18 September 2023, Writing - part xxx445 Writing a Novel, Building a Protagonist, Ability
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 31st
novel, working title, Cassandra, potential title Cassandra: Enchantment and the Warriors. The theme statement is: Deirdre and Sorcha
are redirected to French finishing school where they discover difficult
mysteries, people, and events.
I finished writing my 34th
novel (actually my 32nd completed novel), Seoirse, potential
title Seoirse: Enchantment and the Assignment. The theme statement is: 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 cover
proposal for Seoirse: Enchantment and the Assignment:
|
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 finished writing number 31, working title Cassandra: Enchantment and the Warrior. I just finished my 32nd novel and
33rd novel: Rose: Enchantment and the Flower, and Seoirse:
Enchantment and the Assignment.
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 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.
For novel 35: TBD
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.
My main focus, at the moment, is
marketing my novels. That specifically
means submissions. I’m aiming for agents
because if I can get an agent, I think that might give me more contacts with
publishers plus a let up in the business.
I would like to write another novel, but I’m holding off and editing one
of my older novels Shadow of Darkness.
I thought that novel would have fit perfectly with one potential agent
who said they were looking for Jewish based and non-Western mythology in
fantasy. That’s exactly what Shadow
of Darkness is, but they passed on it.
In any case, I’m looking for an agent who will fall in love with my
writing and then promote it to publishers.
That’s the goal.
The dependency I’d like to present in a
new novel is similar to Valeska but one where the protagonist falls
romantically in love with the focus. The
question is the focus.
Now, I’m looking and researching for a being
or character who would fit the needs of the book I’m proposing.
Don’t modify known settings, people, or
history unless you are writing alternate history. Modify, at will, those things that are not
known or recorded in history. That comes
to a very important point about historical fiction, even reflected worldview
historical fiction. That is that history
doesn’t record much of the mundane we wish to include in our novels.
If I’m going to develop a protagonist,
I need to bring out the protagonist outline.
I’ve got it somewhere in my writing—I just have to find it.
I
guess I’ll start with the Romantic part of the protagonist. Then I’ll move to the more specific pieces of
the protagonist. Most precisely, I’m
looking at the list of potential characters from my list of characters in my
other novels.
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.
I’m
interested in developing a male Romantic character who is around 18 to 21. He needs to have some power or ability that
allows him to fulfill my initial scene idea and to become dependent on the
focus of the novel. I’m still not
completely certain who or what that focus is, but I’m getting an idea it could
be Áine. Who or what is Áine?
Áine
is the Celtic sun goddess and goddess of wealth, sovereignty, and summer. In
Irish mythology, she is also a fairy queen and goddess of the moon, earth, and
nature, and could shapeshift into a red horse.
The
most famous story involving Áine focuses on her biting off the ear of her
enemy. According to the late medieval text, Cóir Anmann, the Celtic goddess did
this to avenge her father’s death, but others claim it was to stop King Ailill
Aulom from raping her.
Áine
is predominantly associated with County Limerick, although her influence spread
further afield over time.
At the
moment, Áine is my go to focus for this novel.
She has connections to the Fae—very strong connections. She is also a Gaelic and Celtic goddess. This is about exactly the kind of focus I
want.
Now, about
the protagonist. I want a man who is
connected to the Fae and to the concept of the mythical, that is the gods and
goddesses of the land. I’d also like
this character to have some real special powers related to the Fae and to the
land. I’m thinking the Wishart family,
but Sorcha from Dierdre and Sorcha and not from the Calloway families would be
perfect. However, a Calloway might be
the best. That would set up some very
interesting situations—the interesting situations are what we are aiming for.
Novels
are all about entertainment. I want
something a little different in this novel. I would like a character for a protagonist who
really is a black sheep. That would be
the Wisharts for sure. The Angelique
Wisharts.
Another
option is the Stuarts. These are
connected through Eliana and she’s touched.
I never went through why and how she is touched, but it has to do with
natural human glamour and nobility. It
pretty much the right of kings claptrap.
I’m not into that, but it’s a part of the myths of Britain and the monarchy,
and I write about the monarchy.
I
haven’t written much about the Stuarts.
That might be a great and fun protagonist. Miss Stuart had real issues in Deirdre:
Enchantment and the School. She was
poor and was picked up by Aife as a handmaiden and not a battlemaiden. This is significant in the world of the Aife
myth. I didn’t show her later in Rose
or Seoirse. That’s because Aife
came back into her power at the end of Azure Rose and was just granted
her power by Rose in Seoirse. She
wouldn’t be cruel enough to dump Eliana, but Eliana would be wise enough to
dump Aife, not because of any animosity but because Aife is a fighter and
Eliana is very opposed to confrontation and fighting.
This
might create the very conflict I want to build on. The protagonist from Eliana’s family wants to
go to the military and into the special training he knows a little about. I should develop his connections to Seoirse
and his brother as well as his sisters.
That would make an even better and stronger potential confrontation and
conflicted characters. I’m still
contemplating. I’ll get to the skills
and character next.
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 want to write another book based on
Rose and Seoirse, and the topic will be the raising of Ceridwen—at least that’s
my plan. Before I get to that, I want to
write another novel about dependency as a theme. We shall see.
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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