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Friday, April 16, 2021

Writing - part xx561 Writing a Novel, More Developing the Protagonist Using Plots

 16 April 2021, Writing - part xx561 Writing a Novel, More Developing the Protagonist Using Plots

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 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.  

Here is the cover proposal for Blue Rose: Enchantment and the Detective



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’m planning to start on number 31, working title Shifter

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. 

 

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:  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. 

 

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene. 

 

1.      Meeting between the protagonist and the antagonist or the protagonist’s helper

2.      Action point in the plot

3.      Buildup to an exciting scene

4.      Indirect introduction of the protagonist

 

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. 

 

I’ve worked through creativity and the protagonist.  The ultimate point is that if you properly develop your protagonist, you have created your novel.  This moves us on to plots and initial scenes.  As I noted, if you have a protagonist, you have a novel.  The reason is that a protagonist comes with a telic flaw, and a telic flaw provides a plot and theme.  If you have a protagonist, that gives you a telic flaw, a plot, and a theme.  I will also argue this gives you an initial scene as well. 

 

So, we worked extensively on the protagonist.  I gave you many examples great, bad, and average.  Most of these were from classics, but I also used my own novels and protagonists as examples.  Here’s my plan.

 

1.      The protagonist comes with a telic flaw – the telic flaw isn’t necessarily a flaw in the protagonist, but rather a flaw in the world of the protagonist that only the Romantic protagonist can resolve.

2.      The telic flaw determines the plot.

3.      The telic flaw determines the theme.

4.      The telic flaw and the protagonist determines the initial scene.

5.      The protagonist and the telic flaw determines the initial setting.

6.      Plot examples from great classic plots.

7.      Plot examples from mediocre classic plots.

8.      Plot examples from my novels.

9.      Creativity and the telic flaw and plots.

10.  Writer’s block as a problem of continuing the plot.

 

Every great or good protagonist comes with their own telic flaw.  I showed how this worked with my own writing and novels.  Let’s go over it in terms of the plot.

 

This is all about the telic flaw.  Every protagonist and every novel must come with a telic flaw.  They are the same telic flaw.  That telic flaw can be external, internal or both.

 

We found that a self-discovery telic flaw or a personal success telic flaw can potentially take a generic plot.  We should be able to get an idea for the plot purely from the protagonist, telic flaw and setting.  All of these are interlaced and bring us our plot.

 

For a great plot, the resolution of the telic flaw has to be a surprise to the protagonist and to the reader.  This is both the measure and the goal.  As I noted before, for a great plot, the author needs to make the telic flaw resolution appear to be impossible, but then it happens.  There is much more to this.  Here’s the list of plots I’ve looked at already:

 

Redemption:  the protagonist must make an internal or external change to resolve the telic flaw. This is the major style of most great modern plots.

 

Revelation:  the novel reveals portions of the life, experiences, and ideas of the protagonist in a cohesive and serial fashion from the initial scene to the climax and telic flaw resolution.

 

Achievement:  the novel is characterized by a goal that the protagonist must achieve to resolve the telic flaw. 

 

I evaluated the list of plots and categorized them according to the following scale:

 

Overall (o) – These are the three overall plots we defined above: redemption, achievement, and revelation.

 

Achievement (a) – There are plots that fall under the idea of the achievement plot. 

 

Quality (q) – These are plots based on a personal or character quality.

 

Setting (s) – These are plots based on a setting.

 

Item (i) – These are plots based on an item.

