Writing - part xx704 Writing a Novel, Plots and My Novels, Deirdre: Enchantment and the School

 6 September 2021, Writing - part xx704 Writing a Novel, Plots and My Novels, Deirdre: Enchantment and the School

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

    Since I'm writing about Deidre: Enchantment and the School, here is the proposed cover:

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. 

 

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

 

Deirdre: Enchantment and the School came from the idea of the development of a pathos protagonist.  I envisioned a child who had snuck into a good school to learn and gain an education.  The result was Sorcha.  Sorcha is the child of a Fae and a human who was imprisoned and then escaped using Fae glamour.  She came to Wycombe Abby and is currently hiding in the student body so she can get a good education.  She isn’t the protagonist of this novel, her discoverer is.

 

Deidre is a problem child with a peculiar understanding of people and life.  She was sent to Wycombe Abby boarding school to be fixed not finished.  The problem for Sorcha is that Deidre can see through Fae glamour thus Deidre can see that Sorcha is not an actual student and Sorcha’s position is at great risk.  Sorcha has little choice than to retaliate.  Unfortunately for her, Deidre is a brawler. 

 

I really thought this subject was really fun—the idea of a child hiding in a school to learn really excited my interest and I know it would excite most readers interest.   

 

Here is some of the information on the novel:

Deirdre Calloway is a wild and dangerous girl.  She’s never had a friend, was sent to boarding school at Wycombe Abbey to be finished, and has a penchant for fighting that has earned her a dubious reputation and record.  Still, she is small blond haired and appears the exact opposite of her reputation.  Did I mention, she has never had a friend?  That’s all about to change.

Sorcha Weir has hair as black as pitch, and a face as sweet and delicate as a fae creature.  Mostly because she is the offspring of a man and an Unseelie fae.  She has been secretly attending Wycombe Abbey by using fae glamour to make her appear to be a proper student.  She escaped from the juvenile prison at Aylesbury and secretly made her home at Wycombe.  She has everything planned to learn, graduate, and continue her education.  All she has to do is keep her attendance and presence a secret.

Sorcha has everything planned because no one can tell she is not a proper student—until she meets Deirdre.  On the first day of classes, Deirdre notices Sorcha’s existence and sees through her glamour.  This is one of Deirdre’s unusual skills.  The problem is that Deirdre has never achieved anything in terms of personal intimacy except through fighting, and Sorcha has always lived a rough and tumble life.  To protect her great secret, Sorcha attacks Deirdre.  Deirdre doesn’t fall for the usual brawling tricks, and bests Sorcha.  Now all of Sorcha’s goals are at risk.  Her only hope to either banish Deirdre or befriend her.  On the other hand, Deirdre is oddly attracted to those she defeats—an unpleasant result of her personality.

Deirdre is halted from fully taking advantage of her conquest by the intervention a teacher, Deirdre’s relative Lune Bolang.  In any case, Sorcha seeks out Deirdre to either banish her or become her friend.  Deirdre’s reaction is completely unexpected.  Deirdre offers to keep Sorcha’s secret, to share her clothing, and her room.

Sorcha and Deirdre begin an odd friendship bound to Luna Bolang.  Ms. Bolang doesn’t seem to know anything, but maybe knows everything.  She encourages Sorcha and Deirdre to join the fencing club.  She forces Deirdre and Sorcha to participate in electives.

These electives are patently unusual: fencing, shooting, making friends, associating with the tea-party class, meeting boys, learning about magic, meeting the fae, and seeing angels.  There is much more in store for Deirdre and Sorcha.  To keep Sorcha’s great secret and for Deirdre to remain at Wycombe and away from Deirdre’s past and her mother, the girls must acquiesce to Luna Bolang’s requirements.

Why is Luna Bolang at Wycombe as a teacher?  Why the odd electives and study?  Why the teaching about magic?  What does Luna intend for Deirdre and Sorcha, and why is Ms. Rowley, the history instructor involved in magic?  The fate of Deirdre and Sorcha lies in their own hands.  The fate of friends, associates, and others will also become their responsibilities.

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Both Sorcha and Deirdre need redemption—each of a different type.  Sorcha needs to be rescued from her sorry state of hiding and allow her to spread her wings in life.  Deirdre needs to have friends and learn to control her emotions and actions.  These two girls are going to help each other.             

2.     Revelation (o) –2e, 64, 1i – 60%  The revelation is their lives and the life at Wycombe Abby.  Many might see this entertaining, but there is more about their lives and others.       

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  Sorcha’s achievement is to graduate and have success.  Deidre’s achievement is to find friends and succeed as a student.   

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% The mystery of the novel is all about Deidre.  Deirdre is a great mystery as well as her family.  

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  Sorcha sees Deidre as a great danger to her, and indeed she is.  Deidre can see through Sorcha’s glamour.  Sorcha is not actively taking vengeance, but it is a plot and theme in the novel.  

3.     Zero to hero (a) – 29 – 26%  Both girls are achieving zero to hero. 

4.     Romance (a) –1ie, 41 – 37%  Yes, we have some young romance with both. 

5.     Coming of age (a) –1ei, 25 – 23%  This is a coming of age novel for both and in the context of the plot.

6.     Progress of technology (a) – 6 – 5%  Nope.

7.     Discovery (a) – 3ie, 57 – 54%  This entire novel is about discovery for both.

8.     Money (a) – 2e, 26 – 25%  Money is a limited plot in the novel.  Sorcha needs money and later Deidre must figure out how to continue to support both of them in school.   

9.     Spoiled child (a) – 7 – 6%  Deidre is a type of spoiled child.  

10.  Legal (a) – 5 – 4%  Yes, to a small degree. 

11.  Adultery (qa) – 18 – 16%  Nope. 

12.  Self-discovery (a) – 3i, 12 – 13%  There is a very strong element of self-discovery for the characters in this novel.

13.  Guilt or Crime (a) – 32 – 29%  Sorcha is illegally attending school as well as other technically illegal actions.  In addition, Sorcha was in prison and escaped.

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

15.  Reason (a) – 10, 1ie – 10%  Yes, the resolution all comes through reason.

16.  Escape (a)  – 1ie, 23 – 21%  Nope.

17.  Knowledge or Skill (a) – 26 – 23%  Knowledge and skills are the tools that are used and that they are 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%  Nope.

4.     Miscommunication (q) – 8 – 7%  To some degree.

5.     Love triangle (q) – 14 – 12%  Nope.

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Nope.

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%  To some degree with the idea of glamour.

10.  Mistaken identity (q) – 18 – 16%  Yes, this is the entire point of the novel basis.

11.  Illness (q) – 1e, 19 – 18%  Nope.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Nope.

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, very strongly with Luna for Deirdre and Sorcha.

Setting (s)

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

2.     War (s) – 20 – 18%  Nope.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Some travel around Wycombe and into London.

5.     Totalitarian (s) – 1e, 8 – 8%  Nope.

6.     Horror (s) – 15 – 13%  Nope.

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

8.     Historical (s) – 19 – 17%  Yes, modern era.

9.     School (s) – 11 – 10%  Yes, Wycombe Abby.

10.  Parallel (s) – 4 – 4%  Nope.

11.  Allegory (s) – 10 – 9%  Nope.

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

13.  Prison (s) – 2 – 2%  Nope.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Nope.

 

Next, we’ll look in greater depth at Deidre: Enchantment and the School.

 

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