11 June 2020, Writing - part xx252 Writing a Novel, Show Don’t Tell
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.
I’ve worked through creativity and the protagonist. The ultimate point is that if you properly develop your protagonist, you have created your novel. I should move back to the initial scene, but I’ve been writing about showing and not telling in my short form blog, and I want to expand that out a bit in this blog. Let’s move on to perhaps the most important feature of the novel: showing and not telling.
Novelists are not storytellers. Novelists are story-showers. I hope you have heard the fiction writer’s adage: show and don’t tell. This is the most important aspect of the internal construction of the novel.
I will reveal that in reviewing a recent self-published author’s book, I was compelled by the wholesale telling in the book, I can’t call it a novel, that I had to address each area where the author failed to show. That’s where I came up with the following list:
Show and don’t tell.
Omniscient voice is poop.
Only write what the characters saw, tasted, felt, smelled, heard, said, or any action.
Identity is a problem.
It’s all about dialog.
Perfect tense can be a problem.
It’s all about the senses.
Don’t be boring.
Eating is living and dialog.
Creativity and senses.
Start with scene setting.
Make it sense setting.
I thought about how to prove you should show and not tell, but I’m not sure that is very easy to do. I could point to every regularly published novel in the world since the true beginnings in the Victorian Era. The first novel in English is usually identified as Robinson Caruso by Daniel Defoe, but novels really didn’t hit their stride until the Nineteenth Century. You really need to read all of these—that’s why they are classics. The novel, as I already wrote, really didn’t get into its full stride until the Victorian Era with Dickens and all the many Lady writers. The huge change was the wholesale movement to third person, past tense, in a showing style. These novels still included too much omniscient voice and too much telling for the modern ear, but they were all moving toward showing and away from telling.
The modern novel in the beginning of the Twentieth Century began the revitalization of the Romantic and the full extent of showing. Thus in modern novels you will find them to be nearly 99 percent showing and very little telling. The little telling you find in modern novels is usually not in omniscient voice or limited omniscient voice. Just read them and you can tell what I mean.
If you are interested in telling, you need to look at writers who self-publish. Now, you will see some novels that at self-published that are all about showing, but unfortunately one of the major characteristics that make most novelists unpublishable isn’t a bad plot, bad characters, or poor writing, but rather telling instead of showing. I will write that showing will take poor plots, poor characters, and poor writing and make it potentially shine, but that may be taking it too far. Let’s just say, if you aren’t showing and not telling, you will never get a novel published by a regular publishing house, and you will never have a best seller. Even great writers who know how to show, and who produce amazing novels don’t necessary have the entertainment value that makes them best sellers. There is a lot to writing—showing is one of the most important attributes beyond basic writing.
So to see the bad examples, you need to read some self-published stuff, or you need to review novels by the self-published. As a regularly published author, I would do this all the time—trade reviews with writers both professionally published and self-published. This is how I have seen so many poorly written novels. As I noted, the reason I decided to write some more about showing was the very poorly written book, I can’t call it a novel, I was asked to review.
Good examples of showing are all around you in published novels especially novels from the early and late Twentieth Century. There are all kinds and nearly every regularly published novel that you pick up at least between 1900 and 2000 will give you a good example of showing. My favorites are Jack Vance, Robert Heinlein, Frank Herbert, Anna McCaffrey, Forester, just to name a few. Notice these are science fiction authors. I’ll add my novels, if you can find them.
In any case, showing is the way to go and that’s what I’m going to show you.
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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