Writing - part x335, Novel Form, Secrets in Novels, Valeska: Enchantment and the Vampire

7 December 2017, Writing - part x335, Novel Form, Secrets in Novels, Valeska: Enchantment and the Vampire

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.

I’m still addressing conflict and release from the standpoint of scenes, but I thought it might provide a good example to look at secrets in my novels.  If you remember, there are two basic types of secrets in a novel.  The first is the plot revelation.  The revelation of the plot and the protagonist are secrets until they are revealed in the novel.  This is the number one basic element of secret in a novel.  This secret is unknown to the characters and the readers until it is revealed.

The second type of secret is the secrets of the protagonist or other major character.  These are secrets known to the readers, but not known to other characters in the context of the novel.  These are revealed (or not revealed) through the plot.  I write not reveled because these secrets may remain secrets from no one, a few, or all in the context of a novel.  The writer uses the revelation of these secrets to create tension and release and to drive to the climax.

I’ll write a little about my enchantment novels.  The twist in these novels is an enchantment.  The theme of these novels is redemption of the unredeemable.  The fifth enchantment novel is Valeska: Enchantment and the Vampire. 

I’ve written before—don’t write about vampires.  Then I wrote a novel about vampires.  What I meant specifically when I wrote—don’t write about vampires—is don’t follow fads, don’t write fan fiction, and make sure the writing is always your own.

I don’t have a problem with inspiration as long as it results in your own writing.  I am completely opposed to the use of other’s ideas to propel your writing.  You are not creative if you do.  Now, I do recognize how writing for serials such as television works.  This is a creative venue, and if you are this type of writer, more power to you.  I am not a fan of fan fiction.  Fan fiction just seems to be self-gratifying to me.  If you intend to present your writing as a screenplay for serious consideration for a serial—go for it.  On the other hand, if you radically change the characters or the situation and rewrite the serial, that is not a proper use of the media.  If you want to write your own, write your own, don’t piggy back on the creativity of others or copy their characters, settings, or plots.

Further, don’t write after fads.  This may be another inappropriate means of absconding with the fruits of another’s imagination.  If you do write using a fad, make sure your idea and inspiration are indeed true to the original and to your inspiration.

That brings us to Valeska.  I never wanted to write about a vampire, but I was inspired with a unique idea about a vampire.  I started with the premise, what about a destitute vampire.  I was casting around for an irredeemable character that could instantly generate some pathos, and I had an inspiration.  What about a vampire character who had been a teen then turned into a vampire and who was expelled into the world by some vampire world problem.  The picture of a destitute dirty ill-dressed, friendless vampire seemed like just the character I wanted.

I also produced an environment and plot concept that was different than any other about vampires.  My vampires would hunt for blood only on the full moon and the making of vampires would be difficult.  I also added a bit of logic that seemed to be missing in previous vampire novels.  If vampires were banished with a cross or other Christian religious symbol, then obviously they shouldn’t normally be able to hunt Christians.

My destitute vampire was starving when she met my protagonist, George Mardling.  George is a spy for the British government and his meeting with Valeska was accidental and fortunate.  He was shot and she wanted his blood. 

There are many great secrets in this novel.  The first character secrets are about Valeska as a vampire, and George as a spy.  Additionally, George and Valeska’s relationship becomes a secret.  When they return to Britain from Poland, George and Valeska’s secrets become reasons for investigations and other entanglements.  Then there are others with great secrets who become involved with them.

I hope you are noting a trend with my characters and novels.  I think this is necessary for a good and entertaining novel of any kind.  The characteristic is that the protagonist always has a secret.  We expect plot secrets—that’s simply the revelation of the plot.  Character secrets are more like fine wine—they add greatly to the richness and entertainment of the novel.       

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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