Writing - part x398, Novel Form, Designing a Plot from a Character, Using Zero to Hero, Plot Examples, Aksinya

8 February 2018, Writing - part x398, Novel Form, Designing a Plot from a Character, Using Zero to Hero, Plot Examples, Aksinya

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.

With a single scene—the initial scene (along with the characters, setting, and the telic flaw), you have enough to write an entire novel.  This was the wonderful discovery I made by the time I wrote my eighth novel. 

In writing thirty novels, this is what I’ve discovered about developing a plot:

1.       Protagonist and setting are used to design an exciting and entertaining

2.      Initial scene which provides a

3.      Scene output and a theme question based on the telic flaw of the protagonist

a.      The scene output leads to the next scene

b.      The theme question provides a basis for the plot

4.      The scene outline provides the continuing scenes and the theme question focuses the plot

5.      Resolving the theme question (telic flaw) resolves the plot

Today:  If I have a romantic character who is pathos building, I can build a plot based on the revelation of the protagonist.  This is flat out how I write a novel.  I do want to write a little more about protagonists and characters in general.  I’m going to put this plot development method into an outline form like the above.

1.      Develop a great protagonist (romantic and pathetic)

2.      Determine a zero point for the protagonist

3.      Determine a hero point for the protagonist

4.      Figure a means (plot) to get the protagonist first to zero and then to hero

5.      Determine a telic flaw that conjoins the plot and the protagonist’s development from zero to hero

Let’s look at Aksinya: Enchantment and the Daemon.

Aksinya is obviously the protagonist of Aksinya.  I blogged this novel with comments, and you can read it here.  I won’t worry about spoilers.  Aksinya is a wonderful protagonist.  She is literally a Russian princess.  Her initial title is the child of a Russian Count, but her father was a Russian prince.  All the characters, except Aksinya are historical figures.  I just played a little with the history to give us Aksinya. 

Aksinya is a sorceress.  She became one because she has a predilection for study and thinks she is ugly.  She also had access to Latin books of sorcery and too much free time on her hands.  The character of Aksinya is rich and dark, but she is a person who longs to sin, but really unable to accomplish much sin—until she calls a demon from the depths of hell.  She call, of course, the demon of Luxuria, Asmodeus.  This is also the demon from Tobit, which makes Aksinya a semi-allegory of Tobit. 

The first step is to drag Aksinya to a low to zero.  The first half of the novel delivers this.  Aksinya goes from a Countess to a fugitive and murderer.  She believes she murdered her lady-in-waiting.  The trip from Countess to fugitive was all delivered by her demon.  The next stage is to build Aksinya back to hero.

What could be a hero stage for Aksinya—in my mind, it was freedom from the demon.  Even with the worst the world could throw at Aksinya, her desire was to be free from her own personal demon and the problems that beset her due to temptation. 

In this plot, part of the problem was the plot from Countess to fugitive and then from fugitive to freedom.  If you read the novel, you will see a rollicking and entertaining trip in both directions.  The telic flaw is most obviously the demon—the question of resolution is how to get rid of him.  The resolution is this life and time trip to the depths of temptation for Aksinya to redemption from the demon. As I noted, the novel is a semi-allegory of the Apocryphal book of Tobit. 

In redeeming Aksinya, the answer lies in the ideas from the book of Tobit—the impossible suddenly becomes possible in this context.  Since the idea and execution of a demon in the real world is a supernatural creation, the defeat of the same demon might as well have a supernatural element.  In any case, the full redemption comes to Aksinya through an ecclesiastical court where she is convicted or sorcery, and a civil court where she is found not guilty of theft and murder.  Freedom from the demon comes through her marriage and the consummation of her marriage—that’s the Tobit piece.  With the resolution of the telic flaw comes the completion 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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