antagonist – Anjuelle Floyd

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.

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Of Symbols, Change and Arc of Growth and Transformation…

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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.

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Of Turning Points, Disclosures and Amplifying Conflict…

1 Comment / Articles and Essays / Anjuelle Floyd

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.

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Motion, Identification and The Inertial Frame of Reference…

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“Everything moves. Everything …motion is just a manifestation of going from one spot to another spot in space. When we are trying to understand motion all of the things that we measure from have to come from an inertial frame of reference. An inertial frame of reference is a reference frame that is moving at a constant speed and not changing direction.”

–Motion and Relativity, Dr. Charles Liu, Research Associate @ the Department of Astrophysics, American Museum of Natural History

The backbone of a story, particularly an entertaining and engaging one is motion, movement from one place in conscious and consensual reality to another.

Amplifying the reader’s engagement with the internal movement of the story, the emotional thread requires clarification of setting and displaying the subtle shifts that take place and occur in perception of setting reflective of one’s internal changes.

These changes are usually transmitted, or rather shown through the eyes and physical senses of the protagonist who is also the point-of-view character.

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Of Strategizing, Pawns and Plotting…

Leave a Comment / Articles and Essays / Anjuelle Floyd

Playing the game of chess demands that individuals strategize their moves.

To accomplish this each player must think ahead, considering what character or pieces they can move upon the chessboard, and to what square, empty or filled by one the opponent’s characters, and then the various moves their opponent can make in response.

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Of Peeling Onions, Surrender and Writing from The Zone…

3 Comments / Articles and Essays / Anjuelle Floyd

The stage of renewal in a story offers a second opportunity for rebirth. Unlike the crisis, the scenes of renewal focus on the inner life of the major character.

Through the action of deciding and choosing to share the good news of her or his triumph in both word and deed, the protagonist now heads down a road, the path and events of which are shaped and influenced more by internal changes than those physically committed.

Renewal signals the time in a story or novel where the central character surrenders to the nuclear fall out, so to speak, of her or his actions.

He or she has carried out the physical task set forth by the changes and upheaval leveled at the outset of the story.

At the peak of action she or he dueled her their enemies and/or central antagonist.

In the wake of triumph she/he has made decisions reflective of their survival and the wisdom granted by having battled through the crisis.

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Of Swords, Inner Demons and the Waters of Renewal…

1 Comment / Articles and Essays / Anjuelle Floyd

The area of a novel that follows climax brings renewal. Yet writing this part of the story gets tricky.

Rolling towards the finish line authors can easily lose control of the narrative. We must remain upon the horse of our story.

Climax has delivered a delayed and second crisis a second form of transformation, what some might call the aftershocks of the major earthquake of the peak crisis bringing everything to its head.

In this way novels can be seen to have three major crises or turning points from which others hurricanes or twisters of change spin off.

First comes the initial shake up, the initiating problem that rises from the dilemma rooted in back-story. Then comes the arc of action where the protagonist meets with her or his archenemy, that from which she or he has been running or pursuing the length of the story.

Then comes the crisis.

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