 

All of the plots we looked at fall into one of these five.  Let’s do that:

 

Overall (o)

1.      Redemption (o) – 17i, 7e, 23ei, 8 – 49%

2.      Revelation (o) –2e, 64, 1i – 60%

3.      Achievement (o) – 16e, 19ei, 4i, 43 – 73%

 

Achievement (a)

1.      Detective or mystery (a) – 56, 1e – 51%

2.      Revenge or vengeance (a) –3ie, 3e, 45 – 46%

3.      Zero to hero (a) – 29 – 26%

4.      Romance (a) –1ie, 41 – 37%

5.      Coming of age (a) –1ei, 25 – 23%

6.      Progress of technology (a) – 6 – 5%

7.      Discovery (a) – 3ie, 57 – 54%

8.      Money (a) – 2e, 26 – 25%

9.      Spoiled child (a) – 7 – 6%

10.  Legal (a) – 5 – 4%

11.  Adultery (qa) – 18 – 16%

12.  Self-discovery (a) – 3i, 12 – 13%

13.  Guilt or Crime (a) – 32 – 29%

14.  Proselytizing (a) – 4 – 4%

15.  Reason (a) – 10, 1ie – 10%

16.  Escape (a)  – 1ie, 23 – 21%

17.  Knowledge or Skill (a) – 26 – 23%

18.  Secrets (a) – 21 – 19%

 

Quality (q)

1.      Messiah (q) – 10 – 9%

2.      Adultery (qa) – 18 – 16%

3.      Rejected love (rejection) (q) – 1ei, 21 – 20%

4.      Miscommunication (q) – 8 – 7%

5.      Love triangle (q) – 14 – 12%

6.      Betrayal (q) – 1i, 1ie, 46 – 43%

7.      Blood will out or fate (q) –1i, 1e, 26 – 25%

8.      Psychological (q) –1i, 45 – 41%

9.      Magic (q) – 8 – 7%

10.  Mistaken identity (q) – 18 – 16%

11.  Illness (q) – 1e, 19 – 18%

12.  Anti-hero (q) – 6 – 5%

13.  Immorality (q) – 3i, 8 – 10%

14.  Satire (q) – 10 – 9%

15.  Camaraderie (q) – 19 – 17%

16.  Curse (q) – 4 – 4%

17.  Insanity (q) – 8 – 7%

18.  Mentor (q) – 12 – 11%

 

Setting (s)

1.      End of the World (s) – 3 – 3%

2.      War (s) – 20 – 18%

3.      Anti-war (s) –2 – 2%

4.      Travel (s) –1e, 62 – 56%

5.      Totalitarian (s) – 1e, 8 – 8%

6.      Horror (s) – 15 – 13%

7.      Children (s) – 24 – 21%

8.      Historical (s) – 19 – 17%

9.      School (s) – 11 – 10%

10.  Parallel (s) – 4 – 4%

11.  Allegory (s) – 10 – 9%

12.  Fantasy world (s) – 5 – 4%

13.  Prison (s) – 2 – 2%

 

Item (i)

1.      Article (i) – 1e, 46 – 42%

 

This time, let’s start with the plots that we found define the protagonist, and then determine a telic flaw from that.  We will develop a protagonist and a telic flaw from archetype plots.      

 

I’ve never tried this before but is sounds interesting.  Perhaps I’ll determine a protagonist with a telic flaw I want to write about. 

 

We started with the overall plots.  Began to develop a classic Romantic protagonist.  Then I applied the overall plots to the character.  Here’s the result.

 

The Romantic protagonist comes from the common man (person okay).  Literary critic Northrop Frye noted that the Romantic hero is often "placed outside the structure of civilization and therefore represents the force of physical nature, amoral or ruthless, yet with a sense of power, and often leadership, that society has impoverished itself by rejecting".  He or she is also introspective, displays the triumph of the individual, melancholic, wanderlust, misanthropic, alienated, and isolated. 

 

All these characteristics are common to the Romantic protagonist, but not all required or all inclusive.  Let’s take these and begin building a protagonist from the plots.

 

Let’s put together a Romantic protagonist and then apply the overall plots.  I’ll build a great Romantic protagonist.  I may or might not use this protagonist in the future, but let’s just take a look at making a really good one.

 

Here is our protagonist so far.

 

I’m thinking a girl who is in her teens.  If you look at my protagonists about half are male and half are female.  I have written about this before, but females make the best pathos developing protagonists.  Readers of both sexes and all persuasions can’t help feeling sorry for them especially if they are presented in an environment of suffering or poverty.  This is just what I want for my example.  I’m going to start with an impoverished female teen who is orphaned and has been abandoned. 

