Writing Ideas - Vampire Novel, part 124, rule of writing how to develop Storyline, Entertaining, Rising Action

12 August 2014, Writing Ideas - Vampire Novel, part 124, rule of writing how to develop Storyline, Entertaining, Rising Action

Announcement: I heard from my publisher that my Aegypt novels will continued to be titled Ancient Light and that the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  I saw the proposed cover.  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 my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

So, if words follow immutable rules (spelling and meanings) and sentences follow immutable rules (grammar), do paragraphs follow rules too?  I think I expressed this in a reasonable fashion before.  Paragraphs do indeed follow certain rules.  These rules aren't immutable like those for words and sentence construction, but they mean the difference between a cohesive paragraph and an uncohesive paragraph.  What would you rather write?  Something understandable or something not understandable.  If you wish people to understand your writing, I'd go with cohesive.  If you want cohesive, you will follow the very basic rules of paragraph development I mentioned.

What about scenes?  Paragraphs are formed by the writer into scenes.  I've taken a lot of time to show you the basic ideas for scene development--are these rules?  They are not rules in the sense of grammar or spelling.  They are rules in the sense of helping to put together something cohesive. 

Are there rules for novels--that is scenes put together in a cohesive sequence.  Those are the five parts of a novel that I have listed in this blog for a long time.  Are these rules?  Not really rules so much as they are the format for a classical novel.  I don't think you are going to get very far with any serious piece of writing that does not follow this very general guideline.  So, there are rules in writing.  What rules can you break?  When writers or teachers mention that you should break rules in your writing, the first thing I want to ask is what rules are you talking about.  The second is, why would you want to break any of these basic rules?  If your words don't mean the same thing to others, then you will not have any understanding.  If your grammar is poor, no one will read your writing.  If your paragraphs are not understandable, no one will want to read your writing.  If your scenes are inncochate and unentertaining, you aren't going anywhere.  If your novels are a jumble of unstructured mess, who is going to publish you?        

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

Development - Rules of Writing, Characters of Centurion, Abenadar

4 August 2012, Development - Rules of Writing, Characters of Centurion, Abenadar

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.

So I have a Centurion and traditionally his name was Abenadar.  The name doesn't really matter and neither do the strict details of the character.  All the historical data of note about this Centurion is found in the New Testament and not in any other particularly valid source.  The New Testament documents can be shown to be good historical sources, but I won't get into that today.  The only strict details that matter are those from primary historical documents--so we have a Centurion and we know he was given the responsibility of the crucifixion.  We have his words.  We have some dubious traditional sources that give us a name.  They also state that Abenadar was half Roman and Arabian.  The reason was to be in a Roman Legion you had to be a citizen of Rome (at the time).  Obviously, to be a Centurion, you had to be a citizen of Rome. 

Being a citizen of Rome was a big deal in the Roman empire.  It wasn't an easy thing to acquire.  One of the ways to become a citizen of Rome is to have a father who was Roman and be acknowledged by him.  It is highly dubious that an Arabian would be a citizen of Rome.  Likely, the appellation of Arabian was placed on Abenadar due to his name, and to disparage his patronage.  The most likely source for a bastard son of a Roman would be in a nation that had Roman ambassadors.  Arabia didn't have Roman ambassadors, but the Galiel (Galilee), Syria, and Judea did.  So how a Roman father?  I'll get to that 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/.

Development - Rules of Writing

28 June 2012, Development -  Rules of Writing

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/.

Some writers claim there are no rules in writing--or to write well you should break the rules there are.  There definitely are rules in writing.  For example, grammar is one of the hard rules of writing.  Punctuation is another rule of writing.  Language is another rule of writing.  If you aren't writing using language properly, grammar properly, and punctuation properly, no one will be able to understand you.  My four rules for writing follow:

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

The first rule applies to language, grammar, and punctuation (as well as other more complex topics).  If you confuse your readers (because they can't understand your writing), you have failed as a writer.  It is impossible for writing not to have a strong foundation of basic rules.  Likewise, it is impossible to write well unless you are well grounded in these basics. 

There is much more to writing without confusing your readers.  I'll write about that 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/.

A New Novel, Part 109 Before You Fall

We begin chapter 10 with the setting.  I throw you directly into the action this time.  The pacing requires it.  In the last chapter, we had an exciting beginning and a resolving end (little resolution, but releif).  Now, we begin again with a little action (not much this time).

“Natalya! Natalya!” Aksinya called from her room while she rang the tiny servant’s bell. Her voice was ten times louder than the bell, and it formed a soft counterpoint to her cries.


Sister Margarethe and the Lady Natalya came running.

