Writing Ideas - Vampire Novel, part 14, Initial Scene

24 April 2014, Writing Ideas - Vampire Novel, part 14, Initial Scene

Announcement: There is action on my new novels.  The publisher renamed the series--they are still working on the name.  I provided suggestions as did one of my prepub readers. Now the individual books will be given single names: Leora, Leila, Russia, Lumiere', China, Sveta, and Klava--at least these are some of the suggestions.  They are also working on a single theme for the covers.  I'll keep you updated.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to 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.
5. Immerse yourself in the world of your writing.

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of this new novel is: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed. 

From the theme statement, the obvious initial scene is when the vampire meets the agent.  In most novels, the obvious initial scene is either the meeting between the protagonist and the antagonist or the meeting between the protagonist and the protagonist's helper.  In this case, the protagonist is the agent and the protagonist's helper is the vampire. 

The protagonist could equally be the vampire, but I chose differently for a couple of reasons.  The first is that a vampire should be mysterious.  You can't really have a mysterious protagonist.  Second, I wanted the agent to be the protagonist.  Ah, the astute reader will say, then the vampire doesn't change and the agent does.  Bingo.  The identification of the protagonist is that the character has a telic change during the novel.  The vampire can't have a telic change, the agent must.  I did this trick in Khione.  The protagonist's helper, Khione had a telic change, but so did the protagonist.  This might be a little modern for some purists, but this is how many novels with a strong redemption theme work.  The main character is not the only one redeemed.

In almost every novel, the initial meeting of the protagonist and the protagonist's helper or the antagonist makes the best initial scene.  Now, imagine other scenes as a contrast.

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com

Writing Ideas - Writing Science Fiction, part 17 Science Fiction Characters

17 August 2013, Writing Ideas - Writing Science Fiction, part 17 Science Fiction Characters

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to 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.
5. Immerse yourself in the world of your writing.

The main point in developing the plot is this: you gain your characters from the theme statement and you develop them as part of the plot.  The how is a little more complicated.  I'll give you some ideas.

From the theme statement, you should have a protagonist and potentially, a protagonist's helper and an antagonist.  The first step in developing the plot is to flesh out these characters.  The first question is: what do they look like?  I'll go back to my main point on characters.  When you introduce a character in a novel, you need at least 100 to 300 words to describe them.  For a primary character (protagonist, protagonist's helper, or antagonist) you need at least 300 words.  For secondary characters 100 to 300 will work.  Note, you must not tell us anything about these characters--you must show us these characters.  This means, your description is a description of their physical (external) attributes.  You are not allowed to "tell" us anything about your character.

Your job is to make a physical description that is about 300 words long for the major characters.  You must also write down something about their inner description, but you are not allowed to ever "tell" us about this.  You may show us all about this part of your character.  So, do you get it?  Your character has external attributes you are allowed to show--write about at any time--and internal attributes (mental, emotional, etc.) that you are never allowed to tell us.

You might ask then, how can I show the inner attributes of my character?  The answer is simple.  You can "show" us though conversation and actions.  There is much more to this.

Remember, I'm trying to show you and give you examples of how to write a science fiction theme statement and turn it into a plot.

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Writing Ideas - Writing Science Fiction, part 15 Science Fiction more Theme

15 August 2013, Writing Ideas - Writing Science Fiction, part 15 Science Fiction more Theme

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to 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.
5. Immerse yourself in the world of your writing.

You really can develop a theme statement using the listed elements.  Here are the elements again:

The first element in a theme statement is the protagonist. This can be as simple as "the boy," the girl," "the woman," "the Captain's son," "the beautiful singer," "a girl who...," "a boy who..." and all. Let's state the protagonist in simple but specific terms.

The second element is the setting. This doesn't have to be very specific at all. If the novel is not a science fiction novel, I'd suggest the setting can be undetermined, but the setting is usually the part of the theme statement that makes the theme a science fiction theme. Typical settings are: on a spaceship, on a planet, during a planetary war, during a planet exploratory mission, etc.

