04 May 2023, Writing - part xxx308 Writing a Novel, A New Male Romantic Protagonist, Seoirse, more Initial Scene
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.
For novel 33, Book girl: Siobhàn Shaw is Morven McLean’s savior—they
are both attending Kilgraston School in Scotland when Morven loses everything,
her wealth, position, and friends, and Siobhàn Shaw is the only one left to
befriend and help her discover the one thing that might save Morven’s family
and existence.
For novel 34: Seoirse
is assigned to be Rose’s protector and helper at Monmouth while Rose deals with
five goddesses and schoolwork; unfortunately Seoirse has fallen in love with
Rose.
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 used the protagonist development outline to build a great
protagonist, Seoirse. Then I took the
list of plots from classical literature to flesh out potential plots for the
novel. Finally, I applied the list of Romantic
characteristics to Seoirse to develop him as a Romantic protagonist. Is this how we should write and develop
novels?
I’ve written before about the initial scene and how to make
it powerful. I guess I should remind
myself and you about this very important part of your and my novel
writing. Perhaps I should first look at
the scene.
I know, if you’re thinking, you’ll say—you have to start
somewhere. There always must be an
initial scene. That’s a gotta be. Yeah, it’s a gotta be, but because the
initial scene is so important to selling your novel, it needs to be very well
crafted. If definitely needs to
articulate the power of your protagonist and novel.
When we develop the initial scene, the most important aspects
of the scene are these:
1.
Look at the theme statement.
2. Initial meeting of the protagonist and the protagonist helper
(or antagonist).
3.
Action oriented when possible.
There are other ways to craft an initial scene, and I’ve done
so in the 31 novels I’ve written, but the above is what I recommend. Here’s the theme statement for Seoirse.
For novel 34: Seoirse
is assigned to be Rose’s protector and helper at Monmouth while Rose deals with
five goddesses and schoolwork; unfortunately Seoirse has fallen in love with
Rose.
The protagonist is Seoirse and the protagonist’s helper is
Rose. You can see the initial setting is
Monmouth. The problem is getting them
together. I’ve been contemplating
this. I’m wondering if I should just
bring them together with Seoirse’s assignment to Rose—like in the Organization’s
headquarters or perhaps at the Director’s house. I’m not certain right now. I need to think and work on this.
The question then is where and when to begin this
novel. Perhaps a better question is what
should be the first meeting between Seoirse and Rose. I’ve thought a lot about this specific
situation. In the beginning, I imagined
that Seoirse and Rose met each other in the woods around Monmouth. I pictured a meeting where they didn’t know who
each other were. This couldn’t work.
I rearranged the circumstance and knew that Seoirse had to
know exactly who Rose was. I imagined a
case where Seoirse first met Rose after the incident. I’m ambivalent about how I want this all to
work. Perhaps I should list how I
imagine the first scenes in the novel.
1.
Rose gets her assignment – already exists
but could be a new scene.
2. Rose and Robyn meet the four other goddesses and give them
an invitation to a tea party.
3. The tea party that goes awry.
4. Rose runs away.
5. Seoirse finds Rose.
6. Rose and Seoirse return to Monmouth.
7. The punishment for the four (one).
8.
Continuing the novel.
Now, perhaps this timeline isn’t exactly right and might
need some scene reordering, but the main fun scene I’m designing this around is
scene five, Seoirse find Rose. My
problem is when to begin the initial scene and where.
I could add a zero scene where Seoirse gets his assignment,
but that is not the best place to start a novel or a great initial scene. Perhaps, a scene zero could be the head of
the organization or perhaps Lady Wishart (Seoirse’s mother) taking him to
Monmouth and providing an introduction or perhaps a connection of some type to
Rose. This is very difficult because I envisioned
the novel a little differently at first.
Perhaps I should just use Rose as the protagonist. That would build the novel a little
differently, but also bring in Seoirse.
That way the initial scene could be Rose and Robyn and the four
others. That’s a good place to start and
would build the tension and the situation quickly. Seoirse could start as a side character.
I’ve had this problem before. With Cassandra, the initial scene is
where Sorcha and Deirdre get their new assignment to Saint Malo. This isn’t very action oriented, but it’s
very tense and exciting. It works with
the novel.
I’m still contemplating how to write this initial scene. Perhaps the best way to start is to just
write it. I’m not ready for that. I need to complete Cassandra and begin
to produce the marketing material.
In the next steps in writing Seoirse, I’m skipping the
outline and moving to the initial scene.
This is what I’m prepping for.
I’ll repeat. I just
finished up Rose, and I want to finish up Cassandra. I’m moving in that direction.
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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