18 June 2021, 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 scenes
- The climax scene
- The falling action scene(s)
- The dénouement scene(s)
Announcement: I need a new publisher. Ancient Light has been delayed due to the economy, and it may not be published. 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: Back in Wichita.
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.
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.
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.
Here is the beginning of the scene development method from the 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
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.
I’m currently writing a novel that is a little difficult to explain. It’s a reflected worldview novel so it includes fairy creatures, British mythical beings and gods, and a vampire. It is an adult novel, but is set in a girl’s boarding school in Saint Malo France. The initial scene was based on another novel titled Deidre: Enchantment and the School.
What I’ll do now is focus on the details of words, sentences, paragraphs, and scenes on entertainment. I can assure you if these are right, the other parts will be too.
I’ve been looking at scenes and especially themes for scenes and themes for novels. The point of all of this is entertainment. The question now is how to develop a novel length idea—this is the ultimate question I’ve been trying to help you with.
Below is the question for the current novel I’m writing.
What would happen if a royal heir was banished from England for having a supernatural heritage and kept imprisoned in a convent was released in the modern era?
Here is the theme statement:
Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.
You can see there are real differences between the question and the theme statement. I really can’t show you how to write a question per se. The question is just a question. It’s directly related to the plot. I can show you how to write a theme statement.
The theme statement sets you up to write the initial scene, but here is where real creativity must prevail. The initial scene more than any other scene in a novel is the most important and creative. I always start the creation of my novels, now, with an initial scene.
I completed an entire section about showing and not telling. Remember show and don’t tell. That makes me feel better. At the moment, I’ve personally been focusing on writing a very complex non-fiction book length work, finding a publisher for my novels, and trying to write cohesively about showing instead of telling. I think I have this part down well in my novels, and I’m constantly trying to discover ways to help others figure this out too.
The most important point about the telic flaw and the protagonist is that we need to develop a great protagonist. That protagonist must bring us a telic flaw. That’s the main point about the telic flaw and the protagonist.
The problem of the protagonist is the telic flaw of the novel. If you approach the development of the protagonist with this in mind, you can build a wonderful protagonist and telic flaw.
What qualities make a protagonist more likely to be marketable and publishable. That’s what I want to know.
What do all readers have in common. These are characteristics that must endear readers to a protagonist. Here is what we have determined:
- A reader.
- Competent because they read.
- Reading and writing is important. Study through reading is important.
- Skills come through reading and study.
- Moral within the context of the event horizon and the culture.
- Caution using ideas and words that alienate your readers.
- Pathos: emotions felt by the reader.
- Suspension of disbelief.
- A great Romantic plot with a comedy
- A protagonist that the reader eventually likes.
- Protagonists who are endearing because of who they are or their needs or both.
- Protagonists with a unique or endearing skill.
- Protagonists who achieve
How about we take a look at my current protagonist and protagonist’s helper. Let’s see if they meet the criteria for a protagonist the reader would like and how well.
Sorcha is the protagonist. We saw that Sorcha was willing to go to prison, face bullying, and literally hide in a school to read and study. This is exactly the kind of protagonist readers love. At least, this is the archetype for the first characteristic I noted in the list.
We saw how Sorcha fits the model of study, reading, and morality. How about liking Sorcha (and Deirdre)?
I’ve mentioned before, the most important characteristic for a protagonist is that the reader basically agrees with their decisions. This is a huge point. For example, we can see this with the basic idea of reading. Readers will not like protagonists who don’t read. The basis for this is the concept of agreement with the protagonist. For example, if the protagonist hates reading and doesn’t want to read, the reader will find that protagonist unlikable. How far do you think an unlikable protagonist will go?
What about morality? If the reader finds the protagonist’s actions and ideas to be immoral, the reader will disagree with the protagonist and therefore find them unlikeable. You can evaluate any other characteristic this way. This is our means test for the protagonist.
Whatever the protagonist plans or chooses to do, the author must evaluate whether the reader will agree with them. Now, you can always have the protagonist’s actions go awry, but the plan should be approved by the reader. For example, most readers would find it unacceptable for a protagonist to steal from innocent people to make money for their cause or for themselves. Although this is a normal event in Dungeon games and such, it is not moral or ethical. The very idea of stealing from others must be tempered with the balance of need and the status of the victim. I’m not into the idea of Robin hood. Stealing is stealing in my book. If you realize, Robinhood was involved in a war between Saxons and Normans, you get an entirely different perspective. The point is that you must convince the reader of the morality of your protagonist and their actions. The writer who is unaware of this, treads a dangerous landscape.
The most important thing for the scene is developing the 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:
fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic