Of Revelation, Illusions and the Parallel Processes of Writing and Discovery…

Revelation plays an important role in constructing and/or assembling the middle section of a novel.

Revelation also encompasses the uncovering of truth of what has always stood present, but remained hidden by strong held illusions and beliefs.

Stories and novels stand upon revelations, ones that sustain the cause-and-effect events that comprise, most particularly, the plot of a novel and that lead towards crisis and onto climax.


Of Intimacy, Revelation and Redemption…

In my recent interview with Tabitha Vinson of Praise and Worship ICU (PWICU), we discussed human intimacy, an aspect that, for Tabitha, played heavily in my recent novel, The House.

That night, it struck me that as with The House, and all good works of fiction, intimacy plays an important role in not simply the emotional narrative of a story.

Intimacy heavily contributes to the establishment of the opening of a work of fiction.

Through presenting the protagonist in a series of intimate relationships, readers get to know the personality of the central character, flaws and all.

From this we gain entrance into their yearnings.

And yearnings always relate to desires and wants, ultimately inner conflicts that get ignited once the protagonist enters the quest to achieve her or his goal.


Of Symbols, Change and Arc of Growth and Transformation…

The display the revelations that take place during the denouement and resolution, end, of a novel must take place in scene, not summary.

End of story revelations work much like the action taking place during the crisis and climax points where the immediacy of the characters’ actions impress upon readers the significance and meaning of the ordeal the central character/characters are undergoing, surviving and ultimately growing stronger by enduring.

Just as the crisis and climax point of a novel provide places of major transition and transformation, so to the revelations presented during denouement and at resolution offer one last stage of growth and change.


Of Revelations, Redemption and Grace…

The greatest revelation in a novel often comes, quite understandably, during the end. The context in which this occurs involves releasing underlying knowledge, all of which provides the stage upon where the ultimate truth of everyone’s motives comes forth.

Protagonists that draw on our senses and emotions not only face tough dilemmas and challenges they also encounter wonderfully treacherous antagonists whose actions force the main character to dig deep within themselves, assess and display their strengths.


Of Turning Points, Disclosures and Amplifying Conflict…

Revelations in a novel not only reveal character, but also ideally raise the stakes, up the ante, so-to-speak, which ultimately intensifies conflict.

The opening revelation and/or those of the first chapters of a novel establish the chaos that has befallen your protagonist, i.e. display the problem she or he is facing.

Disclosures during the middle of your story widen the deepen the borders of the problem, thereby expose more of your protagonist’s–personality, weakness and strengths, hopes and fears.


Of Revelations, Developments and Hidden Aspects of Personality…

Novels consist of a string of revelations. 

These revelations, consistently timed and well paced comprise and provide an important part of plot. 

As such they play and inherent and necessary role in character development.

Revelations lead to irrevocable moments wherein the protagonist, when faced with an immediate challenge demanding on the spot response, makes a decision and acts in a way that forces her or him forward.


Of Kings, Strategies and Tactics…

Capture of the King in chess ends the game. And thus the role of each piece or character’s movements works towards the larger goals of protecting the King of the same color and capturing the King of the opponent.

The players move their characters and/or chess pieces towards accomplishing these two tasks.

In this way process of playing the game of chess resembles that of writing a book. While writers do not move our characters around the chessboard of our stories like the pieces of a chess game, each character of a novel or short story carries her or his own role, both in the narrative line and the structure of the plot.


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Readers' Favorite recognized The House in 2 of its 2011 categories Honorable in the Genre of Christian Fiction AND Finalist in the Genre of Dramatic Fiction

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