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Friday, January 5, 2018

Writing - part x364, Novel Form, A New Novel, Conversation Example Initial Scene

5 January 2018, Writing - part x364, Novel Form, A New Novel, Conversation Example Initial Scene

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 28th 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 29th novel, working title Red Sonja.  I finished my 28th 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.

With a protagonist, a telic flaw, a theme statement, and an initial setting, I’m ready to begin a novel.  I’ll move to the telic flaw for the novel.  Since I am going to provide the first chapter as a teaser any way, I might as well show you the initial scene.

Here is the theme statement as a reminder:

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.

Number one—once I’ve introduced the protagonist, I must reveal the protagonist in all her glory.  This isn’t the full glory of Lady Azure Rose Wishart, but it’s pretty close, or at least, her detective persona.  Here I continue the initial scene for Lady Wishart:

When they arrived at the table, the lady did not bid them sit.  She did not stand.  She gazed with blue-grey eyes at them both.  The Chief Inspector danced from foot to foot.  Ms. Morris had no idea how to continue.  In her book there must be introductions, and everything screamed for an introduction.  This young woman was not about to make another move to reduce their astonishment or discombobulation.
She let them brew for a few moments then addressed them.  Her voice was a deep contralto peppered with a high Oxford accent, “Chief Inspector La Cross, I presume.  You aren’t as cautious or observant as I was led to believe.  I could have placed more than one bullet in you before you moved.”
The Chief Inspector took a step back, “Young woman are you telling me you are armed?”
The lady smiled and ignored his question, “I am the Blue Rose.  I believe you requested an appointment with me.”
The Chief Inspector choked, “I was looking for Neel Rhosyn.  Are you she?”
“Not observant at all.  Neel Rhosyn means Blue Rose in Welsh.”  She held out her gloved hand in a very aristocratic motion.
After a slight hesitation, the Chief Inspector gently touched her hand.”
She grasped it as if expecting more and didn’t let him go.
The Chief Inspector had no idea what to do now.
Ms. Morris cleared her throat and whispered to him, “She means for you to venerate her hand.”   
“Must I?”
Ms. Morris rolled her eyes, “Really.”
Remembering back to his training as a schoolboy, Chief Inspector La Cross very awkwardly bent his head over her hand and pressed her fingers.  He forgot at the last moment that pressing the fingers was a bit forward, but the girl released his hand, “We are not that well acquainted Chief Inspector La Cross, but I shall let it slide.  Please be seated.”  She offered her hand to Ms. Morris. 
Ms. Morris took the lady’s hand very adroitly and nodded.
The Blue Rose smiled, “Much better, Ms. Morris.  I would expect such niceties from you.  You may also be seated.”
The Chief Inspector and Ms. Morris took their seats, and the attendant brought over their cups of tea.
The Blue Rose raised her hand in a very elegant gesture, “Please bring me a cup of your black tea special and a few scones.”
The attendant gave an unexpected curtsy and headed toward the kitchen.
When the Chief Inspector and Ms. Morris were seated and the Blue Rose had her tea and scones, she opened her hand, “Please share these wonderful scones with me, and thank you for the early tea.”
Ms. Morris could tell the Chief Inspector wanted to say something slightly untoward, but he kept his mouth shut.  They each sipped their tea and bit into a scone.  The lady’s gloves had almost unnoticed been removed.  Her hands were beautiful, but Ms. Morris noticed they were not at all what she expected.  Slight calluses marked her fingers and palms.  When the girl noticed the attention, she gracefully moved them so only the unmarked tops were evident.
Finally, the Chief Inspector had recovered some of his poise, “Ms. Rose…”
“You may address me as Miss Rose.”
“Yes, Miss Rose, I’m very happy to make your acquaintance.”
“Let’s not start with falsehood, Chief Inspector La Cross.  May I address you as Hercules?”
The Chief Inspector flustered, “That is highly irregular.”
“Saying Chief Inspector over and over might become a little preposterous, and Mr. La Cross would be less familiar and undignified.  Perhaps just La Cross then.”
“Well, yes.”
“Then La Cross, you are not at all happy to make my acquaintance, but in spite of that, I am willing to help you.”
La Cross took a sip of tea to moisten his very dry throat, “Yes, yes.  I’m glad you are willing to help us.”
“My official support does not come without enumeration.”
“One moment, Miss Rose, you have provided us assistance with over twenty cases in the past all gratis.”
“That is true, but that was when you didn’t expect or directly request my help.”
La Cross grumbled.
Ms. Morris put in an aside to the Chief Inspector, “We do have detective consulting fees available in our budget.”
“Yes, yes, I know that.  What assurances do I have that you, Miss Rose can help us with this current difficulty?”
