Writing - part x366, Novel Form, A New Novel, Investigation Example Initial Scene

7 January 2018, Writing - part x366, Novel Form, A New Novel, Investigation 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 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.

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:

Miss Rose put the key in the lock and opened the door.  She pushed it open while standing on the outside.  She examined the broken bolt lock.  She glanced over the floor.  The room was elegantly furnished in white and blue with chrome highlights.  A lightly stained wooden desk with chrome feet and corners stood on the right side.  On the left was a couple of light blue upholstered chairs also with chrome legs and arms.  A white and blue couch sat between them and a chrome and glass tea table between the sitting area and the desk.

At the desk sat a man.  He leaned back in the desk chair.  His face was caught in rigor mortis.  He likely once appeared handsome, but not anymore.  The left side of his face was coated in dried blood.

Miss Rose examined the entire room for a long while.  She studied the floor.  After a moment, she asked, “What about the reports of fog from the room?”

La Cross shuffled his feet, “The secretary, super, and guards reported an immense amount of fog that flowed from under the door.  That’s what originally got their attention last night.”

“And when they broke down the door?”

“There was a large amount of fog in the office.”

“How much?”

“Waist height.  It took a while to dissipate.  I saw it myself when I was here.”

“Did you now?”  Miss Rose took a step into the room.  She kept her dress well away from any of the furniture.  All the time, her eyes swept across the carpeted floor, “All these footprints were made by your policemen, the secretary, forensics, and whoever else happened to investigate the scene, am I correct.”

“As a matter of fact, yes.  According to the super, the secretary, guards, and the bank president, there were no footprints of the blood anywhere in the room.”

Miss Rose laughed, “So, we have a strange fog that filled the room.  No foot prints, though the floor is saturated with blood.”  She had made her way around the desk to the right side of the corpse, “And here on the neck, in the jugular, we have twin puncture marks.”  She smiled, “Puncture marks, fog, no foot prints, a bolt locked door…,” she glanced up at La Cross, “That’s where you got the idea about a vampire.”

La Cross looked uncomfortable, “I never said anything about a vampire.”

“Of course.”  Miss Rose continued, “The body has been moved.  The original position was lying face left side on the desk.”

“Yes it was.”

“The hand is still on the desk.  Where is the teacup it held?”

La Cross puffed out his cheeks, “There was no teacup in his hand.”

“It held a teacup—look at the shape of his hand.  There is spilled tea or some other brown liquid on the desk there on the left side.  It flows up to the edge of the blood.  There is also unusual staining on the right side of this man’s head.  You will find residue of tea in his hair and on his face.”

La Cross rubbed his chin, “Miss Rose, what does tea have to do with anything?”

“Did any other bank employees fail to show up for work today?”

“We didn’t check.”

“I did, but you don’t have to.  Shall I solve this crime for you Chief Inspector La Cross?”

The Chief Inspector turned red then blasted out, “Very well, Miss Rose, solve the crime.”

My plan for introducing my protagonist and for brining the reader directly into the excitement of the novel is to show Lady Wishart solving a crime.  The crime appears to be supernatural—that’s Lady Wishart’s specialty.

Let’s review a little.  First, we have the scene where Azure is known to the police by a different name, but she solved difficult crimes for them.  She has a reputation, but they really don’t know who she is.

Second, we and the Chief Inspector meet Azure Rose and she makes a contract to solve the present crime.  La Cross believes he will never have to pay because he doesn’t trust the competency of the upstart, Miss Rose.

Third, Azure goes to the crime scene and gives the impression of great credibility.  Then she announces that she will solve the crime.  This is a funny that I will continue through the novel. 

The point of the scene, isn’t really to solve the crime, but to reveal Lady Wishart.  At the moment, the reader doesn’t know Azure as Lady Wishart and neither do the police.  As we move forward, the skills of Azure will come out more and more.  This initial scene simply sets up the character for the rest 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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