Writing—So You Want to be a Writer, How is a Novel Written? Novel Writing Plan, Planning the Climax of a Comedy—the Expected Unexpected, Another Example

30 July 2018, 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.

  1. The initial scene
  2. The rising action
  3. The Climax
  4. The falling action
  5. The dénouement

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  Ancient Light has been delayed due to the economy, and it may not be published.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 the USA.

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.

  1. 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 development:

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.

 

How do we gain the skills to write well?  Let’s begin with reading.  Reading allows us to understand the following:

 

  1. What a novel is.
  2. How a novel is constructed.
  3. How a novel is entertaining.
  4. How a novel is written.
  5. How novels have evolved.
  6. Different genre in novels.

 

If we understand what makes a novel entertaining, we can move on to how a novel is written.

 

This idea incorporates significant concepts about writing.  First of all, the author must be a skilled reader.  Second, the author must be a skilled writer.  Third, the author must have an idea.  Forth, the author must have the discipline to write a novel.

 

The next step is the discipline to write.  Part of that is motivation to write.  My motivation comes with a creative idea.

 

So, this is what I need to write about again for you: scenes and the writing plan for a novel.  Novels are written in scenes.  Therefore, if you want to write a novel, you need to be able to write good scenes, and you need a plan to write your novel’s scenes.

 

This is a scene outline:

  1. The initial scene.
  2. The rising action scenes.
  3. The climax scene.
  4. The falling action scene(s).
  5. The dénouement scene(s).

 

The resolution of a comedy and a tragedy are known from the initial scene—the author must resolve the telic flaw.  The telic flaw is revealed at the very beginning.  The expectation if that the telic flaw must be overcome by the protagonist in a comedy and the telic flaw must overcome the protagonist in a tragedy.

 

Since the resolution of the novel is known from the beginning, the author must figure out some means to unexpectedly resolve the telic flaw.  This is called the unexpected expected.  This is the usual progression.

 

  1. State the telic flaw of the protagonist and the plot in the initial scene.
  2. Reveal that the resolution of the telic flaw is impossible.
  3. Reveal incomplete or inconclusive stepping stones that might allow the resolution of the telic flaw.
  4. At the climax, the elements of the rising action that pointed to the resolution of the telic flaw all come together in a reasoned and logical fashion.

 

Let me grab another example.  I guess I’ll use the first Harry Potty novel since most should be familiar with it and it’s likely on most people’s mind.

 

  1. State the telic flaw of the protagonist and the plot in the initial scene.

 

The initial scene of the initial Harry Potty novel is not the best initial scene—it’s actually a prologue, but wise authors don’t put in prologues.  In any case, the introduction of the telic flaw is the child who lived the curse of the V-guy.  The assumption or expectation is that Harry will get rid of the V-guy—but wait, the V-guy is kind of gone and everything is great in the world.

 

  1. Reveal that the resolution of the telic flaw is impossible.

 

Through all the novels, we are reminded over and over again that defeating V-guy is impossible (this is a logical fallacy since Harry already defeated him once).  This however, is the recurring message of the text and the narrative of the novels.  The V-guy can’t be defeated by normal means.

 

  1. Reveal incomplete or inconclusive stepping stones that might allow the resolution of the telic flaw.

 

This is the recurring buildup through all seven (or is it eight) novels.  In the first novel, the apparition of the V-guy has taken over the mind and body of one of the professors (the dark arts professor).  This is also a recurring theme.  In any case, in the initial novel, Harry must find the elements (stepping stones), spells, and items that allow a first year student to defeat the greatest bad wizard in history.  These items, spells, and elements are gathered almost happenstance without the protagonist fully comprehending their value or use in defeating the V-guy.

 

  1. At the climax, the elements of the rising action that pointed to the resolution of the telic flaw all come together in a reasoned and logical fashion.

 

The resolution of the initial Harry Potty novel is especially not complex because it is a kid’s novel.  Harry accidentally comes across the solution to the problem.  All the proper elements, items, and spells are in his or his friend’s possession and he and they can defeat the bad guy without breaking a sweat.  Actually, there is peril and at the very end, as is to be expected in a series novel, the real bad guy escapes and the world of Harry is better for a little.

 

All novels are based on this plot development—at least all entertaining novels are.  That is the point of the expected unexpected.

 

I’ll write more tomorrow.

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com

www.aegyptnovel.com

http://www.sisteroflight.com

http://www.sisterofdarkness.com

www.centurionnovel.com

www.thesecondmission.com

www.theendofhonor.com

www.thefoxshonor.com

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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About L.D. Alford

L. D. Alford is a novelist whose writing explores with originality those cultures and societies we think we already know. His writing distinctively develops the connections between present events and history—he combines them with threads of reality that bring the past alive. L. D. Alford is familiar with technology and cultures—he is widely traveled and earned a B.S. in Chemistry from Pacific Lutheran University, an M.S. in Mechanical Engineering from Boston University, a Ph.D. in Aerospace Engineering from The University of Dayton, and is a graduate of Air War College, Air Command and Staff College, and the USAF Test Pilot School. L. D. Alford is an author who combines intimate scientific and cultural knowledge into fiction worlds that breathe reality. He is the author of three historical fiction novels: Centurion, Aegypt, and The Second Mission, and three science fiction novels: The End of Honor, The Fox’s Honor, and A Season of Honor.
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