Miss Rose laughed gaily, “You have none at all.”  She leaned forward slightly, “You must trust evidences of my past skills and those you will soon see in action.  A retainer might be in order.  If I assist you in this current difficulty, you will assure me of just compensation for my future work.”
La Cross swallowed another long sip of tea, “How much do you want?”
“What is your current pay scale?”
Ms. Morris pulled a piece of paper from her going-out bag, “We usually pay per hour.”
“That is quite unacceptable.  What is your maximum for a solved case?”
“Usually we limit our detective consultants to a thousand pounds.”
“That will be sufficient.  I doubt I will require more than a few hours to solve your current case.”
La Cross sat straight, “I bloody well don’t think you can solve this current case that quickly.”
Miss Rose held up her hand, “I will ignore your vulgarity at the moment, La Cross.  Shall we make a bet on it?”
La Cross snarled slightly, “A bet.  What kind of bet?”
“Double or nothing.  Your current case has to do with a high ranking employee in the Bank of London branch of the Bank of England.  He was murdered in a bolt locked room by some unexplained means.  I will explain the means and discover the murderer.  You will pay me two thousand pounds for my efforts.  That is all.”
La Cross made a very ugly face and leaned back in his chair.  The chair creaked with his movement, “How do you know so much about this case, Miss Rose.”
“I am very astute, and I read the news as well as the tabloids.  Everything has been reported in them already.  You haven’t removed the body yet, and you haven’t been able to make heads or tails of the situation.”
La Cross grumbled, “That’s all true, but…”
“What buts are there?  I think I understand the situation well enough.”
Ms. Morris couldn’t help it, “Miss Rose, you understand the situation very well.”
“Then write out our agreement.  I will sign it and you will sign it.  I will solve your case.”
La Cross stood.
Miss Rose picked up her tea, “I did not give you leave to stand La Cross.”
La Cross shook with indignation, “Pardon me, but I wish to speak with Ms. Morris for a moment in private.”
“Very well, you are dismissed to converse as you desire.  If you wish to remain seated—I shall not listen to your conversation.”
La Cross motioned to Ms. Morris.
Ms. Morris nodded to Miss Rose and stood, “If you will permit me.”
Miss Rose nodded, but she didn’t smile.
La Cross and Ms. Morris moved a few paces away and entered into a decidedly robust discussion.  After a few moments they returned and took their seats.  La Cross tried to smile pleasantly, “I will accept your offer of help, but if you can’t explain the circumstances and discover the murderer then you will receive nothing, not a farthing.”
Miss Rose smiled and nodded, “That is acceptable to me.”
Ms. Morris wrote the agreement on the official Scotland Yard document and pushed it across the table to Miss Rose.  She carefully read the agreement, added a line, and signed it.  She pushed it back to Ms. Morris.
La Cross grabbed the paper and read it, “Why did you add this line: Scotland Yard shall recompense Miss Rose for any damage to her clothing or equipment?”
“La Cross, it should be evident to you that we will be entering a murder scene.  I don’t wish to have my clothing or accessories blood splattered or otherwise dirtied.”
La Cross struck out the line, “I suspect that two thousand pounds is sufficient recompense for any damages.”
“If we are to continue working together, I will not be bullied into any undignified or unladylike actions that will injure my clothing or possessions.”
La Cross signed the paper and crossed his arms, “You can be responsible for your own behavior, actions, clothing, and possessions.  I will not pay for more than that.”
“Very well, but in the future…”
La Cross growled, “I don’t expect any future to our arrangement.”
“We shall see.”  Miss Rose elegantly pulled on her white gloves and stood.  She made a motion that the others were to stand, then she headed toward the front of the tea house.
La Cross stood and paid the tally.  Ms. Morris trailed carefully behind him where he could not see her grin.
I love this type of tit for tat dialog.  I think you can see the assumed personality of Lady Wishart very well in this short piece.  I gave you a description of her person, yesterday.  Today, I show you the persona of Lady Wishart—the persona she wishes to convey. 

This is the point after all.  The Lady Wishart has many personalities.  She is the kind of person who keeps many deep secrets.  She expects her secrets to all remain secret.  She works hard to keep them secret.  I’m passing more information to you here than I did in the piece from the novel. 

This is still part of the initial chapter.  I really shouldn’t say this is part of the initial scene.  The initial scene, by definition, is the first part where Jack is conversing with Azure and the Chief Inspector.  This is technically the second scene.  In any case, this is the introduction of the protagonist. 

I produced a protagonist who could cow a chief inspector—I rather like her spunk.  Lady Wishart is the proverbial unflappable and unmovable.  We will also find that she is the unstoppable and the fully rational.  This is the type of character I wanted for this novel.  This is also the character I wanted most to discombobulate.  That is one of the storylines in the novel.

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic

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