The third element is a verb or action statement. Examples are: discovered, fought, rescued, found, investigated, invented, and all. The point is to have the protagonist do something in a scientific setting. This sets the theme statement in a form that can be turned into a plot.

The fourth element is an antagonist. This is not necessary, but if you can include the foil to the protagonist that's a step forward.

The fifth element, and optional, is the protagonist's helper.

If you develop or have a theme statement with these elements, you can immediately begin to flesh out the plot.  This is where I break with the single word theme folks.  Sure, you can have a single word theme, but what does it get you--nothing.  A theme statement, as described above, provides the beginning of your plot.  With a theme statement, you have a protagonist, a setting, and an action of progress.  If you add in an antagonist and the protagonist's helper, you have all the elements of a plot.  The theme statement isn't the plot--it is simply the basis and beginning of the plot.  The next step is to flesh out the characters and develop the setting.

Remember, I'm trying to show you and give you examples of how to write a science fiction theme statement and turn it into a plot.

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Writing Ideas - Writing Science Fiction, part 14 Science Fiction Theme

14 August 2013, Writing Ideas - Writing Science Fiction, part 14 Science Fiction Theme

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to 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.
5. Immerse yourself in the world of your writing.

The point I've been trying to make is that to write science fiction, you must start with a science fiction based theme.  A regular theme won't do.  Now, if you are silly enough to define a theme with a single world, you might not have a science fiction based theme.  This is why I've qualified the definition as a theme statement.  To me, a single word is not sufficient to define a theme.  That's why I want to break down a theme statement.  I don't think you need every element that I will describe in your theme statement, but it can't hurt.  If you do follow these simple directions, you will be able to write a theme statement and develop a plot from it.

The first element in a theme statement is the protagonist.  This can be as simple as "the boy," the girl," "the woman," "the Captain's son," "the beautiful singer," "a girl who...," "a boy who..." and all.  Let's state the protagonist in simple but specific terms. 

The second element is the setting.  This doesn't have to be very specific at all.  If the novel is not a science fiction novel, I'd suggest the setting can be undetermined, but the setting is usually the part of the theme statement that makes the theme a science fiction theme.  Typical settings are: on a spaceship, on a planet, during a planetary war, during a planet exploratory mission, etc.

The third element is a verb or action statement.  Examples are: discovered, fought, rescued, found, investigated, invented, and all.  The point is to have the protagonist do something in a scientific setting.  This sets the theme statement in a form that can be turned into a plot.

The fourth element is an antagonist.  This is not necessary, but if you can include the foil to the protagonist that's a step forward.

The fifth element, and optional, is the protagonist's helper. 

I've written before, that with a setting, a protagonist, protagonist's helper, and an antagonist, you can write a novel.  This is all you really need (well, along with imagination and writing skills).  Here's an example of a theme statement built with the above elements.  A boy from a space ship discovers a creature that appears to be an intelligent form; he tries to get the creature recognized by the government forces.  The protagonist is the boy.  The protagonist's helper could be the creature.  The antagonist is likely the government forces.  The setting is someplace where you will find an intelligent but nonhuman creature and a space ship.

Remember, I;m trying to show you and give you examples of how to write a science fiction theme statement and turn it into a plot.

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Development - Classical First Scene

25 April 2012, Development - Classical First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

If you haven't guessed yet, I've left this up because I plan to use it in the future as we move through development. The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

I mentioned before that with properly developed characters, the plot will automatically fall out of the development of the characters.  The first scene must be a carefully chosen point in the plot.  It doesn't have to be the beginning of the plot--it must be an exciting point near the beginning of the plot.  Here's the point--you have to capture your readers in the first scene.  This means the first scene must be exciting and entertaining.  You, therefore, must pick a first scene that is exciting and entertaining.

When I wrote Aksinya, I chose the first scene to be the point where Aksinya calls the demon.  I could have written a prolog all about how Aksinya became a sorceress, or about how Russia became mired in a civil war, or about Aksinya's family.  Don't use prologs.  I could have written a scene about Aksinya in her home and with her family etc.  I could have written a scene about Russia during that time in history.  Notice what all these potential scenes are missing.  They don't include an antagonist or a protagonist's helper. 

