23 May 2021, Writing - part xx597 Writing a Novel, Plots and Classics, Fyodor Dostoyevsky
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.
|
|
|
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 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.
For Novel 32: Shiggy
Tash finds a lost girl in the isolated Scottish safe house her organization
gives her for her latest assignment: Rose Craigie has nothing, is alone, and
needs someone or something to rescue and acknowledge her as a human being.
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.
I’ve worked through creativity and the protagonist. The ultimate point is that if you properly
develop your protagonist, you have created your novel. This moves us on to plots and initial
scenes. As I noted, if you have a
protagonist, you have a novel. The
reason is that a protagonist comes with a telic flaw, and a telic flaw provides
a plot and theme. If you have a
protagonist, that gives you a telic flaw, a plot, and a theme. I will also argue this gives you an initial
scene as well.
So, we worked extensively on the protagonist. I gave you many examples great, bad, and
average. Most of these were from
classics, but I also used my own novels and protagonists as examples. Here’s my plan.
1.
The protagonist comes with a telic
flaw – the telic flaw isn’t necessarily a flaw in the protagonist, but rather a
flaw in the world of the protagonist that only the Romantic protagonist can
resolve.
2.
The telic
flaw determines the plot.
3. The telic flaw determines the theme.
4. The telic flaw and the protagonist determines the initial
scene.
5. The protagonist and the telic flaw determines the initial
setting.
6. Plot examples from great classic plots.
7. Plot examples from mediocre classic plots.
8. Plot examples from my novels.
9. Creativity and the telic flaw and plots.
10.
Writer’s block as a problem of continuing
the plot.
Every great or good protagonist comes with their own telic
flaw. I showed how this worked with my
own writing and novels. Let’s go over it
in terms of the plot.
This is all about the telic flaw. Every protagonist and every novel must come
with a telic flaw. They are the same telic
flaw. That telic flaw can be external,
internal or both.
We found that a self-discovery telic flaw or a personal
success telic flaw can potentially take a generic plot. We should be able to get an idea for the plot
purely from the protagonist, telic flaw and setting. All of these are interlaced and bring us our
plot.
For a great plot, the resolution of the telic flaw has to be
a surprise to the protagonist and to the reader. This is both the measure and the goal. As I noted before, for a great plot, the
author needs to make the telic flaw resolution appear to be impossible, but
then it happens. There is much more to
this.
Here is our list of 112 classics. I told you this is a compilation of lists
from various sources. These are all true
classics in most every genre of literature.
What I’m going to do now is look at the list and evaluate if they
include a Romantic protagonist or a Romantic plot. Second, I’m going to mark those that are true
classic novels with an asterisk.
27 Crime and Punishment - Fyodor Dostoyevsky – No Romantic protagonist or
Romantic plot.
28 Grapes of Wrath - John Steinbeck – No Romantic protagonist or Romantic
plot.
61 Of Mice and Men - John Steinbeck – No Romantic protagonist or Romantic
plot.
*29 Alice in Wonderland - Lewis Carroll – No Romantic protagonist and
somewhat Romantic plot.
*30 The Wind in the Willows - Kenneth Grahame – No Romantic protagonist or
Romantic plot.
*33 Chronicles of Narnia - CS Lewis –Romantic protagonist and Romantic plot.
43 Til We All Have Faces – C.S. Lewis – No Romantic protagonist or Romantic
plot.
*37 The Tale of Genji - Murasaki Shikibu – No Romantic protagonist or Romantic plot.
*38 The House of Seven Gables - Nathaniel Hawthorne – No Romantic
protagonist and somewhat Romantic plot.
*39 The Scarlet Letter - Nathaniel Hawthorne – Somewhat Romantic
protagonist and Romantic plot.
*40 Winnie the Pooh - AA Milne – No Romantic protagonist or Romantic plot.
*42 Dracula – Bram Stoker – No Romantic protagonist and a Romantic plot.
44 Le Morte D'Arthur - Thomas Malory – No Romantic protagonist or Romantic
plot.
45 The Woman in White - Wilkie Collins – No Romantic protagonist and
somewhat Romantic plot.
*63 The Moonstone - Wilkie Collins – No Romantic protagonist or Romantic
plot.
46 Anne of Green Gables - LM Montgomery –Romantic protagonist but no
Romantic plot.
*48 Ivanhoe – Sir Walter Scott –Romantic protagonist and Romantic plot.
