20 May 2022, Writing - part xx960 Writing a Novel, We are Refining the Protagonist, Writing Development, The Rising Action, Creating Tension and Release with Plot Elements
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 becomes inevitable in the climax.
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%
So, what is it about writer’s block? Many if not most authors and writers will
complain about writer’s block. When I
was a younger author, I would get writer’s block very often, but I’ve
discovered something very important about writer’s block. Writer’s block is a function of the plot and
not the protagonist. The correction or
resolution of writer’s block comes from centering our writing on the
protagonist instead of the plot. This is
what I’d really like to get into as a topic.
Here is an outline of how we will approach this.
1.
Problems with a plot focus
2. Correcting with a protagonist focus
3. How to figure out a plot with a protagonist focus
4. Writing development
5. Fixing or blowing through problems with writing
6. How to write to prevent writer’s block
7. The Scene Outline
8. Exercises
9. Examples
10.
Conclusions
I could easily write: if you develop a great protagonist,
the writing will come. That’s basically
what I do, but I know that doesn’t work for the inexperienced and the young
writer.
Writing is really exhausting when you are first
starting. The problem, as I see it is
getting into the rhythm of the writing.
When a writer is in the rhythm, the writing seems to come easily, when
they aren’t, who knows what you might get.
When I was a younger writer, I found many times I had no
idea where I was going or what was going on in my writing. Today, I realize the problem was with my
protagonist, and also with my plot development.
Let’s lump those together and call them writing development.
Below, I’ve left up the outline for the protagonist. This is what you need to develop to build a
proper protagonist.
1.
Define the initial scene
2. At the same time as the above—fit a protagonist into the
initial scene. That means the minimum
of:
a.
Telic flaw
b.
Approximate age
c.
Approximate social degree
d.
Sex
3. Refine the protagonist
a.
Physical description
b.
Background – history of the
protagonist
i. Birth
ii. Setting
iii. Life
iv. Education
v. Work
vi. Profession
vii. Family
c.
Setting – current
i. Life
ii. Setting
iii. Work
d.
Name
4. Refine the details of the protagonist
a.
Emotional description (never to be
shared directly)
b.
Mental description (never to be
shared directly)
c.
Likes and dislikes (never to be
shared directly)
5. Telic flaw resolution
a.
Changes required for the protagonist
to resolve the telic flaw
i. Physical changes
ii. Emotional changes
iii. Mental changes
b.
Alliances required for the
protagonist to resolve the telic flaw
c.
Enemies required for the protagonist
to resolve the telic flaw
d.
Plots required for the protagonist
to resolve the telic flaw
e.
Obstacles that must be overcome for
the protagonist to resolve the telic flaw
Now, if you slavishly follow this outline for the protagonist, it will not
guarantee you a great or even a good protagonist. What it will give you is a protagonist
detailed enough to write about. I’ve
covered the idea of the great protagonist before. I’ll state again, and you should review what
I’ve written, you need a good Romantic protagonist.
The protagonist is developed simultaneously, in my mind with the initial
scene. There are other means to begin
your writing development, but I don’t, and I’ve shown you the pitfalls I’ve
discovered when using other methods or starting places. That doesn’t mean you can’t come at this
writing development from another standpoint.
Here are the four, in order of precedence, means of approaching the initial
scene. I have used all four in published
works. I recommend only the first two. The others can work, but they are not as good
at producing a great initial scene. This
is the first step, in my book, to writing development. As I wrote, it doesn’t matter how you got to
this point, this is where writing development begins. The list:
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
We are writing about writing development.
You must start somewhere, and it might as well be the initial scene.
The purpose of the initial scene is to sell your novel. The purpose of the initial scene in novel
development is to sell your novels, but also to set the protagonist, the telic
flaw, the setting, and potentially the antagonist and the protagonist’s helper.
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
If you notice, the steps I use in the development of a novel
include quite a bit about the initial scene.
Once you get past the initial scene, I think the rest of the novel is relatively
easy to write. You might not have this
opinion, but I do think a strong initial scene, a great protagonist, and a
great telic flaw makes all the difference.
That’s not to say you won’t know where to go next—that’s writer’s block
in a nutshell.
So where do we go from the initial scene. Let me repeat the scene development outline
below:
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
With an initial scene, or any scene for that matter, we have
an output. We take that output to be the
input of the next scene. With an initial
scene, you have a beginning, but we have to move on to the rising action.
I know, the problem is the creative and not really anything
else. If you can’t get the creative
together, you really do have a problem. Let’s
look at these elements:
1.
Input
2. Initial setting
3. Creative elements
4. Plots
5. Telic flaw
6. Telic flaw resolution
7. Tension
8.
Release
The input and the initial setting are there—you have to have
them. The creative elements are
partially there, but not all of them.
Plus, we can make up all the creative elements we want—to a certain
degree. What are creative elements.