The moment they were through the door, Aksinya pointed at Sister Margarethe, “You, sister, prepare my breakfast. I shall have tea and something more substantial than the school provides. Sausages with eggs would be fine. Please scramble the eggs in butter.”

Sister Margarethe’s brow rose, but she just curtsied and went down to the kitchen.

Aksinya waited a moment, then she raised her chin and spoke loudly, “Natalya, please draw my bath.” Then she whispered, “First come here—beside my bed.”

Natalya didn’t hesitate, “Yes, mistress.”

“Yes, Aksinya.”

Natalya blushed, “Yes, Aksinya.”

“Next time, I want you to drink tea with my guests as well. I did not embarrass you when Lady Bockmann and the Sister Margarethe were in my room, but I will next time.”

“Y…yes, Cou…Aksinya.”

“Now, close and lock the door.”

Natalya ran to the door and locked it.

“Come over here.”

Natalya stood at the side of the bed.

Aksinya grabbed Natalya’s arm and pulled her down to the bed. She put her arms around the girl and kissed her cheeks, “Nata, you saved me yesterday. I didn’t have a chance to tell you before. You saved me. You are truly my best friend, and I love you. You don’t know how important you are to me.”

Natalya held Aksinya close and sobbed in her hair, “Mistress, Aksinya, I was so afraid I would loose you. I love you. You are like the sister I never had.”

“And you are much more than the sister I lost. I can’t shed a tear for her either, and I don’t know why.”

Natalya’s embrace tightened, “Let me shed your tears, mistress. That is something I am very good at.” A laugh tinged her sobs.

Aksinya kissed Natalya’s tear streaked cheeks again, “Yes, dear Nata, you are very good at that, but you are an especially great person. I pray you learn that before you fall as I have.”

Aksinya calls for her help.  Remember, they have not spent their days in the house--they always snuck back to the school.  They usually ate breakfast at the school.  Aksinya wants breakfast and, as an aristocrat, she knows how to get it.  She has her bell and her voice.  This is supposed to give a little levity and a little realization of the culture of the times.  Aksinya isn't used to the Austrian methods of calling servants.  Don't you wonder who gave her the bell?  Either the Freifrau or the Sister obviously.
 
About setting the chapter.  You can guess where we are going with this chapter.  You'll get more tomorrow.  Hint: where is the book.  The setting is simple, I use what the reader already knows.  The bedroom in the house is reasonably well known.  We understand from the breakfast order that it is likely the morning.  The presence of Sister Margarethe tells us the same.  Unless the Reverend Mother gave her the day off from teaching.  We will find out more.  In setting the scene, especially when the reader is familiar with the setting already, you can ease into it with some revelation.  I like to use this technique, that is, the world exclusively through the eyes of my character, and I have used it to drive entire novels before--not so much with this one.
 
When Natalya and Sister Margarethe come to her, Aksinya gets rid of the sister.  It is a distribution of duties, but it serves Aksinya well.  Aksinya speaks loudly because Sister Margarethe might be listening.  Once Aksinya has Natalya in her grasp, she lays down the rules of her house.  There wasn't any need of rules when there was just the two of them--now they need rules.  First, Natalya must call Aksinya by her name (in private, of course).  Second, Natalya isn't a servant, she is a lady in the house.  She will be served tea, and not have to serve the tea.  We are already seeing what Aksinya will do with the Sister.  Then Natalya must lock the door.  It would be improper for a Countess to show such tenderness to her lady-in-waiting.
 
Aksinya is a kind person, but she does not show much emotion.  We get a repeat of her response at the death of her family.  Aksinya can't cry for herself or others.  This is a critical marker in her personality and in the novel.  She can express herself, but Aksinya can't let out her emotions.

Natalya and Aksinya share a tender scene, and we have a foreshadowing--I hope you learn how great a person you are before you fall as I have.  This statement is prescient and important.  There is more, but it will have to wait until tomorrow. 

A New Novel, Part 54 Meals and the Other Details

I mentioned before about meals.  The meals I outline in the novel are similar to what most well to do people ate during these times.  The poor usually had one to two meals a day.  The fashion of eating more meals came into practice late and came from the wealthy.  Tea was invented to hold a person over from the very light luncheon (dinner) to the long supper.  As I mentioned before, supper was a long meal with many courses, but in most households was not large amounts of food.  Any leftovers were the servants meals.  In general, before the modern era, meat was very very small amounts and the fish course made up for the lack of protein.  The poor received very little protein.

The entire time Frau Drescher spoke, Aksinya gave a running commentary and translation in Russian to Natalya.


Natalya asked many questions in return to Aksinya, but Aksinya was able to answer most of them herself. Finally, she stopped Frau Drescher, “The Lady Natalya wishes to know more about breakfast and luncheon.”

