Writing – part xx232 Writing a Novel, Protagonists Plots and Theme Nikita Protania

15 August 2020, Writing – part xx232 Writing a Novel, Protagonists Plots and Theme Nikita Protania

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Khione

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Shadowed Vale, is currently not published.  The protagonist is Nikita Protania.  Shadowed is the forth novel in the Ghost Ship Chronicle novels.  Nikita Protania is another excellent example of how a protagonist defines the telic flaw, plot, and theme.

Shadowed Vale is the continuing saga of the Protiana Family of the Family Trading Vessels.  The Family Traders are a confederation of space traders who live on spaceships and ply the universe for trade.  That is the setting.  The protagonist is even more interesting.

Nikita Protania is one of my best pathos developing characters and a protagonist.  She is introduced in Regia Anglorum.  I should mention that each of the novels is named after a space ship.  The space ship of the name is the primary setting and the primary ship family and Family Trader Unit in that novel.  Thus Shadowed Vale is the space ship of greatest importance in the novel Shadowed Vale.  Nikita Protania was discovered as a homeless and feral child on her home planet by Den and Natana Protania.  They adopted Nikita and gave her their last name.  Dean and Natana are the command pair of the Regia Anglorum, thus the name of the previous novel.

In Shadowed Vale, the life and education of Nikita Protania continue.  Nikita Protania is a synthesist.  Her specialty is putting disparate pieces of information together to form conclusions and a cohesive whole.  She is also a telepath.  The Family Traders have a long history of telepathy in certain branches of their family.  Den and Natana are very powerful telepaths as is Nikita Protania.  Usually the telepaths in the Family Traders are used to help those coping with mental issues like psychiatrists in our society.  Den, Natana, and Nikita Protania have taken telepathy to a new level.

Nikita Protania has been using her skills to help her friends, and she has one special friend, Alex.  Alex and Nikita have an interesting relationship.  Alex is in love with Nikita.  He would do almost anything for her.  Nikita due to her background and childhood is wary of men, sex, and human expressions of love.  She has her own problems caused by the environment she lived in.  In spite of that Nikita and Alex collaborate on building and inventing telepathic computer equipment for the Human Galactic Federation and the Family Traders.  Their devices and information have become lucrative.  This is where the telic flaw begins.  Alex and Nikita work together and collaborate in education and training in telepathic computer inventions and are asked to hold an educational conference for a week on one of the planets on their ship’s trade route.  At the same time, an criminal organization that uses and works with telepathic inventions both wants to kidnap Alex and Nikita and has been taking Family Trader ships captive for the purpose of disrupting the balance of political power in the Human Galactic Federation.  That’s the basics, but I think you can see the telic flaw.

Alex and Nikita along with Nikita’s younger sister are kidnapped at the end of Alexa and Nikita’s conference.  The telic flaw is that Nikita and Alex must work together intimately to resolve their kidnap problem and also to find the captured Family Trader Ships with their crews.  The ultimate telic flaw is Nikita’s issues with men and her fit in the Family Traders.  The plot revolves around the problem of finding the Family Trader Space Ships and becoming unkidnapped.  The theme is really about love and companionship, but in science fiction themes are just that themes, the importance is the plot and the telic flaw resolution.

Let’s look at Nikita Protania as a Romantic Protagonist.  Nikita Protania is no kidding an independent, individualistic, hero of the highest caliber.  The novel previous to this sets her in this place, but she is a real hero’s hero.  Nikita Protania isn’t from the common ilk, but she is a zero when found and builds to hero or to the level she was supposed to be in the first place.  Unlike a Victorian protagonist, Nikita Protania has to work hard to achieve.  This goes to the discovery of skills and this novel is definitely a skills discovery, development, and enhancement novel.

