Writing - part x914, Writing a Novel, Suburbia

9 July 2019, Writing - part x914, Writing a Novel, Suburbia

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 websites 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. 

Let’s look at a subject that is really ignored in the modern era.  I’m not certain how much this can help your current writing.  I would argue that theoretically, this subject can really help those who write historical and futuristic fiction.  It depends on how your write your historical and futuristic fiction.  There are two ways to write historical fiction—let’s look at this.

The first and most common way to write historical fiction is to write a novel that projects modern ideas and history as historical ideas and history.  In other words to present modern ideas and historical ideas as the same.  I think this is perhaps the most egregious and perverse means of presenting a false view of history.  The author is either completely ignorant of the past, is intentionally attempting to education people in a false view of history, or both.  The real historical world is very different both culturally and socially from our current world.  The true author attempts to convey this in historical writing.

The second and less common means of historical writing is to actually incorporate the past into a novel to convey the actual way people thought and acted in the past.  This approach actually goes back into time to give a complete view of the way the people thought and acted.  To this end, let’s look at how the world changed and how people thought in the past.  This is more of a historical look at the world for the purpose of understanding how the world worked in the past and how people thought and acted.  We’ll use historical information to see what concerned affected their lives. Here is a list of potential issues.  We’ll look at them in detail:

1.   Vocabulary

2.   Ideas

3.   Social construction

4.   Culture

5.   Politics

6.   History

7.   Language

8.   Common knowledge

9.   Common sense

10. Reflected culture

11. Reflected history

12. Reflected society

13. Truth

14. Food

15. Money

16. Weapons and warfare

17. Transportation

18. Communication

19. Writing

20. Education

In the modern era with the advent of ubiquitous police and the government control of many aspects of society, it becomes very simple to exert control over an entire society.  Marx expressed this in the Communist Manifesto.  Everyone should be familiar with these procedures.  I’ll add a couple of ideas that Marx never would have thought of. 

The scientific means to control a conquered people or to take over a society from within from the Communist Manifesto:

1.     Abolition of Property in Land and Application of all Rents of Land to Public Purpose.

2.     A Heavy Progressive or Graduated Income Tax.

3.     Abolition of All Rights of Inheritance.

4.     Confiscation of the Property of All Emigrants and Rebels.

5.     Centralization of Credit in the Hands of the State, by Means of a National Bank with State Capital and an Exclusive Monopoly.

6.     Centralization of the Means of Communication and Transport in the Hands of the State.

7.     Extension of Factories and Instruments of Production Owned by the State, the Bringing Into Cultivation of Waste Lands, and the Improvement of the Soil Generally in Accordance with a Common Plan.

8.     Equal Liability of All to Labor. Establishment of Industrial Armies, Especially for Agriculture.

9.     Combination of Agriculture with Manufacturing Industries; Gradual Abolition of the Distinction Between Town and Country by a More Equable Distribution of the Population over the Country.

10.  Free Education for All Children in Public Schools. Abolition of Children's Factory Labor in it's Present Form. Combination of Education with Industrial Production.      

11.  The control of healthcare by government and the abolition of private healthcare.

12.  The abolition of cash money.

13.  The disarmament of the people and the arming of secret police forces under the control of the government.   

I added three other planks.  We see theses being used by modern societies to control the populace.  I think Marx left off the control of arms because he assumed the other mechanisms would allow full control of the people.  Let’s look at and evaluate how governments and societies have used these ten planks to enforce their control and goals on nations.

1. Combination of Agriculture with Manufacturing Industries; Gradual Abolition of the Distinction Between Town and Country by a More Equable Distribution of the Population over the Country.  

The advocates for socialism have backed off on this issue to some degree.  The principle behind this plank is not exactly what it reads like.  In Marx’s time, the country was very free and uncontrollable.  There were very few police and very little government control.  Cities were notable for potential and actual control of people. 

In other words, towns (cities) were notable for the ability of the government to establish and effect controls over the people and the population.  Cities, especially of the time, were somewhat smaller and definitely less populous.  The communists wanted to be able to establish controls over people.  One of the best ways to do that would be to bring the control mechanisms and authority from the cities into the country.  This would also solve some of the problems Marx thought were negatives to population control and industrial control.

In a free society, people have freedom of movement.  In this time, during the industrial Era, people were moving from the country to the cities.  They sought better wages, better conditions, better amenities, and all.  The movement of many less than technologically trained or educated people from the country to the cities produced a large unemployed underclass.  This resulted in many new urban problems and some country problems.  In the minds of the communist reformers, the problem was the fact that the government couldn’t and wouldn’t control the economy. 

This was completely wrong.  The problem wasn’t industrialization and it wasn’t the markets.  The problems were caused entirely by governmental attempts to control both urbanization and the countryside.

People did not own property in the countryside.  They were basically serfs or what we would call tenant farmers.  They didn’t own the property, and they worked the land owned by their noble land holders.  There was no reason for them to stay where the work was hard, there was no hope for true gain, and they never could increase their or their children’s financial or ownership position.  The opposite was happening in the US.  Although many people did move from the country to the cities due to industrialization, their reasons were not precisely the same.  The free markets in the USA tended to balance both population and work.  People could own property and the fruits of their labor were their own.  Immigrants also tended to take the work in the industrialized cities and not the more established citizens.

In any case, Marx saw many reasons for the government to move people from the cities to the country.  Most of the reason had to do with control.  Beyond that, he saw the necessity of a controlled economy requiring the government to direct workers like military soldiers to the places they thought the labor was needed.  The result in nations that did this was horrendous. 

The movement of farmers to cities and industry and city workers to farms resulted in the deaths of millions in the Ukraine.  The Communist Chinese lost millions in similar programs.  Command or controlled economies always lead to the wrong workers in the wrong place at the wrong time in the wrong amount and with the wrong skills.  If this wasn’t enough of a problem, ultimately, the control of the movement of the people and work allows the government overall control of a population.  It also requires a means to control the movement of people—internal passports, social security numbers, identification papers, identification numbers, they took away your name and gave you a number.

There is no place to hide, and no place where you can get away from the government.

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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