“They are very simple meals. We serve coffee and tea at breakfast. You may have soft boiled eggs, bread, meat, and cheese. Luncheon isn’t much more than that. We have a break of one hour at noon. Usually, the ladies take a long tea, but the dining room is open and food is available there.”

Aksinya explained everything to Natalya.

Frau Drescher was suddenly finished. She made one last statement, “I do have very strict rules about the dormitory. Those rules are to protect the ladies here. I will provide them to you with the materials that include the rest of the details.”

Aksinya asked, “Rest of the details?”

“The linens and use of the facilities. The storage of items. The care of your clothing. The cleaning schedules for your rooms. Each of these things is taken care of for our dormitory students.”

Aksinya cocked her head, “Very good. The Lady Natalya and I like these rooms very much. We accept them. My servant Asmodeus shall bring our clothing and such things as we need.”

The Reverend Mother beamed, “Are you decided then, Countess. You will be studying with us?”

“Yes, we shall.”

The commentary to Natalya and the question from her allows me to explain a little about the meals.  It also allows me to expand some about the details.  You don't need much, but a touch of them helps increase the realism of the scene and gives you a taste of the complexities of life in the times. 
 
I don't tell you the "strict rules."  You can guess most of them--they are the typical rules found in most dormitories.  I will give you a little more explanation later, but for now, this is sufficient. 
 
Aksinya clinches the deal by accepting the rooms and puts in a dig to Asmodeus--she calls him "my servant," which he is.  The Reverend Mother clarifies the position and that is all for today.

Writing a Novel, How I Start part 10

This topic is by no means complete.  There is so much more to delve into just about starting a novel, but I think it is time to clean this topic up a little and move on to another.  So I'll finish with this.  First, the four 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.
The last rule has a double implication--it implies "show don't tell."  This is, of course, the basic rule of writing--show don't tell.  Arlo Guthrie's book, A Field Guide to Fiction Writing, is easily the writer's manual on this topic.  I won't go into anymore details today.

The second point that I haven't touched on yet is the idea itself.  If you want to write a novel, you need a novel length idea--an inspiration.  No cheating.  Although it can be a good exercise, it doesn't do to take your favorite author, movie, program, novel, or anything else and write a similar novel.  It is silly to think you can be successful by copying any work and producing something similar.  To be your novel, the ideas have to be novel.  The problems with many works today is they are too similar to other works, they have a voice that is too like other works, or they are so trivial, they are meaningless.  That's the other side of the coin.  A work that has a trivial theme, plot, or storyline is not going to be successful and will likely not get published in the first place.  The question of what is "trivial" is a difficult one.  I can tell you that if you have more than one unique miraculous incident in your novel, it is likely trivial.  We call these a deus ex machina, a god machine.  A novel can spin from a singular unique setting or event, but when they keep happening, the work's credibility becomes a question.  For example, although I don't buy it and few readers will (unless you absolutely build it properly) love at first sight is a cliched and deus ex moment.  A novel based on "love at first sight" might have a chance in the hands of an absolute expert writer, but the theme is so old and has been used so much that no one will believe it today.  Further, if the theme and plot of such a novel isn't "love at first sight," any other unique event that propels the novel will become trite and unbelievable.  Your novel can't become trite.  Unique events can flow from one another in the novel based on the singular circumstances developed in the novel, but those must come logically from the others.

Example from Dana-ana http://www.goddessnovel.com/.  Dana-ana is about a girl who acts like an Anglo-Saxon maiden although she lives in the modern world.  The plot is basically wrapped in a question:  who really is Dana-ana?  It is a revelation novel.  That is, it reveals more and more through the characters to the point where everyone, at the end, finally gets just who is Dana-ana.  The storyline develops around this revelation.  The unique point of the book is Dana-ana herself--everything in the novel flows from this simple evidence.  Everything becomes explicitly concrete because of who Dana-ana is.  The reader is grounded and funnelled into the story because of this singular point.  Further, the theme is about redemption.  It is the redemption of Dana-ana herself and the redemption of those around her.  Why does Dana-ana need redemption?  That is bound up in who Dana-ana really is.  So, you can see, a single unique existence propels the novel.  There are magic and somewhat miraculous happenings in Dana-ana, but it is a fantasy-like novel with a fantastic plot.  Those magic and miraculous happenings are not unique in the structure of the novel--just as future technology is not unique in a science fiction novel.  When the basis is future technology or magic, the events are no longer unique, they are common, but that is a topic worth more discussion.

I hope this short 10 part explanation of how I start to write a novel was helpful.  I think I'll talk more about inspiration tomorrow.  Until then...