16 August 2019, Writing - part
x952 Writing a Novel, Time and Idea Machines, Example
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 29th 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.
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Cover
Proposal
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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 30th novel, working
title Red Sonja. I finished my 29th 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
Communications have moved in a more
unpredictable and interesting manner over time—especially in the modern era.
Communications can occur through any
of the senses: sight, hearing, touch, smell, and taste. The most obvious seems to be hearing because
that is how most of our communication through speech is presented. However, sight is the most used and powerful
of human senses.
Novels are primarily entertainment,
but they are also time machines and idea machines. When I write time and idea machines, I am not
exaggerating. Until the video which we
will eventually get to, the novel was the only source of the mundane. In fact, videos can’t convey the mundane
because who watches the mundane?
Here is an example of the mundane of
visiting a restaurant mixed with the entertainment of a reflective view
novel. This is from my novel, Valeska:
Enchantment and the Vampire.
When they arrived, George
pulled up to the door. He was out right
away and opened Heidi’s then Leila’s door before the valet could get to
them. He placed Leila’s coat over her
shoulders. She held the small black
clutch in her hands as though she wasn’t used to it and didn’t know what to do
with it.
George held out his arm to
her. Leila didn’t take it. She didn’t raise her head, “I’m sure you
would much rather escort Heidi.” She
pushed him away, “Please do.”
George took Leila’s hand
and placed it on his arm. He held it
there and whispered to Leila, “Perhaps both of you.”
Leila tried to pull her
hand away, but he held it tight. She was
about to protest, but when she turned, saw Heidi on his other arm. Scáth led them. Leila bit her tongue.
At the maitre
d’s station, Scáth spoke to the woman
there, “Yes, the small room should be reserved for Ms. O’Dwyer.”
The woman nodded and led
them to a private room with a table that could seat ten. Rich dark oak paneled the walls. The table was set for four.
George seated Leila and
then Heidi. Scáth was already in her
chair. George sat across from Leila and
next to Heidi. Scáth was across from
Heidi.
George picked up the wine
list, “May I chose the wine?”
Heidi took it from his
hands, “I’d rather select what I like.”
George reached over to get
back the list, “How many bottles do you think they will let you purchase.”
Heidi scowled.
Leila didn’t say a
word. She opened her clutch and dug
around for a moment, then she pulled out an ID card. She handed it across the table to Heidi.
Heidi took the card and
examined it, “I has my name on it, and says I was born on 31 October
1994.” She grinned, “That means I am 21
years old. The picture is wonderful--it
must have come from Gorski’s.”
Leila didn’t look at them,
“Scáth had the same problem. I thought
it would make things easier for you.”
Heidi asked, “Why do you
have a picture from Gorski’s?”
Leila gave a sigh, “We
aren’t incompetent. We investigated you
from the moment you came to our attention.”
“Do you know what kinds of
wines I like?”
“Sweet white Rieslings
from northern Germany.”
Heidi handed the wine list
to Leila. Leila took it, and Heidi
raised her chin, “Choose a wine for me.”
Leila scanned the list,
“They are mostly French—they don’t carry any German wines.”
“Pity. Select one for me.” Heidi smiled, “What do you like?”
“Tokaji Classic, late
harvest from Hungary. It is a desert
wine.” Leila glanced at her, “I think it
will be sweet enough for you and for me.”
Heidi laughed, “That will
be pleasant. I know the wine. Do you know what I like to eat too?”
Their waiter came to greet
them and George ordered the wine for them.
After their waiter left,
Leila took a deep breath, “Yes, we know your tastes. That’s why I asked Scáth to order the chicken
for us on the private dining menu.”
Heidi smiled slyly, “Then
this dinner is all about me and not about Mr. Mardling.”
Leila turned her face away
from Heidi. Her voice became very tense,
“Yes.”
Heidi’s eyes softened, “I
take it then, that for Scáth and for this organization, this dinner is all
about business, but for Leila, it has other meanings. Sweet, Leila, can you tell them to me?”
Leila didn’t face her,
“I’d rather not.”
Heidi purred, “I think you
are pursuing Mr. Mardling.”
Leila put up her hand, “I
said, I’d rather not speak about it.”
“Mr. Mardling told me what
you did and what Scáth said. He also
told me what you swore, goddess. Did you
mean it?”
Leila still kept her face
averted, “I made an oath in the ancient fashion. Because of who I am, I cannot take it back.”
Heidi continued, “So
because of it, you have placed yourself in Scáth’s hands to try to make
yourself more attractive to Mr. Mardling.”
Leila flashed an angry
look at Heidi, but turned her face quickly away again, “Yes, yes, yes. All of that is true.”