Here is a very simple way to know where to begin a novel.  If you don't learn anything else from my description of classical plot development learn this: your novel can't begin until you introduce the protagonist and either the antagonist or the protagonist's helper.  BANG!  That's the way to begin almost any novel.  If you begin the novel at the point where the protagonist and the antagonist first meet or become involved with one another, you automatically have the potential for excitement.  If you begin a novel with the protagonist and the protagonist's helper meeting or becoming somehow involved, you will have an exciting point to begin.

The first scene must be exciting and entertaining--one way to do it, perhaps the best and maybe the only good way is when the protagonist first interacts with either the antagonist or the protagonist's helper.  Keep this thought in mind when you begin to write--or rewrite. (And definitely rewrite if the first scene is not exciting and entertaining.)

Tomorrow, I'll explain more about tension and first scene development. I'll talk about characteristics that make a bad first scene/chapter eventually.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Purpose of the First Scene

24 April 2012, Development - Purpose of the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

If you haven't guessed yet, I've left this up because I plan to use it in the future as we move through development. The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

The absolute purpose of the first scene/chapter is to convince a reader to buy your novel.  If you can't capture them with the first scene/chapter, they won't read your novel.  Many say you must capture your reader with the first page, sentence, paragraph.  This isn't all there is, but those are good rules to write by too.  If a reader doesn't like the first sentence, they might not read the first paragraph, which means they won't read the rest of the page, etc.  I'll give a reader the benefit of the doubt.  I don't remember the first sentence of almost any novel I've read.  I've read some pretty bad first sentences, and I will say that negative impression stuck with me through the book.  Usually because the writer wasn't very good.

In any case, the focus here must be the first scene.  The reason I keep writing scene/chapter is because, many readers will read the whole chapter in a "Look Inside" feature.  If they "Look Inside" and don't like what they see, they will not continue the novel (they won't buy it).  Therefore, if your first chapter (or the look inside feature) is more than a single scene, you need to make certain the whole chapter showcases your novel.

The big deal is excitement and entertainment.  I mentioned yesterday that Aksinya is an excellent example of a novel where the protagonist and the antagonist are introduced in the first scene.  We'll talk about this tomorrow.
Tomorrow, I'll explain more about tension and first scene development. I'll talk about characteristics that make a bad first scene/chapter eventually.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - more on Protagonist's Helper

8 April 2012, Development - more on Protagonist's Helper

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

If you want to write a love story (or almost any story for that matter), you need a protagonist's helper.  The protagonist's helper can go from a sidekick to a lover to an advisor.  In fact, writing and characters is kind of like the bride and the groom at a wedding.  The bride has her supporters and the groom has his supporters and they get opposite sides of the church.  In any novel, you have the protagonist, the antagonist and all the other characters in the novel.  All of these other characters line up on one side of the church or the other.  They either support the protagonist or the antagonist.  Some are kind of in the middle.  That's not to say that all these characters are protagonist's helpers or even antagonist's helpers, but like I wrote they fall into one camp or the other.

I mentioned the other side.  It's been popular to bring in the antagonist's helper as a major character.  You can.  There are novels with a legitimately strong antagonist's helper--I just can't remember any off hand.  There is nothing wrong with bringing in as many and varied characters as necessary for the novel, the problem comes when you take too much time with side characters. 

A novel is a cohesive whole and what makes it whole and cohesive is there should be nothing extraneous in it.
I'll write about classical forms in literature, and I'll write more about characters, especially about the protagonist's helper, and plot tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Protagonist's Helper

7 April 2012, Development - Protagonist's Helper
Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

In spite of what you may have experienced or been told, a single character can't make any kind of great literature.  Any time you have one voice, you are telling and not showing.  To show, you need description and conversation.  The moment you have conversation, you no longer have a soliloquy--you no longer have one character.  Why a single character would even make an interesting subject is for the groupies and idolists to figure out.  For the rest of us, the characters are important, but not as important as the plot, yet the character is what drives the plot.  I hope you got that paradox.  The importance in Oliver Twist isn't Oliver Twist.  You don't read Oliver Twist to read about Oliver Twist.  Oliver Twist is a child with serious issues in a world of pain.  You don't read Oliver Twist to read about Oliver Twist, you read Oliver Twist for the plot and theme and through them to live the pain of Oliver Twist.  Some people put themselves in the place of Oliver.  Some people just live in his world vicariously, but the point isn't the characters, the point is the role and play of the characters in their roles.

