23 March 2018, Writing - part x441, Developing Skills, Protagonist’s Helper, Example Lilly
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.
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. I’m just finishing number 30, working title Detective.
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.
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
Today: Many people would like to write, but writing is hard work. I’ll express again, if you want to be a skilled and potentially a published author, you need to write about one million words. That equates to about ten 100,000 word novels. When you look at it this way, it is a daunting goal especially if you haven’t written a single novel.
To become a good writer, you need two specific skill sets first reading and then writing. Without these skill sets, I really can’t help you much. I provide advanced help and information on how to write great fiction.
Characters are the key to great writing. Entertainment is the purpose of fiction writing. The key to entertainment is character revelation. If we want to be a successful writer, we must aim for great protagonists, and I would say, great protagonist’s helpers.
The protagonist’s helper is simply a character who is critical to the expression of the plot of the novel because the protagonist could not achieve the resolution of the internal or external telic flaw without that character. I’ll provide some examples.
In my yet unpublished novel, Lilly: Enchantment and the Computer, Dane is the protagonist’s helper. He is a friend, companion, helper, and lover to Lilly.
First, about Lilly. Lilly is a super genius in math and computers who is living on the street to be able to use her scholarship to go to the school of her choice. She in an introverted person who is still vibrant and positive. She just keeps clear of people because she is used to the street. Because she keeps in a state of stink and unhygienicness on purpose, she doesn’t have any friends, and she intentionally keeps herself like a pig to dissuade the men on the street. Thus, when Dane gives Lilly positive attention, she becomes enamored of him.
Lilly, the dirty begins to bathe and comb her hair. She doesn’t have a brush, so Dane gives her one. She needs money, so Dane gets her a job. She needs some legal help, Dane enlists his lawyer parents. Without Dane’s realization, he has become an idol in Lilly’s eyes.
Dane is likewise clueless about girls. His sister has intentionally protected him from girls, not for herself, but because she knows too much about “girls.” So, Lilly is becoming enamored of Dane, and Dane has no idea. Dane’s sister Ophelia knows exactly what is going on.
We have Dane set up as Lilly’s protagonist’s helper. You can see, he, at this moment, is not in love with her, but he is growing to love her. The problem is that neither know anything about love. As a protagonist’s helper, Dane can reflect Lilly’s thoughts on many subjects back to her—thus we have a relationship of open mindedness. If becomes even more open minded when Lilly and Dane must content with his sister as well as other forces around them.
The point is this, with a protagonist’s helper character, the protagonist can tell her mind. She can explain her thoughts and her emotions. Lilly can express this directly with Dane. Likewise, Dane can express his thoughts and ideas with Lilly. Woah, you might say, the revelation is supposed to be of the protagonist and not the protagonist’s helper. This is absolutely true, however, the thoughts of the protagonist’s helper can relate and reveal those of the protagonist. The better and stronger you can reveal the protagonist, the better and more powerful the novel. The protagonist’s helper relates and reveals the protagonist in ways that are impossible without a protagonist’s helper. We’ll look at opposing protagonist’s helpers from Escape from Freedom next.
For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
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