13 November 2015, Writing Ideas – New Novel, part 497, still more Type Gestures 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.
What kinds of gestures shall we use:
1. To identify a character?
2. To identify an idea?
3. Is there more?
What kind of gestures represent what kind of ideas or emotions or subtlety. Remember, gestures are subtle. Many gestures represent numerous very subtle thoughts, ideas, and emotions. For example, she wrinkled her nose. Wrinkled her nose could mean something stinks (really or metaphorically). It could also mean subtle embarrassment. It could mean other degrees and levels of disapprobation. If could mean she is thinking about something unpleasant. In no way should the author fully explain what wrinkled her nose means. The gesture has a context and the context should make the meaning of the gesture understandable, but still not precise. This is like a real conversation–many things are left unsaid, but they are not not said. Many times in real conversation (as well as novel conversation), thoughts and ideas are misunderstood. The author uses these lack of understandings to progress the plot and theme (and character revelation).
There is much to this. Some gestures are implicit and then again not so much. For example, an extended middle finger is a rather explicit gesture. It can still have many meanings depending on the context. Perhaps I should explore the connection of ideas and gestures.