Writing – part x319, Novel Form, Scene Release and Reviewing Revealed Secrets

14 February 2018, Writing – part x319, Novel Form, Scene Release and Reviewing Revealed Secrets

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.

These are the steps I use to write a novel including the five discrete parts of a novel:

  1. Design the initial scene
  2. Develop a theme statement (initial setting, protagonist, protagonist’s helper or antagonist, action statement)
    1. Research as required
    2. Develop the initial setting
    3. Develop the characters
    4. Identify the telic flaw (internal and external)
  3. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  4. Write the next scene(s) to the climax (rising action)
  5. Write the climax scene
  6. Write the falling action scene(s)
  7. Write the dénouement scene

I finished writing my 28th novel, working title, School, potential title Deirdre: Enchantment and the School. The theme statement is: 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.

Here is the cover proposal for Deirdre: Enchantment and the School.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I continued writing my 29th novel, working title Red Sonja. I finished my 28th novel, working title School. If you noticed, I started on number 28, but finished number 29 (in the starting sequence—it’s actually higher than that). I adjusted the numbering. I do keep everything clear in my records. 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 29: 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.

This is the classical form for writing a successful novel:

  1. Design the initial scene
  2. Develop a theme statement (initial setting, protagonist, protagonist’s helper or antagonist, action statement)
    1. Research as required
    2. Develop the initial setting
    3. Develop the characters (protagonist, antagonist, and optionally the protagonist’s helper)
    4. Identify the telic flaw of the protagonist (internal and external)
  3. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  4. Write the next scene(s) to the climax (rising action)
  5. Write the climax scene
  6. Write the falling action scene(s)
  7. Write the dénouement scene

The protagonist and the telic flaw are tied permanently together. The novel plot is completely dependent on the protagonist and the protagonist’s telic flaw. They are inseparable. This is likely the most critical concept about any normal (classical) form novel.

Here are the parts of a normal (classical) novel:

  1. The Initial scene (identify the output: implied setting, implied characters, implied action movement)
  2. The Rising action scenes
  3. The Climax scene
  4. The Falling action scene(s)
  5. The Dénouement scene

So, how do you write a rich and powerful initial scene? Let’s start from a theme statement. Here is an example from my latest novel:

The theme statement for Deirdre: Enchantment and the School is: 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.

Here is the scene development outline:

  1. Scene input (comes from the previous scene output or is an initial scene)
  2. Write the scene setting (place, time, stuff, and characters)
  3. Imagine the output, creative elements, plot, telic flaw resolution (climax) and develop the tension and release.
  4. Write the scene using the output and creative elements to build the tension.
  5. Write the release
  6. Write the kicker

I’m in Dubai today writing from the Airport Lounge.

If you have the characters (protagonist, protagonist’s helper, and antagonist), the initial setting, the telic flaw (from the protagonist), a plot idea, the theme action, then you are ready to write the initial scene.  I would state that since you have a protagonist, the telic flaw, a plot idea, and the theme action, you have about everything—what you might be lacking is the tension and release cycle in your scenes.

The release part of the scene development cycle is similar to a punchline. This is the point at which the tension of the scene is released.  The complete tension is never released until the climax of the novel, but the tension of the scene is released to some degree at this point.

The revelation of secrets is what novel writing is all about—that is considering you have the basic writing, characters, and setting down.  If you don’t, then skip back to the basics.  Secrets is definitely about advanced management of the plot and the theme.

I noted that usually you have secrets the readers know about, but the other characters do not.  These types of secrets are very common.  The most prevalent type of secret is the unrevealed part of the plot—this is common in every book.  In any properly written novel, you will always have the unrevealed part of the plot as a secret.

The part I like best, however, are the secrets known to the readers but kept from many characters.  This is the focus of the novel I am currently writing.  I’m writing this novel for fun.  It’s a detective novel, of sorts, with supernatural undertones.  The most exciting part of it is that the protagonist is trying to keep secret her many identities.

She isn’t like a super hero with a secret identity, she just has many interests and activities that don’t or do overlap.  She keeps secret who she is in almost every case.  I’m about to bring her world crashing down around her through the actions of the antagonist/protagonist’s helper.  A man has taken an interest in my protagonist, Azure.  Azure is haughty, very intelligent, and has never met her match.  She is about to, and she is about to set off a range war.

What I want to do is to provide two things.  The first is an exciting and entertaining revelation and the second is an accounting of my protagonist’s secrets.  Not all of them, but a salient part of them.  The finder will be this man who was challenged by Azure.

The reckoning will be entertaining and new to Azure.  She’s never been bested in this way.  It will also provide a pry bar to her heart and life.  She won’t change her personality, but she will be forced to let this man in.

The two things I get for my readers out of this revelation is an accounting of the protagonist’s secrets, a characters who knows these secrets, and a character who can work with her.  No others in the world can really work with her—this will change.  This isn’t a new type of secret, this is simply the specific revelation of a secret.

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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