6 August 2017, Writing - part x212,
Novel Form, Tension and Release, Pathos, Reader’s Trust
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.
These are the steps I use to write a
novel including the five discrete parts of 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
I
finished writing my 28th novel, working title, School, potential
title Deirdre: Enchantment and the School. The theme statement is: 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.
Here is the cover proposal for Deirdre:
Enchantment and the School.
 |
|
Cover
Proposal
|
The most important scene in any
novel is the initial scene, but eventually, you have to move to the rising
action. I continued writing my 29th novel, working title Red Sonja. I finished my 28th novel, working
title School. If you noticed, I started on number 28, but
finished number 29 (in the starting sequence—it’s actually higher than
that). I adjusted the numbering. I do keep everything clear in my
records.
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 29: 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.
This
is the classical form for writing a successful 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 (protagonist,
antagonist, and optionally the protagonist’s helper)
d.
Identify the telic flaw of the
protagonist (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
The
protagonist and the telic flaw are tied permanently together. The novel plot is completely dependent on the
protagonist and the protagonist’s telic flaw.
They are inseparable. This is
likely the most critical concept about any normal (classical) form novel.
Here
are the parts of a normal (classical) novel:
1.
The Initial scene (identify the
output: implied setting, implied characters, implied action movement)
2.
The Rising action scenes
3.
The Climax scene
4.
The Falling action scene(s)
5.
The Dénouement scene
So,
how do you write a rich and powerful initial scene? Let’s start from a theme statement. Here is an example from my latest novel:
The
theme statement for Deirdre: Enchantment
and the School is: 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.
Here
is the scene development 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
If
you have the characters (protagonist, protagonist’s helper, and antagonist),
the initial setting, the telic flaw (from the protagonist), a plot idea, the
theme action, then you are ready to write the initial scene. I would state that since you have a
protagonist, the telic flaw, a plot idea, and the theme action, you have about
everything—what you might be lacking is the tension and release cycle in the
initial scene.
Tension
and release is the means to success in scene writing. The creative elements you introduce into the
scenes (Chekov’s guns) are the catalysts that drive entertainment and
excitement in a scene, and this is what scenes are all about.
I
am moving into the way to develop sufficient tension and release. One of the best means is through pathos. I’ve written about pathos developing characters. What I want to do is expand this into pathos
developing scenes. In most cases, a
scene with a pathos developing character can be made pathetic. In any case, almost any scene can invoke
pathos—pity and fear. This development
of pity and fear is the driving force in tension and release. The question is how the author develops it.
Fear
is just one mechanism for developing powerful and sufficient tension and
release in a scene. The other mechanism
is pity.
In
a novel, pity is the emotion of sorrow and compassion in the reader caused by
the suffering and misfortunes of the characters.
Pity
and fear are the classic means of producing tension and release in a novel and
in a scene. There are other emotions
that can be used for tension and release.
Here is a list of emotions:
- Fear → feeling afraid
- Anger → feeling angry. A stronger word for anger
is rage.
- Sadness → feeling sad. Other words are sorrow,
grief (a stronger feeling, for example when someone has died) or depression
(feeling sad for a long time). Some people think depression is a different
emotion.
- Joy → feeling happy. Other words are happiness,
gladness.
- Disgust → feeling something is wrong or nasty
- Surprise → being unprepared for something.
- Trust → a
positive emotion; admiration is stronger; acceptance is weaker
- Anticipation → in the sense of looking forward
positively to something which is going to happen. Expectation is more neutral.
Is trust really an emotion? Trust is not necessarily an emotion, but
trust is something the average reader gives freely to the author. In almost every case, the reader will trust
the protagonist that is the reader’s view of everything. I don’t think they should. In fact, if you remember, all novel writing
is about the revelation of the protagonist, and that means all protagonists
have secrets, you will realize, trust is not exactly the right word.
The reader trusts the author and the
protagonist, and I wouldn’t do anything to necessarily ruin that trust, but the
reality of writing is that it is a journey of revelation where the writer
surprises the reader while at the same time leaving plenty of breadcrumbs
(foreshadowing, analogy, ideas flat out statements) to let the reader know
where they are going. The reader should
always trust the writer, but not so much the characters, but in every case, the
reader should be able to look back and say, I saw that coming—even if they
never did. I’m not sure what to call
this concept in writing. I haven’t read
much about its expression, but I think it is a critical point of writing well.
What should we call this? The expectation of revelation? In any case, the most effective (entertaining
and exciting) authors build an expectation of revelation in their writing that
doesn’t give away anything, but at the same time predisposes the revelation of
the protagonist. The revelation itself
to the reader simply expresses what they think they already know. The surprise (that I wrote about before) is
the actual revelation, the expectation of revelation is that the reader in
looking back mentally believes they can see the reasons or the fact of the
revelation.
Example, example, these are not
difficult of come by, but most are intentionally subtle in an author’s
writing. Here’s a concept. Your protagonist is in love with
someone. The author doesn’t come out and
tell you that at all—they show you. The
protagonist follows her with his eyes.
He sighs when he sees her. He
speaks to her. He carries her books (or
tires to). He tries to ask her out. Is it really a surprise when he finally tells
her that he likes her and would like to go out?
The answer is—it depends on how the author sets up the event. A very careful and strong writer can show all
of this and still make the confession of love a surprising and powerful
moment. When the reader looks back at
the evidence, they express, I knew it while being surprised. Here is an example from my writing. This is from Ancient Light, the Warrior of
Darkness:
Niul was very agitated when he picked up
Klava at the Lyon ’s house the next
Sunday. Instead of heading directly for Westminster
Klava’s voice trembled, “What’s wrong
Niul?”
