Writing - part xx236 Writing a Novel, Protagonists Plots and Theme more Lumière Bolang

26 May 2020, Writing - part xx236 Writing a Novel, Protagonists Plots and Theme more Lumière Bolang

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 21^st 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

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.

4.     Study.

5.     Teach. 

6.     Make the catharsis. 

7.     Write.

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, Daniel 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

Shadow of Darkness and Shadow of Light, are currently not published.  The protagonist of both of these novels is Lumière Bolang.  These novels are the forth and fifth novels in the Ancient Light novels.  Lumière Bolang is another excellent example of how a protagonist defines the telic flaw, plot, and theme.  Since she is the protagonist in two of my novels, she makes a great source for how the same protagonist can make two very different novels.

Shadow of Light is a spy thriller romance novel with a supernatural twist at the end.  Lumière Bolang is not a completely different character at the beginning of Shadow of Light, but she is a very different person that the one in the beginning of Shadow of Darkness.  In the first place, we find Lumière Bolang in the USA an escapee from Soviet Russia and at odds with the US Government, but not with the British Government.  In fact, Lumière Bolang has pushed away the love of her life and he has gone to the Americans, while she is hired by the Brits. 

Lumière Bolang becomes a share in the British Foreign Office from the Organization.  From before, the unmet telic flaw for Lumière Bolang is to find and destroy Leila.  This is what she intended to do at the beginning of Shadow of Darkness, but she was thwarted in this goal.  Thus, at the beginning of Shadow of Light she is seeking a means to get to China and to Leila.  Oh, I should have mentioned, Lumière Bolang determined at the end of Shadow of Darkness that Leila had moved on to communist China and Mao.  She had tracked the evil activities of Leila through Stalin and then to Mao.  Lumière Bolang joins the British Foreign Office as a secretary for the Government Secretary to the Chinese.  This follows the history of the times perfectly just like the novels before it.

So let’s look at Lumière Bolang now.  She is definitely a hero, but a coward in love.  She chases her love interest, Alexandre away and is chasing him.  In the previous novel, he was chasing her.  A little love interest is great in any adult novel.  She is definitely still independent and individualistic.  Part of her problem is that she is too independent and individualistic—she needs friends and a lover.  The concept of Lumière Bolang as from the common continues.  She is back to a zero.  At the end of Shadow of Darkness she was the head of a Soviet KGB Agency.  Now she is a secretary and share in the British Foreign Office.  She is educated and her new education comes in being a spy.  The idea of Lumière Bolang being a spy for the British is part of the mystery and spy thriller of the novel. 

This novel is all about the inner world of the protagonist.  Lumière Bolang has numerous demons and problems to resolve to achieve her goal.  Ultimately, Lumière Bolang’s goal may not match the British Government’s goals—this is a huge problem in the novel.  The celebration of nature, beauty, and imagination is not connected to the rural, but there is plenty of rural and ancient Chinese culture as well as Soviet and communist Chinese issues and settings.  Lumière Bolang herself makes the novel a celebration of women, but not children or rural life.

If you remember, Lumière Bolang is the Goddess of Light—or is she.  She might be a Goddess of Darkness.  She is seeking, Leila, the Goddess of Darkness and a very evil being.  There is your supernatural and mythological elements.  History plays a huge part in the novel.  In fact, anyone reading the novel will learn a great deal about the times history and China.

The individual experience of the sublime comes from Lumière Bolang’s need to find her love and herself as well as ending the evil of Leila, the being who tortured, tormented, abused, and kidnapped Lumière Bolang.  So, there is the entire novel in the character, protagonist, Lumière Bolang.

The telic flaw is that Lumière Bolang needs to find Leila and destroy her.  This is the plot, and there is much more in the plot with Lumière Bolang, Alexandre, the Soviets, and the communist Chinese.  The theme is about revenge, redemption, and love.  Don’t you just love love.

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.    

    

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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