21 February 2023, Writing - part xxx236 Writing a Novel, A New Male Romantic Protagonist, Details, Telic Flaw Resolution, Alliances
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 30th novel, working title, Rose,
potential title Rose: Enchantment and the
Flower. The theme statement is: 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 cover proposal for Rose:
Enchantment and the Flower.
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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. Writing number 31, working title Shifter. I just finished 32nd novel, Rose.
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: Let me tell
you a little about writing. Writing
isn’t so much a hobby, a career, or a pastime.
Writing is a habit and an obsession.
We who love to write love to write.
If you love
to write, the problem is gaining the skills to write well. We want to write well enough to have others
enjoy our writing. This is
important. No one writes just for
themselves the idea is absolutely irrational and silly. I can prove why.
In the first
place, the purpose of writing is communication—that’s the only purpose. Writing is the abstract communication of the
mind through symbols. As time goes by,
we as writers gain more and better tools and our readers gain more and better
appreciation for those tools and skills—even if they have no idea what they
are.
We are in
the modern era. In this time, the action
and dialog style along with the push of technology forced novels into the form
of third person, past tense, action and dialog style, implying the future. This is the modern style of the novel. I also showed how the end of literature
created the reflected worldview. We have
three possible worldviews for a novel: the real, the reflected, and the
created. I choose to work in the
reflected worldview.
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.
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.
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.
With that said, where should we go? Should I delve into ideas and creativity
again, or should we just move into the novel again? Should I develop a new protagonist, which, we
know, will result in a new novel. I’ve
got an idea, but it went stale. Let’s
look at the outline for a novel again:
1.
The initial scene
2.
The rising action scenes
3.
The climax scene
4.
The falling action scene(s)
5.
The dénouement
scene(s)
The initial scene is the most important scene and part of
any novel. To get to the initial scene,
you don’t need a plot, you need a protagonist.
Let’s be very clear.
You can start with a plot, a protagonist, an idea, or an idea for an
initial scene. The easiest and most
controlled method is to start with a protagonist. As I’ve written over and over, a protagonist
must come with a telic flaw. I think it
is impossible to have a protagonist without a telic flaw, but I suppose you
could develop a completely lackluster protagonist without any telic flaw
connected to them.
Here is my list for the characteristics of a Romantic
protagonist. I am not very happy with
most of the lists I have found. So, I
will start with a classic list from the literature and then translate them to
what they really mean. This is the
refined list. Take a look.
1. Some power or ability outside the norm of society that
the character develops to resolve the telic flaw.
2. Set of beliefs (morals and ideals) that are different
than normal culture or society’s.
3. Courageous
4. Power (skills and abilities) and leadership that are
outside of the normal society.
5. Introspective
6. Travel plot
7. Melancholy
8. Overwhelming desire to change and grow—to develop four
and one.
9. Pathos developed because the character does not fit the
cultural mold. From the common.
10. Regret when they can’t follow their own moral compass.
11. Self-criticism when they can’t follow their own moral
compass.
12. Pathos bearing because he or she is estranged from
family or normal society by death, exclusion for some reason, or self-isolation
due to three above.
13. From the common and potentially the rural.
14. Love interest
Here is the protagonist development list. We are going to use this list to develop a
Romantic protagonist. With the following
outline in mind, we will build a Romantic 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
I’ll repeat. I just
finished up Rose, and I want to finish up Cassandra. I’m moving in that direction.
This is where I’m going.
I need to finish up Cassandra, and that’s what I’m going to do. That might take a month or so. At the same time, I want to write a follow-on
to Rose. Basically, I want to
finish up Rose, and resolve the overall telic flaw introduced in the
first novel. To do this, I need a
new protagonist. I could use Rose, and I
was thinking about this, but my readers suggested I should keep the number of
male and female protagonists about equal.
Not sure why, but I did get a great idea for an initial scene and for a
protagonist. I’ve been developing this
protagonist for my short form blog, but I can move some of that development
here and make some comments on it.
Here is the protagonist development list. We are going to use this list to develop a
Romantic protagonist. With the following
outline in mind, we will build a Romantic protagonist.
1.
