Development - Rules of Writing, Experimental Scene Outlines

30 August 2012, Development - Rules of Writing, Experimental Scene Outlines

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/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

Here is the list for the use of storylines. In other words, whose storyline should you chose to follow in the plot:
1. Protagonist - presumed
2. Tension
3. Revelation
4. Antagonist or protagonist's helper

The presumption is that you will write your scenes with the protagonist's storyline as the primary intersection with the plot. At some points you might want to write a scene that does not include the protagonist's storyline. The question is then, when should you consider these different storylines.

If you have been following along, you can see how the use of storylines can powerfully invigorate your writing and how you can use them to shape the plot. What I mean by shaping the plot is to build tension and release into it. Tension and release means suspense, excitement, and entertainment. After all the point of writing is to entertain--that should be your primary focus.

Now, let's look at an example that is more extreme. My science fiction Chronicles of the Dragon and the Fox novels are more experimental than my historical fiction novels.  The Chronicles of the Dragon and the Fox series includes three independent but connected novels.  The last novel is somewhat conventional in style, but the first two are definitely not written using completely conventional plotting.

The first novel, The End of Honor, begins in the first person with the protagonist's helper. She dies in the first scene so the rest of the first half of the novel is a first person retrospective of the events that led up to her death. This is definitely not conventional, but it isn't unique either. Other novelists have used this type of retrospective--usually from the protagonist's viewpoint. The protagonist of the novel appears in the second scene and the retrospective continues relatively normally until the death of the protagonist's helper, Lyral. Although most of the retrospective is written using the scene outline technique, there is a section where I use letters during the travel scene. Letters are a great way to write so you can uncover revelation and ideas in the minds of your characters without telling. Letters can still be connected in the plot using a scene outline--the scene outline just connects in the letters.

I'll write about the other experimental forms in these novels tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, History

19 July 2012, Development - Rules of Writing, History

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/.

Here are my rules of 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.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

The idea of storylines, levels, and motivations of characters relates directly back to how much should you understand about your characters, their historical times, and their culture.  The question one of my readers asked was the extent that I outline.  Outline is a good word to describe the preliminary step of character design (or development).  Remember, I've written that the author develops the character before writing the novel and only reveals the characters within the novel--if this isn't clear, read back through this blog.

So, the step of development (design and outline).  I've written before about studying history.  You need an outline of the history of the times and either an outline of what you can prove is true about that time or an innate knowledge of it.  For example, I made a detailed study of the times surrounding the novel Aksinya before I began to write.  I penned a few notes that specifically related to the history of the times and information about the period.  Because I have written a novel before about this period (or close to it 1926), I already had notes and a foundation of information.  As I wrote the novel, whenever I touched on a subject area that I knew was questionable about the "true" history of the times, I carefully researched the area before I continued writing.  I did this with my published 1926 novel, Aegypt.  In fact, one of my publisher's questions related to the use of a lighter in the novel.  I had researched this extensively.  In 1910, the permanent match type lighter was invented and had extensive use through WWI and following until the invention of the Zippo lighter in 1932.  The permanent match is what the saying "Three on a match" refers to.

The primary historical questions for the writing of Aksinya was bathroom and household facilities during the period 1918 to 1919.  In this period, these varied from nothing to full bathrooms with hot and cold running water.  I tried to show this in Aksinya, and this is one of the levels of symbol and understanding in the novel.  As I wrote previously, in developing the history of something as simple as a bathroom, I started with a blank slate and used historical information to fill in the holes and properly describe the historical bathrooms.  If you can imagine that in the country in the times, the highest aristocrat had an outhouse and used chamber pots.  There was not running water and bath water was heated usually in the bathroom with a stove (thus bathroom not water closet).  In the cities, the wealthy were installing hot and cold running water systems (usually heated from the same boiler that heated the new radiant (radiator) heat).  They had toilets for a while, but the bidet was catching on--especially with warm water available.  The details of the subject are excruciating, but that is how a historical fiction writer needs to approach even the most mundane subject about the past.  Culture, tomorrow.
There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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/.

Scene Building, How I Start part 5

I like to drive a scene through conversation.  You can see in yesterday's example, I used a snippet of conversation between Byron and an anonymous girl to introduce Dana (Diana).  This is the power of conversation. You can express many, many ideas without a single word of narrative or description.  For example, instead of telling us, she is crying, you can have another character state, "There's no need to cry."  In that single string of words, I told you something about the girl, she is crying, and about the observer.  Let's look at Dana-ana as an example of the conversation driving the first scene.  My comments are in [].

[Dan and Jack are bit characters. There is no reason to break the action to give them much description.] Dan held Diana’s arm. [Here is the input to the scene, Dana is stealing lunches] He put his pimply face in hers and yelled [I don't like to ever use said.  I want to use more descriptive words or show the actions of the speakers], “Thought you could just take it, didn’t you?” He twisted her arm and Diana flinched. She turned slightly until Jack’s hold on her hair stopped her.