We take setting elements and turn them into creative
elements and plot elements. Plot
elements are Chekov Guns. One trick of
creativity is starting with the right setting elements.
The means of tension and release development is through promoting
creative elements to plot elements. Most
of those creative elements are characters, but they don’t have to be. We need to look at using creative elements in
tension and release.
This is not the entire scene, but this is the introduction
of Wing Commander Lachlan Calloway to Azure Rose Wishart. In this scene, we see Lachlan Calloway
presented as a setting element. He is
promoted to a creative element when he speaks to Lady Rose (Azure Rose
Wishart). Finally, he is promoted to a
plot element when Azure Rose gives him an ultimatum—get an invitation to Lady
Atwell’s party if he wants further communication. Here is this part of the scene.
They
all stood when Azure and Bruce stepped up to them. Bruce bowed, “Gentlemen, may I introduce the
Lady Rose. Lady Rose, these are Lady
Royall’s military guests. From the Army,
Navy, Marines, Coastguard, and Air Force.
Major Campbell, Lieutenant Commander Lee, Major Bell, Commander Garner,
and Wing Commander Calloway.” He paused,
“I don’t see Wing Commander Calloway.”
The
gentlemen pointed to a young man in Air Force blue mess dress uniform. He conversed with a couple of elderly
ladies. He was tall, very light haired
and light-complected. His face appeared
youthful although Azure knew, by his rank, he must be in his late
twenties. He appeared the perfect
officer by his bearing and manners—not that the others did not.
Azure
chatted with the officers for a few moments.
They accompanied her to choose some dainties, and sat with her while she
drank her tea. After a while, she
glanced at her watch and stood, “Gentlemen, it is time for me to be about my
business.”
The
gentlemen all stood. They bowed to her,
and Azure headed straight back to Lady Royall.
As
she stepped out, the Air Force officer, Wing Commander Calloway ran over to
her. He came right up beside her, “Good
afternoon. I couldn’t help but note you
had the attention of my companions, but we haven’t been introduced.
Azure
looked him up and down, “I have business with Lady Royall, and have already
been inconveniently delayed.”
The
Wing Commander bowed, “I’m Lachlann Calloway, and I find you the most pleasant
lady I’ve met today.”
“You
better not let the other ladies hear you say that. We require a proper introduction--where is
Bruce when I need him? I guess it
couldn’t hurt for me to introduce myself.
I am the Lady Rose.”
”Lady
Rose, I’d be happy to escort you for the rest of the party.”
“Wing
Commander Calloway, I came only on business.
I was happy to make your acquaintance, but I’ve meet Lady Royall’s
obligations, and I must be about my work.”
The
Wing Commander grabbed her hand, “Your work.
Surely, you don’t have work today.”
Azure
stared at the Wing Commander and then her hand, “Wing Commander, I work every
day. Please release my hand.”
He
let go, and she continued to where she had last seen Lady Royall. The Wing Commander continued at her side.
Azure
glanced at him, “Why are you continuing to follow me? Really, where is Bruce when I need him?”
“Lady
Rose could you stop for just one moment?”
Azure
stopped in her tracks. She turned to face the officer and stuck her hands on
her hips, “There, I stopped. What do you
want from me Wing Commander?”
“I
would very much like to escort you for the remainder of Lady Royall’s garden
party.”
“Well,
that isn’t going to happen. I have
business with Lady Royall that she put off so I could entertain you
gentlemen. I’ve done my part, and I need
her to do hers.”
“In
that case, I’d very much like to take you to lunch, dinner, supper, or all
three.”
“Why
ever would you do that Wing Commander?”
“To
be blunt and slightly repetitive, you are the most interesting and ravishing
woman I’ve ever met.”
“And
you’d like to ravish me, yada, yada, yada.
I get all that from the school boy crowd. You need to work on your pickup lines.”
“I
didn’t intend that to be a pickup line, but I guess it was. Then tell me where I may meet you again—at
Lady Royall’s next party? I’d like to
get together sooner.”
“That
isn’t going to happen—now scamper off.”
“That
isn’t going to happen.”
Azure
abruptly turned and stalked off. The
Wing Commander continued at her side.
She
called out, “Bruce. Bruce, where are
you?”
The
Wing Commander stuck his hands in his pockets, “It really isn’t polite to call
out for the steward like that.”
“It
isn’t polite to stick your hands in your pockets when escorting a lady either.”
He
didn’t pull them out, “At least I get to stay beside you a little longer while
you look.”
“What
good is that?”
“I’m
besotted, and you ask that.”
“I’d
say you are just peculiar. I’m trying to
put you off.”
“Do
you already have a gentleman?”
“That
is a bit of a personal question.”
“Well,
I don’t have a girlfriend, a lover, or a wife.”
“That
is getting personal in the extreme.”
Azure spotted Lady Royall, “There she is.” Azure headed directly for the
lady. The Wing Commander followed.