Define the initial scene
I already defined the
initial scene. Rose has a tea party with
the problem children that result in a goddess brawl where others are injured
and Rose herself is harmed to a degree.
The protagonist is an observer on the sidelines (I need to figure this
out). She runs away and is found by the
protagonist. I’ve got the basic initial
scene figured out, but I haven’t written it yet.
That’s an outline of
the initial scene, but the real scene that interests and intrigues me is the
scene a little after that. I picture, in
my mind, that Rose runs away and is running the trains. She is just riding the British trains. The problem is that she lost her clothing in
the incident, so she is riding the trains in the nude.
There is some defining
goodness in this—she is covering herself in glamour. Therefore, Rose isn’t technically naked—only
the sensitive or the Fae should be able to see her, and the Fae don’t ride the
trains. The fun part about this scene is
that the male protagonist has been given the job to find Rose. He is sensitive to both her, and he can see
her.
This leads to the delicious
scene where Rose meets with the protagonist.
This is the meeting of the protagonist and the protagonist’s
helper. Perfect for an initial
scene. The buildup to this scene will
just be part of the overall novel.
I can picture this
scene and the result of this scene. This
will define the initial relationship of Rose and the male protagonist. This will bring them into contact and a never
unconnectable link of physical recognition and mental anguish. Rose will be unable to lose her attachment to
him, and he will not want to.
His reasons will be
more than physical, but you might imagine his feelings and her recognition from
the physical connection. Rose is too
much of a lady to acknowledge any of it, while the male protagonist is too much
of a gentleman to allow his physical view of Rose to cloud his judgement or
negatively affect his actions. But, we
shall see how this encounter affects all of them and both of them.
2.
At the same time as the above—fit a
protagonist into the initial scene.
I already began to wrote how this
protagonist will fit into the initial scene.
I need to actually bring it about in the scene, but I haven’t written
the initial scene, yet.
I plan to have this character observing
and watching Rose from the sidelines. He
will have tabs on the girls, and know them all.
His job and skills will allow him to keep an eye on them. I plan to let Rose catch a few glimpses in
the runup to the incident. Perhaps
through the windows or something. I need
to work out all those details. In the
end, he sees the defining incident that causes Rose so many mental and physical
issues. Then there is the telic flaw of
this protagonist.
That
means the minimum of:
a.
Telic flaw - I’ll fit in a telic
flaw. The telic flaw belongs to the
protagonist. This protagonist’s telic
flaw is that he has an assignment to look after Rose. Just how he can do this is not clear. He should not have any skills greater than
Rose, but he should have some background that places him in both the sights of
Stela and The Organization. I haven’t
worked this out yet. Basically, the
telic flaw will be his responsibility to protect Rose. This will turn out to be a romance plot and
telic flaw. The young man will pursue
Rose. I might have to work on the telic
flaw a little. It will become clearer
with the development of the protagonist.
b.
Approximate age - 16 to 17
c.
Approximate social degree - middle class to
wealthy and aristocratic. I need to pin
this down. I want to look through my
characters to find one who might fit.
This is what I wrote at first, but I’ve refined this character better
since then. He is the child of
aristocracy, but not exactly what you might think. His parents have an unusual way of
interacting as both aristocrats and in the overall society. They don’t want to produce wealthy
ner-do-wells. They want to produce smart
and capable children. Their children
might put on a few airs, but they are basically hard working and well developed
as people. They also aren’t as wealthy
and aristocratic as you might think either.
I’ll get into more details in the description and setting elements as I
round out this protagonist.
d.
Sex - Male
3. Refine the protagonist – Here is the first cut of the physical
description of the protagonist. It might
need a little refinement.
a.
Physical description - Seoirse was tall and
slender. His face was thin and serious
with freckles over his finely shaped nose.
His lips fit nicely into his well-formed face, but they looked overly
serious too, until he smiled. Then his
lips and face and cheeks exploded in mirth.
His smile could make you smile, and you didn’t notice the dimples in his
cheeks and chin, until he smiled. That’s
when everything lit up and became apparent.
