15 May 2020, Writing - part xx225 Writing a Novel, Protagonists Plots and Theme Scott Phillips
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.
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
Ideas. We need ideas. Ideas allow us to figure out the protagonist and the telic flaw. Ideas don’t come fully armed from the mind of Zeus. We need to cultivate ideas.
1. Read novels.
2. Fill your mind with good stuff—basically the stuff you want to write about.
3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
6. Make the catharsis.
The development of ideas is based on study and research, but it is also based on creativity. Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form. It is a reflection of something new created with ties to the history, science, and logic (the intellect). Creativity requires consuming, thinking, and producing.
If we have filled our mind with all kinds of information and ideas, we are ready to become creative. Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form. Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.
So, modern characters must look like the reader’s impression of the protagonist. This is an interesting problem as culture and society change as does the impression of the readers.
Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):
1. Hero, independent, and individualistic – characters who truly risk their lives for others.
2. From the common ilk – as opposed to the nobility and wealth.
3. Educated – both seeking education and study and loving to read and learn.
4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
6. Rejection of industrialization and social convention – from urban to rural.
7. Idealization of woman, children, and rural life.
8. Inclusion of supernatural or mythological elements.
9. Inclusion of historical elements.
10. Frequent use of personification.
11. Emphasis on individual experience of the sublime.
12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
13. The readers agree with the mind (thoughts and decisions) of the protagonist
I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.
My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist. Every great protagonist comes with his or her own telic flaw.
Yesterday, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective. I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel. In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation. Azure Rose came with a plot and a theme. I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more. Here is a list of my completed novels and protagonists:
A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke
The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg
The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark
Antebellum, not published, Heather Sybil Roberts
Aegypt, published, Paul Bolong
Centurion, published, Centurion Abenadar
Athelstan Cying, not published, Den Protania
Twilight Lamb, not published, Den Protania
Regia Anglorum, not published, Nikita Protania
The Second Mission, published, Alan Fisher
Sister of Light, not published, Leora Bolang
Hestia: Enchantment of the Hearth, not published, Angela Matheson
Sister of Darkness, not published, Leora Bolang
Shadow of Darkness, not published, Lumière Bolang
Shadow of Light, not published, Lumière Bolang
Children of Light and Darkness, not published, Kathrin McClellan
Warrior of Light, not published, David Long
Shadowed Vale, not published, Nikita Protania
Warrior of Darkness, not published, Klava Calloway
Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre
Aksinya: Enchantment and the Daemon, not published, Aksinya
Khione: Enchantment and the Fox, not published, Pearce Wimund
Valeska: Enchantment and the Vampire, not published, George Mardling
Lilly: Enchantment and the Computer, not published, Dane Vale
Escape from Freedom, not published, Scott Phillips
Essie: Enchantment and the Aos Si, not published, Essie
Sorcha: Enchantment and the Curse, not published, Shiggy
Deirdre: Enchantment and the School, not published, Deirdre Calloway
Blue Rose: Enchantment and the Detective, not published, Azure Rose
Escape from Freedom, is currently not published. The protagonist is Scott Phillips. The protagonist’s helper is Reb. Let’s look at Scott and see how the development of the protagonist resulted in a telic flaw, a plot, and a theme.
I had the idea for Escape from Freedom while flying in the Mediterranean for work. I thought about the many islands in the sea and wondered what would happen if a person, for example, crash landed on Cuba, but on a foreign version much worse than Cuba. I came up with the island of Freedom as the setting and began to develop my characters for it.
Scott Phillips is a pilot from one of the very prosperous, capitalistic, and free nations in his world. His world happens to be a colony of the earth. On this colony the nations were formed on large islands. One of the islands, named Freedom happened to decide on a completely socialist/communist government and society. The current nation of Freedom is the result. I won’t describe Freedom much only to say it is a horrible place like the Soviet Union, Communist China, and Cuba all rolled into one. It’s pretty much like the world of 1984.
Scott Phillips is a cargo pilot piloting a heavy lifting cargo ship over his world. He’s supposed to give wide berth to Freedom, but to save time, he illegally cuts across the island. The end result is that he makes an emergency landing on the island. There he meets, Reb. Reb or really V10+S10537 Rebecka, has remarkable scent and visual sensitivity that makes her a technological scientist of great importance to the nation of Freedom. She is also a person longing for freedom, not the nation, but the state. She rescues Scott Phillips from capture by the Armed Citizens and the Party officials and hides him while he gains understanding about the nation.
In reality, in the novel, the reflection of Scott against Reb is an important point in the novel. Although Scott Phillips is the protagonist, Reb is the real character of interest who helps Scott understand the world of Freedom while seeking freedom herself. I’ll look at these characters together, because they were developed together.
Scott is a real hero, but he is a flawed hero. He doesn’t see Reb as a real human at first. He is your typical independent and individualistic protagonist, but so is Reb. Reb more so since she is an abnormality in her society. Reb and Scott both come from the common, but Scott is more common than Reb. Reb was specially breed to be the human she is and as an uncommon but common citizen of Freedom, she gets special privileges due to her training and skills. They are both educated, but educated in different ways. Reb has just enough education to provide her services, while Scott has a more general education that allows him to see the world from a broader standpoint. In this way, he helps Reb to learn.
The novel is entirely a showing of the inner world of the protagonist and the protagonist’s helper without telling or going into their minds. Freedom is truly a horrific place. Much of the novel takes place outside the urban capital and in the rural parts of the island. Definitely, the comparison of beauty, nature, and the imagination clash in this novel. Freedom as a nation is all about trying to achieve industrialization on the backs of the citizens. Reb’s personal revolt and Scott’s fight for freedom illustrate this more than anything. Idealization isn’t so much the point as the lack of freedom caused by socialism and its negative effects on everyone and everything.
This novel is very much unlike many of my other novels. It does include a strong portion of Christianity as an opposite to the nonreligion of Freedom. If you call this supernatural or mythical, there it is. I don’t. There are no historical elements at all. Personification is all there, but the focus of the novel is freedom for Scott and redemption and freedom for Reb.
There is your telic flaw. Scott wants to escape from Freedom and so does Reb. For Scott is it a return to his usual life. For Reb it is a redemption from complete oppression. The plot comes directly out of this. The plot is their escape from Freedom. In the theme, the characters are both trying to escape form the oppression of Freedom in every way.
I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character. This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.
Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.
The beginning of creativity is study and effort. We can use this to extrapolate to creativity. In addition, we need to look at recording ideas and working with ideas.
For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
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