9 March 2017, Writing Ideas
- New Novel, part x62, Creative Elements in Scenes, Plot Devices, Foreshadowing
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
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
Below is a list of plot
devices. I’m less interested in a plot
device than I am in a creative element that drives a plot device. In fact, some of these plot devices are not
good for anyone’s writing. If we
remember, the purpose of fiction writing is entertainment, we will perhaps
begin to see how we can use these plot devices to entertain. If we focus on creative elements that drive
plot devices, we can begin to see how to make our writing truly
entertaining. I’ll leave up the list and
we’ll contemplate creative elements to produce these plot devices.
Deus ex machina (a machination, or act of
god; lit. “god out of the machine”)
Flashback (or analeptic reference)
Foreshadowing – Current discussion.
Story within a story (Hypodiegesis)
Secrets
Foreshadowing: Here is a definition of foreshadowing from the link-- Implicit yet intentional efforts of an
author to suggest events which have yet to take place in the process of
narration. See also repetitive designation and Chekhov's gun.
This
is a terrible definition. I’ll give you
a better one. A foreshadowing is a
creative element (a setting character, item, event, situation, or action that
interacts with the protagonist or other character) presented earlier in a scene
for the purpose of providing a release later in the scene or a later scene.
Foreshadowing
is the most useful and used plot device in all literature. In my opinion, it isn’t used nearly enough
especially by inexperienced authors. Foreshadowing
is what allows appropriate and powerful release in scenes, including the climax
of the novel. For example, if my
protagonist needs to be able to pick a lock to solve a problem (release or
tension in a scene, climax of the novel) all I need to do is have the character
learn to pick a lock or gain the skill of lock picking or have been taught the
skill of lock picking in an earlier scene.
The earlier the better for complex skills. In the first Flavia de Luca novel, Flavia
informs us that she learned to pick locks because her sisters locked her up all
the time. We further have this
reinforced when she tells us she learned how to pick locks from her father’s
gentleman’s gentleman. Thus, when Flavia
picks a lock, it isn’t a surprise or a deus ex machina at all. It is appropriate and reasonable that a girl
who has learned to pick locks can pick locks.
This is the use of foreshadowing.
If you notice, this is a plot device you should use all the time. Here is an example from my writing:
That
afternoon, Sorcha, Deirdre, Luna, and Mrs. Calloway went out to buy new
dresses, hats, and all the necessary accouterments. When Sorcha took a look at the price tags,
she blanched. Mrs. Calloway joyfully
poked her, “We are going to visit the Queen.
You can’t look like a ragamuffin.”
Sorcha
glanced down, “I already owe Deirdre for the formal gown, my uniform, and a
host of other things.”
Mrs.
Calloway took the dress from the rack and handed it to her, “I feel pleased to
dress my daughter’s best friend.” She
whispered, “Even if she contemplated killing her more than once.”
Sorcha
shook her head, “I never would have…”
“I’ve
contemplated killing her a few times myself, but I wouldn’t either.”
Sorcha
sucked in a breath, “Oh, I see.”
“Try
that one on, and that one, and that one.
We’ll find something and some hats before tomorrow. I know we will.”
They
did buy some beautiful new dresses and hats with all the fixings. They packed them up and returned to Rosewood
House too late for tea, but just in time for supper. The house was in an uproar. Deirdre and Sorcha were the first two though
the door.
Lachlann
spotted them first. To Sorcha, he looked
younger than Deirdre. His hair and complexion
was similar to hers, and he was already half a head taller, but he looked less
mature. He gave a holy cry up the
stairs, “Alert on the top deck, Dreadful is back and she’s all dressed up.”
They
heard anonymous moans and groans from the top floor. It sounded like at least three other voices
to Sorcha, girls and boys.
Lachlann
sauntered over to where Deirdre and Sorcha stood. Deirdre held her head up and her back
straight, “Lachlann, this is my very good friend Ms. Sorcha Weir. Sorcha, this is my younger brother
Lachlann. He also likes to be called
Mata…by his friends.”
He
nodded to Sorcha, “very nice to meet you Ms. Weir.” He turned directly back to Deirdre, “Does
Mother know you’re here?”
Mrs.
Calloway came in the front door foyer followed closely by Luna. Herbert was taking care of the packages.
Mrs.
Calloway pulled off her gloves, “Do I know what, Lachlann?”
Lachlann
murmured, “I just wondered if you knew that she’s back. I already alerted the rest of the crew.”
Mrs.
Calloway’s lips twitched, “Lachlann, be a good lad and make sure your brothers
and sister are ready to properly greet their sister and Ms. Weir.”
Lachlann
took the hint. With a slight look of
alarm, he ran up the stairs.
Mrs.
Calloway put down her gloves and her coat, “I forgot to ask him if James was
home yet.”
Deirdre
pulled Sorcha to the side. She spoke
French, “I didn’t think we would be staying here. I need to warn you about my brothers and
sister. They put upon me since I was
small, but I always gave as well as I received.
I hope I don’t need to fight them while you are here, but I shall if it’s
required.”
Sorcha
asked also in French, “Why are we speaking French, and why would you need to
fight them?”
“We
are speaking French because we still don’t think Mother can understand it. I might need to fight them on principle.”
Sorcha
shook her head, “I can barely believe that.”
Deirdre
looked grim. She led Sorcha into the
family parlor, “This is where my Mother likes to make proper introductions. We’ll wait here.”
There
are multiple foreshadowing presentations and releases as well as tension
building in this partial scene. The main
foreshadowing has happened in the previous scene. Sorcha was led to believe Mrs. Calloway was a
nasty person. She is very lovely—this is
a different type of plot device, but based in foreshadowing. They are going on a visit to the Queen. This is a foreshadowing and they are
preparing for the visit. Sorcha has been
led to believe Deidre’s sister and brothers are nice and that Deirdre tormented
them—we are learning the opposite. At
the beginning of the scene, Sorcha has contemplated killing Deirdre—note Mrs.
Calloway’s reaction. This is also a
foreshadowing of a type. This is also a
pure release from a foreshadowing tension.
There are further foreshadowing events based on French, speaking, and
fighting. There is more and much much
more—this is why I write that foreshadowing is the main plot device tool for
the author. The wise author uses it all
the time. It can be used with almost any
creative element and powerfully completes the tension and release cycles in
scenes.
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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