His hair was light blond with faint brown highlights, and his eyes were
a dull grey, until he smiled and then you wondered what color they really
were. Because, when he had on his
serious look, he looked like someone you should listen and obey--handsome,
elegant, upright, and becoming. When he
smiled, you wondered exactly what kind of fun and mischief you could get into
together. He was just that kind of boy.
Here we are with the most important
part of the protagonist—the physical description. Why is that?
This is what the reader should see first. We never should tell anything about the protagonist. We need to show the protagonist. This is what the protagonist looks like. Everything else is what we show about the
protagonist. If you are telling, you are
not writing properly. You will likely
never get a novel published. Not to say
you can get away with a little telling, but if you strive for none, and get in
a little, that’s good. If you are
telling over and over, you will not have anything worth reading.
There is a lot packed in this short
paragraph that describes the protagonist, Seoirse. I haven’t given you his whole name, yet. He is Seoirse, and that’s good enough for
now. We will get into his name in a
little. I have everything developed for
him, and I’ll give it to you with this kind of commentary. As I wrote, the physical description is what
you really need to start with for any character. It begins the development of the
character. Everything in the physical
description plays into who, where, when, and what about the person. That’s what we will move toward next.
b.
Background – history of the
protagonist. Here is more about
this character. I guess I should also
reveal that his father is related directly to Ceridwen, the great goddess of
the Celtic and Gaelic people. He has no
real powers himself, but he can see the Fae and knows all about the
supernatural. His mother is the Keeper
of the Book of the Fae. She has no
powers or abilities other than wisdom, the ability to interact and see the Fae,
and the powers of the book. This will
place Seoirse in a pathos position because Rose has great power, but he does
not. If I have him helping and saving
Rose using the little skills and abilities he has, that will endear her to him.
There is much more about his life and
background that I will need to develop, but not necessarily here or all at
once. I like to say an author doesn’t
develop a character in the revelation of the novel as much as the author
reveals the character or the protagonist.
I’m not into this idea about a changing or growing protagonist. Yes, the protagonist must make some kind of
change to resolve the telic flaw, but that doesn’t mean we start with a
reprobate and reform him or her. We can
start with a nice guy whose understanding of the world and his or her place in
it happens to change a bit. The
protagonist’s background is static, but our knowledge (the author’s knowledge)
of the protagonist grows with time and writing.
That’s just what happens when we write—the end result is the fully
developed character, but it can be fully developed at the beginning or the
end. It doesn’t mean the protagonist
changes all that much.
i. Birth – January 2012 – that makes him 17 at the beginning of this
novel.
ii. Setting – Monmouth in Wales which is in the United Kingdom. This is a follow-on novel to Rose.
iii. Life – I’m working on this.
He was born to the Wishart family which is an aristocratic family from
my novel, Azure. He lived in the
estate at Briarashe. His mother is…I guess
that should wait to the family part.
iv. Education – Greycoat, Eton, and wants to go to Cranwell to become a
flying officer like his father.
v. Work – Student being trained in intelligence for the British
government.
vi. Profession – He is aware that he is being trained to
work for the Organization and potentially for Stela. Greycoat is a language focused private
school. Eton is a premilitary school for
boys. Cranwell is the British Air Force
military university. I have made
Monmouth a special place in my novels for the education of certain girls who
are in need of special help and supervision.
I started this with Essie: Enchantment and the Aos Si. I continued this with Rose and added a
bit to it. I also used Wycombe Abby as a
place for this type of training, but moved it to Monmouth for both political
and based on my own novels reasons. The
problem children were all originally in Wycombe, but moved to Monmouth because
they needed more help. Also, Wycombe
lost an important teacher’s supporting asset in another of my novels. I plan to make up with that in Monmouth, but
I haven’t added in that or the travel plans to go to the Isle of Shadows.
vii. Family – His mother is Azure Wishart who was the protagonist of
another of my novels. She is the Keeper
of the Book of the Fae and adjudicates for the Gaelic and Celtic Fae mostly in
Britain. His father is Lachlann
Calloway, but took the name Wishart to allow the continuation of the Wishart
line. He is a British Flying officer
with strong connections through his family with the Organization and
Stela. Perhaps a great tension
development in the novel might be with a trial of peerage—that is that some
pretender to the Wishart line might try to take over the name and the estate.
c.
