  To protect her friends in the church, she intends to flee.                     

 

Here is the scene:        

 

        Aleksandr, Marya, and Sveta were left alone in the quiet office.  The hour was very late.  “It is time to go now,” Sveta grabbed her hat.

        Sveta’s motorcar had returned long ago.  They rode in it to the postern door at the convent.  The driver sped away.  Sveta stood at her full height before Marya, “Marya, go inside and get some of my clothing.  The underclothes and anything you might think I will need.  Put them in my traveling bag.  Please include my cross and prayer book.”  More quietly, “Don’t forget my puzzle box and the oriental scarf.”

        “Won’t you come in, Svetlana?”

        “No, not again.  That is too dangerous for the convent.”

        “Where will you go, child?”

        Sveta shook her head, “I will not tell you.  You can then truthfully say you don’t know where I am or where I have gone.”

        “Svetlana, it is too easy to recognize you outside in the night.  Just stand in the foyer of the postern.  You will be out of sight there.”

        Sveta and Aleksandr walked through the door, “Please hurry, Marya.  I don’t have much time.”

        “I understand, child.”

        The moment Marya opened the door to the abbess’ office.  Mother Anna stepped forward and blocked her way.  Without a word, Marya pushed passed Mother Anna and walked to the closet that held Sveta’s clothing.  Mother Anna gazed at Aleksandr and Sveta.  She looked back at Marya who silently went through the clothing and stuffed it in the traveling bag, “Please come in, Svetlana.”

        Sveta shook her head.

        “If only to talk.”

        Sveta shook her head again.

        “You may stay here Svetlana.  We will protect you.”

        Sveta raised her head, “And who will protect you, Mother Abbess?”

        “God will protect us, child.”

        “I pray to God every day for your safety and for the Church’s safety.  I know it is now time for me to go.  This is for your safety.”

        Mother Anna came down the steps and stood before Sveta.  She took her hands, “Svetlana, do you understand what you are doing?”

        “Yes, Mother Abbess, I am fulfilling the will of God right now.  I am doing everything to protect those I love and who love me.  Please don’t ask me to stay here.  That will endanger all of you.  I’m sorry you even saw me here.  You could have honestly told them you had not seen me.  When they ask you if I was here, you must say you didn’t see me or speak to me.”

        “What will you do, child?”

        “I will do the work I was made to do.”

        “But what is that?”

        Sveta glanced out of the sides of her eyes at Mother Anna, “I cannot tell you—especially you.”

        Mother Anna pulled Sveta into her arms, “I thank God every day for you Sveta.  You have brought such security and goodness to us.  You have been a protector for us.  God will bless and further His kingdom through you.  You have been the child of my spirit.  God will go with you, Svetlana.”

        Marya brought Sveta’s bag into the foyer, “Everything is here that you will need, Svetlana.”

        Sveta looked around Mother Anna, “Thank you, Mother Marya.”  Sveta pulled out of the Mother Abbess’ embrace.  She put her arms around Marya and whispered in her ear, “Mother Marya, without you I would have been able to do nothing.  You always made me strong.”

        Marya kissed Sveta’s cheek, “I love you too, Sister Svetlana.  Go with God.  Always remember who is the strength of the world.  In the basements of the MVD, He is the only thing that will sustain you.”

        “Thank you, Marya.  Tell all the others I love them.  Tell Father Nikolay and Father Alexius goodbye for me.”  Sveta glanced at Aleksandr.  He picked up her bag. 

        Mother Marya took Sveta’s cloak and fur hat off their pegs, “Don’t forget these.  The days will not always be warm like this.  Sveta put the cloak over her arm and held the hat.  They turned around, and Sveta stepped through the postern and out of the Novodevichy Convent, likely for the very last time.  They heard the door close and lock behind them.

 

This scene allows multiple tension and release developments.  There is the use of previous foreshadowing and the direct communication of thoughts through conversation. 

 

Notice, the situation is set up such that Sveta can express herself directly to Mother Anna.  How much of this is truth?  That is a great question.  I will tell you that most is true. There are things that Sveta believes she cannot tell her friends.  These secrets will be revealed in the next scenes.

 

An observant reader might also note the allegorical and unspoken points in this scene.  The first is that Sveta has chosen Aleksandr over the Convent.  This might not be as good for Aleksandr because it means she is both trusting him and placing him in danger at the same time. 

 

The second is the picture this gives about her and Aleksandr.  She asks especially that Marya get the two things Aleksandr bought for her, the puzzle box and the scarf.  These were items that foreshadowed this event.  There is more about this, but I won’t go into details, you might see what it is if you give it much thought.  The point is that each of these thoughts and ideas give rise to tension and release in the context of the scene.  They also allow the author to provide significant information with action and conversation.

   

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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