5 January 2017, Writing Ideas
- New Novel, part 999, Creative Elements in the Rising Action
Announcement: Delay, my new novels can be seen on the internet, but the publisher
has delayed all their fiction output due to the economy. I'll keep you
informed. More information can be found at www.ancientlight.com. Check out my novels--I think you'll really enjoy
them.
Introduction: I wrote the novel Aksinya: Enchantment and the Daemon.
This was my 21st novel and through this blog, I gave you the entire novel in
installments that included commentary on the writing. In the commentary, in
addition to other general information on writing, I explained, how the novel
was constructed, the metaphors and symbols in it, the writing techniques and
tricks I used, and the way I built the scenes. You can look back through this
blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.
I'm using this novel as an example
of how I produce, market, and eventually (we hope) get a novel published. I'll
keep you informed along the way.
Today's Blog: To see the steps in the publication process, visit my
writing website http://www.ldalford.com/ and select "production
schedule," you will be sent to http://www.sisteroflight.com/.
The four plus one basic rules I
employ when writing:
1. Don't confuse your readers.
2. Entertain 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.
All novels have five discrete parts:
1. The initial scene (the
beginning)
2. The rising action
3. The climax
4. The falling action
5. The dénouement
I
finished writing my 27th novel, working title, Claire, potential
title Sorcha: Enchantment and the Curse. This might need some tweaking. The theme statement is: Claire (Sorcha) Davis
accepts Shiggy, a dangerous screw-up, into her Stela branch of the organization
and rehabilitates her.
Here is the cover proposal for Sorcha:
Enchantment and the Curse.
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|
Cover
Proposal
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The most important scene in any
novel is the initial scene, but eventually, you have to move to the rising
action. I started writing my 28th novel, working title Red Sonja. I’m also working on my 29th novel,
working title School.
I'm an advocate of using the/a scene
input/output method to drive the rising action--in fact, to write any
novel.
Scene development:
1. Scene input (easy)
2. Scene output (a little
harder)
3. Scene setting (basic stuff)
4. Creativity (creative
elements of the scene: transition from input to output focused on the telic
flaw resolution)
5. Tension (development of
creative elements to build excitement)
6. Release (climax of creative
elements)
How to begin a novel. Number one thought, we need an entertaining
idea. I usually encapsulate such an idea
with a theme statement. Since I’m
writing a new novel, we need a new theme statement. Here is an initial cut.
For novel 28: Red Sonja, a Soviet spy, infiltrates the
X-plane programs at Edwards AFB as a test pilot’s administrative clerk, learns
about freedom, and is redeemed.
For novel 29: Sorcha, the abandoned child of an Unseelie
and a human, secretly attends Wycombe Abbey girls’ school where she meets the
problem child Deirdre and is redeemed.
These are the steps I use to write a
novel:
1.
Design the initial scene
2.
Develop a theme statement (initial
setting, protagonist, protagonist’s helper or antagonist, action statement)
a.
Research as required
b.
Develop the initial setting
c.
Develop the characters
d.
Identify the telic flaw (internal
and external)
3.
Write the initial scene (identify
the output: implied setting, implied characters, implied action movement)
4.
Write the next scene(s) to the
climax (rising action)
5.
Write the climax scene
6.
Write the falling action scene(s)
7.
Write the dénouement scene
Look back at my scene development
outline. This is the way I develop and
write a scene. The most important part
is the creative element of the scene.
The creative element must provide a transition from the scene input to
the scene output and focus on leading to the climax of the novel. I don’t mention anything about the climax in
this outline—I assume it is part of the scene development, but perhaps I should
add that in:
1. Scene input (easy)
2. Scene output (a little
harder)
3. Scene setting (basic stuff)
4. Creativity (creative
elements of the scene: transition from input to output focused on the telic
flaw resolution)
5. Tension (development of
creative elements to build excitement)
6. Release (climax of creative
elements)
I promised you an example. I haven’t made many run-throughs of School and the novel is barely started.
I’m on chapter five or six. I’ll give
you a simple example that shows the climax of the scene.
At
the end of class the teacher released them to lunch. Deirdre sat up, grabbed her books, stuffed
them in her bag, and stood, ready to go.
The girl slowly gathered her things together. She picked up her briefcase and stood. She gave a snarky look out of the sides of
her eyes and headed out of the classroom.
They walked outside. The girl
headed toward the dining hall for a while, then she cut off toward the open
areas and woods. Deirdre caught up
quickly, “Where’re you going?”
The
girl stared at her, “If you continue to interrupt my life this way, I will not
be responsible for the results.”
Deirdre
pressed her lips together, “You promised to tell me your name.”
The
girl gave a hiss, “I was compelled, but I will keep my promise…”
“You
must keep your promise…”
The
girl snarled, “My name is Claire Angela Weir.”
Deirdre
pounced on that, “Claire Angela Weir reveal your true self.”
Though
the girl stood in direct sunlight and Deirdre spoke her name, she didn’t
change.
Deirdre
cried out, “That wasn’t your true name.
I demand you tell me your true name.
You promised…”
The
girl started to complain, but her face turned green.
Deirdre
laughed, “That’s what happens when you don’t follow the letter of your pledge. Now, what is your true name?”
The
girl sounded desperate, “I shan’t tell you.
I shan’t.” She covered her mouth,
and her face went a shade whiter than it already was.”
“You’ll
hurl if you don’t.” Deirdre watched the
girl’s face fill with despair and pain.