Setting – We are up to the initial
setting. This is the setting for the
protagonist. It should also be the
setting for the initial scene. We have
our protagonist, and you might be able to figure out the setting. It’s Monmouth Haberdasher’s School for Boys
and for Girls in Monmouth Wales. This is
the setting where I left Rose in the last novel. Rose will be the protagonist’s helper or
antagonist in this novel. I haven’t
chosen yet, but we’ll eventually define this.
I love to use real world settings and
places, real world events, and real world people when possible. The only elements that are made up are those
which expand the work into the reflected worldview as well as those that expand
into places and ideas that are usually unknowns. Mostly, both the reflected worldview and the
covert are unknowns because they are outside the purview of normal observation
and knowledge. This makes them perfect
for fiction because who is to say if they really exist or not?
Therefore, I studied and chose Monmouth
as my setting when I researched it for another novel Essie: Enchantment and
the Aos Si. I just continued to use
it as a place where the British government had special training and teachers
for special students. Those special
students happen to be part of the reflected worldview, but that’s what makes
this so fun, entertaining, and interesting.
Plus, who’s to say this isn’t real or not?
My protagonist, Seoirse, is part of the
reflected worldview and the British intelligence organization I projected from
MI19. By the way, in some measure my
Organization should exist in British Intelligence—just say’n.
The point is to give a setting that
brings Seoirse and Rose together. We
know where Rose was heading. We don’t
know much about Seoirse, yet.
viii.
Life – Our character, Seoirse,
was directed to move from Eton to Monmouth to help keep an eye on Rose. He is going to school in Monmouth, but I may
show that he is just acclimating himself in the school and the school
body. I think I’ll have Rose help
him. That should be fun.
ix. Setting – I already stated that the setting is specifically the
Monmouth Haberdasher’s School for Boys.
x. Work – Seoirse’s work is for intelligence, but he is also learning
and a student. This is interesting in
itself. I’ve had many characters who are
learning to work in British intelligence, but few working fully with
intelligence. This shows how important
and trustworthy Seoirse is. He is
somewhat unique, but likely not completely unique. Next we’ll get to the name.
d.
Name - George (Seoirse)
Séamas (James) Wishart (Calloway).
Actually, I should write this name as Seoirse (George) Séamas (James)
Calloway (Wishart) or George (Seoirse) James (Séamas) Wishart (Calloway). The reason is that the first is Gaelic and
the second is English. Calloway is
Gaelic and Wishart is English. This
represents the roots of his name. The
name is a family name and not as well developed as those I make for most of my
protagonists. The name meaning is George
(earthworker from Greek), James (supplanter), Calloway (place of stones). For the second is the same except Wishart
(wise and hard). The main point of
Seoirse’s name is to project the Wishart and the Calloway families into one
person. He is the combination of the
goddess Ceridwen (a grandson of the goddess) and the Wishart (Keeper of the
Book of the Fae). He was named for the
family favorites and not so much for specific reasons. I chose to call him by certain appellations
due to the English and the Gaelic reflected worldviews of the proposed
novel. In this, I want him to be George
in his school and to the normal students and Seoirse to Rose. This will also allow me to project some
misidentify plots and some humor when Rose calls him something else that others
are not expecting. I can also weave some
secrecy into the plot plus some realization with others. Names and the use of names in all novels is
important. They are also fun and useful
for many other reasons. They mainly
connect a person to their family and to who they are as a person (in
fiction). Rose is who she is because she
is a rose in many ways. Seoirse will be
Seoirse because of who he is. This will
be very fun and entertaining.
4. Refine the details of the protagonist
a.
Emotional description (never to be
shared directly) - Now
we have a character, but what is he like?
Seoirse will be a typical Wishart—well what is that? The Wishart family is tied tightly into the
Crown and into the Fae. The former Lord
Wishart is still in prison (perhaps I should let him out) for cheating the
crown as the Keeper of the Book of the Fae.
He is mentioned in Cassandra.
Seoirse is pretty happy go lucky.