 

Outside of the structure of civilization.  This protagonist has been raised by her father in upper Scotland.  She has been culturally and socially isolated because her mother was fae and her father was a common man.  Her father was a handsome workman with zero connections and from an isolated Scottish background himself.  He lived with his father and mother in an old house at the outskirts of a village in the Scottish Highlands.  He was enamored of a garden fairy, and she had a child.  The garden fairy hung around until the garden outside the house fell into disrepair.  The disrepair was because the mother and father who took care of it died and the workman would not or could not take care of it.  The garden fairy hung around long enough to train her daughter in fae glamour (the power of the fae), so our protagonist is not without power, but she doesn’t understand how she can use it very well.  The workman father has kept his daughter a secret from the village and the people.  You have a person who is outside of the structure of civilization.  Her workman father dies before the novel, and she has been living alone in the house and decrepit garden.  She is an orphan.  Let’s say the workman died of a broken heart, alcohol poisoning, and exposure.  His daughter has been surviving through stealing food, rummaging in the garbage, offerings left by the superstitious people of the village.  We’ll build more into this.  

 

Force of physical nature.  The force of physical nature is the garden fae and the child of the garden fae.  This is a supernatural idea, but still represents the wild and untamed world of the Scottish Highlands.  In addition, we have the inclusion of Fae glamour.  I use this idea in my books to separate the idea of angelic or post angelic power which is a type of miracle form magic.

 

Amoral or ruthless.  Our protagonist must go to certain lengths to be able to continue to live.  She is unlike the civilized person who would just lay down and die.  She has skills that allow her to survive in the wild and without much help.  We also are moving in the plots and the telic flaw quite unintentionally.  We need to begin to write about what we will do with our protagonist.  We are already seeing the development of the telic flaw.  If she is abandoned, uneducated, orphaned, hungry, and living in an abandoned house, we are already seeing the development of the telic flaw.  I noted that the workman kept his daughter a secret form the village people.  When he dies, the property goes to the state.  We can say he had none or perhaps few relatives.  Perhaps we should add in a London or lower English relative.  This would be a great add.  The house has become the property of this London or lower English dwelling person.  The girl is living secretly in the house.  No one knows who she is or that she is there.  However, the house has a reputation for being haunted.  This started with the fae in the garden and progressed to the workman after the death of his parents.  The story in the village is that he died from a haunting and fear.  The girl just wants a roof over her head and nothing more, but time and the world are cast against her.  Then it happens…

 

Sense of power and leadership.  Our little half-fae girl does indeed have some independence and leadership.  Let’s say she has the fae of the valley and highlands under her thumb.  She keeps up the pretense that the house is haunted to prevent it form being rented or sold.  This is her power until this happens…

 

Society has impoverished itself by rejecting him or her.  Indeed, this girl has skills and abilities that would be of great use to herself and others if they could be trained, used, and harnessed. 

 

Introspective means intellectual.  Here is a small move from the norm.  The house is large and Elizabethan with many rooms and multiple stories.  It has an extensive library.  The workman’s parents were well educated.  His father was a builder and his mother was a teacher.  They were both studious, but their son was not.  Our girl protagonist has been reading the books since she was a child.  Her father was selling the books over time.  The girl has hidden the library so she can’t lose more books.  At the same time, the protagonist has not had a normal or a complete education.

 

Triumph of the individual.  Our protagonist needs some help to triumph, but once she gets training for her skills and abilities, there is hope.  The telic flaw is the achievement or accomplishment.

 

Melancholic.  Yeah, this protagonist is deeply melancholic.  She has had little help and has been constantly abandoned through her life.  She imagines there is no real hope for her.

 

Wanderlust.  Here we will make some slight difference or change from the list.  This protagonist is tightly attached to her place, the house and garden.  Still she will be willing to move around for the reason of success and change.  We shall see how this will work.

 

Misanthropic.  Yes, she doesn’t trust people.  This is a pressing idea from her background.  She must be redeemed form this lack of trust and dislike for people.  There, we are moving toward plots.  That’s actually what we will look at next.

