Writing - part xx039 Writing a Novel, Characters and Pathos, Mini Tragedy

11 November 2019, Writing - part xx039 Writing a Novel, Characters and Pathos, Mini Tragedy

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

Perhaps I should go back and look again at the initial scene—maybe, I’ll cover that again as part of looking at the rising action.  The reason is that I’m writing a rising action in a novel right now.

That gets us back to the protagonist—complexity makes the protagonist and the telic flaw one and the same. 

The novel is a revelation of the protagonist.  The telic flaw is connected directly to the protagonist.  The plot is the revelation of the telic flaw.  This connects the protagonist to the plot and the telic flaw.  The point is that to plan a novel, I simply need to plan the revelation of the protagonist.  To accomplish this, you need to develop a protagonist.

When I write you develop your protagonist, you write notes about:

1.     Name

2.     Background

3.     Education

4.     Appearance

5.     Work

6.     Wealth

7.     Skills

8.     Mind

9.     Likes

10.  Dislikes

11.  Opinions

12.  Honor

13.  Life

14.  Thoughts

15.  Telic flaw

I design a protagonist around the initial scene.  This is the way I write a novel.  This isn’t the only way to write a novel, but it is the way I have discovered to write well-conceived and powerful novels.  This goes back to the initial scene. 

Above, I gave you four options for developing the initial scene.  Yesterday, I told you to take two off.  Authors have used three and four, but they don’t produce the kinds of exciting initial scenes we want.  Here’s the list again.

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

Let’s plan to put one and two together.  Let’s also focus on the other characteristics of the initial scene.  Notice that first, the initial scene must include the protagonist.  This should be obvious, but let’s go down the list.  I’m looking at background and pathos.

Looking at the classic pathos developing scene from A Little Princess, the emotions of the characters are not very strong, but the reader is significantly affected by the circumstances and situation.  How can this be?  More specifically, what are the characteristics of a scene or of a characters that builds pathos?

A character is pathos building who through no fault of their own is:

1.     hungry

2.     sad

3.     abused

4.     an orphan

5.     penniless

6.     abandoned

7.     cold

8.     injured

9.     falsely convicted or accused

10.  desiring for information

11.  education

12.  to read

13.  a child

14.  a female

15.  beauty

16.  loss of a child

17.  general loss

18.  friendless

19.  alone

20.  afraid

21.  helpless

22.  isolated

As I wrote tragedy develops pity and fear.  You can also start with characteristics that develop pathos.  In fact, I recommend this approach whenever it fits your novel and the characters.  Unfortunately, your characters, by themselves, often can’t be made to develop pathos.  The option then is tragedy.

I don’t mean you have to start writing tragedies, but you can develop miniature tragedies.  Remember back to scene development.  Scenes are miniature novels—in some ways.  They are driven by tension and release.  If the tension and the release happen to be a miniature tragedy, you can use that to develop pathos.  Miniature tragedies in the scenes and plot can build the pity and fear of pathos.

So, how do we achieve this?  You don’t have to kill anyone, but you need to set up a situation that creates pity and fear.  Pity is “the feeling of sorrow and compassion caused by the suffering and misfortunes of others.” 

This makes writing pathos easy.  All I need to do is create suffering and misfortune in a scene or as part of the plot.  Remember, this suffering and misfortune is best not the fault of the protagonist or the character you want to develop pathos in.  If the suffering and misfortune is the fault of the character, this defeats all the chance of pathos.  If it is the fault of the character, then the suffering and misfortune is deserved—there is no pathos to be mined in that situation. 

Even in the Greek tragedies, the fault was not the protagonist, it was fate.  The protagonist happened to be along for the ride.  The fact that the suffering and misfortune was not the fault of the protagonist made it pity and fear and pathos building.  Now, in modern writing, fate is usually not the antagonist.  In modern writing, the antagonist is usually the one who is at fault in causing the suffering and misfortune of the protagonist. 

Here we are.  We need to have the antagonist cause the suffering and misfortune of the protagonist.  This is how novels work.  How do we do this?

That’s what writing is all about, but I can throw you some ideas.  Ultimately, the protagonist must resolve the telic flaw of the novel.  The antagonist opposes the resolution of the telic flaw.  Thus, the antagonist’s purpose is to oppose this resolution and to cause suffering and misfortune for the protagonist. 

In a detective novel, the antagonist is usually the criminal.  The protagonist is usually the detective.  The criminal caused the crime, which is the telic flaw the protagonist must resolve.  In the real world, the criminal is usually too stupid to do anything other than wait to get caught.  That is reality.  Novels are not reality.  In novels, the criminal is usually actively opposing the protagonist—that’s the power of the interaction of the telic flaw and the novel with the protagonist and the antagonist. 

Thus, in a detective novel, the antagonist actively tries to keep the protagonist from solving the crime.  This might be as simple as an attack or as complex as infiltrating the police department and stealing evidence.  The author creates the plot and scenes of the novel.  Can you imagine the suffering and misfortune if the antagonist can steal the evidence from the case at hand?  Can you imagine the pathos that is developed in the reader in such a case? 

The point is that the antagonist produces suffering and misfortune in the protagonist and this results in pity and fear in the reader.

We can look in more detail at this type of pathos development from the background and pathos characteristics.                

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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