He likes his family, and isn’t jealous of his brother. He likes girls and wants a girlfriend. He had his eyes on Rose, but he realizes or thinks
she is way outside his league. He will
be pursuing her. He is a fighter when
provoked. He doesn’t like to have to
fight. In some ways he is like
Rose. This will draw them together
although I will have some real tension between them in the beginning. What else can we say about the emotions. I’d say that I’d like to push Seoirse to the
point where he feels compelled to fight and defend Rose directly—even at the
risk of his life.
Since it’s Valentine’s Day, we might as
well speak about love too—that’s an emotion, or not. Love isn’t an emotion at all. Love is a dedication and a promise to take
responsibility, at least in human society.
We really get love wrong as a culture.
The problem is the word itself—we only have one normal word for love in
English. The Greeks have about eight,
and none really fit the meaning of English love. The Hebrews have four and none of them are
anything close to what we imagine. When
is love not love?
Really Westerners need to be cautious
about what other and especially Eastern cultures think about love. It isn’t the same. In fact, in Western languages and cultures,
love doesn’t mean the same thing. So,
what is love.
As I wrote love in human culture is a
dedication and responsibility to another.
It really has little to do with sex and romance as much as it have to do
with responsibility and trust. For
example, love for your children has nothing to do with sex and romance, and
neither does your love for your pets—unless you are a pervert. Sex and romance are considered bulwarks for love
in a marriage or a conjugal relationship, but you can certainly have sex,
sexual feelings, and romance without any love at all or any trust or
responsibility.
Part of this novel, will be about
Seoirse and his growth as a person. He
will learn about love and to love Rose.
The aspect of his love will be responsibility and trust. This is what it is all about.
b.
Mental description (never to be
shared directly) - I’m
building a male protagonist who is lovable, strong, and powerful. I want him to be like my Rose, but unlike her
as well. Rose was a child starved for
love and attention. She is a strange
person who is powerful, skilled, and capable.
I also think she is lovable. I do
what her to be intimidating, and she wants to be intimidating. Yes, to her friends as well as her
enemies. She is the consummate
aristocrat, in this incarnation, so to speak.
What I mean is that in this setting and cover, she is exactly what she
should be. I’m not certain I want
Seoirse to be like that. I want him to
be completely real and transparent while Rose is obvious and not
transparent. Rose is Rose, but she is
not always the same Rose. Rose is a
being who can change herself at will.
Seoirse is always Seoirse. He
will have a hidden side, but he is who he is.
Seoirse is my plain person
character. He’s going to be the good old
boy. I want him to be a regular bloke. I think I’ll make him very well
educated. I want him to be a
bibliophile. Rose loves books, but she
has few people who love books as well as she does. Seoirse is the kind of person who is very
much into books. I also want him to be
somewhat a jock, but not what you might think.
I think I’ll make him skilled in the special skills: shooting,
fisticuffs, fencing, and the so-called martial arts. These are skills he can’t really show off at
Monmouth, but that he excelled at in Eton.
These are his secret skills that is the
martial skills. Is this really
mental? I’m not into crazy
characters. I’m into weird character or
real characters. To me, the skills of
the mind are the mental skills and mental description. Seoirse will look like a jock, but not be
especially skilled in sport. His real
skills are secrets, and he will play the field so he acts like a jock, but
doesn’t play like a jock. His job is to
watch out for Rose. Rose is the one.
As I wrote, the other secret skill is
books. I will use these to pull him
together to Rose.
Another mental aspect will be his loneliness
which will be similar to Rose’s issues.
Rose is the perfect aristocrat, but she has no one to really befriend
her. She has followers and not real
friends. Everyone loves Rose, but Rose
has no one she can really talk to and share with. I want Seoirse to become this for her. Their friendship will be based on this. I also want to give Rose and Seoirse a little
of the bad girl, bad boy stink. I think
I can work this out. Like a little off
schedule meeting together in the woods.
Hey, this is fun stuff to think about, and to write.
c.
