My Favorites

Wednesday, August 11, 2021

Writing - part xx677 Writing a Novel, Plots and My Novels, Shadow of Light

 11 August 2021, Writing - part xx677 Writing a Novel, Plots and My Novels, Shadow of Light

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

    Since I'm writing about Shadow of Light here is the proposed cover:



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. 

 

I evaluated the plots from the list of 112 classics 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%

Here is a list of my novels:

 

1*

SF

A Season of Honor (Honor III)

1986

P 08

2

1

30-Oct

Nov

2*

SF

The Fox’s Honor (Honor II)

1989

P 08

3

2

2-May

Oct

3

SF

The End of Honor (Honor I)

1995

P 08

9

3

13-Jul

Jul

4

HF

Antebellum

1991

*

4

4

7-Feb

5*

F

Aegypt

1992

P 08

5

5

16-Jun

Jan

6*

HF

Centurion

1995

P 08

8

6

1-Feb

Jan

7a*

SF

Athelstan Cying

1992

A

6

7

26-Sep

8 15

SF

Twilight Lamb

2007

A

7b*

8

8-Aug

9 16

SF

Regia Anglorum

2007

A

7c

17

23-Nov

10*

SF

The Second Mission*

1996

P 03

10

9

13-Nov

Aug

11

Fan

Illidin

1977

I

1

Sep

12

F

Sister of Light

1997

C

11

10

16-Aug

13

F

House

1994

I

7

23-Dec

14

F

Hestia: Enchantment of the Hearth

2006

*

13

11

28-Dec

15

Fan

Aramis

2006

I

12

27-Apr

16

HF

Japan

 

I

14

17

F

Sister of Darkness

2008

C

17

12

3-Jun

18

F

Shadow of Darkness

2008

A

18

13

14-Sep

19

F

Shadow of Light

2008

A

tt5t

14

24-Oct

20

F

Children of Light and Darkness

2008

A

20

15

1-Dec

21

F

Warrior of Light

2009

A

21

16

1-Feb

22

HF

Praetorian

 

 

22

23 23

SF

Shadowed Vale

2009

A

18

10-May

24 24

SF

Ddraig Goch

2009

W

25-Aug

25

F

Warrior of Darkness

2009

*

25

19

29-Oct

26

F

Dana-ana: Enchantment and the Maiden

2010

*

26

20

10-Jun

27

F

Aksinya: Enchantment and the Daemon

2010

A

27

21

1-Nov

28

F

Khione: Enchantment and the Fox

2011

*

28

22

1-Mar

29

F

Valeska: Enchantment and the Vampire

2013

*

29

23

26-Nov

30

F

Lilly: Enchantment and the Computer

2014

*

30

24

1-May

31

SF

Escape from Freedom

2014

*

31

25

2-Oct

32

F

Essie: Enchantment and the Aos Si

2015

*

32

26

1-May

33

F

Sorcha: Enchantment and the Curse

2016

*

33

27

1-Mar

34

F

Red Sonja

2016

W

34

XX

1-Mar

35

F

Deirdre: Enchantment and the School

2016

*

35

28

1-Jul

36

F

Blue Rose: Enchantment and the Detective

2018

*

36

29

1-Jul

37

F

Cassandra: Enchantment and the Warriors

2018

*

37

 

1-Jul

38

F

Rose: Enchantment and the Flower

2021

*

38

 

1-Mar

 

After I finished writing Shadow of Darkness, I wasn’t finished with Lumie’re.  In the end, she and Aliksander had escaped from the USSR, but Lumie’re hadn’t completed her goal of destroying Leila, the Goddess of Darkness.  In addition, the love story between Lumie’re and Aleksander was not complete.  So in the beginning of Shadow of Light, I broke them up again.

 

I had Lumie’re go to the British and Aleksander go to the Americans.  This provided some Cold War action and helped show the historical tension during that time.  Ultimately, Shadow of Light like all the other novels in this series is about history and especially, the history of the Twentieth Century.  If I leave anything to prosperity, it is at least a look at the world and history from a very personal standpoint.