 

Alienated and isolated.  Our protagonist is alienated and isolated.  She is alone and abandoned in an abandoned house on the outskirts of a Scottish village. 

 

Above is our protagonist, and we see the development of some of the setting.  Now, we need to take this Romantic protagonist and apply the overall plots.  Just which of these plots shall we add to our protagonist? 

I already said I want to include a redemption plot.  Redeemed from what?  We have a young person who is isolated and alienated in an abandoned house and an isolated village.  The obvious redemption is from this life and from her isolation and alienation. 

 

This is a redemption plot and a telic flaw for the novel.  There can be more to this telic flaw.  Fro example, I’d like to add that in the redemption, our protagonist needs to achieve some type of success.  Did you read that “achieve some type of success?”  This is an achievement plot.

 

The question then is what should be the achievement?  I have an idea, but that idea plays more into a plotline.  Now, a plotline is okay at this point.  We have a protagonist.  We have a redemption plot.  We have a telic flaw.  We are just starting to apply plots to the protagonist.  The first is achievement.  We don’t have to solve the problem at this point that is we don’t need a plotline, but let’s see if we can put an achievement plot to the protagonist.

 

Let me mention this.  We will have a revelation plot for our protagonist.  You know more now about the protagonist than the reader until reading the novel.  The point is to write the plot to reveal the protagonist. 

 

There is lots of latitude here for our protagonist and for this novel.  I have an idea for how we will reveal this protagonist—that is I have an idea for a plotline based on the telic flaw and the protagonist. 

 

Before we begin to introduce the other plots into the plotline, we need to look at the plotline.  This basically means we need to actually envision how the overall novel will begin and progress.  I have an idea for this.  With the protagonist, we can begin to contemplate just such a development.  Here’s my idea.

 

I’ve written over and over that the best initial scene is the meeting of the protagonist and the antagonist or the protagonist’s helper.  For this novel, let’s choose a protagonist’s helper.  Our Romantic protagonist has a problem.  She is alienated and isolated.  Many of those features which make her a perfect Romantic protagonist also make her a perfect candidate for redemption.  However, like many protagonists, at first, she doesn’t feel like she needs to change.  So, here is a great setup.

 

I’ll just pop out my list of potential characters, and pull out the redeemed Shiggy.  Shiggy can play a part for many reasons.  The redeemed Shiggy is working for “The Organization” in the Stella branch.  She is on assignment into Scotland for some intelligence purpose.  We need not develop this too much at first.  The important point is that she is on assignment.  The location of her assignment can be within driving distance of the place of her lodging. 

If you remember, I mentioned that the abandoned house our girl is living in is owned by someone in London or in lower England.  Why not a connection who is willing to allow the use of the house.  They have no idea the house will be used by British intelligence as a safe house for Shiggy, but that’s how we will play it.  Every novel is allowed a coincidence to begin the plotline.

 

Shiggy has been assigned a yet unresearched intelligence job and has been allowed the use of the girl’s house.  This is perfect because the villagers think the house is haunted.  The girl is literally and figuratively haunting the house.  Because she has the power of glamour, she is perfectly capable of really acting like a haunting. 

 

This is the environment Shiggy is coming into.  Now, we have a setup for the initial scene.  The secret of the girl is a wonderful secret and one we don’t want to reveal too quickly or too haphazardly.  Here is what I’d like the initial scene to look like.

 

First, I’d like to have Shiggy come to the house and explore it.  During her explorations.  She sees potential evidence  of the girl, but it seems like the haunting the real estate person in the village told her about.  The only point is that Shiggy knows there is no such thing as a ghost or a haunting.  Shiggy does know all about the Fae and Fae glamour.  It’s all in my novel Sorcha: Enchantment and the Curse.  Unfortunately, this novel is not published yet.

 

The girl is eventually cornered and found by Shiggy.  That’s when parts of her story begin to come out.  Shiggy sees potential and the novel progresses along this plotline.  This is a very interesting plotline to me because this girl is in some ways the opposite of Shiggy. 