49 Lord of the Flies - William Golding – No Romantic protagonist or Romantic
plot.
51 What Katy Did - Sarah Chauncey Woolsey under her pen name Susan Coolidge
– Romantic protagonist and Romantic plot.
*52 A Little Princess - Frances Hodgson Burnett – Somewhat Romantic
protagonist and somewhat Romantic plot.
53 The Secret Garden - Frances Hodgson Burnett – No Romantic
protagonist and somewhat Romantic plot.
*56 Kim - Rudyard Kipling – Romantic protagonist and somewhat Romantic plot.
58 Brave New World - Aldous Huxley – No Romantic protagonist or Romantic
plot.
62 Lolita - Vladimir Nabokov – No Romantic protagonist or Romantic plot.
64 The Maltese Falcon - Dashiell Hammett – Somewhat Romantic protagonist and
somewhat Romantic plot.
*65 Count of Monte Cristo - Alexandre Dumas – Romantic protagonist and
somewhat Romantic plot.
*97 The Three Musketeers - Alexandre Dumas – Romantic protagonist and
Romantic plot.
66 As I Lay Dying - William Faulkner – No Romantic protagonist or Romantic plot.
*68 Robinson Caruso – Daniel Defoe – No Romantic protagonist or Romantic
plot.
*69 The Red Badge of Courage - Stephen Crane – Somewhat Romantic protagonist
and somewhat Romantic plot.
*70 Moby Dick - Herman Melville – No Romantic protagonist or Romantic plot.
*72 Don Quixote - Miguel De Cervantes – No Romantic protagonist or Romantic
plot.
*73 Heidi – Johanna Spyri – Romantic protagonist and Romantic plot.
*74 Hans Brinker - Mary Mapes Dodge – Romantic protagonist and Romantic
plot.
75Ulysses - James Joyce – No Romantic protagonist or Romantic plot.
77 The Big Sky Country – Arlo Guthrie
– Somewhat Romantic protagonist and Romantic plot.
78 Germinal - Emile Zola – No Romantic protagonist or Romantic plot.
79 Vanity Fair - William Makepeace Thackeray – No Romantic protagonist or
Romantic plot.
*80 The Black Arrow - Robert Louis Stevenson – Romantic protagonist and
Romantic plot.
*82 Treasure Island - Robert Louis Stevenson – Somewhat Romantic protagonist
and Romantic plot.
85 Madame Bovary - Gustave Flaubert – No Romantic protagonist or Romantic
plot.
86 For Whom the Bell Tolls – Ernest Hemmingway – No Romantic protagonist or
Romantic plot.
*87 Tarzan – Edger Rice Burroughs – Romantic protagonist and Romantic plot.
91 Heart of Darkness - Joseph Conrad – Somewhat Romantic protagonist and no
Romantic plot.
92 The Little Prince - Antoine De Saint-Exupery – Somewhat Romantic
protagonist and no Romantic plot.
*93 Huckleberry Fin – Mark Twain – Romantic protagonist and Romantic plot.
94 Watership Down - Richard Adams – Romantic protagonist and Romantic plot.
*95 Gulliver’s Travels - Jonathan Swift – No Romantic protagonist or
Romantic plot.
*96 Matilda – Roald Dahl – Romantic protagonist and Romantic plot.
99 Charlie and the Chocolate Factory - Roald Dahl – Romantic protagonist and Romantic plot.
*100 Les Miserables - Victor Hugo –
Romantic protagonist and Romantic plot.
*101 The Once and Future King – T.H. White – Somewhat Romantic protagonist
and Romantic plot.
*102 The Deerslayer – James Fenimore Cooper – Romantic protagonist and
Romantic plot.
104 Ben Hur – Lew Wallace – Romantic
protagonist and Romantic plot.
105 The Robe – Lloyd C. Douglas –
Romantic protagonist and Romantic plot.
106 The Pilgrim’s Progress – John Bunyan – No Romantic protagonist or Romantic
plot.
*109 The Call of the Wild – Jack London –
Romantic protagonist and Romantic plot.
*110 Stand on Zanzibar – John Brunner – No Romantic protagonist or Romantic
plot.
*111 The Shockwave Rider – John Brunner –
Romantic protagonist and Romantic plot.
I evaluated the list of plots and categorized them according
to the following scale:
Overall (o) – These are the three overall plots we defined above:
redemption, achievement, and revelation.
