23 May 2016, Writing Ideas – New Novel, part 688, Character Revelation, Style 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, proposed title, Essie: Enchantment and the Aos Si, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.
I just started writing my 27th novel, working title, Claire, potential title Sorcha: Enchantment and the Trainee. This might need some tweaking. The theme statement is something like this: Claire (Sorcha) Davis accepts Shiggy, the dangerous screw-up, into her Stela branch of the organization and rehabilitates her.
Here is the cover proposal for Essie: Enchantment and the Aos Si. Essie is my 26th novel.
The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I’m editing many of my novels using comments from my primary reader. I finished editing Children of Light and Darkness and am now writing on my 27th novel, working title Claire.
I’m an advocate of using the/a scene input/output method to drive the rising action–in fact, to write any novel.
- Scene input (easy)
- Scene output (a little harder)
- Scene setting (basic stuff)
- Creativity (creative elements of the scene)
- Tension (development of creative elements to build excitement)
- Release (climax of creative elements)
I can immediately discern three ways to invoke creativity:
- Historical extrapolation
- Technological extrapolation
- 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.
- Conflict/tension between characters
- Character presentation (appearance, speech, behavior, gestures, actions)
- Change, complexity of relationship, and relation to issues/theme
- Evolving vs static character
- Language and style
- Verbal, gesture, action
- Words employed
- Sentence length
- Type of grammar
- Field of reference or allusion
- 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.
- Mannerism suggested by speech
- 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 15. 15. Style
Woah—style is huge. I just spent more than six months defining style from almost every angle I could imagine. Here are the elements I found for an author’s style.
1. Novel based style
a. Writing focus
c. Scene development
d. Word use
g. Use of figures of speech
i. Character revelation
k. Real world ties
m. Character interaction
2. Scene based style
c. Tension and release development
e. Theme development
Quick digression: Back in the USA for the holidays.
In a novel, the means of character revelation is a function of the author’s style.
Let’s go through the definitions of novel writing again. First, all fiction writing is about entertainment, period. Second, all fiction writing is about character revelation. The author develops the characters and then revels them in the novel. The ultimate point of revelation is the climax which is where the telic flaw of the protagonist is resolved—for better, a comedy, for worse, a tragedy. The plot is simply the revelation of the relevant life events of the protagonist. There are obviously other methods of organizing and writing novels, but these other methods are generally not successful.
So, as long as we understand the importance and the function of character revelation, we can move forward with how and why this is so important to style. The plot development is a subset of the revelation of the character. This means that almost everything within the larger elements of the writing is a function of character revelation. My focus in character revelation and novel plot development is in conversation. I want my characters to talk to each other. To me this is the most entertaining and exciting means to reveal the characters and forward the plot. Of course, there always needs to be some degree of action in every novel. An author dedicated to conversation as a style might use conversation to reveal the action as well. I’ve given this out as an exercise before. You can do it easily.
I don’t write everything using conversation, but I could. My style involves both conversation and action. In general, the action is setting my character up for either more conversation or is direct action to forward the plot.
Forwarding the plot is the entire point of the rising action, and really every part of the details of the novel. That is, everything must forward the plot. If it doesn’t forward the plot, remove it from the writing. A novel is all about character revelation, but if the revelation is extraneous, don’t include it.
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