Writing Ideas – New Novel, part 637, more Modal Auxiliary Verb Forms English Syntax/re-arrangement of Words in a Sentence Tools for Developing Tone Q and A

2 April 2016, Writing Ideas – New Novel, part 637, more Modal Auxiliary Verb Forms English Syntax/re-arrangement of Words in a Sentence Tools for Developing Tone 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 13. 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.

If tone is the feel of the writing, the author must start first with what tone he wants to convey.

The first method of developing tone is through scene setting–the second method is through tension and release. Let’s look at the specific tools used to create tone in tension and release (these can also be used in the scene setting). I like the list from the question—it is nearly exhaustive: 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. Why don’t we look at each of these tools?

Syntax/re-arrangement of words in sentence as tools to develop tone. What makes English so versatile and so difficult as a language are the many verb forms that allow subtle changes in the syntax and meaning of the sentences. Verb tense is only one part of concept of syntax. English has more complex forms of verb usage that are sometimes called “helper” verbs. They are most properly called auxiliary verbs. Here is a comprehensive list of auxiliary verbs.

 

Auxiliary verb Meaning contribution Example
be1 copula (= linking verb) She is the boss.
be2 progressive aspect He is sleeping.
be3 passive voice They were seen.
can1 deontic modality I can swim.
can2 epistemic modality Such things can help.
could1 deontic modality I could swim.
could2 epistemic modality That could help.
dare epistemic modality How dare you!
do do-support/emphasis You did not understand.
have1 perfect aspect They have understood.
may1 deontic modality May I stay?
may2 epistemic modality That may take place.
might epistemic modality We might give it a try.
must1 deontic modality You must not mock me.
must2 epistemic modality It must have rained.
need deontic modality You need not water the grass.
ought deontic modality You ought to play well.
Shall deontic modality You shall not pass.
should1 deontic modality You should listen.
should2 epistemic modality That should help.
Will epistemic modality We will eat pie.
Would epistemic modality Nothing would accomplish that.

If you notice we already saw some of the uses of be (is) and have (had). These auxiliary verbs are used to change the verb tense in English. They have other uses we will address.

Modal verbs are sometime called “helper” verbs in English. Epistemic modal verbs are can, could, dare, may, might, must, should, will, and would. An epistemic modal verb refers to the way speakers communicate their doubts, certainties, and guesses—their “modes of knowing.” An epistemic modality can go from certainty to absolute uncertainty. For example:

Many people can change.

Can they help?

That could change.

Could Jane help?

It may occur.

Jack might do it.

Might it happen?

It must have happened.

He must have fallen.

That should work.

He will go to work.

Jane will not pass.

He would not kill.

I would study.

Like deontic modal verbs, you can’t really overuse epistemic modal verbs in your writing. Well, I suspect you can overdo or overuse anything, but in most cases, modal verbs are difficult to overdo or overuse. The epistemic modal is even more powerful than the deontic. Epistemic allows the writer to create a tone of uncertainty or certainty just by the addition of these auxiliary verbs. Talk about powerful. A single verb use takes a sentence from an absolute action form to certainty or uncertainty. The tone creation is very subtle but direct.

Further, the uncertainty or the certainty the author creates must lead to resolution. Uncertainty leads to possible lack of success. Certainty leads to the same. For example, if I write: he would not kill—a certainty, but then he does. We have an ambiguity or paradox the author now must explain (show). If on the other hand, we start with an ambiguity: he might kill, the author has a beginning of a tension and release. The question is will he kill. This ambiguity can launch a thousand ships.

These tools should be common to your usage, but perhaps the power of them or the concepts behind them are not. This isn’t all about tone, but rather about the use of syntax and specifically verb syntax to develop writing (and tone). I don’t want you to forget tone, but to get to tone and syntax requires this type of detailed look at grammar. There is more. We haven’t touched prepositions or conjunctions.   Next the “do” form.

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

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

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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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