20 May 2020, Writing - part xx230 Writing a Novel, Protagonists Plots and Theme Byron Macintyre
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, Khione
Valeska: Enchantment and the Vampire, not published, George Mardling
Lilly: Enchantment and the Computer, not published, Lilly
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
Dana-ana: Enchantment and the Maiden, is currently not published. The protagonist is Byron Macintyre connected by the hip to Dana-ana, the protagonist’s helper. The Byron Macintyre and Dana-ana is another excellent example of how a protagonist defines the telic flaw, plot, and theme.
Dana-ana: Enchantment and the Maiden is about Dana-ana. Dana-ana is an exiled goddess. Since this is a discovery novel, who Dana-ana is, is a secret to be revealed. Dana-ana is a revelation novel and a mystery. The question and plot of the novel is, who is Dana-ana? The job of the protagonist is to discover this truth. …And there I revealed the telic flaw of the novel—who is Dana-ana?
Okay, that was simple, but more importantly is the character who is Dana-ana and the protagonist whose job is find out who is Dana-ana. Let me give you more about Dana-ana.
First, we meet her as an abused student in high school. She won’t speak. She wears the same clothes every day. She eats out of the thrash and is consistently bullied by the other students and the teachers. Someone might find this to be odd, especially the part about teachers. This is part of the mystery of Dana-ana.
Byron Macintyre is a transfer student into Dana-ana’s school. His father is a professor in a local university. For some reason, Byron Macintyre notes the abuse of Dana-ana and stops it. He observes the odd behavior of the teachers and students. There seems to be some kind of weird animosity against Dana-ana. Byron Macintyre brings Dana-ana home and that begins their relationship and the redemption of Dana-ana.
So, just who is Dana-ana. I will tell you because that’s what this blog is about, not spoilers but information. If the novel is published, please forget what you read here. Dana-ana is an Anglo-Saxon goddess. She allowed a terrible crime in Britain and was exiled to the USA as a punishment. She was cursed to live her life as an Anglo-Saxon maiden, actually a slave, but in the USA culture. Byron Macintyre discovers more and more about Dana-ana. This culminates in taking Dana-ana back to Britain and some pretty exciting actions and involvement with British gods and goddesses, plus magic. Now, about these characters.
I’ll mention Dana-ana and Byron Macintyre together because they are a complete pair. Dana-ana is a total hero. She is both independent and individualistic. Byron Macintyre is willing to be a hero, but he isn’t very independent or individualistic. Dana-ana carries the day and novel here. Part of the excitement in the novel is that Dana-ana literally comes close to giving her life for her friends and family.
Byron Macintyre comes from the common. Dana-ana is pathos developing. She has been brought to zero at the beginning of the novel. Dana-ana is striving for education. She takes paper and pencils from the garbage to learn. Byron Macintyre is a great student. Education is an important part of the novel.
The inner world of the protagonist is the novel. Both Byron and Dana-ana are seeking change and understanding. Obviously, there is a celebration and idealization of nature, beauty, imagination, women, children, and the rural. This is part of the nature of Dana-ana and the novel. Plus, obviously with a goddess, there must be the supernatural and mythological. Historical elements are also included.
The emphasis on individual experience of the sublime is of particular importance in the novel. While Byron seeks to know who Dana-ana is, Dana-ana seeks redemption from her curse and exile.
So, we know the telic flaw is who is Dana-ana. In addition, Dana-ana seeks relief from her curse. When Byron learns who Dana-ana is, the telic flaw of the novel becomes the relief of Dana-ana from her curse. As I noted, this is a discovery novel and this is the mystery of the novel. The plot moves from who is Dana-ana to the redemption of Dana-ana. Further, the theme is about redemption of punishment and the nature of crime itself. The crime Dana-ana allowed was terrible, but she also pays a terrible price for her sin.
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:
fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic