Writing—So You Want to be a Writer, Current Novel, Novel Length Ideas, Character Purpose

3 April 2020, 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 scenes
  3. The climax scene
  4. The falling action scene(s)
  5. 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  Ancient Light has been delayed due to the economy, and it may not be published.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:  In Kansas.

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.

 

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.

 

When I was writing about creativity before, the following is what I concluded.  I thought that this was such a great conclusion that I retained it in the notes above.  Let me repeat it again:

 

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.

 

So, with an idea for a new character, a Bean-Tighe, with a description, and a connection to the novel—the protagonist’s helper, I can move forward with how to introduce this character into the novel.

 

I introduced Da the Bean-Tighe as a character into my novel.  This is all and good and I tried to show you how I brought the character in, and how I expressed the character.  There is always much more to this.  What I thought might be of interest is why bring in this character and this type of character?

 

First of all, why bring in this character?  If you happen to notice, I am connecting different parts of the reflected world to the real world.  Mainly, I consider this entertaining and I hope my readers find it entertaining.  I brought in El and Laura first to connect Sorcha and Deirdre into the real world of Briton.  Their connections make linkages through the government, civil, and commercial world they all live within.

 

Next, Angélique directly interjects the world of the Fae into Sorcha and Deirdre’s lives.  This also gives the reader a direct connection and view into the world of the Fae—the reflected worldview of the novel.

 

Next, Gisselle shows another view of the reflected or supernatural world in the novel.  Gisselle also provides a connection to an entirely different world than the Fae, but a supernatural one none-the-less.

 

Cassandra brings in an entirely new view.  Here is a person who is somehow connected to the world of the Fae and to the human world, but whose legacy was stolen for some purpose.  That stolen legacy is one of the great secrets in the novel.

 

Finally, Da directly connects the human or real world with the supernatural world of the Fae as well as the supernatural world of Gisselle.  Da is really the key that lets El and Laura see the world that Cassandra, Gisselle, and Angélique represent, but that they can’t really see.  There is more.

 

The next point, as I mentioned, is to move from the initial scene to the next scene.  We’ll get more to this.

 

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:

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

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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