 

Even though Shiggy is also a fully Romantic protagonist, she is a different personality than this girl.  I hate to keep writing, this girl.  The next step is to flesh out the details of the character.  After that, we can begin to chart the initial scene in more detail as well as apply plots to the overall plotline.  

 

I know I’m leaving a trail of breadcrumbs.  Sorry about that.  The information is just too important at this point to take down.  As I already wrote, we designed a Romantic protagonist and provided a telic flaw as well as a setting.  I’ll get back to all of this, but let’s further develop the protagonist.  What’s her name and what does she look like? 

 

First, a name.  That requires, in my mind development of her parents and relations.  This is how I’m going to do it.  First, I researched a place in north Scotland.  That place is Viera Lodge in the Orkney Islands.  This is a real place and I have pictures and diagrams of the building.  It is reputed ot be haunted, but we can make that stuff up.  It is currently unoccupied and on the market.  The last people who I can determine lived in the house were Mary Craigie and her husband Paterson, but they died in the early Twentieth Century.  I can’t determine who owns the property, but let’s assume some relation of this family.  The names don’t matter than much and can be put into play when necessary.  I’ll use the name Craigie for the girl and for her family.  We can always make up some relational background within the village and Parish. 

 

I’ve also researched the girl’s background based on her birth from a garden Fae and a man.  The garden Fae can be Desert Rose.  I chose this Fae because the desert rose is a poisonous flower.  I’ve used this imagery before in my novels with a Seelie Fae (good Fae) who has some negative background.  The desert rose is poisonous but not just the flower.  The entire plant is deadly poisonous and puts out poison when touched.  This will fit our character perfectly.  Her name is Rose Craigie.  Just saying this name is interesting and the antecedents are very interesting.  Her father can be James Sinclair.  Her mother Desert Rose.  Her grand mother and father might as well be Ann and Hugh Sinclair.  Although her father did raise her for a while, her mother gave her the name.  So our girl could be Rose Sinclair or Rose Craigie.  I’m setting this up as a secret and a mystery in the novel.  It will be used as a red herring to draw attention from the facts and confuse the protagonist’s helper.  Setting up secrets is always a very good idea.

 

Now we know her name and her familial relations, what does she look like?  The desert rose is delicate but very strong.  I mentioned it is poison.  I didn’t say it is tough.  When touched it puts out its poison.  Thus let’s describe the mother of our protagonist.  She is delicate and notably small for a modern world woman.  This is a characteristic means I use to describe the Fae.  They are akin to the humans who lived in the far past thus smaller than the norm.  They tend to be beautiful and striking.  Desert Rose would likely be red headed and slender.  Her skin would be very pale. 

 

James Sinclair would be also slender and tall.  He was remarkable and handsome or a Fae wouldn’t never have paid him attention.  Although James, in our novel is weak and not very motivated, he has potential characteristics that attracted desert rose to him.  Let’s say his hair was bright red.  This will accentuate the color of Rose Craigie’s hair. 

 

Here’s what we have.  Rose Craigie has flaming red hair.  Perhaps the reddest hair seen on any Scottish Lass.  She was as slender as a willow or perhaps a garden flower.  Thin and tall with the look of a wild flower.  If you could see her eyes hidden in her blazing red hair, you would see them as green as a tabby cat, but she kept her head down and her eyes covered as much as possible by her hair.  And if you could see her face, what a pleasure you would behold.  A thin but noble nose and cheeks touched with rose.  Lips fine and red as if they had been recently pinched all set perfectly and delicately in a heart-shaped face.  She looked like fine porcelain—the face of a doll in a human frame.  Achingly beautiful, wonderfully made.

 

We’ve already started writing.  You don’t want to know how much research I did to develop this small bit of information for our protagonist, but this is the way we develop a protagonist.  By the way, I didn’t start from a real person although a did start with real people as her relations.  Tomorrow, we will look at the setting and the plots.    

 

In the end, we can figure out what makes a work have a great plot, and apply this to our writing.     

      

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.    

    

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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