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Sunday, August 30, 2015

Writing Ideas - New Novel, part 507, more Queen Essie Actions Characteristics Character Presentation Q and A

30 August 2015, Writing Ideas - New Novel, part 507, more Queen Essie Actions Characteristics Character Presentation Q and A

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.
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

The theme statement of my 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the ComputerLilly is my 24th novel.
Cover Proposal
The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

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)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Actions define a character.  Words are actions.  Here is an example from the newest novel I'm writing.  Essie is the Aos Si.  She is also the goddess (guardian) of the fae.  The fae don't like being ruled by a creature less beautiful, refined, and intelligent than they:

Essie’s voice turned slightly dangerous, “Only a my lady.  You already knelt to me.  Where are your manners, Pryderi fab Pwyll?”

Pryderi stuttered, “Yes, your majesty.”  He put out his hand, “Your majesty, you will only be able to rule as long as the White Lady gives you leave…”

“I was made to hold and protect all of you.  The Dagda made me for this.  Do you not understand this?”

“The world is different now, your majesty.”

“I realize this, perhaps more than you do.  I know you hate me because you are all beautiful and intelligent, and I am slow and, to your eyes, ugly.  I am the forest and the vales.  I am the meadows and the hills.  I have found a place.  I am sworn to it.  It is best that you know your place, Pryderi.”  She raised her voice, “Do you all hear me Tylwyth Teg.  I am your sovereign.  I rule under the hand of the Dagda.

Pryderi seemed taken aback.  The fae all called out, “Under the Dagda.”

“Yes under the Dagda.  Did you not see the Hagios Pneuma and hear the voices of the angels?  I will forgive you the past as long as you obey me in the future.”

Pryderi took a deep breath, “Then if the White Lady makes demands on us, what shall we answer?”

Essie nodded, no obeisance, “I answer to the Dagda.  You will answer to me.  If the White Lady asks, this should be your answer.”

Pryderi didn’t look very comfortable, “Yes, your majesty.”

“Now, I will dine with you and bless you.  Bring me my just repast and show me to my place.”

Pryderi led Essie to a knoll near the lake.  It was the highest place in the vale.  The grass was the greenest.  Cigfa and Rhiannon placed translucent cloaks on the ground.  Manawyadan and Pryderi brought platters of meat, a chalice of milk, and a woven plate of cheese to her.  They sat below her and served her.  The male fae who held the sleeping Claire sat behind Essie.  As the sun rose, Essie dined with them.  When the banquet ended, Essie began to sing again.  It was another ancient song of the Tylwyth Teg.  Sighs rose around her.  Cigfa and Rhiannon lay on the ground their eyes closed, and their pointed ears pitched toward her. 

At the end of the song, Essie up out her hands, “I will speak a blessing on you my children, of the Tylwyth Teg.  I will also grant any who wish a blessing from my hands—a blessing from the Dagda.”

Cigfa and Rhiannon’s eyes glistened.  With halting movements, they slowly came to their knees.  Cigfa was first, “I beg a pardon from you, Aos Si.”  She whispered to Essie so only her ears could hear.  Essie placed her hand on Cigfa’s golden hair.  Cifga grimaced, but bore the touch.  A bright light blossomed at Essie’s touch.  Cifga smiled and bowed, then backed away.  Rhiannon came next and after her Manawyadan.  Essie heard their petitions, touched the tops of their heads, and they bowed and backed away from her.  They all came then.  All of the Tylwyth Teg.  Finally as the sun came to near its zenith, Pryderi fab Pwyll came on his knees to her.  His whispered request was simple, “To lead the Tylwyth Teg properly and honorably.”

Essie granted his request and whispered back, “You did not lead, Pryderi fab Pwyll, but the first shall be last and the last first.”  She smiled at him, and Pryderi fab Pwyll smiled back, but not directly in her eyes, “Yes, your majesty.”

Essie stood, “I must return to my place.  You will attend, will you not?”

Pryderi fab Pwyll bowed deeply.