Byron took a step forward, “What’s up Dan, Jack?” [We see Byron reluctantly get involved.  His actions show he isn't really interesting in saving Dana, but rather he feels compelled to prevent the other students from hurting her too much.] 

Dan glanced quickly up at Byron. His eye twitched, “Don’t interfere Macintyre. She stole Sherrill’s lunch. We’re sure she took Jane’s the day before. She’s been taking lunches since the beginning of school. We just finally caught her at it this time.”

“How’d you do that?”

Dan twisted Diana’s hand around and squeezed it open. “Take a look,” he grinned, “red handed.”

Diana’s hand was stained blue.

“Put that powder from the last chemistry lab on the handle,” he showed his teeth again, “add a little water, and the blue hand shows who touched it.” [Here is the proof that Dana is stealing lunches.  The other character, Dan, just showed it to the reader and explained how--no need of narrative.]

Byron put out his arm, “That’s enough, Dan, Jack. Just tell her to keep her hands off other people’s lunches and let her go.” [Sounds reasonable, but in the next bit of dialog, Jack explains why Byron doesn't understand the problem of Dana.]

Jack shook his head, “That won’t be enough for her. She’ll do it again unless we teach her a good lesson.”

“What did you have in mind?”

“Sherrill has to get her piece, and Jane.” [Sherrill and Jane are bit characters, no need to break the action to describe them.]

Byron glanced at Jane then Sherrill. Jane shook her head. Sherrill tossed her hair, “That’s enough for me. She didn’t get my lunch. Diana, you keep your hands off my stuff—you hear?” [Sherrill's response is due to Byron's intimidation.  No need to tell you how he affects them, but rather show you the results.  The dialog explains it all.]

Dan had Diana’s arm behind her back, and Jack twisted her head back with her hair. Her face was turned upwards and her eyes were squeezed shut.

Byron addressed the girl, “What do you say, Diana?” [This is ironic because we find out Dana will not respond.  This also indicates how little Byron knows Dana.]

Dan twisted her arm a little more. Diana flinched. Dan squinted, “She won’t say anything. She never says anything. Just slinks around and steals stuff.”  He turned a little more toward Sherrill, which twisted Diana’s arm a bit more. Byron thought her arm looked close to breaking—still Diana didn’t make a sound. Dan nodded to Sherrill, “Sherrill, pop her one. That’s your right and that’ll teach her.”

Sherrill stepped forward, took a look at Byron, and stepped back, “You do it. I’m done.” 

Without any warning, Jack pulled back his fist and tugged Diana’s hair toward it. His fist met her cheek with a crack, and she sagged forward. Dan’s hold was the only thing that kept her from falling flat on her face. He released her arm, and she flopped forward into the dirt. [This is the output of the scene and the input to the next scene--Dana is knocked out.] 

Sherrill scowled, “She didn’t admit to anything. Pants her. That’ll teach her.” [Once Dana is entirely helpless, the cruelty of the students comes out.  This gives us insight into them and shows us what they think about Dana.]

Dan reached down and grabbed the back of Diana’s pants. She didn’t have a belt on. He tugged down and half bared her buttocks. Byron moved quickly, “That’s enough Dan. You made your point.”

Sherrill laughed, “She doesn’t have any underwear on.” She pointed, “Look at that. I thought she was low, but I had no idea she was like that.” [we find out more about Dana]

At the edges of the crowd a call went up, “Teacher. Beat it.” [The result of this announcement should be obvious.]

The input into the next scene is Dana is knocked out cold and Byron takes her to the infirmary.  Whew, lots of notes. I could give you even more.

Here is the development of the scene from beginning to end.  First the input, Dana is stealing lunches and she was caught. She is about to be beaten for it.  The action revolves around this and the dialog tells you what is happening and gives you insight into the characters.  Mainly, in terms of plot and storyline, this is the beginning of the introduction of Dana and Byron.  This is the event that first brings them into contact with each other.  The event is somewhat commonplace and not out of place for the characters.  Neither Dana nor Byron want to be there and neither are interested in each other.  Circumstances simply bring them together and the bond between them is Byron's attempt to help her in light of the actions against her.  The output from this scene is Dana is knocked out.  The input to the next scene is also this event.  As the reader, you can start to imagine the next scene, but the details have not been revealed yet.  The point of these scenes in the storyline is to build a pretext for Byron's interaction with Dana.  In the real world people don't just meet each other and interact without some degree of connection.  Interaction is a process and this process gives play to future and other potential interactions.  The point of this and the rest of the scenes in the first chapter are to give a reason for Byron's interest in Dana.  There is much more to building scenes.  I'll give some more examples tomorrow.