6 December 2016, Writing Ideas – New Novel, part 885, Novel Development, which Storylines
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.
These are the steps I use to write a novel:
- Design the initial scene
- Develop a theme statement (initial setting, protagonist, protagonist’s helper or antagonist, action statement)
- Research as required
- Develop the initial setting
- Develop the characters
- Identify the telic flaw (internal and external)
- Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
- Write the next scene(s) to the climax (rising action)
- Write the climax scene
- Write the falling action scene(s)
- Write the dénouement scene
Here is my list of ways an author might add extraneous writing to a novel. Let’s look at the second.
- Material not relevant to the climax or plot.
- Characters or character arcs not relevant to the climax or plot.
- Side stories.
- Information not relevant to the climax, setting, or plot.
- Excessive storylines.
- Lack of a sufficient telic flaw.
- Incorrect protagonist.
What should be included in the novel? Most precisely, what should be included on the stage of the novel? The character arcs that is their storylines intersect on the stage of the novel. The trick is to determine when, where, and who. The answer is relatively simple and goes back to the first test—where is the protagonist? In almost every case, if the protagonist is on the stage of the novel, the other characters whose character arcs (storylines) intersect are usually properly placed there. This is usually the case. The second test is the climax and plot. Most specifically, the character storyline (forget about the entire character arc) must support the climax (the telic flaw of the protagonist).
To test this, even if the protagonist isn’t on the stage, is the climax or the telic flaw on the stage. For example, the forensic doctor has a conversation concerning the murderer and the information he plans to give to the protagonist detective with the protagonist’s helper secretary. With this limited information, we can guess that the telic flaw and the climax deal with the solution of the murder. The conversation, since it is about the murder and what to give the protagonist makes this scene related to the climax and the telic flaw of the protagonist. In this case, the scene and the storylines of the characters in it are likely relevant to the novel and the plot.
You need to look at every scene this way. Especially if you have a problem with extraneous characters and character storylines, you need to investigate every scene to see if you don’t tie the characters to the protagonist and the climax (telic flaw). An extraneous storyline or character arc can also lead to side stories.
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