While he bowed, Essie took the crown from her head and placed it back on Pryderi’s.  She put out her arms.  Cigfa and Rhiannon moved to either side and untied and unbraided her hair.  They untied and grasped her gown.  Essie called out, “Bring the child back to the place you found her.  I will follow and I will watch both to guard and to guide.  I will not embarrass you on your return, but I will be with you.  I will return when you need me and for the great festivals.  Watch for me.”
 
Here I show you some of the interaction of Essie with the Welsh fae.  It isn't pretty, but it gets prettier.  I will  show you the rest of this scene--it is a scene that is a turning point in understanding Essie.  Only the fae and Essie along with the readers get this knowledge.

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:



fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Saturday, August 29, 2015

Writing Ideas - New Novel, part 506, Queen Essie Actions Characteristics Character Presentation Q and A

29 August 2015, Writing Ideas - New Novel, part 506, Queen Essie Actions Characteristics Character Presentation Q and A

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.
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

The theme statement of my 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the ComputerLilly is my 24th novel.
Cover Proposal
The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

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)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Actions define a character.  Words are actions.  Here is an example from the newest novel I'm writing.  Essie is the Aos Si.  She is also the goddess (guardian) of the fae.  The fae don't like being ruled by a creature less beautiful, refined, and intelligent than they:

Essie stood still, “You must bind my hair.”

Cigfa wrung her hands, “But it is in your hair.”

“You must bind my hair—that is the proper step.”

Cigfa bowed slightly.  Then she raised her head, “I didn’t mean to give you an obeisance…”

Essie raised her hands, “But you did, and that is right.”

Cigfa called, “Rhiannon come.  You must assist me.”

A woman’s voice rose in protest, “But to touch it…”

Cigfa cried out, “It is our duty.  We are bound to it.  Come or there won’t be an end to this.”

Another golden haired woman appeared out of the mist.  She was dressed in a translucent gown similar to the one Essie now wore.  Essie’s gown was pure white.  Cigfa’s was rose, and Rhiannon’s was blue.  Cigfa and Rhiannon each took a ribbon of white material like Essie’s gown.  They stood on either side of Essie and careful not to touch the branch in her black hair, they braided and tied her hair into two long braids.  They both stepped back and stood at either side of Essie.  They both bowed their heads, then quickly raised them.  They both blushed.

Essie put out her hands, “The next.  You must crown and welcome me.”

A man stepped out of the morning sunlit mist.  His golden hair was covered with a crown of leaves in a complex pattern.  He wore riding clothing similar to the robes of the women but of a more substantial weave.  He took the crown from his head and gingerly placed it on Essie’s head.  He was tall enough and she short enough that he didn’t need to reach far.

When he placed the crown on her head, he backed and bowed.  He gave a groan as if some force had compelled him.  Another man dressed similarly, stepped from the mist.  He held a ceramic chalice in his hands.  He stepped forward as Pryderi stepped back.  He was also tall.  Essie didn’t bend her head or neck as the man placed the chalice to her lips.  She drank deeply, then took the chalice from his hands. 

Essie raised the chalice, “This is blessed and all may partake.”  She handed the chalice back to Manawyadan.  Manawyadan carefully took the chalice without touching Essie’s hands.

Essie began to sing.  The sun suddenly rested in her hair again.  Her song was similar to the music she played for Mrs. Lyons and Claire and Seasaìdh.  It was like the organ music she played for Mrs. Maddison and Father Maddison.  It was the music of the Tylwyth Teg—a song as old as the Welshlands and as old as the fae.  From everywhere, the fae appeared.  All those who fled when Essie entered the secret fell of the Tylwyth Teg came to stand around her and listen to her song.  It was filled with power.  The birds and insects who had been completely silent began to sing it with her.  A white bird descended from the sky and sat on the crown in Essie’s hair.  The fae did not sing.  They listened with their faces bowed and their heads uncovered.  When she finished.  The white bird disappeared and a panoply of sound and lights appeared above her head for a moment.  Essie smiled, “He is pleased.”

All the fae who could kneel, knelt at Essie’s feet.  They all placed their heads below hers.

Pryderi turned his face away, “He is pleased.”

Essie demanded, “Now bring me the child of man whom you stole from me.”

