13 June 2018, Writing - part x523, Developing Skills, Build a Scene, Voice
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, and specifically revelation of the plot and protagonist telic flaw (the same thing). If we want to be a successful writer, we must aim for great protagonists, and a great protagonist means a great or compelling telic flaw.
With a character, we now can move into the mechanics of the writing.
Here is my expected scene setup.
1. Initial scene: General Bolang informs Sorcha and Deirdre that they are going off to a Catholic girl’s boarding school instead of to aviation training. He gives them reasons, and sends them off. This is the output.
2. Based on the expected output, Deirdre and Sorcha are taken or go to school. Somehow I need to give them no options to escape. They inspect the school and the output is the end of the day.
3. First day of class is the obvious input. The output will be their investigation of the off areas in the school that they observed. Perhaps they will talk to the teachers and the students.
With a scene input, we can move to the scene itself. The scene input is the hard part. Following the setting, we move on to the output. The next step is to write the tension development in the scene.
An entertaining (successful) scene is always made up of tension and release in the scene. No matter what the subject or concept of the scene, a scene cannot be considered a good scene without tension and release.
First a scene is not a novel, but every scene must include tension and release. This is a complex way of stating that every scene must be filled with entertainment and excitement. Tension and release is the way you incorporate entertainment and excitement into a scene.
1. Setting tension – there can be tension that comes directly from the setting.
2. Character tension – tension that comes from the interaction of the characters.
3. Item tension – tension that comes from items interjected into the
Character tension is the main way we build tension and release in a scene.
Perhaps I should look at tension from this standpoint:
1. Telic flaw
4. Existing conflict
5. Character details
6. Setting details
7. Item details
From comedy we get to voice. There are two types of voice in any fiction writing: character voice and author voice. They are very different things, but relate to one another.
Author’s voice is the feel of the writing. This is directly related to style and style can be used as a synonym for voice. The author I mentioned yesterday has a distinct voice and style both related to comedy. He is a humorous writer and this comes out in his voice as an author. Every author has a voice. You might be able to tell the author simply by reading a chapter or less of his or her work.
Many authors have a very distinct voice. Hemmingway has such a distinct voice that there are contests related to his style (voice) in writing. Likewise, Dickens has a unique voice. It was unique, but many authors in his age tried to copy that style (voice). Catherynne Valente not only has a name that is difficult to spell and remember, but she has a voice that is almost absolutely unique. Louis Carrol likewise has a unique voice.
Modern authors can also have a unique voice. Valente is definitely modern and very unique. She has a beautiful style (voice) that stands out on its own. I could tell her writing anytime. Alan Bradley also has a very distinctive voice. Jack Vance’s voice is also distinctive. My friend Don Bemis with his strong comedy and humor likewise has a distinctive voice. But not all novels or writers are like this.
I suspect that all experienced writers have a distinctive voice, or at least, they have a unique voice that their readers might be able to tell from any other writing. You find small nuances, turns of speech, constructions, and all that bring these differences to the forefront. Technically, an author who uses near perfect standard English should have little voice, except for the use of figures of speech and phrasing. Both of these can identify an author and that author’s writing. Beyond this, there isn’t any reason to mention much about voice except that true voice doesn’t come from catchphrases or poor English phrasing, but from the use of language. Valente and Bradley are perfect examples of this. They use English like a poet of prose.
This means in striving to use your unique voice as an author, just write standard English well and follow my rules for writing above. Even if you are accentless or, like me, strive to be accentless, your writing will be strong and entertaining. By the way, when I write accentless, I don’t mean voiceless. Voiceless means you aren’t saying anything. Accentless, means you are saying something, but in a way that appeals and can be understood by everyone.
Next, we’ll look at character voice.
For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
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