26 August 2016, this blog is about writing in scenes. I’m focusing on the tools to build scenes. I’ll leave up the parts of a novel because I think this is an important picture for any novelist. I’m writing about how to begin and write a novel.
- The initial scene
- The rising action
- The Climax
- The falling action
- The dénouement
Announcement: Ancient Light has been delayed due to the economy. Ancient Light includes Aegypt, Sister of Light and Sister of Darkness. If you are interested in historical/suspense literature, please give my novels a try. You can read about them at http://www.ancientlight.com. I’ll keep you updated.
Today’s Blog: The skill of using language comes from the ability to put together figures of speech that act as symbols in writing.
Short digression: I’m back home on the tarmac.
Here are my rules of writing:
- Entertain your readers.
- Don’t confuse your readers.
- Ground your readers in the writing.
- Don’t show (or tell) everything.
4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.
- Immerse yourself in the world of your writing.
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.
- Scene input (easy)
- Scene output (a little harder)
- Scene setting (basic stuff)
- Creativity (creative elements of the scene)
- Tension (development of creative elements to build excitement)
- Release (climax of creative elements)
First step of writing—enjoy writing. Writing is a chore—especially if you don’t know what you are doing, and you don’t know where you are going. Let me help you with that.
Writing is a chore. How do we make writing as enjoyable as possible? Then how do we bring to bear those skills. Let’s look at building writing skills.
For a scene output we need characters, a setting, and an implied action. We need the same for a scene input. I picked the initial scene from one of my published novels, A Season of Honor. At the end of the first scene which you can read at https://www.amazon.com/Season-Honor-L-D-Alford/dp/1602901082?ie=UTF8&adid=0H131228GTT170EXAWZX&camp=14573&creative=327641&creativeASIN=1602901082&linkCode=as1&ref-refURL=http%3A%2F%2Fwww.alfordhome.com%2FASeasonofHonor.com%2Findex.htm&ref_=as_sl_pc_tf_lc&tag=wwwldalfordco-20, Baron Shawn du Locke and Count Ian Acier have made an agreement. Shawn will convey Ian’s daughter to the Capital planet to marry a Duke’s son. The implied output is that we will meet the other travelers. In this case, specifically Elina Acier. The setting of the next scene is also implied—it should be on Acier. Then we have our characters: Count Acier, Baron du Locke, Elina. We have a setting: soon after the initial meeting and on Acier. We have an implied action: an introduction.
I know some of this is a repeat form yesterday, but we need these pieces to write and next scene. We need the output of the previous scene for the input of the next scene. Here is what I did to write the next scene. My setting was the formal ballroom of the House Acier. There, Shawn meets, Ian’s wife, the Lady Acier, his daughter, Elina, and his ward, Kran Noir. These are the characters. The problem and the primary tension builder in the scene is that Elina could be a twin to Shawn’s lost love, Lyral Neuterra. In The End of Honor, Lyral was executed and Shawn fought an intragalactic war in her name. The primary tension and release comes from this creative element. This is also one of the primary creative elements of the novel and the one that leads to the climax. There are other creative elements in the scene. Lady Acier is unhappy with Shawn’s actions. He was a Prince, he is now a Baron. This also builds tension in the scene. Ian is confused by Shawn’s reaction to Elina. This is a creative element through the entire novel—that is Shawn’s reaction to Elina. This is beyond the simple accident that Elina looks like Lyral (they were cousins, but the way). There are more creative elements in the scene. The Matron Pembray was also the matron to Lyral Neuterra. Further, Kran is the brother of the man Elina is affianced to. These creative elements all whirl about the scene to produce tension and release—this is the means of building entertainment in the scene.
I’ll write more tomorrow.
For more information, you can visit my author site www.ldalford.com/, and my individual novel websites:
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