Alex and Nikita Protania are both very educated and their education plays strongly in the novel.  There is both education and the experience of education on the Family Trader Ships.  The inner world of the protagonist is a very important part of the novel.  Nikita Protania’s issues are the major telic flaw problem and the resolution basically leads to her success.  This is a very exciting adventure novel.

The rest is just not very pertinent to science fiction.  You can have the idealization of nature in science fiction, Ray Bradbury does it all the time, but in this hard science fiction, there is no real need.  There are some urban to rural and celebration of nature events in the novel, but it’s not a characteristic of the protagonist.  The idealization of women and children is obvious in the novel, but there are no supernatural or mythological elements.  Unless you count telepathy as supernatural.  There are no historical elements except science fiction ones from my other science fiction novels.  Finally, the emphasis on individual experience of the sublime.  I think this is a very important element in any modern novel.  It’s really lacking in some, but the idea of the protagonist finding his or her place in society and in his or her universe needs to be the focus of all modern literature.  This place can be from occupation and skills based to mental and health based.  It can be spiritually and redemptive based.  For Nikita Protania it is redemptive as in finding and accepting love and acceptance as well as spiritual in finding her place in her society and ship.

There is the telic flaw, plot, and the theme in a single character.  Nikita Protania defines the novel which she was written for.  This is the second novel where she appears as the protagonist.  In both her role is similar while the telic flaw resolution and the plots are significantly different.  We will look at this when we get to the next Nikita Protania novel.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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

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Writing – part xx231 Writing a Novel, Protagonists Plots and Theme Klava Calloway

14 August 2020, Writing – part xx231 Writing a Novel, Protagonists Plots and Theme Klava Calloway

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Khione

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Warrior of Darkness, is currently not published.  The protagonist is Klava Calloway.  Warrior of Darkness is my last official novel in the Aegypt novels, dubbed Ancient Light novels by my now out of business publisher.  Klava Calloway is another excellent example of how a protagonist defines the telic flaw, plot, and theme.

Warrior of Darkness is the final official novel in the continuing saga of the Bolang family that started in Aegypt.  The protagonist is Klava Calloway who is the grandchild of Paul and Leora Bolang and also the Goddess of Darkness in her time.  This time the setting of the novel is Northern Ireland and Klava Calloway is saving lives by fighting the evil of the PIRA (Provisional Irish Republican Army).  PIRA is being supported by the Soviets in the USSR.  The times are real, the incidents are real, and they are mostly terror bombings against civilian targets.  This is the setting of the novel.  The protagonist is different.

The Bolang family came from a French military background.  During World War Two, they became involved in British and French intelligence.  Paul and Leora with Bruce Lyons were spies in Nazi Germany.  After the war, Paul and Leora worked with Bruce in British intelligence.  Their children all followed them into British or French intelligence or the military.  Leora was the original Goddess of Light brought into the world through the actions of Paul Bolang.  Their children included children, twins, who followed in Leora and her sister’s heritage as a Goddess of Light or Darkness.

Klava Calloway is a Goddess of Darkness.  She isn’t evil, she controls darkness, and she works for British intelligence, the Organization to be specific.  At the beginning of the novel, she is assigned to Northern Ireland to counter the PIRA.  Klava Calloway uses her powers to cause PIRA bombs to fail.  The problem is that the mechanism she uses the bombs to fail causes the power of the explosion to go back to the originators of the bombs.  Since the Soviet Union is providing the bombs to the PIRA, the explosions come back to the men and women who touched and set the bombs, that means people including children occasionally die when Klava Calloway stops a bomb in Ireland.  The forces of the West are willing to accept this little problem– Klava Calloway is also, but she mourns in her soul the few innocents who must die to save many others.  This gets very deeply into supernatural aspects of Klava Calloway’s power, but this is who she is.  I’ve told you what takes chapters in the novel to reveal.  Klava Calloway’s problem becomes the fact that she also opposes PIRA magic users.  One of the magic users has his magical equipment destroyed and he goes after Klava Calloway personally.  Further, Klava Calloway is training a priestess—it’s a girl from the street.

In going after her personally, Klava Calloway is injured and overwhelmed by a failure of a bomb attack.  In anguish, she resurrects her priestess.  The magic user is ensorcelled by another Irish god and rapes Klava Calloway.  The problem with this isn’t just moral or criminal, the problem is that when an unbound goddess takes a mate (has sex) that man becomes her warrior and is bound to her for life.

So here is the telic flaw in this novel, Klava Calloway’s telic flaw: she must convince her warrior to accept his fate and hers.  Did I mention, that their forced liaison resulted in pregnancy?  Thus Klava Calloway must do something about her warrior.  She must take care of another problem caused by the failure—her priestess whom she resurrected.  In other words, Klava Calloway has goddess problems, legal problems, intelligence agency problems, and mother problems.  There is more, but that is the plot.  The theme is a redemption theme based on Klava’s problems.  So, let’s look at Klava as a protagonist.

Klava is a hero from the beginning.  She is an independent and individualistic hero of epic proportions.  Klava, though a goddess, is a person from the norm.  She just has a different kind of occupation—goddess.  She is educated and a big focus of the novel is on education and on intelligence agency education.  The inner world of the protagonist is what moves the entire novel.  This is a very deep novel on redemption at many levels.

The celebration of nature, beauty, and imagination mixes with rural, women, children, and not so much rural life as urban life on the streets.  This moves into the idealization of the rural by comparison.

The inclusion of the supernatural, mythological, and historical are obvious from Klava’s description.  The novel isn’t so much about the discovery of skills although skill discovery is part of the novel.

Do I have to mention again the telic flaw, plot, and theme coming out of Klava Calloway?  These exude from the protagonist.  This is a very fun and entertaining novel.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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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Writing – part xx230 Writing a Novel, Protagonists Plots and Theme Byron Macintyre

13 August 2020, Writing – part xx230 Writing a Novel, Protagonists Plots and Theme Byron Macintyre

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

Yesterday, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Khione

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Dana-ana: Enchantment and the Maiden, is currently not published.  The protagonist is Byron Macintyre connected by the hip to Dana-ana, the protagonist’s helper.  The Byron Macintyre and Dana-ana is another excellent example of how a protagonist defines the telic flaw, plot, and theme.

Dana-ana: Enchantment and the Maiden is about Dana-ana.  Dana-ana is an exiled goddess.  Since this is a discovery novel, who Dana-ana is, is a secret to be revealed.  Dana-ana is a revelation novel and a mystery.  The question and plot of the novel is, who is Dana-ana?  The job of the protagonist is to discover this truth.  …And there I revealed the telic flaw of the novel—who is Dana-ana?

Okay, that was simple, but more importantly is the character who is Dana-ana and the protagonist whose job is find out who is Dana-ana.  Let me give you more about Dana-ana.

First, we meet her as an abused student in high school.  She won’t speak.  She wears the same clothes every day.  She eats out of the thrash and is consistently bullied by the other students and the teachers.  Someone might find this to be odd, especially the part about teachers.  This is part of the mystery of Dana-ana.

Byron Macintyre is a transfer student into Dana-ana’s school.  His father is a professor in a local university.  For some reason, Byron Macintyre notes the abuse of Dana-ana and stops it.  He observes the odd behavior of the teachers and students.  There seems to be some kind of weird animosity against Dana-ana.  Byron Macintyre brings Dana-ana home and that begins their relationship and the redemption of Dana-ana.

So, just who is Dana-ana.  I will tell you because that’s what this blog is about, not spoilers but information.  If the novel is published, please forget what you read here.  Dana-ana is an Anglo-Saxon goddess.  She allowed a terrible crime in Britain and was exiled to the USA as a punishment.  She was cursed to live her life as an Anglo-Saxon maiden, actually a slave, but in the USA culture.  Byron Macintyre discovers more and more about Dana-ana.  This culminates in taking Dana-ana back to Britain and some pretty exciting actions and involvement with British gods and goddesses, plus magic.  Now, about these characters.