Pryderi rose and snapped his fingers, “She is here.”

A fae with great shining golden hair carried Claire forward.

Essie didn’t look at them or Claire, “Has she been harmed?”

Pryderi raised his hands, “We dare not harm her.  She sleeps.  She is the granddaughter of the White Lady.”

“She is also under my protection.  I did not take any revenge on you Pryderi or on the Tylwyth Teg.  I could have…”

“Yes, yes.  I realize this.  I…we just didn’t expect you to come here yourself.”
 
Here I show you some of the interaction of Essie with the Welsh fae.  It isn't pretty, but it gets prettier.  I will  show you the rest of this scene--it is a scene that is a turning point in understanding Essie.  Only the fae and Essie along with the readers get this knowledge.

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:



fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Friday, August 28, 2015

Writing Ideas - New Novel, part 505, Essie Actions Characteristics Character Presentation Q and A

28 August 2015, Writing Ideas - New Novel, part 505, Essie Actions Characteristics Character Presentation Q and A

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.
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

The theme statement of my 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the ComputerLilly is my 24th novel.
Cover Proposal
The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

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)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Actions define a character.  Words are actions.  Here is an example from the newest novel I'm writing.  Essie is the Aos Si.  She is also the goddess (guardian) of the fae.  The fae don't like being ruled by a creature less beautiful, refined, and intelligent than they:

The sun was just topping the trees and the banquet to celebrate the morning light and the beginning day lay out on the deep green grass.  Knolls rose at convenient spots just high enough to provide a place to sit.  The Welsh fae, the Tylwyth Teg, lived in the forest and the meadows.  They didn’t like anything over their heads.  They relished the open air and the open skies.  Many diverse creatures sat awaiting the blaze of the sun on the meadow and the coming of their king and queen to begin the day.  Essie could see them.  Some like humans beautiful and fair with golden locks and pale petite faces.  Some appeared like humans mixed with animals: cefftk dwr and cwn annwn.  Others were hideous and still others like small humans with wings.  All together all celebrating the rising sun.

Essie didn’t slow her run now.  She rushed down a forest game trail and burst out of the forest near the center of the open space.  She ran toward the center and creatures scattered shrieking.  Some rose into the air on bright wings.  Some jumped out of her way.  Others ran to the side and back into the forest.  Many disappeared into the mist rising from the lake.  A great angry and forlorn cry went up. 

Essie, the Aos Si stood in the center of the meadow for a long moment.  She began to pace around that center until she had beaten down the grass.  She stood and turned.  One moment, she was a black wildcat—the next she stood naked in the center.  A great cry went up all around her, but she couldn’t tell if that was because of her nakedness or because they recognized her. 

Essie turned around slowly twice to make certain they all saw her.  She spoke the language of the fae.  It was a bit rusty on her tongue, but she knew it, and she spoke it very sternly, “Listen to me.  I am the Aos Si, and I have come for a reckoning.”  The sunlight suddenly blazed full on the center of the meadow.  A rush of morning breeze rustled in the tops of the trees.  A bright light seemed to settle at the top of Essie’s head—like a tongue of dancing flames.

No one spoke.

“Are you afraid?  You should be.  You took a human who is under my care.  Bring her immediately to me.”

Still she heard not a sound.

Essie stepped to the closest repast she kicked over the woven platters there.  She knocked over their clay cups and broke them against each other.  She tore apart the platters.  She gathered the pieces and the fae food and kicked them into the center.  She began to squat above them on the center of the knoll.

A voice rang out of the mist, “Stop.  Don’t desecrate this place any further.”

Essie stood, “I have barely begun to desecrate this place.  I have not loosed my power at all.  You have not showed me the honor I deserve.”

The voice was filled with anguish, “Must we?”

“I demand it.  I am the Aos Si, and I demand you honor me as you are required.”

A sudden cry went up.  Angry voices surrounded her.

Essie stood silently.  She was completely at ease.  She sat in her hip.  She didn’t attempt to hide her nakedness.  Essie yawned, “You might as well show yourselves.  I can detect you all anyway.  I know where you are, and I know who you are.  Pryderi fab Pwyll of the Tylwyth Teg show yourself.”