Azure
took up a much statelier pace by the time she approached Lady Royall. The Wing Commander kept right next to
her. As she arrived, Azure called, “Lady
Royall.”
Lady
Royall turned around, “Lady Rose, and a hanger on. Have you met my requirements?”
“In
every respect.”
She
flipped her fingers, “And who is your entourage?”
“He
is your guest, Lady Royall.”
“Bruce
isn’t here. I’m not sure we have been
introduced.”
Azure
lifted her nose, “Well, don’t look at me.
I just met the man.”
“You
can still introduce him.”
“Oh,
very well. It’s silly for me to be
introducing one of your own guests to you.
Lady Royall, may I introduce Wing Commander Calloway.”
Wing
Commander Calloway bowed and took Lady Royall’s extended hand, “Lachlann
Calloway to be precise.”
Azure
pushed him to the side, “Now, if you will scamper off, I need to have some
papers signed.”
The
Wing Commander blinked, “You did say work didn’t you. I didn’t believe
you. You don’t look like a courier.”
Lady
Royall scoffed, “That’s because she isn’t a courier.”
“Then
what other business would she have with the Leader of the House of Lords?”
Lady
Royall rolled her eyes, “She’s part of the ministry. She’s Lady Rose, Keeper of the Book.”
The
Wing Commander stood straight, “Keeper of the Book, what is that exactly.”
Lady
Royall raised her brow, “Wouldn’t I like to know. It’s one of those shadowy things.”
“Shadowy
things?”
“Yes,
anyway. Step back a bit. This is always touchy business. I have no idea why the Queen insists I sign
and report on these transactions, but I do and I must. It must help the Monarchy in some way. Let me see the papers, Lady Rose.”
Azure
put herself between the Wing Commander and Lady Royall and attempted to hide
them from the man. He did step back a
bit.
Lady
Royall groused, “I need a pen.”
Before
the Wing Commander could retrieve his, Azure pulled one from her clutch and
pressed it into the lady’s hands.
Lady
Royall glanced through the papers. She
remarked, “They all look like so much gibberish to me.” She signed them all.
Azure
took the papers from the lady and handed her another piece of paper, “Here is
your synopsis and record for the queen.”
“Yes,
good.” Lady Royall glanced at the Wing Commander, “Now, what are you going to
do with your puppy dog?”
“I
intended to leave him where I found him—with you.” Azure curtsied, “Good day, Lady Royall.”
“Good
day, Lady Rose. Please, clean up your
puppy’s messes before you leave.”
Azure
cringed. She headed toward the garden
gate. She’d find a taxi there. The Wing Commander continued to follow her. As she walked she stated, “Wing Commander,
I’ve never encountered this much persistence in an unwanted acquaintance.”
He
frowned, “Really, I’ve never met anyone like you, and I would like to make your
further acquaintance. What can I do to
assure you of my good intentions, and to ensure we meet again?”
“Does
any man have truly good intentions where young ladies are involved?”
“A
gentleman does, and I can assure you—I am a gentleman.”
“That
is to be seen. Very well, to disengage
you from my entourage at the moment, what must I do?”
“That’s
the spirit. All I desire is another
opportunity to make your further acquaintance—I thought I made myself
clear. If you won’t accept my
invitation, then what is your next event?”
“That’s
problematic. I suppose, you could meet
me at Lady Atwell’s party next week. That
is, if you can swing an invitation.”
The
Wing Commander’s face fell, “That might be difficult.”
“Then
your attentions are superfluous. If you
can’t wrangle a simple invitation, then how can you expect to make my
acquaintance?”
“I
was hoping you would accept my invitation to dine.”
“If
you can meet me at Lady Atwell’s then we shall see. I might take any further invitation into
consideration.”
“You
are a very difficult woman, Lady Rose.”
“Yes. Yes, I am, and you should not forget
that. I am also very dangerous. You should also not forget that either.”
They
had arrived at the garden gate. The
Steward, Bruce stood there.
Azure
rushed up, “Bruce, I need a taxi.”
“I
expected as much, and one awaits your immediate departure.”
“Thanks
much Bruce. Now, take Wing Commander
Calloway under your attention and introduce him to Lady Atwell for me.”
Bruce
smiled, “I shall endeavor to do so, Lady Rose.”
Azure left the Wing Commander with his
mouth hanging wide open.
There is much more to this, but I think this is a direct example
of a couple of things. The first is the
promotion of a setting to a creative to a plot element. Second, this scene is driven by the tension
and release caused by the introduction of Wing Commander Calloway. The tension and release is the point of these
promotions. We introduce an important character
for the purpose of the plot element, but the introduction also drives the
tension and release of the scene.
There is much more to this—I need to really delve into the
use of creative elements in developing tension and release.
This is what we should look at next. This is a very difficult subject to tackle in
a meaningful way, but we’ll try.
I’ll look more closely at this idea as we continue to move along in the list
of how of get rid of writer’s block.
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
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