 

Here is some of the information on the novel:

 

Lumière Bolang once had purpose and the ability to see that purpose through. She once had power and a calling and a man who loved her. Now, she has nothing. Since she defected with her love Aleksandr, the State Department took her tablet, her work, and all that made her who she was. Lumière never loved herself, but she could once achieve what she was called to do. Now, she believes she is nothing.

 

 

Aleksandr was her love. He believed in her and stuck with her through everything. He knows Lumière’s every secret. Lumière unintentionally sends him away. He loved her so much, and now she chases away her greatest comfort and help.

 

 

Lumière is the daughter of the goddess of light and her warrior. What this means is that she controls immense power of a spiritual dimension. This power is embodied in her many extraordinary human skills and her tablet. Using the tablet, she can control healing and the forces of light and night. She also controls a servant, Oba. Her purpose is to seek and destroy, Leila, the goddess of darkness, her mother’s twin. Leila influenced Hitler, Stalin, and now Mao. Lumière was attempting to travel to China to seek Leila when she and Aleksandr were forced to leave the Soviet Union.

 

 

Lumière cannot stay in America, the Americans think she is, at best, a double agent and, at worst, an outright spy. Bruce Lyons gives her a job in “the organization.” Because of her Chinese language expertise, Lumière works as a secretary in the Chinese division of the British Foreign Office and reports to “the organization.” In this capacity, she aids internal and external intelligence for the British.

 

 

Her intelligence operative status becomes evident when she meets Aleksandr in Geneva. He is a Chinese translator for the Americans, and is now engaged. Lumière pours out her heart to him, in Russian, in public, and accidentally identifies herself to the KGB. He rejects her overture. Lumière and Aleksandr are both kidnapped. The KGB wants to take them back to stand trial as traitors, but Aleksandr convinces them to let Lumière go. They release her, but retain Aleksandr to ensure Lumière’s compliance.

 

 

What the KGB doesn’t realize is the level that Lumière is working. When she reports everything to “the organization,” the British use the opportunity to gather intelligence. Lumière realizes, the time may come when she must choose between Aleksandr’s life and British security. In spite of Aleksandr’s rejection, Lumière still loves him. When Oba returns with Lumière’s tablet, she sends him to rescue Aleksandr.

 

 

Now, Lumière has purpose. She has a means of seeking the goddess of darkness through the Foreign Office connections to China. She watches Oba rescue and bring Aleksandr back to England. She has a position in “the organization.” There is hope for her to succeed and she may be able to defeat Leila. She may succeed, if only she can win back Aleksandr’s love, seek Leila, and prevent the KGB from taking her captive again.

 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Shadow of Light is about the redemption of Lumie’re and Aleksander.           

2.     Revelation (o) –2e, 64, 1i – 60%  I really hit my stride with this novel.  This is a revelation novel about Mao’s China during the Cold War right after the death of Stalin to the end of Mao as the head of the Communist Chinese Party.  Anyone who is interested about this period in China will learn much more than most history books can tell.   

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  Lumie’re’s achievement is to find and defeat the Goddess of Darkness.

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% In Shadow of Light, Lumie’re must find Aleksander, declare her love and win his love.  In addition, she must retrieve her tablet and servant.  She must also find Leila, and discover how to defeat her.  This is a powerful mystery.   

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  There is a kind of vengeance plot with Aleksander and Lumie’re as well as with the Goddess of Darkness.  

3.     Zero to hero (a) – 29 – 26%  Lumie’re becomes a hero again in this novel as does Aleksander.

4.     Romance (a) –1ie, 41 – 37%  Lumie’re works to regain Aleksander’s love.     

5.     Coming of age (a) –1ei, 25 – 23%  Nope.

6.     Progress of technology (a) – 6 – 5%  Not really.

7.     Discovery (a) – 3ie, 57 – 54%  The discovery plots revolve around Lumie’re and her mysteries, especially finding her love, her tablet, her servant, and her antagonist.