“Nay.  This not fitting.  We may not look upon you while you are…you are…”

“While I am not clothed?  Then bring me my robes and give me the proper greeting.  Have you been so long without my guidance that you can’t even remember your manners?”

Pryderi called out, “Cigfa bring the robe.”

A woman’s voice rose over the din, “The robe, my lord?”

Pryderi snarled, “Yes, the robe.  Bring it now or we will not be rid of it.”

Another man’s voice called out, “I thought you said this would bring the White Lady on her head and not this creature on ours.”

Essie growled, “Do it now, or I will ruin your secret place for ages to come.  You know I can do it.”

“Aye, I know this.  I didn’t think you would come…”

“Yet, I am here and waiting very impatiently.”

A woman of dazzling beauty with long golden hair appeared behind Essie.  She held a simple robe of nearly translucent material.  It looked as if it had been woven of spider webs.  Essie held out her hands and Cigfa placed it on Essie’s arms and wrapped it around her body.  Cifga did everything she could not to come into contact with Essie’s flesh.
 
Here I show you some of the interaction of Essie with the Welsh fae.  It isn't pretty, but it gets prettier. 

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:



fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Thursday, August 27, 2015

Writing Ideas - New Novel, part 565, more on Sentence Length Q and A


27 October 2015, Writing Ideas - New Novel, part 565, more on Sentence Length Q and A

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.

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

The theme statement of my 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Escape from FreedomEscape is my 25th novel.

https://www.blogger.com/editor/static_files/blank_quirks.html
Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I'm on my first editing run-through of Shape.

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)

5.  Tension (development of creative elements to build excitement)

6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation

2.  Technological extrapolation

3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters

2.  Character presentation (appearance, speech, behavior, gestures, actions)

3.  Change, complexity of relationship, and relation to issues/theme

4.  Evolving vs static character

5.  Language and style

6.  Verbal, gesture, action

7.  Words employed

8.  Sentence length

9.  Complexity

10.  Type of grammar

11.  Diction

12.  Field of reference or allusion

13.  Tone - how tone is created through diction, rhythm, sentence construction, sound effects, images created by similes, syntax/re-arrangement of words in sentence, the inflections of the silent or spoken voice, etc.

14.  Mannerism suggest by speech

15.  Style

16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 8. 8.  Sentence length

Can you write a good sentence?  Do you understand the parts of speech?  We can get very deep into grammar here.  I’m not certain I want to.  Really, if you didn’t learn it in school—you must study this very very important area.  Building a proper sentence is the basis for all writing in any language.  How can we begin to express sentence length if the writer can’t write a proper sentence?  So, assuming you have this requisite skill, let’s talk about the length of sentences generally.

Short sentences.  The shortest sentence you can have is a noun and a verb.  Most properly, you must have a nominative noun.  An example: she ran.  Third person past tense is our most favored tense and person for novels—here is a proper short sentence.  The subject matter is correct for a short sentence.  In general, when the action is hot and fast, the writer wants short terse writing—usually meaning short terse sentences.  She ran.  He screamed.  She hit.  He punched.  When the action is fast and furious, generally, so should the writing be.  This isn’t always true.

Your pacing should be more a function of tension and release than simple sentence length to action.  In other words, pacing may mean a short terse sentence bracketed by long narrative.  On the other hand, if the pacing needs short sentences, by all means use short sentences.  If the pacing requires long sentences, use long sentences.  The question is then, what is the pacing. 

I started with action and moved to pacing.  There is an obvious difference.  Usually, action means tight pacing—but not always.  Sometimes, events, even action oriented events come with very long pacing.  An example is lovemaking.  It may have a lot of action, with plenty of passion, however, the pacing might be very long and draw out or it might be frenzied and quick.

A fight scene could have very taunt and quick pacing—a space battle might be long with very long pacing.  More down to earth, a sea battle with sailing ships might be very long and drawn out, with sequences of quick action.  The main idea is look at the pacing.  Tension and release should match with the pacing.       

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

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