Therefore, in developing the novel, it is the interplay of the characters that matter, and that interplay is what builds the plot and the theme.  So, we start with the protagonist.  I have intentionally not written much, except in general, about the protagonist.  I think enough has been written and is understood about the protagonist.  But a protagonist isn't enough.  Add the foil to the protagonist, and you have the antagonist.  I've put enough for now in the aether about the antagonist (there is much more to say).  If you add a third character, you can write a love story.  Two are not enough.  The third character is the protagonist's helper.

Now, let's not get all wrapped up with modern ideas on characterization.  In some of these ideas, instead of the protagonist's helper, you can have mutual protagonists or dual protagonists etc., etc.  I've written a little about this.  Let's put it in perspective.  If you write a novel where the character changes each chapter, you might be able to convince me you have dual protagonists.  You also have an experimental novel that is not in a classic style, and you are likely headed toward failure.  (It is also possible you have hit on something--but let's not go there for now.)  If you have a normal novel where there is consistently one character--the protagonist--as the focus (this is the classical form), the love interest must be the protagonist's helper.  The title of protagonist's helper doesn't imply this is a servant, slave, or under the control of the protagonist, it simply means the character who ends up supporting the protagonist.  You can reasonably have as many protagonist's helpers as necessary, but you will find it difficult, if not impossible, to write clearly and cohesively with more than three primary characters.

If you don't believe me, try to write a conversation with more than three characters.  Two is easy.  Three is all right.  Four or more and you have two major characters and the others just chiming in at specific moments.  You also will rightly note, all conversations are between two characters.  No matter how many characters you have in a location and participating, the characters will end up speaking within a structure that is two--one after the other.  The others become implied participants.  Anything else is really too confusing to write or read.  This goes directly back to character voice that I wrote a week or so ago.    

I'll write about classical forms in literature, and I'll write more about characters, especially about the protagonist's helper, and plot tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Implied Antagonist

6 April 2012, Development - Implied Antagonist

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

An implied antagonist is a kind of a new idea in literature.  I'm certain you can find examples of an implied antagonist in literature past, but in most classical literature, the writers are classically trained--they know about the basics (and the advanced concepts) of writing.  So you find Milton always has an immediate antagonist.  Shakespeare always has an immediate antagonist.  In face, these authors wouldn't really understand the idea of a distant or an implied antagonist.  They would think the idea absurd.  They also think a major work needs to rhyme, so two for three.

Before you conclude that an understanding of classical literary form isn't for you--learn all the basics and the basic rules.  Then break some of them here and there.  I already went through all the different ways you can arrange a novel in my "Zen of Scenes" blog at http://www.novelscene.wordpress.com/.  I concluded that there are neat alternative forms, but the classical form is the way to go.  I think you will find this to be true for you too.  If you do design a new novel form, I'd like to know about it.

Now, back to antagonists.  The implied antagonist is an antagonist that isn't necessarily flesh and blood.  God or Satan can act as an implied antagonist--likewise, a corporation or a government, a organization or a political body.  An implied antagonist is an antagonist that acts against the protagonist simply by existing.  A great example is in George Orwell's 1984, the antagonist could have simply been the government.  George Orwell decided not to write the novel this way, but it could have been.  Compare this to Ray Bradbury's Martian Chronicles.  In some of the stories, the planet Mars is the antagonist--an obvious implied antagonist.  The way Bradbury writes, he actually gives a degree of malevolence to the planet, so we see an implied antagonist doesn't need to be emotionless or thoughtlessly acting against the protagonist.  In Logan's Run, the antagonist is the system.  The protagonist and the protagonist's helper fight against the souless system and defeat it.