Likes and dislikes (never to be
shared directly) - Seoirse
will obviously come to like Rose. I’m
not certain how I want to play this. I
do want Seoirse to pursue Rose and not the other way around. At the same time, I want the very delicate
and elegant Rose to have a deep and traumatic falling in love. I want some real sparks between two people
who are both refined and elegant. I want
Rose to upturn Seoirse’s life and Seoirse to upturn Rose’s life. I want this to be a powerful and beautiful
love story in the middle of Rose’s real assignment and problem. This is all about likes and dislikes. Our young lovers have their associations and
friends. This is very important to the
plot. Rose is the consummate
aristocrat—everyone loves her, but she must still have her foil. I need to work this out. Usually, the foil is a person in the school
who is a peer. In this case, Rose’s foil
should be one of her assigned problem children or perhaps more than one. I think the goddess pair would be perfect and
the others are warming up to Rose. There
is much more to these likes and dislikes.
I really haven’t developed Seoirse enough to know all his details, and I
think I need to work on this with some writing.
That’s where I’m going.
Seoirse’s likes and dislikes are, of
course more than Rose. He is supposed to
be filling a role at his school. He is
also supposed to be filling a role for the Organization. He has an assignment. He also has his own desires and wants. All of this plays a role in his development
and his revelation.
The plot or fight between duty and
desire is perhaps one of the most important ones in a novel. Not all novels include this, but many and
most great ones do. In my novel, A
Season of Honor, the protagonist has to determine how to win his love while
upholding his duty. It is a truly
Romantic plot—one that looks impossible until it is inevitable. This novel should be the same. Seoirse needs
to determine what he wants and how he can make his desires match his
responsibilities. It won’t end like A
Season of Honor, the upheaval of an empire and the beginning of a new
era. On the other hand, it will result
in his happiness and the happiness of Rose.
Like and dislikes are deeper than just what a protagonist wants or desires,
but they play very importantly in the revelation and the resulting climax.
2.
Telic flaw resolution - This is what I wrote
about the telic flaw. “The telic flaw
belongs to the protagonist. This
protagonist’s telic flaw is that he has an assignment to look after Rose. Just how he can do this is not clear. He should not have any skills greater than
Rose, but he should have some background that places him in both the sights of
Stela and The Organization. I haven’t
worked this out yet. Basically, the telic
flaw will be his responsibility to protect Rose. This will turn out to be a romance plot and
telic flaw. The young man will pursue
Rose. I might have to work on the telic
flaw a little. It will become clearer
with the development of the protagonist.”
The resolution of this telic flaw will
run concurrently with the telic flaw that Rose brings to the equation. Don’t get me wrong, we will not have two
protagonists or two telic flaws. What we
will have is a main telic flaw, that of Seoirse, which is about looking after
and pursuing Rose, and the secondary telic flaw which is Rose’s return and
recovery of her house and home at Viera Lodge.
The second will motivate Rose’s
actions, and the first will motivate Seoirse’s actions. Since the overall novel will be about Seoirse
and his relationship with Rose, the overall telic flaw will be his.
The big question for me as the writer
is how to resolve the first telic flaw.
The second is also a great question, but the first is what the novel is
about. The second will just wrap up the
Rose question, but we know how that is supposed to be resolved. If Rose can prevent injury to and from Robyn
and others, she will win back her house.
Do you see the problem here? I already wrote that the incident touching
off this novel will be the catastrophe tea party where Rose can’t stop some degree
of injury and harm caused by Robyn and the others. Because of this, she runs away. Seoirse will have to pick up the pieces. In addition, the resolution of the second
telic flaw will look impossible—until it is inevitable. And, the resolution of the first telic flaw,
Seoirse’s telic flaw, will also look impossible until it is inevitable. Who could fall in love with the guy who
caught you naked running the trains?
This is all that needs to be worked out in the telic flaw
resolution.
d.
Changes required for the protagonist
to resolve the telic flaw
i. Physical changes - Seoirse will need to make some type of
physical change to resolve his telic flaw.
This really will require deep thought and writing. I suspect it will mostly work itself out in
the writing, but the biggest change will be how and what Seoirse will do to
protect and defend Rose. This is that
good old game of love.
