Writing - part xx064 Writing a Novel, Characters and Pathos, Secrets as Chekov’s Guns

6 December 2019, Writing - part xx064 Writing a Novel, Characters and Pathos, Secrets as Chekov’s Guns

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 pathos and secrets.

Secrets are the building blocks of novels.  This is true of all novels.  First, all novels are a revelation of the protagonist.  This is the basic feature of all novels.  A revelation presumes there is a secret to be revealed, and this is so.  The protagonist is an unknown until revealed in the novel.  Thus all novels are a revelation of the secrets of the protagonist.  This is also true of the plot.

How do you develop secrets which you plan to reveal in a novel?  In the first place, you really need to think about revelation, secrets, and when you intend to reveal them in the novel.  The revelation of secrets is to readers, individuals, groups, or universal.

In novels all the elements of the novel start as setting elements.  Secrets are the same.  Just as I introduce any other setting element such as a pistol, the setting element takes on a role in the novel. 

As Chekov would say—the only reason an author introduces a secret is to use it.  Just as Chekov expressed—if the author introduces a pistol in the first act (of a play), someone needs to fire it in the second.   

Secrets may start as setting elements, but we know they must be creative elements, plot elements, and Chekov’s Guns.  What is the difference and what does it mean?

A creative element is simply something that a character uses.  A pistol in a setting is a setting elements until a character picks it up.  The reason for picking up the pistol can be multivariate.  It could be to shoot another character or himself.  It could be to clean it, check it, touch it, look at it, practice with it, and all.  The reasons and the usage are as varied as the novel and the author.  For all we know, the character could pick it up to use the grip as a hammer and shoot himself in the process. 

Creative elements should be used to create tension in a scene.  A pistol gives you this tension automatically.  For example, if I place a pistol in the setting, the readers automatically might be alarmed.  They are thinking why is that pistol there?  What might someone do with it?  What could happen?  When a character picks up the pistol, their tension might be relieved or increase.  That depends on the character and the situation.  If it an argument and one of the arguers picks up the pistol, that builds tension.  On the other hand if a mature person places the pistol in their pocket that might relieve the tension.  Creative elements develop tension in a scene, but what about for the novel?

If the creative element has something to do with the telic flaw or the telic flaw resolution of the novel, it is a plot element.  Now, I will write, if a creative element has nothing to do with the resolution of the plot, don’t even introduce it as a setting element, but I’m a purest.  In my books, literally, every creative element I introduce has something to do with the resolution of the telic flaw.  The connection might be tenuous, but it exists. 

The connection from a creative element to the plot resolution doesn’t have to be enormous.  For example, a lady takes out her handkerchief to daub the tears on her cheeks.  The handkerchief might appear to have no direct connection to the telic flaw resolution, but from an author’s standpoint, the use of the handkerchief points to the fact the lady is upset to the point of tears or fake tears.  The reason she is upset is somehow related to the telic flaw of the novel.  You don’t just put in an emotional response for no reason.  If you didn’t know this or forgot this, let me remind you—everything in a novel should point to the telic flaw, either the resolution or the flaw itself.  Further, everything I introduce as a setting element and I turn into a creative element becomes a plot element and a Chekov’s Gun.

In fact, the fact an item is a creative element (used in some way by a character) makes it a Chekov’s Gun.  The issue from an author’s standpoint is the use of the item and perhaps the realization of the item.  There is more.

Let’s continue to look at the secret as a plot element, creative element, and Chekov’s Gun.

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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