Writing Ideas – New Novel, part 586, New from the Ancient Allusions and Literature Complexity Q and A

10 February 2016, Writing Ideas – New Novel, part 586, New from the Ancient Allusions and Literature 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 suggested 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.

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

I’m absolutely sure we have not touched enough on figures of speech and the use of language in complex writing, but I’ll move on anyway into the integration of literature and culture into the writing.

Well perhaps not ancient—you don’t have to go back so far—although I do. The most important allusions in literature have always been those from myth and the Bible. In fact, more than one observer has made the direct point that to understand Western art, music, and literature, one must understand first the Bible and second Greek myth. This is absolutely true.

Out of the old comes the new. Look back a little to my definition of creativity. I’ll repeat it here: 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.

From this definition, it should be obvious that creativity does not come out of a void. If there are no new themes, as many a wag has stated, the author can only pick from the themes of the past (those used already). I don’t necessarily agree with this viewpoint, however, everything in art, music, literature, poetry, and architecture comes out of the developments of the past—unfortunately, too may authors don’t fully comprehend this and have cut themselves of from the past. Allusions to literature, art, music, plays, etc. etc. fill my writing. I just finished writing Essie: Enchantment and the Aos Si which is filled with allusions to my writing, classical organ music, modern music, ancient British myth, and literature. Essie is all about music. The theme is somewhat about music, but even more about the fae (fairies) and the fae courts. The ties of the novel are to the ancient and not so ancient past. Here is the point of allusions and their inclusion in your writing. Allusions tie the past together with the times of your writing. The power of allusions is to build these ties directly so your novel becomes fixed in the human sphere. This is a key attribute of all writing and is a very important part of entertainment. A piece of writing might be perfect, but if it can’t be properly tied into the human sphere, it will be unentertaining and unexciting to 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

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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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