Writing Ideas – New Novel, part 580, Figures of Speech Complexity Q and A

4 February 2016, Writing Ideas – New Novel, part 580, Figures of Speech Complexity 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.

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.

 Escape Cover proposal sm
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. Historical 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 9. 9.  Complexity

Short digression: I’m in the Czech Republic on a short world tour. Flew into a couple of bases here–the Czechs are delightful people.

Complexity is related to the value of the unstated or the intentionally understated. Complexity comes out of tension and release.

What is complexity?

The first level of complexity is the theme. I discussed theme complexity earlier.

The second level of complexity is the plot. What makes a complex plot? In addition to the interweaving of the storylines, the tension and release cycle of the plot itself is directly related to the climax. This leads to the third level of complexity.

The third level of complexity is the integration of the tension and release into the climax and the revelation of the characters. That leads to the individual scenes.

The fourth level of complexity is the integration of language into the tension and release of the scenes. Figures of speech are to writing what grammar is to language.

Figures of speech are basically the reason Shakespeare is so famous and so great. His themes and plots aren’t that complex—his use of language is. When we say, use of language, we mean the use of figures of speech. For example, one of the reasons Shakespeare was likely such a great playwright is because of his experience and skill with poetry. Poetry is composed entirely of figures of speech. For example, a rhyme is a figure of speech. Alliteration is a figure of speech. Iambic pentameter along with all the other rhythm patterns in words are figures of speech. If you can write good poetry, you can likely write good short stories, plays, and dare I say, novels.

The power of poetry bursts with figures of speech. What many writers miss and many writing teachers seem to not teach, is the direct relation between figures of speech and good writing of all types. This type of writing is rich and powerful—it is complex.

Ever taste wine. I like to drink wine, but wine tasting is all about noting the complexity of the wine. Wine is considered complex when it displays many faucets and much depth to its taste, smell, and appearance. The same is true of writing. Writing should have depth in its enjoyment.

We can delve a little deeper into this image. Complexity means the writer involves more than a single sense for the reader.

The fifth level of complexity is the integration of literature and culture into the tension and release of the 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

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About L.D. Alford

L. D. Alford is a novelist whose writing explores with originality those cultures and societies we think we already know. His writing distinctively develops the connections between present events and history—he combines them with threads of reality that bring the past alive. L. D. Alford is familiar with technology and cultures—he is widely traveled and earned a B.S. in Chemistry from Pacific Lutheran University, an M.S. in Mechanical Engineering from Boston University, a Ph.D. in Aerospace Engineering from The University of Dayton, and is a graduate of Air War College, Air Command and Staff College, and the USAF Test Pilot School. L. D. Alford is an author who combines intimate scientific and cultural knowledge into fiction worlds that breathe reality. He is the author of three historical fiction novels: Centurion, Aegypt, and The Second Mission, and three science fiction novels: The End of Honor, The Fox’s Honor, and A Season of Honor.
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