She thought a moment, “Is your true name, Sorcha Aingealag Mac an
Uidhir.”
The
girl covered her eyes and stomped her feet, “How did you know?”
Deirdre
laughed and danced a little step, “Each of your names are Gaelic. If you change the names you gave me for their
Gaelic, you must be Sorcha Aingealag Mac an Uidhir. Therefore, Sorcha Aingealag Mac an Uidhir,
reveal your true nature.”
Sorcha
Aingealag Mac an Uidhir suddenly stood in front of Deirdre in her faded back
skirt. It was more threadbare than
Deirdre remembered. Sorcha’s hose were
filled with holes. Her sweater was an
ancient version of the official sweater.
Her shirt was a dirty yellow-white, and her tie was black. She wore rotten dirty Plimsolls on her
feet. She held a horribly worn book bag
in her hands. Sorcha gave a wild cry and
pressed her hands over her eyes, “Why did you do that?” She stomped her feet, “You are the most
hateful person I’ve ever met.”
“Hateful? Why are you sneaking into Wycombe? Who are you really?”
“A
rich little Prince-ass like you wouldn’t understand.” She carefully put down her briefcase and
launched herself at Deirdre.
This
was the kind of response Deirdre was really used to. She fought her brothers and sisters. She
fought her classmates. Fighting was one
of the main reasons she was banished to Wycombe. This was one of Deirdre’s favorite activities. Sorcha grabbed Deirdre’s hair with both
hands. That was a mistake. Deirdre’s hands were free, and little damage
could be done by hair pulling—that was just a distraction. Deirdre pulled her fist back and popped
Sorcha directly in the face. The feel of
flesh under her fist and the response of Sorcha to the blow drew Deirdre to
move forward make another hit. Sorcha
let out an angry and hurt cry. Deirdre
followed the right with a left then a kick.
Sorcha roared. She’d fought in
the streets and against groups. Girls
like this one were supposed to give up immediately—they weren’t supposed to
fight back.
Sorcha
stepped back to recover and plan, but Deirdre didn’t give her a chance at
all. She moved quickly with her fists
raining right and left at Sorcha’s head.
Sorcha screamed and struck back, but she couldn’t get a hit in anywhere. Suddenly, Sorcha was on the ground. She covered her head and held her hands over
it. Deirdre stopped punching, “Do you
give.”
Sorcha
cried out, “I give. I give. Please don’t hit me again.”
Deirdre
smiled, “On your surrender. I insist
that you answer all my questions…” At
that moment, someone grabbed Deirdre from behind. She almost twisted away and struck her new
assailant. A voice behind her cried out,
“Ms. Deirdre Calloway, you will stop this instant.” It was Mrs. Power.
Another
voice at her left side made her cringe.
It had a slight French accent, “Deirdre, I’m so ashamed at you—fighting
on the first day of school.” Deirdre
turned toward Luna Bolang. Luna Bolang
was an extremely beautiful woman. She
was petite where Deirdre was simply small.
She had lovely black hair also in a French braid. Her skin was the color of coffee au
lait. She was from France and related
directly to Deirdre’s adopted sisters, Sveta and Klava. She was thirty-seven, unmarried, still
beautiful, and absolutely fearless.
Deirdre really liked her and really feared her—she had mother’s ear and
respect.
“Curses,”
Deirdre exclaimed. She didn’t move, then
she yelled, “Sorcha Aingealag Mac an Uidhir run. Run.
Run or they’ll catch you. Run and
I’ll see you tomorrow.”
Blubbering,
Sorcha leapt up from the ground and began to run. She only took the time to grab her old
briefcase. She ran and was quickly lost
in the trees. Mrs. Power didn’t seem to
notice that she was gone. Luna stared
out into the open for a long time. Then
she turned around toward Deirdre.
Deirdre
gave Luna the look, squinty eye and curled lip, and Luna hauled back her hand
and slapped Deirdre. Deirdre’s eyes
opened wide. Luna’s French accent seemed
to disappear, “Your mother ordered you—no fighting. I can’t believe I find you fighting with a
girl the first day. Who was she?”
Deirdre
didn’t say a word.
“Deirdre,
you can’t go around injuring these students.
The school will expel you. If
that happens, where do you think you will go then?”
We are talking about a whole stack
of creative elements here. The big one
is the fight. The fight isn’t very long,
slightly unexpected but yet expected in the context of the novel, with slightly
unexpected results, and an unexpected end.
The fight is the main creative element of the scene. I wrote the scene to this element and with
this scene climax (release) in mind.
This creative element moves us from the input to the output of the
scene. The input is the new kid Deirdre
at her new school looking for a friend.
The output is the punishment of Deirdre for fighting. The other creative elements crowd into this
scene. You can see them directly and in periphery
in this small piece that I gave you. The
girl, Sorcha, who is using fae glamour to hide in the school. All the creative elements developed because
of what she is doing. The teachers and
especially Luna, who is an important character.
The school itself. Each of these
pieces are all creative elements that combine in this scene to provide the
input and the output. Notice that many
of these elements continue through the novel from scene to scene. The characters, the setting,, the school, the
teachers, the touch of the supernatural.
Each of these elements cascade though the novel producing it’s feel and
unique quality. This is the importance of
the creative element and creative elements in scene development.
More
tomorrow.
For more information, you can visit my
author site http://www.ldalford.com/, and my individual novel websites:
http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
fiction, theme, plot, story, storyline,
character development, scene, setting, conversation, novel, book, writing,
information, study, marketing, tension, release, creative, idea, logic
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
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