8.     Money (a) – 2e, 26 – 25%  Not really.   

9.     Spoiled child (a) – 7 – 6%  Nope.

10.  Legal (a) – 5 – 4%  Nope. 

11.  Adultery (qa) – 18 – 16%  Nope.

12.  Self-discovery (a) – 3i, 12 – 13%  Yes, self-discovery for Lumie’re and Aleksander.

13.  Guilt or Crime (a) – 32 – 29%  Yes, there is an interesting twist in this novel.  The first is the Chinese Dragon who negotiates with the Goddess of Darkness for a real goddess (Lumie’re) and her warrior.  Second, we have a situation where Aleksander’s parents in the USSR believe Lumie’re abandoned the Church there.  This causes Lumie’re more issues that we thought she had overcome.  

14.  Proselytizing (a) – 4 – 4%  Nope.

15.  Reason (a) – 10, 1ie – 10%  Yes, the resolution as well as Lumie’re’s opposition all come through reason.

16.  Escape (a)  – 1ie, 23 – 21%  Yes, Lumie’re eventually fights to escape the British when her origins are accidentally discovered.

17.  Knowledge or Skill (a) – 26 – 23%  Knowledge and skills are the tools that are used and that Lumie’re is unconsciously learning.

18.  Secrets (a) – 21 – 19%  This novel is filled with secrets and revealed secrets.

Quality (q)

1.     Messiah (q) – 10 – 9%  Nope.

2.     Adultery (qa) – 18 – 16%  Nope.

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%  Yes, Lumie’re rejects Aleksander’s love.

4.     Miscommunication (q) – 8 – 7%  Not really.

5.     Love triangle (q) – 14 – 12%  Yes, Aleksander has taken a fiancée.  She’s a spy for the USSR, but that is Lumie’re’s competition for a while.

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, Lumie’re betrays Aleksander in the beginning.  There is some betrayal with Aleksander’s fiancée.  We also have betrayal with the Dragon.

7.     Blood will out or fate (q) –1i, 1e, 26 – 25%  Nope.

8.     Psychological (q) –1i, 45 – 41%  This is a psychological novel on many levels. 

9.     Magic (q) – 8 – 7%  Not really—Leila, Leora, and Lumie’re all have spiritual powers but it isn’t magic in the normal sense.

10.  Mistaken identity (q) – 18 – 16%  Yes, no one knows who Lumie’re is.  She is a spy for British intelligence.

11.  Illness (q) – 1e, 19 – 18%  Yes, a small part of the plot.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Not really

14.  Satire (q) – 10 – 9%  Not really.

15.  Camaraderie (q) – 19 – 17%  Yes, there is a large degree of moving camaraderie based on associations and groups.

16.  Curse (q) – 4 – 4%  Nope.

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, Aleksander becomes a mentor to the Dragon.

Setting (s)

1.     End of the World (s) – 3 – 3%  Nope.

2.     War (s) – 20 – 18%  Yes, the Cold War.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, travel all over China and the eventual escape.

5.     Totalitarian (s) – 1e, 8 – 8%  Yes, with Mao’s China.

6.     Horror (s) – 15 – 13%  Yes, there is a touch of horror in the novel it is a type of suspense novel.

7.     Children (s) – 24 – 21%  Not really.

8.     Historical (s) – 19 – 17%  Yes, the novel is filled with historical information, events, and people.

9.     School (s) – 11 – 10%  Nope.

10.  Parallel (s) – 4 – 4%  Nope.

11.  Allegory (s) – 10 – 9%  Nope.

12.  Fantasy world (s) – 5 – 4%  Nope.

13.  Prison (s) – 2 – 2%  Yes, Lumie’re and Aleksander are imprisoned by the Dragon.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes, the changed black/gold table (Osiris Offering Formula) is a key item in the plot of the novel.

 

Next we’ll look at Shadow of Light in greater depth.

 

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  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic

No comments:

Post a Comment