“Good. I just want us to start on a platform of
honesty.”
Leila turned to
George. She didn’t allow her eyes to
touch Scáth or Heidi, “Mr. Mardling, this is all very embarrassing to me. I’m sorry things have come about this way. I was hoping they would be so different.”
Scáth snarled at her, “How
could they be any different? You usually
dress like a charity-case, smell like a wet dog, and have the manners of an
Essex girl.”
Leila started to say
something, but stopped.
The waiter entered with a
bottle and a wine chiller. He served the
wine. Heidi showed her new ID to the
shocked waiter. Scáth showed her ID to
the doubly shocked waiter. It still said
she was somewhere around 21—Leila procured her a new one every year. He served them all the sweet Hungarian
wine. Heidi raised her glass in a toast,
“To London and new friends. May we all
achieve our goals such that we can remain friends.”
Scáth gestured to Leila.
George touched Leila’s
arm. She raised her glass and touched
each of their rims.
Heidi glanced at Scáth,
“You didn’t drink your wine.”
“I told you, sister. I don’t drink or eat anything.”
“I see.”
George waved his glass,
“You said that before. Heidi eats and
drinks. What kind of being are you.”
Scáth grinned, “I can’t
tell you.”
“Then how do you expect Heidi
to tell you just what she is?”
Scáth continued, “I will
tell Heidi if she asks. I will not
indulge your curiosity.”
George leaned back, “I can
understand that.”
The waiter brought the
soup—French onion. That was followed by
smoked & fresh salmon rillettes.
Leila calmed down a little
by then, “Don’t expect this meal on the regular menu. I asked for an enhanced private meal.”
The waiter brought a
farmhouse terrine of pork pate, peppercorns, pistachio nuts, and other
spices. George ordered another bottle of
the dessert wine. The Hungarian wine was
sweet, but not cloyingly sweet. It
matched their meal well. Heidi drank
with gusto. Leila consummed about the
same amount but with more delicate sips.
The entrée was young
chicken with lemon and garlic served with aromatic couscous. Various side dishes accompanied it including
a small salad and mixed vegetables. The
meal was mostly light and white. Heidi
picked up her wine glass again, “Ms. O’Dwyer, your choice for the meal was
excellent tonight. I toast your
selection and your hosting.”
Scáth drawled, “She chose
the meal, but your host is really the organization…”
Leila blushed and nodded.
George raised his glass,
“It is still a wonderful repast.”
Scáth raised her glass, “I
do agree.”
They toasted her.
Leila nodded in
acceptance, “I only wish this was the first time I went out with Mr. Mardling.”
Scáth stared at her, “How
do you know he would be any more amenable to you? He is a complete gentleman.”
Leila stared at her feet,
“I don’t.”
Scáth nodded, “I’m certain
he finds your depressing personality a trial.”
Leila winced, “I hadn’t
thought of that.”
Scáth didn’t stop, “I
would hope he will be willing to entertain you again.”
Leila’s eyes flashed,
“Actually, Scáth, I am entertaining him and his niece, Heidi. He is not entertaining me.”
Scáth stared her down, “In
that case, entertain them. I feel like I
am at a funeral dinner, and I am not the least bit entertained here.”
Leila took a deep
breath. She forced a smile onto her
face. When the waiter came to take their
dishes, Leila ordered another bottle of wine and coffees all around.
The waiter came with
dessert. It started with soft meringue,
sugared almonds and custard, moved to rice pudding, then the cheese
course. The finality was chocolate
truffles and more coffee.
While they sat at their
coffee, Leila tapped the table, “I would like to invite you to my cousin, the
Lord of Hastings estate for Christmas.”
George sipped his coffee,
“That might be difficult.”
Leila was forthright,
“Because Heidi does not go out during the day?”
“I was not going to tell
you that directly, but that is the case.”
Leila pursed her lips, “I
can make the arrangements or you can for your travel. I will definitely make arrangements for your
stay. I will warn you, Mrs. Long will be
present.”
“I don’t wish her to
harass Heidi.”
Leila raised her chin, “I
will not allow it.”
George remarked, “Mrs.
Long is your aunt and she is a member of...”
Leila grimaced, “Don’t say
it.”
George nodded sagely, “Of
your office. Is she one of you?”
Leila’s eyes slitted, “I
shall not tell you, but you can guess.”
Heidi smiled, “She is an
unbound goddess—she told me so herself.
Ms. O’Dwyer is also an unbound goddess, but she has not taken her
place.”
Leila frowned, “How did
you…how did you know that?”
Heidi cackled, “Mr.
Mardling and I discussed everything.