Achievement (a) – There are plots that fall under the idea of the
achievement plot.
Quality (q)
– These are plots based on a personal or character quality.
Setting (s)
– These are plots based on a setting.
Item (i)
– These are plots based on an item.
I looked at each novel and pulled out the plot types, the telic flaw,
plotline, and the theme of the novel. I didn’t make a list of the themes,
but we identified the telic flaw as internal and external and by plot
type. This generally gives the plotline.
Overall (o)
1. Redemption (o) – 17i, 7e, 23ei, 8 – 49%
2. Revelation (o) –2e, 64, 1i – 60%
3. Achievement (o) – 16e, 19ei, 4i, 43 – 73%
Achievement (a)
1. Detective or mystery (a) – 56, 1e – 51%
2. Revenge or vengeance (a) –3ie, 3e, 45 – 46%
3. Zero to hero (a) – 29 – 26%
4. Romance (a) –1ie, 41 – 37%
5. Coming of age (a) –1ei, 25 – 23%
6. Progress of technology (a) – 6 – 5%
7. Discovery (a) – 3ie, 57 – 54%
8. Money (a) – 2e, 26 – 25%
9. Spoiled child (a) – 7 – 6%
10. Legal (a) – 5 – 4%
11. Adultery (qa) – 18 – 16%
12. Self-discovery (a) – 3i, 12 – 13%
13. Guilt or Crime (a) – 32 – 29%
14. Proselytizing (a) – 4 – 4%
15. Reason (a) – 10, 1ie – 10%
16. Escape (a) – 1ie, 23 – 21%
17. Knowledge or Skill (a) – 26 – 23%
18. Secrets (a) – 21 – 19%
Quality (q)
1. Messiah (q) – 10 – 9%
2. Adultery (qa) – 18 – 16%
3. Rejected love (rejection) (q) – 1ei, 21 –
20%
4. Miscommunication (q) – 8 – 7%
5. Love triangle (q) – 14 – 12%
6. Betrayal (q) – 1i, 1ie, 46 – 43%
7. Blood will out or fate (q) –1i, 1e, 26 – 25%
8. Psychological (q) –1i, 45 – 41%
9. Magic (q) – 8 – 7%
10. Mistaken identity (q) – 18 – 16%
11. Illness (q) – 1e, 19 – 18%
12. Anti-hero (q) – 6 – 5%
13. Immorality (q) – 3i, 8 – 10%
14. Satire (q) – 10 – 9%
15. Camaraderie (q) – 19 – 17%
16. Curse (q) – 4 – 4%
17. Insanity (q) – 8 – 7%
18. Mentor (q) – 12 – 11%
Setting (s)
1. End of the World (s) – 3 – 3%
2. War (s) – 20 – 18%
3. Anti-war (s) –2 – 2%
4. Travel (s) –1e, 62 – 56%
5. Totalitarian (s) – 1e, 8 – 8%
6. Horror (s) – 15 – 13%
7. Children (s) – 24 – 21%
8. Historical (s) – 19 – 17%
9. School (s) – 11 – 10%
10. Parallel (s) – 4 – 4%
11. Allegory (s) – 10 – 9%
12. Fantasy world (s) – 5 – 4%
13. Prison (s) – 2 – 2%
Item (i)
1. Article (i) – 1e, 46 – 42%
I’d like to willow down the list of classics to some true
entertaining classics. We’ll then look
at these in more details.
Let’s do a little comparison between these classic works and
evaluate them. Here is how we will
evaluate them:
1.
Are they entertaining?
2. Would you read it again?
3. How’s the protagonist?
4. How’s the plot?
5. How does it relate to actual human values and life?
6. Did the author write in a way that makes this work truly
unique?
7.
Is this work important to humanity
and to the future?
If you remember the British Broadcasting Corporation loves
Russians and communists, then you know why they included Dostoyevsky. Now, I’ll give you there are potential
reasons to include Dostoyevsky and specifically Crime and Punishment on
the list of classics, but in my opinion, I don’t think it is a good example of
a true classic.
27 Crime and Punishment - Fyodor Dostoyevsky – No Romantic protagonist or
Romantic plot.
Crime and Punishment
is about a poor atheist middle class student who is surprised that he has zero
morals and commits larceny then two murders when he is caught. The rest of the novel is about his wimpy
guilt as dithering police and others slowly figure out the student is the murderer. Eventually, he confesses and in spite of
committing first degree murder in pursuit of a crime, he is given a typical
middle class sentence and eventually gets out of jail.
