30 August 2019, 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 Ancient Light has been delayed due to the economy, and it may not be published.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:
- 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.
Here is the beginning of the scene development method from the outline:
- Scene input (comes from the previous scene output or is an initial scene)
- Write the scene setting (place, time, stuff, and characters)
- Imagine the output, creative elements, plot, telic flaw resolution (climax) and develop the tension and release.
- Write the scene using the output and creative elements to build the tension.
- Write the release
- 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.
The current subject is how cultures and societies affect human thought and human actions. Here is a list of potential issues. We’ll look at them in detail:
- Social construction
- Common knowledge
- Common sense
- Reflected culture
- Reflected history
- Reflected society
Did you notice, transportation is integrated with communications? In fact, as we move forward to communications, we start with a similar basis.
Transportation allows certain types of communication. But, in the beginning was grunts.
Ancient Greek is likely the most concrete language developed by humans. Its basis is in geometry, and it is highly precise and specific. Many if not most languages are not so precise. Hebrew and Japanese are highly imprecise. We call this euphemistic. Most languages that are highly euphemistic are very imprecise and very contextually based. In other words, without the context, the language may be impossible to translate correctly.
This is indeed the problem with Japanese and Hebrew. Both are highly euphemistic and both are strongly contextually based. Another language that is very familiar to us has an equal problem—English. English is not nearly as euphemistic as Japanese or Hebrew, but it is highly contextually based and not very concrete.
English solves some of its contextual and euphemist basis by word order, many verb forms, punctuation, and significant vocabulary. You can still make tremendous mistakes in English, but with proper usage, it is more difficult. This is not as true with ancient languages. Ancient Greek, Hebrew, and Japanese don’t have punctuation, significant verb forms, nor a large vocabulary. Ultimately, the reader or translator must be able to frame or understand the context of the writing. With the passage of thousands of years, that context may or may not be obvious. In the case of languages, the more euphemistic, the more likely, the meaning in time is based on a context that may be nearly impossible for a person from the modern world to understand well.
This is not to say translation is impossible, but rather that translation is difficult and dependent on the writer’s frame of reference. It might contain multiple meanings, and based on the intellectualism of most ancient people, it likely does. In translating, it is difficult to acknowledge more than one meaning and more difficult to incorporate more than one meaning in the text.
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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