There was no reason to keep any of it secret from me. If Ms. O’Dwyer is one of three, that means
she is likely the youngest and therefore not the main being.”
George piped up, “What is
this unbound thing and how can there be three.”
Scáth tapped her spoon on
her glass, “There are, in this world, both bound and unbound gods and
goddesses. Many of those who still
remain serve that Guy.”
George cocked his head,
“That Guy?”
Leila looked a little angry,
“You know, God, the Dagda, the Almightly…I will not say the true Name—not
here.”
George wore a smug look on
his face, “I understand. I am curious
why Scáth did not use one of those names.”
Leila moved a little
closer to him. It didn’t seem as though
she intended to be pleasant, “Scáth didn’t use those names for the same reason
Heidi will not use those names. Were you
looking for a confession, Mr. Mardling?”
George waved, “Please
continue.”
Scáth bowed slightly, “We
serve that Guy. Those affiliated with us
serve Him also. That is our
purpose. Bound and unbound gods and
goddesses exist in the world who do not serve Him. Those, and others, are the ones we oppose.”
George sipped his coffee,
“You mean like magic users and sorcerers.”
Scáth raised her head in
surprise, “We haven’t heard of sorcerers for a long time, but yes, magic and
sorcery. Here in England, we face magic,
supernatural creatures, and those bound and unbound who oppose Him.”
“What exactly are
supernatural creatures?”
Scáth nodded, “I should be
very specific. There are creatures like
me who serve Him. There are other
creatures both made and created who do not.”
George leaned a little
toward her. Heidi did too. George said, “What are creatures made and
created?”
Scáth smiled, “A creature
created is like a dragon which is both immortal and bound. He created them. We still find some dragons here in Britain,
though there are few, and we have not seen one in a long time. We know they exist. A creature that is made is like me. I was made by an unbound goddess to serve
her.”
Leila half-stood, “Perhaps
that is enough about you, Scáth.”
Scáth stared her down, “I
did not say what I am, only that I am a creature made by an unbound goddess—an
unbound goddess like you.”
Leila sat, but she kept
her head high.
Scáth continued, “Of bound
and unbound, some goddesses and god exist who are not bound to a people or to a
land. They are not limited to a place,
and they are not immortal. They marry a
warrior and have children. Usually, they
pass their special skills to their children or certain children.”
George was pensive, “How
then are they a goddess or god if they are not immortal?”
Scáth smiled, “It is their
power to create miracles in the world.
Show them, mistress.”
Leila whispered intently,
“Is this really the time and place?”
Scáth didn’t look at her,
“There is no one around. It is
secluded. Only we are here. Call in the darkness.”
Leila acquiesced. She raised her hands and made a symbol. She said a few words of a language George
could not place. The darkness rose from
the shadows around them. It came from
the chill night. It moved from the
corners and quiet folds of the places untouched by light. She gathered it carefully in her hands. She caressed it with her fingers and formed
it like it was something whole and pure and perfect. Then she smiled and released it.
The darkness from Leila’s
fingers filled the room for an instant.
It was like a flash of darkness.
It flowed like water and brought warmth and sweetness. George could feel peace and taste the night
on his tongue. He felt warmth like a
blanket—like clean, warm sheets—like the touch of a lover. Then it was gone. They heard soft sounds from the other diners
and the waiters outside their private room.
Leila was exultant. Scáth’s face was radiant. Heidi’s mouth was open, and her eyes
closed. George turned his face to hide
his emotions.
Finally Heidi exclaimed, “That was beautiful. So wonderful.
The darkness is my home and my place.
For a moment, you made me feel as though the world was perfect for
me. You are the Goddess of Darkness, and
you will protect Mr. Mardling and me. We
accept your invitation to celebrate Christmas with Lord and Lady Hastings.”
The ladies and gentleman are dining at Les Deux Salons
which is an actual restaurant in London at the time and place of the
novel. The menu and wine list as well as
the descriptions are correct for this very real place.
The meal is real as can be depicted and the environment
is real, but this is obviously a reflective view and setting novel. Still, the point is to show how we use the
mundane in a novel to depict the entertaining.
This scene is entertaining to me.
I hope it is to most of my readers.
Even if you don’t like my style or my subject, I hope you can see the
point of the writing and the point of this exercise.
When this novel is published, I hope the future readers
will see the value in the reflection of the times and how a dinner or supper at
a restaurant went. Who knows how such a
meal might be in the future. I can
assure you, they were not exactly the same in the past. I’ve studied and written about meals in the
ancient world. There isn’t much data to
use in describing them, but I used historical sources and information from
similar cultures to piece together what likely happened. You can read these in my published novels, The Second Mission and Centurion.
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
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic
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