I’ll mention Dana-ana and Byron Macintyre together because they are a complete pair.  Dana-ana is a total hero.  She is both independent and individualistic.  Byron Macintyre is willing to be a hero, but he isn’t very independent or individualistic.  Dana-ana carries the day and novel here.  Part of the excitement in the novel is that Dana-ana literally comes close to giving her life for her friends and family.

Byron Macintyre comes from the common.  Dana-ana is pathos developing.  She has been brought to zero at the beginning of the novel.  Dana-ana is striving for education.  She takes paper and pencils from the garbage to learn.  Byron Macintyre is a great student.  Education is an important part of the novel.

The inner world of the protagonist is the novel.  Both Byron and Dana-ana are seeking change and understanding.  Obviously, there is a celebration and idealization of nature, beauty, imagination, women, children, and the rural.  This is part of the nature of Dana-ana and the novel.  Plus, obviously with a goddess, there must be the supernatural and mythological.  Historical elements are also included.

The emphasis on individual experience of the sublime is of particular importance in the novel.  While Byron seeks to know who Dana-ana is, Dana-ana seeks redemption from her curse and exile.

So, we know the telic flaw is who is Dana-ana.  In addition, Dana-ana seeks relief from her curse.  When Byron learns who Dana-ana is, the telic flaw of the novel becomes the relief of Dana-ana from her curse.  As I noted, this is a discovery novel and this is the mystery of the novel.  The plot moves from who is Dana-ana to the redemption of Dana-ana.  Further, the theme is about redemption of punishment and the nature of crime itself.  The crime Dana-ana allowed was terrible, but she also pays a terrible price for her sin.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

Writing – part xx229 Writing a Novel, Protagonists Plots and Theme Aksinya

12 August 2020, Writing – part xx229 Writing a Novel, Protagonists Plots and Theme Aksinya

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Khione

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Aksinya: Enchantment and the Daemon, is currently not published, but you can read it on my blogs.  The protagonist is Aksinya.  Aksinya is another excellent example of how a protagonist defines the telic flaw, plot, and theme.

Aksinya: Enchantment and the Daemon is a novel about a girl, Aksinya, who calls a demon to protect her family from the Bolsheviks in 1917.  Unfortunately, Aksinya is too late, and her family is dead.  Already, we have enough for a novel, but there is more.  Aksinya is a sorceress, perhaps the best sorceress in her generation.  She learns sorcery because she seeks to learn and she reads.  Already, we are seeing characteristics readers love in a protagonist.  Aksinya is a great sorceress because she worked hard to become one, but she also has the proper skills to perform sorcery.  Again, we are seeing those characteristic we love in characters.

Aksinya is a hero.  She is a hero from the beginning, but a hero with a demon is a dangerous hero.  Aksinya’s problem is that she can’t get rid of the demon, and the demon wants to tempt Aksinya into sin after sin.  Aksinya is certainly not from the common ilk, but the demon drives her to pathos and into the common, to a degree.

The novel is entirely involved with the inner world of the protagonist because only Aksinya can see the demon.  The constant question in the novel is this: is the demon real or in the imagination of Aksinya?  This is truly the inner world of the protagonist.  Aksinya is living a horror story, but the reader should ask: is this real or only Aksinya.  As the novel progresses, we see more and more that the demon is indeed real.

The whole idea of nature, beauty, and imagination as well as idealization of women, children, and rural life, these are all not as important in the context of the novel or the setting.  But, the supernatural and mythological are at the forefront in this novel.  Also, the historical is very prominent in the novel.