Love will be the motivator and the
activator for Seoirse. The big question
is will he have to give up his dreams, or anything physical to achieve his
goals. The actual loss or the intent to
lose one’s goals is usually enough, but I want to drive this point home. This might be the only thing that will really
push Rose into the arms of a man. That
this man is willing to give up himself and his life for her. That is the physical dimension of this telic
flaw resolution.
On
the other hand, I also might be able to conform and fit both their goals and
life dreams together. This might still
result in or cause loss. That’s the way
with true love and loving others.
ii. Emotional changes - We should have an emotional change in
the protagonist to be able to resolve the telic flaw. This doesn’t have to be a complete mental
change or change of heart. It can be as
simple as a change of mind or a determination of some type.
What
I would like to present is a determination where Seoirse comes to the
conclusion that he is in love with Rose and will stick with her.
Many have embraced this in an incorrect
way. There are some protagonists who
need to make an entire mental shift to resolve their telic flaw. For example, Les Miz is like this. Jean Valjean needs to make an entire mental
change to embrace good. However, most
protagonists start as strong Romantic characters and don’t need much to fix
them as humans. They usually need to
accomplish some action to fix the telic flaw.
They usually don’t have a problem with their thoughts or their
minds. They can have a need to change
their determination or make a decision.
Then is that really an emotional change?
Yes,
to a degree. A classic emotional change
is the decision to love another, and there are others—that is decisions about
emotions. The important point is to
realize this as a need and not as a flaw in the character. Usually, a good romantic protagonist doesn’t
need to adjust his or her mind to resolve their flaw.
Then
there are those like some of my characters who do need to make an entire mental
change to resolve their telic flaw. The
proposed Bookgirl is just one of those types of protagonists.
Bookgirl
has a problem of projecting herself on the world. She is a prefect Romantic character, but she
has a character flaw, related to her telic flaw. The character flaw is that she is unaware and
passive in the world. I’ve projected a
similar character flaw in a few of my other protagonists. This is a redemption theme with a redemption
plot. The point of the entire novel is
for these types of characters and protagonists to change emotionally and
mentally.
The
norm for the emotional change is to fall in love or to have a real change of
heart about something. That’s redemption
in some fashion. It can also be a
classic redemption from a bad circumstance or bad emotional problem or
issue. It can also be from sin or other
moral problem. The emotional change is a
powerful driver in the telic flaw resolution.
Work to make this a key part of your novel—if you can.
iii. Mental changes - Mental is not the same as
emotional. Emotional is all about
feelings while mental is about acumen and other factors. I will say, you can have a mentally touched
protagonist who needs to recover their sanity.
I don’t suggest this, but it is possible. You see this in much modern literature. You also see the insane characters who really
shouldn’t be protagonists at all.
I intend all my protagonists to be fully
sane, but just not regular or normal thinkers.
This is the power of the Romantic protagonist or character. They do not think like the normal human, but
they do think like the regular book reader thinks protagonists should (within
the confines of their design). What do I
mean by that?
All readers and most writers believe they
think differently than all of the rest of humankind. Whether they do or not is not a question for
the author—the author just needs to understand this feature of all readers. Readers know that non-readers are not as well
read. That they don’t think as well or
the same way as readers. That readers
have a step up on understanding and comprehension. Now, whether any of this is true is
immaterial. I think much of it is true,
but I’m a reader too. Readers believe
they think differently than the rest of humankind who don’t read. This is important because when I propose a character
(especially a protagonist) who thinks differently, this is the norm for the
reader. It really doesn’t matter what
differences the author proposes, as long as the reasoning of the protagonist is
logical (to the reader). It should be to
the writer as well.
Seoirse will be a different thinker. You can see by his background he must be a
different thinker than most humans. He
can see the Fae. He knows the Fae. He is training in some degree in British
intelligence and knows it. His parents
and family is unusual in some degree. He
is definitely a different thinker than the norm, and this must be presented to
the reader such that it attains the suspension of disbelief. I think it is already there, but I write
about these kinds of things and types of characters all the time.
In what way should Seoirse change mentally
to resolve his love for Rose. I already
noted that just his acknowledgement of love and that he will give up everything
for Rose is a perfect mental and emotional change. I like this idea, but there may be more to
work into the novel. Let’s write a
little about the perfect Romantic plot.
