7 August 2017, Writing Ideas – New Novel, part x128, It’s Finished, Editing, Second Stage
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:
- Don’t confuse your readers.
- Entertain your readers.
- Ground your readers in the writing.
- Don’t show (or tell) everything.
- 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
I finished writing my 27th novel, working title, Claire, potential title Sorcha: Enchantment and the Curse. This might need some tweaking. The theme statement is: Claire (Sorcha) Davis accepts Shiggy, a dangerous screw-up, into her Stela branch of the organization and rehabilitates her.
Here is the cover proposal for Sorcha: Enchantment and the Curse.
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 finished my 29th novel, working title School. I’ll be providing information on the marketing materials and editing.
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.
For novel 28: 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.
For novel 29: Sorcha, the abandoned child of an Unseelie and a human, secretly attends Wycombe Abbey girls’ school where she meets the problem child Deirdre and is redeemed.
The second stage is fixing the strength of the storylines. This can only be accomplished by reading your novel for content. I’m basically in this stage of editing School. I went through the novel once fixing the consistency, the names, and other issues. As I go through the novel for the second time, I am constantly looking for improvements. How do the words sound? Is everything consistent? Are the descriptions consistent and complete? Do I have all the people, places, and things described properly? These are first stage questions.
In the second stage, the question is does everything make sense. As you write and edit, you should note the strength of the storylines, and how they fit together. For the second stage, I’m looking for how the storylines and ideas fit together. I mentioned before, I’m looking for the strength of the foreshadowing all the time. This isn’t a singular issue. The development of a storyline is a critical point in all writing. The author builds the storyline by introducing ideas and what we call foreshadowing through the earlier parts of the novel. A simple word, description, or explanation produces the future development of these storylines. This consistency and development of the storylines is difficult to fully explain. In any case, this is a critical point and part of the second stage editing.
As I wrote before, the author has complete power over the writing. Developed storylines are enhanced and improved by studying the text and improving it in a rational and logical way to complete that development. The author wisely does this after the fact–that is one of the powers of authorship.
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