12 May 2023, Writing - part xxx316 Writing a Novel, Cassandra, Title Development
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.
At this point I want to finish editing Casandra:
Enchantment and the Warriors and produce the marketing materials. I intend to show you the marketing materials
before I’m willing to begin writing Seoirse.
I also need to work harder at getting a publisher—basically submitting manuscripts
to potential publishers and agents.
Here is my list of basic marketing materials:
Title of Work:
Cassandra: Enchantment and
the Warriors
You need a title. Even though your title may or may not remain
with the work. What I mean is that the
title is usually a collaboration between the writer, the publisher, and the
publisher’s editor.
You need a title for your work. How do we pick one? Some authors know instinctively and exactly
what they want to name their work from the moment they begin writing. I’d say that’s about 1% or less. Most of use have some idea and toy with ideas
as we are writing, but really don’t set a title until the work is
complete. I’d suggest waiting until the
work is complete. That doesn’t mean you don’t
need something to call it. I have initial
pet names for all my works. You must
have something to call the files. Many and
most of the time, these are very different than the final title. Sometimes they are the same.
The working titles and file handles
for my published novels Centurion and Aegypt were Centurion and
Aegypt. Not sure how that came out that
way. These were the working titles and
the actual titles, but that’s some of the few novels I’ve written where that
was true. The working titles for The
End of Honor, The Fox’s Honor, and A Season of Honor were Seeds,
Duel, and Desert. That’s a far cry from
their final and published titles.
I’d leave your end of work title to
the end of the work. Finish it, contemplate
it, and then set a title on it. I should
mention, that when I started writing using a computer, the titles of the files
were limited to eight characters. Today,
we can have whole phrases and long titles.
Now, to picking and placing a
title. Look at the work as a whole. Think of the work as a whole. Figure out a potential title or titles. Write them down and contemplate them a
little. For example, based on the
recommendation of my publisher, I chose single name titles for some of my
works. Most specifically, when I was
writing my Enchantment novels, I applied a single name to the title followed by
Enchantment of the – blank. This started
with my novel, Hestia: Enchantment of the Hearth. I actually had some of my readers and
potential readers give me suggestions. I
thought that Hestia, although it was historical as the name of a Greek goddess
would be too simple and not specific enough.
I added the Enchantment of the Hearth because that described the goddess
Hestia. I thought this would be a great
title. Especially, I felt like it would
interest readers and potential publishers.
The title describes, not the
protagonist, in this case, but the main subject of the novel—Hestia and her
enchantment at the hearth. The point was
to point to her and to the main point of the novel. I’ll move on to more details of picking and
placing a title, next.
Author(s) Name:
L. D. Alford
Type: Either Screenplay or Book
Book
Length: Either # of words for books, or #
of pages for screenplays
Keywords and Market Focus:
Genre:
Proposed Cover:
Author
Bio: Approximately 120 words
Synopsis: Approximately 1000 Words
Synopsis: Approximately 500 Words
Synopsis: Approximately 200 Words
Concept
of the Work: Approximately 250 Words
Registration:
WGA, ISBN, or Library of Congress, Write the number.
Other
Information: If you have more work, a
website, anything interesting and professional, especially any awards or
recognition.
Reviewer’s
quotes.
1. No more than 3 sentences about the content of
your manuscript.
2. One sentence about successful works similar
to yours.
3. No more than 2 sentences about yourself. (use
3rd person)
4. No more than 2 sentences that include
“other,” i.e. any reasons, relationships, or other factors that might make your
work more attractive.
The plan is to fill in these marketing materials. I already put in the title, author’s name,
and the type. I’ll opine on these
next.
I put together this list from internet sources, information
sources, publisher requests for information, and other ideas from agents. The point is to fill out this information and
with it, you should be able to produce your submission letters and provide the
information a publisher requires. This
isn’t the end-all, but it does prepare you for most information requests from
your publisher.
In addition, this provides you with all the information you
will likely want to populate a website with.
You can actually take this verbatim and fill a website for your
novel. I’d recommend being a little more
creative in your website development, but with the information above, you can
provide a potential reader or publisher with everything they need to give your
novel a first blush look.
Is a website helpful—who knows. When you have a published work, I think it
can be. In the interim, I’m not
sure. It’s hard today to tell how many
visitors you’ve had and the success of the website in advertising. This is especially true if you don’t have any
works to sell. It’s also true if you
don’t have any sales. If you are
self-published on Amazon or are advertised on Amazon, you can easily see your
sales. That’s not as true with your own
website.
I’m of the opinion that you should own your own website for
every novel. I’ll get into this as we
move along on the marketing materials.
The first point is to have a plan and to develop your
marketing materials. The plan is listed
above. I’ll get to the details next.
I’m still editing Cassandra and I’ll cover some of
this before I get to the marketing materials.
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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