1 November 2015, Writing Ideas – New Novel, part 485, Other Characteristics Character Presentation Q and A
Announcement: Ancient Light is delayed due to the economy. You can read more about it at http://www.ancientlight.com. Ancient Light includes the second edition of Aegypt plus Sister of Light and Sister of Darkness. I’ll keep you updated.
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.
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 Computer. Lilly is my 24th novel.
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.
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
10. Type of grammar
12. Field of reference or allusion
14. Mannerism suggest by speech
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.
So the age, education, culture, life experiences, class, and all determine a person’s (character’s) speech patterns. Further, a character will speak differently depending on the other character(s) involved in the conversation. As an author, this should completely envelop your thinking about conversation. This is why it is almost impossible to write anything, but especially conversation unless you envision the whole thing in your mind. I see it like a stage play. I see the characters interacting in the scene that I set for them. I see each of them and I imagine their words and movements. That moves to the next point. Not only is speech specific to a character or characters, but so is behavior (actions).
In general, the behavior of a character is based in their internal psyche (if you like psychiatric or philosophical terms). Most specifically, you are what you do, and you do what you think. The behavior of a character directly relates to their internals (the part an author never tells). We can make this very simplistic, but I’m not certain I want to. My simplest characters are not simple human beings at all. My characters tend to be conflicted and powerful. They think deep thoughts and complex thoughts. I place them in complex situations. Even my bad guys are a bit more involved than you might imagine–they have motivations and reasons for their actions, and everything isn’t ever wrapped up with a pretty bow.
I don’t try to relate the real world–the real world is not exciting or entertaining (for most people). I relate the world of the novel in a way that makes it feel real, but become entertaining and exciting. The is the point of tension development and release (entertainment). That is also the basis for all character actions.