Notice all the examples I gave are science fiction.  Also, Milton's Paradise Lost is an example of a fantasy.   Science fiction (and fantasy to a degree) lends itself to an implied antagonist.  2001 appears to have an implied antagonist until we discover HAL is behind it all, but that's a strange novel and stranger movie.  I think Kubrick and Clark intended to make 2001 an implied antagonist (and may still mean for HAL to be a stand in for humanity's unwillingness to evolve).  Note, Milton made Lucifer an immediate antagonist, but he didn't have to--he could have written Paradise Lost with an implied antagonist (but that would have been sacrilegious).

Aksinya was intentionally written with an immediate antagonist (the demon) who acts in place of an implied antagonist.  I wrote about this before.  The point and theme of Aksinya is to show that everyone has their own demons, just everyone can't see them like Aksinya can.  I wrote the novel to be very personal and very classical.  I wanted my readers to smell the scent of sulfur and taste the heat of hell every time Asmodeus was present.  I wanted them to contemplate their own demons while watching Aksinya's personal demon destroy her.  Such is the power of literature. 

I'll write about classical forms in literature, and I'll write more about characters and plot tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Antagonist

3 April 2012, Development - Antagonist

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper.  If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.  For example, in Aksinya we have a protagonist, Aksinya, an antagonist, Asmodeus, and the protagonist's helper, Natalya.  In previous writings, I showed the development of the characters.  As I mentioned, the scenes fell out of this development:

1.  Initial, conjuring the demon
2.  Trying to save Aksinya's family
3.  The revenge on those who murdered Aksinya's family
4.  Beginning of the temptations of the demon
5.  Plans to save Aksinya from the Bolsheviks, travel to Austria
6.  Travel, to Minsk
7.  Aquiring a lady-in-waiting for Aksinya, Natalya
8.  Travel, to Hungry
9.  etc.

This plot isn't exactly as straight forward as many of my novels, but in my opinion, all of it flows from the developed characters.  The only point that isn't perfectly obvious is the travel of the characters.  Within the novel, I explain why travel was necessary, but the history of the time really required them to travel (Russian Revolution, WWI, etc.).  The antagonist is actual and direct within the novel--Asmodeus.  Compare this with Centurion where the antagonist is implied.  In Aegypt, the antagonist starts distant, but becomes actual. 

The actual antagonist is an antagonist who exists within the novel as a character and who directly interacts with the main character.

The distant antagonist is an antagonist who works against the protagonist from afar.  They don't need to act directly against the antagonist, for example, a distant antagonist can be a malevolent person who works against every one's interests.

An implied antagonist is an entity, a government, a system, an organization, and all, that acts against the protagonist.  In Centurion, the antagonist is implied.  It is variously the world of the Centurion.  In this case, Abenadar, the Centurion, is contending against his world and his place in it.

I'll write more about characters and plot tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - How Characters Drive the Plot

2 April 2012, Development - How Characters Drive the Plot

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
     a. Description of the character - introduction
     b. Voice of the character
     c. Continuing revelation by showing

The main characters in a novel define the plot of the novel.  Centurion is an odd novel.  It is written in a biographical style.  It has a single protagonist, no specific antagonist, and various characters who play the part of the "protagonist's helper."

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper.  In a love novel, the protagonist's helper is many times the protagonist's love interest.  Most of my novels have three distinctly drawn characters.  For example, in Aegypt, there is Paul Bolang, the protagonist, the Goddess of Darkness, the antagonist, and the Goddess of Light, the protagonist's helper and love interest.

These three types of characters, protagonist, antagonist, and protagonist's helper form the basis of most modern novels.  Aksinya follows this outline.  Aksinya is the protagonist, Asmodeus is the antagonist, and Natalya is the protagonist's helper.  Take these three characters (well defined) and you have a novel.  As you see, take a single protagonist and you can have a great novel--Centurion.  Within novels like Centurion you actually have characters who stand in the place of the antagonist and protagonist's helper, but they may be less identifiable because of the construction of the novel.  The antagonist might be especially difficult to determine. 

This is because the antagonist can be one of three types: actual, implied, and distant.  I'll write more about this tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.