Writing - part x792, Writing a Novel, Imagination and Individualistic/Independent

9 March 2019, Writing - part x792, Writing a Novel, Imagination and Individualistic/Independent

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I'll keep you informed, but I need a new publisher.  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 29^th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: 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 cover proposal for Blue Rose: Enchantment and the Detective. 

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30^th novel, working title Red Sonja.  I finished my 29^th novel, working title Detective.  I’m planning to start on number 31, working title Shifter. 

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events. 

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:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing. 

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene. 

1.     Meeting between the protagonist and the antagonist or the protagonist’s helper

2.     Action point in the plot

3.     Buildup to an exciting scene

4.     Indirect introduction of the protagonist

The protagonist is the novel and the initial scene.  If you look at the four basic types of initial scenes, you see the reflection of the protagonist in each one.  If you noticed my examples yesterday, I expressed the scene idea, but none were completely independent of the protagonist.  Indeed, in most cases, I get an idea with a protagonist.  The protagonist is incomplete, but a sketch to begin with.  You can start with a protagonist, but in my opinion, as we see above, the protagonist is never completely independent from the initial scene.  As the ideas above imply, we can start with the characters, specifically the protagonist, antagonist or protagonist’s helper, and develop an initial scene. 

If we start with a protagonist, we need some kind of guide.  Here is a general guide for developing a modern protagonist.  We’ll look at examples and explain the ideas.

1.        Normal person (not wealthy, noble, or privileged)

2.      Loves to read

3.      Loves to learn

4.     Unique skill(s), power(s) and/or learning

5.      Pathos (poor, homeless, abused, friendless, ill)

6.     Individualistic and independent

7.      Introspective

8.     Leader

9.     Naturally good

10.  Rejection of the urban

11.   Rejection of the modern

12.  Appeal to the imagination

This focus on imagination is what brought the Romantic protagonist from the common through knowledge and education to skills, powers, and learning.  The imagination is the key that turns the Romantic protagonist into the Romantic protagonist—the only being in the world who can accomplish the telic flaw of their novel.

The independence and individualistic characteristics also come out of the Romantic protagonist.  There are two distinct reasons.  The first is that imagination fuel independence.  Although it is absolutely true that “no man is an island” we should note that the first novel in the English language is Robinson Caruso a novel about a man who was forced to become an island. 

Rugged individuality is a catchphrase of the Romantics.  This individuality and independence comes out of the imagination to make something of him or herself.  If you remember, the Victorian protagonist was born into his or her position, the Romantic protagonist came from the common ilk and acquired their skills, powers, and learning through effort.  The motivator for this acquisition is imagination.  Very simply, the Romantic protagonist imagine him or herself as they wish to become and then they head to that end.  Really, it isn’t as simple as that—some Romantic protagonists have found skills that they then refine with work.  The work is the important part. 

Harry Potty is an example of a “found” skill.  Harry discovers that he is magic and has magic powers.  If Harry were a strong Romantic character, he would be the one who studies day and night to refine and acquire the highest level of magical skills.  Harry would be in competition with Hermione all the time.  In fact, in a more refined Romantic novel, Harry’s friends would be the smartest in magic in the entire school and he would be polishing his skills against theirs to become the best and unique.  Unfortunately, Harry, like his Victorian antecedents was born into his position—he didn’t earn it.  Imagination doesn’t drive Harry.

Imagination does drive Anne in Anne of Green Gables.  This is a purely Romantic novel.  Anne’s entire life has been one of independence and imagination.  The imagination sustains her as a person and makes her how she is.  The imagination brings her into her current position with the Cuthberts and at Green Gables.  Imagination makes the independent Anne fight to become the best student in her school.  Imagination drives Anne to her unique status.  This is the positive use of imagination, but there is a less positive side.  Less positive, but not less important.

The Romantics believed that imagination sustained the world.  This was their world and their existence.  They believed that everyone was encompassed and moved by imagination.  What they didn’t figure is what I began with, “no man is an island.”  No leader especially is independent.  Leadership isn’t an independent sport.  It isn’t an individualistic sport.  The Romantics want it to be, but alas, it isn’t.  They imagine that imagination alone can build the skills, powers, and learning that create the unique protagonist—we know this can’t be true.  What to do about it?   

I think Robert Heinlein handled this very problem well in Starship Troopers.  I can think of many Romantic Era authors who correctly handled it too.  The means is the same means as other skills, powers, and learning.  Although the Romantic protagonist is independent and individualistic, there is still room for interaction, friendship, and education.  Presented as a problem in education keeps the protagonist independent and individualistic, but allows the use of imagination as well as interaction to provide learning.  As I noted, Starship Troopers is a great example of this.

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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