13 October 2016, Writing Ideas – New Novel, part 831, The Stage of the Novel, Setting and Reader’s Imagination
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 started writing my 28th novel, working title Red Sonja.
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)
How to begin a novel. Number one thought, we need an entertaining idea. I usually encapsulate such an idea with a theme statement. Since I’m writing a new novel, we need a new theme statement. Here is an initial cut.
Red Sonja, a Soviet spy, infiltrates the X-plane programs at Edwards AFB as a test pilot’s administrative clerk, learns about freedom, and is redeemed.
Let’s go back to the beginning. I’ll use my newest novel as an example. It’s a historical novel, and you can see the theme statement just above. Let’s look at a novel from the standpoint of a stage play. A novel is not a stage play or a screenplay, but the author should approach some aspects of the novel from this vantage point.
How much setting is sufficient, and how much description is sufficient? The answer is simple. You need enough to build the framework of the work and enough to excite the imagination of the reader to fill that framework. That is why the simple rule of 300 to 500 words for each new setting, 300 words for each new major character, and 100 words for each new minor character is worthwhile. You can always use more, if the description requires more. The ultimate point is to provide sufficient description.
Too much is a difficult point to define. I haven’t seen too much in a long time. If you read the beginning of Mill on the Floss—that is much too much. The description is beautiful, but there is way too much telling and way too much description. The description becomes more than negative—it becomes tedious. Tedious is the death of good writing. Mill on the Floss is a wonderful novel from the age of wonderful novels, but it was the advent of novels in English and the writers and readers were learning how to write and read them.
Today, the novel in English has been through two and almost a half centuries of development. It is still developing. If your descriptions are tedious, they are too long. If your descriptions are much shorter than Arlo Guthrie’s recommendations, they are too short. There is still more to this—the stage of the novel.
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