In the perfect Romantic plot, but writer
makes the telic flaw resolution look impossible until it is inevitable in the
climax. That’s a perfect climax and a
Romantic climax. This is what I’m aiming
for in this novel. I want any change of
heart or mind for Seoirse to look impossible.
In some major ways, Rose will turn Seoirse off as a lover and a
potential mate. This won’t be hard to
do—the trick is to bring their love and admiration back together through the
novel. I did mention that I’d like Seoirse
to pursue Rose. Perhaps his change of
heart might be early and her change of heart be the driving mental and
emotional change that makes their love inevitable. We shall see.
I’ve also had some exposure to some really
different views in new plot ideas. How
about if one of the characters is boldly different than the other and the norm—not
crazy different, but just from a life view.
How about a character who has radical swings
in personality, but controlled swings in personality. I was thinking about Rose, but Seoirse might
be a good fit too. If let’s say he has a
very mild demeanor, but suddenly will snap under the right conditions, not to
harm or cause pain to Rose or the good guys, but to oppose and overcome the bad
guys. I’m toying with some of these as
mental and emotional plot additions and changes.
c.
Alliances required for the
protagonist to resolve the telic flaw - These last four items are really plots
and ideas for plots. The idea of an
alliance pushes the plot, scenes, and characters in a way that brings them
together to resolve the telic flaw.
The characters only see themselves as
solving the problem. The deeper point is
that the plot and the novel is moving to the climax and resolution. Let me remind you that the Romantic plot sets
up a telic flaw resolution that appears impossible until it is inevitable. This is the most powerful plot an author can
develop. In most cases, the means the
protagonist uses to resolve the telic flaw is some accommodation or alliance
with other characters. This can be very
separate and impersonal such as a detective’s investigation or through gaining
other information. Like seeking out a
laboratory or an appraiser to determine some information about a clue. It can also be as personal as a protagonist’s
helper like Dr. Watson providing details analysis and help for a problem.
Usually, the protagonist gains allies
who then work together with him or her to resolve the telic flaw. This is pretty classic, but the solitary
protagonist is also a thing in Romantic literature, but just not as entertaining
or fun.
My favorite approach is to have the
protagonist and the protagonist’s helper work together to resolve the telic
flaw, although I have used variants of this to give some unpredictability to
the novel.
In the case of this novel, I want to
use Seoirse to build an alliance with Rose.
I would like to have him pursue Rose romantically (notice not
capitalized), and eventually win her help.
I’d also like to have Rose with Seoirse’s help bring the bad girls into
alliance. The bad girls are the point of
the novel and the telic flaw, so to speak for Rose. Where Seoirse needs to keep it together for
Rose—Rose must fix the problems of three goddesses and two others. That is her purpose if she is to get back her
house. There is a deeper issue in this
entire train of events that I’d like to bring into the novel, but we shall see.
e.
Enemies required for the protagonist
to resolve the telic flaw
f.
Plots required for the protagonist
to resolve the telic flaw
g.
Obstacles that must be overcome for
the protagonist to resolve the telic flaw
Here is my list for the characteristics of a Romantic
protagonist. I am not very happy with
most of the lists I have found. So, I
will start with a classic list from the literature and then translate them to
what they really mean. This is the refined
list. Take a look.
1. Some power or ability outside the norm of society that
the character develops to resolve the telic flaw.
2. Set of beliefs (morals and ideals) that are different
than normal culture or society’s.
3. Courageous
4. Power (skills and abilities) and leadership that are
outside of the normal society.
5. Introspective
6. Travel plot
7. Melancholy
8. Overwhelming desire to change and grow—to develop four
and one.
9. Pathos developed because the character does not fit the
cultural mold. From the common.
10. Regret when they can’t follow their own moral compass.
11. Self-criticism when they can’t follow their own moral
compass.
12. Pathos bearing because he or she is estranged from
family or normal society by death, exclusion for some reason, or self-isolation
due to three above.
13. From the common and potentially the rural.
14. Love interest
Let’s use this list, again, to design a new
protagonist. That’s exactly what I’m
going to do.
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
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