“You and I need to speak about something.”
Klava covered her face with her hands,
“What other sins have caught up with me?”
Niul stepped out of the car and went to
her side. He opened the door and put out
his hand, “No sins just something I need to know.”
Scáth scowled as she slid out of the car,
“What else do you need to know about her, Mr. O’Dwyer? You’ve already taken an unfair share.”
Niul clasped Klava’s hand. She did not stop trembling. Niul led her down the walk. The day was dreary with early fog and cloudy
skies. Scáth trailed them at a pace
behind. Niul took Klava’s hand in both
of his. He caressed it and took a deep
breath, “Klava are you blind?”
Scáth’s voice was tense, “Does she act
blind?”
“Yes, in many ways, she does.”
Scáth nearly spat, “Mistress, you don’t
have to tell him.”
Klava smiled. She still trembled, “No, Scáth, I must tell
him. He has a right to ask. It is one of my defects that is not readily
apparent.” Klava pulled up short. She turned Niul to face her. Her deep emerald eyes sought his and were
slightly off queue. They stared
obviously unfocused at his cheek.”
“You are blind.”
“Who told you?”
“The Dean of the department mentioned that
you were the most accomplished student he ever taught, and related his
astonishment that you couldn’t see. You
are blind.”
“Yes I am.
I have been blind since I was a child.
Is this a defect that makes me unacceptable to you?”
“No it doesn’t at all. It just makes me more ashamed, and me, more
unacceptable.”
“More ashamed, Niul O’Dwyer. How could that make you more ashamed?”
“I took advantage of a blind girl. A person who was handicapped. What kind of monster does that make me?”
Scáth laughed, “One much worse than I.”
Klava put her arms around him, “I don’t
think it makes much difference. We all
are handicapped in some way. Most of us
just don’t acknowledge our deficiencies, or we exaggerate things that are not
deficiencies to hide our true faults—like sin.”
“But you are blind.”
Klava sighed, “And that makes you want to
turn away from me?”
“No it makes me want to protect you even
more.”
“You pity me?”
“Yes.
I do pity you.”
“That is not a foundation on which to
build affection.”
“Nah, there you are very wrong,
Klava. If love is a commitment, then a
person who loves must commit to everything for the one he loves. Pity is a feeling that makes me want to never
let you be away from me—I’d gladly be your eyes. As it is, I’m not sure how you manage as well
as you do.”
“I manage because I see through the black
tablet.”
“A black tablet, what is that?”
“The black tablet. My black tablet.”
“Still, what is that, Lamb?”
Klava opened her purse and took out the
tablet. Niul reached for it. Klava jerked it away from him, “Don’t touch
it.”
“Why’s that?”
“If you touch it, it will take your
ka. It will pull your ka into the
tablet.”
“Why can you touch it?”
Scáth sneered, “Duh! She’s the goddess who controls it.”
Niul moved his head to get a better look
at the tablet, “It bears your face. What
can it do? Is it the source of your
power?”
Klava held the tablet close to her, “The
Dagda is the source of my power. The
tablet allows me to manipulate the forces of the world and the kas of men. With it, I can control darkness and use
darkness.”
“And it allows you to see?”
“I can’t see real colors. Everything is like black and gold to me. They are all shades of black and gold. It is very lovely to my sight, but there is
no color.”
“Is that why you only wear black?”
“Is that why you only wear black?”
She blushed, “Yes, every other color makes
me appear underclothed. The tablet
allows me to see in a region that is near infrared. My body shows through anything but
black. Grays, in my sight, are scandalous,
but usually not too overexposed.” Klava
tossed her head, “I also dress this way to irritate my mothers—both of
them. I like to remind them that I am
not my sister, and I am not like them. I
am who I am, and who the Dagda has made me to be.”
“And what you eat?”
“Dark foods appear unappealing to me. White ones are like gold. They are radiant.”
“What you drink?”
“I can’t see light liquids very well in a
glass or cup. I make a mess. I can manage drinks that are black—I have
come to enjoy them very much.”
“You usually wear dark glasses during the
day. What about liking the night and
darkness?”
“In daylight everything appears too bright
to me. I can’t see details. At night and in darkness everything is
clear.” She shrugged, “I can see much better.”
Niul laughed, “Here, they all think you
have a character flaw, and you simply are trying to live life on your own
terms.”
“Niul this is a secret. It is my secret. Scáth knows it, but few others. I told you because you guessed and you
asked. No one else has ever cared enough
to ask.”
“The smoking?”
Klava laughed, “That is just a bad
habit. I am not pure as you think.”
Niul clasped her to his chest. He put his face in her thick hair, “Please,
Klava, it is justice when you remind me of what I did to you, but it only makes
me sad. If there is any lack of purity
in you, that was my doing. You are
perfect. You are precious…”
“I am neither, and I didn’t mean to remind
you.”
“But you should, all the time.”
He reluctantly released
her. Klava didn’t step back. She reached up to his eyes and wiped them
with her fingertips. “If we hurry, Niul,
we can make Communion.”
In
this example, Klava reveals to the reader and to Niul some facts about her
reasons for doing things. The reader
knows circumspectly about some of her issues, or actually, the reader has not
been directly told, but has been shown some of these issues. In any case, her revelation should be a
surprise to the reader and to Niul. Niul
knows about her blindness, but he received the information from a person he
works with. You see in this example
exactly what I’m writing about. You can
achieve this if you show and don’t tell.
An inexperienced author would have told us from the beginning that Klava
was blind and etc. The trick in writing
this way is to show and don’t tell—then the revelations when they come from the
lips of our characters are an expectation of revelation that produces surprise
in the reader.
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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