Writing - part x320, Novel Form, Scene Release Conclusion

22 November 2017, Writing - part x320, Novel Form, Scene Release Conclusion

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.

 

For novel 30:  Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

 

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.

 

The release part of the scene development cycle is similar to a punchline.  This is the point at which the tension of the scene is released.  The complete tension is never released until the climax of the novel, but the tension of the scene is released to some degree at this point.

 

The major elements I’ve defined for you in the development of tension release in your scenes is conflict and secrets.  Further, conflict and secrets are a major part of the plot.  What I tried to emphasize is the very special thing about secrets that I’ve learned over the years as a writer.

 

Conflict is the basic of scene tension and release—this is how you create tension and then release in a scene.  Tiny issues can become wonderful conflicts to be ignored or used.  I just wrote a beautiful example of this type of conflict and I might as well show it to you.  This is from my newest novel, working title Detective and proposed title, Blue Rose Enchantment and the Detective.

 

Lady Rose acquired so many invitations that she rarely accepted any, she literally had more than enough work to entirely fill her days.  She automatically made the list for any party of the monarchy or any high level event in London.  She sent off a response to Lady Atwell the moment she returned to Wycombe.  She was much too busy during the rest of the day investigating Wing Commander Lachlann Calloway to accomplish much else.

She forgot about the entire thing until her address book reminded her in time to dress, review her files, ride her bike to the Stag Pub in Flackwell Heath, and travel by taxi to London.  She charged her official account for the fare and the new dress.  She was on business for the Crown with another connection to make that evening. 

Azure wore a stunning white silk gown with lace at the top and pearls at her neck.  The pearls were hers old ones and matched the dress.  She topped it with a silk lace cap with a white feather and a puff of lace.  She was dressed a bit out of season for this sort of event, but it should be an engaging party.  She didn’t think Wing Commander Calloway would be able to wrangle an invitation, but she always kept her word.  In any case, she could always make a showing and beg her way out after dinner.  Lady Atwell always put up a good dinner.

The taxi delivered Azure to Lady Atwell’s large London house.  A servant opened the taxi door for her, and she placed her card in the butler’s hands at the door.  Azure didn’t expect a reception here, and she was surprised to have the butler lead her to the receiving line and announce her.

Lady Atwell stood at the front of a grand ballroom.  She wore a black low cut gown that likely came from Dior.  The butler bowed, “Lady Atwell, may I present Lady Rose, the Keeper of the Book.”

Lady Atwell’s eyes opened wide.  She grasped Azure’s hands before Azure could take a step, “Lady Rose, when I received your acceptance I was unusually pleased.  I know you rarely accept any invitations.”

Azure gave her an Elizabeth smile, “I couldn’t miss the opportunity to celebrate your success or miss our mutual friends.”

Lady Atwell laughed, “So you came on business as usual?”

Azure made a face, “I couldn’t tell you if it were true.”

“Then away with you.  I’m still happy you came.  You look stunning, as you always do.”

Azure clicked her tongue, “I did buy a new dress, but it is in my usual color.”

“Always in white.  I’m not certain who you are meeting tonight, but no one could miss you.”

“I’ll take that as a compliment.”

“You should.  Will you give me a little of your time in conversation tonight, or will you be engaged in business the entire time?”

Azure twitched her lips, “I shall be at your beck and call.”

“Yes, I’ll believe that when I find out who you are meeting.”

“I’d rather you not.”

“Lady Royall is here, but a suspect I should keep you apart.”

“Don’t trouble yourself.  I will behave.”

“Yes, no politics.”

“When have you ever heard me speak about politics?”

“Dear, you are dripping with the wrong party, but as I said, I am very pleased you chose to come to my soirée.”

Azure gave a slight curtsy which Lady Atwell returned.  The lady released Azure’s hands with a wink, “There is a gentleman here who has been asking for you all evening.”

“Really?”

“I sent him to the bar with the promise I would call for him the moment you appeared.”

“Could you give me a few minutes, that is, before I have to face him?”

“Nothing of the sort.  You’ll keep him in check, and he shall keep you in check.  He asked me especially to escort you…and here he is.”

This scene is the perfect example of muted or ignored conflict.  Look at the wordplay with Lady Atwell.  I love this kind of dialog.  The first conflict is the announcement.  Lady Rose hates being announced, but this is how she in identified among other things at these events.  Second, this is not conflict, but the Lady Atwell is really happy that Lady Rose has come.  The reality is that Lady Rose has come for business.  She actually came for business and because she made a promise to the Wing Commander.  Third, the dress—Lady Atwell likes the dress, but it is not her style and not the style of her parities.  This is another potential conflict that is muted.  The obvious is that Lady Rose dresses this way so she will not be missed.  Fourth is the desire for conversation from Lady Atwell.  This is purely politeness or so we imagine.  They don’t get this opportunity by the end of the evening.  Another muted conflict.  Fifth, the issue of Lady Rose’s business.  This is indeed a muted conflict—the Lady Atwell realizes her party is being used for Lady Rose’s business.  Sixth, politics.  This is a point of conflict that Lady Rose isn’t really interested in, but Lady Atwell makes an issue.  This is a dig at Lady Rose’s politics.  Again a muted conflict.

 

The point of this example is to show subtlety in conflict within a dialog.  As I wrote, I love to write these kinds of dialogs.  As one of my readers pointed out, many of my readers might not fully grasp the subtlety of the dialog.  I don’t care—the point is to produce a muted conflict with tension release at each point.  This, to me, is entertainment.  Any reader gets the tension in the dialog that is gently released so the conflict disappears—or if it doesn’t disappear, they social lubricant has been applied.  This is how refined people behave and converse.  

 

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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