Writing - part xx045 Writing a Novel, Characters and Pathos, Created Worldview and God Machines

17 November 2019, Writing - part xx045 Writing a Novel, Characters and Pathos, Created Worldview and God Machines

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

The antagonist or less positively, the circumstances of the setting, produces suffering and misfortune in the protagonist and this results in pity and fear in the reader.  This is the formula for the development of pathos in any fictional work.

Overdramatic is hard to do, but perhaps it is possible.  The worst problem in most cases of melodrama is not any of these, but rather deus ex machina.

What we want to do, and what I attempt to do is produce pathos development that both men and women, boys and girls can appreciate because the desires and problems of the protagonist’s may not be their problems, but the readers can imagine the protagonist’s problems as their own.  For this reason, the reflected worldview provides some very powerful ammunition for the author.               

In my opinion, the created and the reflected worldview allows more room for the author to develop pathos.  Additionally, they allow the author more latitude to resolving the telic flaw. 

I think Anna MacCaffrey’s novel Dragonsong is a great example of a pathos building novel and protagonist, but I don’t think it is a very good example of a general good pathos building protagonist.  I think a novelist who presented the plot and protagonist of Dragonsong set in actual medieval Europe would end up with an unrealistic and not very pathos building character.  The reason is that part of the power of Dragonsong is the created worldview of the novel provides the setting that makes the protagonist’s pathos touching to most readers.

The problem with Dragonsong’s protagonist is that in the created worldview, she is living in a world and environment that presupposes a previous fully equitable environment which under survival needs became feudal and patriarchal.  In a might makes right society and culture, patriarchal means one is able to survive.  The created worldview of Dragonsong is not in any way a real worldview—it is a worldview we wish could really exist, but it is in no way real.  This is true of many science fiction (created) worldviews and novels, but this is what makes them very powerful.

The power of the created and the reflected worldview is the ability the author has to produce a plot, setting, and theme, that can express new, and I will write, specifically entertaining ways to present new ideas, many of which would be impossible in real life.  For example, vampires.

Vampires are from a reflected worldview.  There are no real vampires, but the vampire is a very interesting character to present in a novel.  The vampire is unusual and entertaining.  Unusual is on the way to entertaining because it provides an immediate gratification of the new.  In other words, readers get excited with a new idea.  As long as the vampire is a new idea, it will have some entertainment value just from being unusual.  There are other entertaining and exciting ideas that come out of vampires. 

I’m not suggesting you necessarily write about vampires.  I’ve placed a few here and there in my various novels.  The exciting thing about vampires is who they are.  They are creatures of darkness and night.  They can’t come out during the day.  These are classical vampires and not made up sparkly vampires.  Vampires drink blood to live.  If you get to know a vampire, what are they really like?  There is the real power of the reflected and created.  You readers want to know what a vampire is really like.  The power of your writing can bring this to your readers.  Readers actually want something a little different from the classic Dracula vampire. 

The classic Dracula vampire is pure evil, a creature with little mind than drinking and surviving.  We know this type of vampire is really just an animal—a pathos building character must be fully human and not an animal.

A human has feelings and emotions.  We imagine emotions and feelings in animals.  Such characteristics are fully human in a vampire—this is what your readers need and want.  They ask, what does this vampire feel?  What does it think? What does it do?

In my novels, I answer these questions and attempt to develop pathos building vampire characters.  I’ll explain.    

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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