15 June 2020, Writing - part xx256 Writing a Novel, How to Know You are Telling?
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.
So just what does it mean to show and not tell? This seems to be a very difficult question for new writers as well as a source of contention for experienced writers. It seems that many writers can’t agree or even concede on what showing vs. telling really means. Not to worry—I have the answer.
I realize that it seems difficult for new writers and some experienced writers but not professional fiction writers to tell when they are telling. I’ve never read a regularly published novel that was filled with telling. I’m sure there are, but a characteristic of good fiction is that it shows and doesn’t tell. A characteristic of bad fiction is that it tells and doesn’t show. You’ll see some odd telling here and there in professionally published “regularly” published fiction, but very little. As I noted, the problem is with those who are new or who haven’t figured out this writing thing yet. The question is how can you tell when you are telling?
I’d like to be able to write that if it isn’t seen, heard, smelled, tasted, of physically felt on the stage of the novel, then it is telling. This is a great rule and easy for me to apply, but I’m afraid many who have heard the rule: show and don’t tell, still don’t fully comprehend what it means. This is why I put together my list of “rules” concerning showing instead of telling. The list is topped by Show and don’t tell.
My plan is to go through this list and show indications in writing that there might be telling going on and not showing. These “rules” are also great for evaluating your general writing. They are indicators of telling, but they are also indicators of poor writing.
Let’s get down to tacks. Telling is not good writing. Showing is good writing. Telling is not entertaining. Showing is entertaining. Showing paints a picture. Telling list or indicates specific information. Showing is like a stage play. Telling is like a news report. Now, here is a fun thing. I advocate including letters, telegrams, news reports, and all in your fiction. This gives a great latitude to your writing. Revealing a letter is showing, but is a different type of showing. Likewise a telegram. Both the letter and the telegram are items your readers will want to see. I had an astute reader want to see a letter I merely mentioned in the novel. I just mentioned the contents—this is a technique used in writing a lot, but I can assure you, if you can show the letter, show the letter, and you can always show the letter.
A news report is something a little different. I ended my novel Escape from Freedom with a news report of my characters. I thought it was a great way to end this novel. On the other hand, my prepublication reader wanted more. She wasn’t as enamored with the ending as I was. I was showing a news story, actually describing it as at event from the eyes of those who saw it instead of the point of view of the protagonist and the protagonist’s helper. I certainly liked this ending. The novel isn’t published yet and the ending won’t matter in its publication. A content editor might want a change, but then again they might not.
The point is this. Reporting a journal entry, letter, news story, telegram, and all are just means of showing in the context of a novel. They become telling when they aren’t set apart from the novel and are part of the novel. Show and don’t tell. I’ll move to the next rule: omniscient voice is poop.
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