There is no redemption in this novel. There is no change of heart. There is no real punishment. The murderer effectively gets away with his
crime and two women are dead. We’ll see
what the overall problems with this novel are all about.
Let’s evaluate this novel according to the criteria.
1. Are they entertaining?
2. Would you read it again?
3. How many movies/plays are there of the novel?
4. How’s the protagonist?
5. How’s the plot?
6. How does it relate to actual human values and life?
7. Did the author write in a way that makes this work truly
unique?
8.
Is this work important to humanity
and to the future?
Crime and Punishment
is a punishment to read. The novel makes
almost zero sense, and it is about people who make no sense. There are some important concepts in it, but
those concepts are generally missed by the readers.
I’ve read it more than once and once was enough.
Crime and Punishment
at least can be made into a movie unlike most Russian soap operas. The movie versions aren’t anymore worthwhile
and none of them are entertaining. I
just can’t get into murder and the pardon of murder.
The protagonist of Crime and Punishment is a spoiled
middle-class student whom we are supposed to feel sorry for. He is not from the common. If you remember, the time of this novel is
Victorian Era. The middle-class in
Europe and Russia is still small. They
are the wealthy and privileged. The
protagonist is one of these wealthy and privileged and wondering through the
entire novel how such a great person can fall so low. The truth is that the protagonist isn’t good,
great, or even worthwhile. He is simply
a criminal who is immoral and evil. This
doesn’t seem to occur to him or the writer.
That gets to the plot.
Perhaps the most worthless plot in the history of literature
is found in Crime and Punishment.
The writer and the protagonist are astounded at the potential evil from
this atheistic middle-class student. If Crime
and Punishment were about a poor person from the lower classes, the protagonist
and the writer would find the resulting crime expected while the lack of
punishment would be condemned. This is
the real problem with this novel. The
author and protagonist are shocked, shocked that a middle-class person could
cause such harm. In the end, the protagonist
is not punished very much at all. This
novel is all about wealth and privilege—a wealth and privilege that doesn’t
exist for normal, common, or middle-class people today. Obviously, this is no message for anyone or
the future.
Crime and Punishment is
not about modern or normal human values.
This novel had some relevance when it was written and published, but it
has zero today. We have removed the wealthy,
aristocracy, and class from any supposed privilege based on these factors. In the Victorian Era, a few immoral and
atheistic people were just beginning to wonder about their privilege. They wondered what really made them different
from the poor and unprivileged. The
answer is, of course, nothing. In the
Victorian Era, this was a question the wealthy, aristocratic, and higher
classes didn’t want to answer, but had to answer. We find the change from Victorian “blood will
out” to the Romantic that even if the high classes didn’t get it, the common
figured that they could be just as smart, educated, beautiful, and wealthy as
the so-called middle class and nobility.
In fact, that is the entire point of Romantic literature, the common are
better than the nobility. Can you see
why this was unpopular and a problem form the few middle class in the period of
Crime and Punishment?
Crime and Punishment
is somewhat unique in the fact that it is one of few novels that had the
courage to ask this question during the Victorian Era. The smallest child today knows the answer—there
is no nobility in birth but only in work.
It isn’t who you were born but who you become. This mystery to the people of the Victorian
Era is the rallying cry of the Modern Era.
This small uniqueness doesn’t make Crime and Punishment a worthwhile
classic.
Crime and Punishment is
the past, and not just any past—it is the ash heap of nobility and aristocracy. Where Leo Tolstoy wrote tales of a minority
dying due to their lack of energy and mental acuity, Dostoyevsky wrote tales
about a minority destroying itself through immorality and criminality. The wealthy becoming the common.
The entire idea behind Crime and Punishment is ludicrous
in the modern age. It isn’t worth
reading or studying. It is about a thankfully
dying and hopefully dead idea in the Western world. Perhaps someone should write a modern Crime
and Punishment about celebrity and how unimportant it is to morality,
criminality, and real success. Unfortunately,
the values of virtue, Godliness, morality, frugality, hard work, and all are
the true measures of a person. This is
the kind of novel we need to write and read not novels about class based failures
who look down on the common.
We’ll look at John Steinbeck next.
In the end, we can figure out what makes a work have a great
plot and theme, and apply this to our writing.
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
No comments:
Post a Comment