The emphasis on individual experience of the sublime is the entire point of Aksinya.  Aksinya more than anything wishes to be free of the demon, her demon.  This is a type of redemption.  Because the antagonist is a demon, this is also a real redemption—it can’t be otherwise.  Thus, we can see the telic flaw of the novel.  The telic flaw is the demon.  The resolution must be that Aksinya must be freed from her demon.  The plot is all about this, that is the plot is about how Aksinya is rid of her demon.  The theme is also obvious from Aksinya—it is a theme about temptation and suffering followed by redemption.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

Writing – part xx228 Writing a Novel, Protagonists Plots and Theme Khione

11 August 2020, Writing – part xx228 Writing a Novel, Protagonists Plots and Theme Khione

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Khione

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Khione: Enchantment and the Fox, is currently not published.  The protagonist is Khione.  In this novel, the protagonist, Khione and the protagonist’s helper, Pearce Wimund are connected by the hip.  This novel is similar is some ways to Lilly.  Khione is another excellent example of how a protagonist defines the telic flaw, plot, and theme.

Khione is a demi-goddess.  She left Greece and Athens specifically in reaction to the events in another of my novels, Hestia: Enchantment of the Hearth.  Hestia was my first enchantment novel.  In this novel, the demi-gods and demi-goddesses were given back their earth stuff which metaphorically and literally contains their soul.  Khione and another demi-goddess left Greece for Boston in the USA following the events of Hestia.

Khione is a pathos developing character.  She was the child of a rape in the ancient world.  Her mother was Khione, the goddess of snow and her father was the uncatchable fox whom Zeus made to torment Thebes.  Khione is a human looking demi-god who looks and lives in some ways like a fox.  She comes to the attention of a couple of graduate students.  One who is studying her, and Pearce Wimund who wants to help her.

When Pearce and his friend find Khione, they accidentally cause her to be hit by a bus.  Pearce takes her back to his apartment.  There, she becomes the feral being she is, and it is up to Pearce to help her learn to become more human.  She also poses a problem to him in terms of life and her experience of life.

Let’s look at Khione as a protagonist.  First, she is not a hero.  She is very independent and individualistic.  She is like a fox.  She constantly reminds Pearce and others that she is not a pack animal, like a dog.  Part of the development and revelation of Khione is her becoming more like a good human being.  Khione is not really from the common ilk—she is a demi-god after all.  She has no wealth or nobility.  She is the opposite.  She is completely uneducated in a modern sense.  She can read in Greek and write in Greek, but she doesn’t think much of it.  The novel is set at Boston University and a focus is on Khione’s education by Pearce.

The inner world of the protagonist is the entire main part of the novel.  The change and revelation of Khione is the entire novel.  Khione is, at the beginning, like an animal.  Pearce’s job is to convince her to change from an animal to being like a human being.

The celebration of nature, beauty, and imagination should be obvious in Khione—she is a demi-goddess of nature and a product of imagination.  The concept of urban to rural is a basic characteristic of Khione.  In addition, the idealization of women, children, and nature (rural life) is embedded in Khione.  She represents all three of these as an abused demi-goddess from nature.

Having a demi-goddess should indicate exactly the supernatural and the mythological.  There are also historical elements in the use of Boston University as a setting.   Discovery of skills is inherent in the novel—this is a discovery and development novel about Khione.  Finally, the individual experience of the sublime is exactly what Khione is about.

The novel, Khione, should really be called the redemption of Khione.  Khione needs to discover what it means to be human.  Her problem should be obvious—she imagines that she is like an animal when she is a thinking being and no animal at all.  The telic flaw is this problem.  Khione is a human who thinks she is worth nothing.  She was abused, the child of rape, a sex slave, and a feral being.  Pearce teaches her that she has worth, and that’s the plot.  The theme is also based on this—that is the what makes someone human.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

Writing – part xx227 Writing a Novel, Protagonists Plots and Theme George Mardling

10 August 2020, Writing – part xx227 Writing a Novel, Protagonists Plots and Theme George Mardling

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Pearce Wimund

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Valeska: Enchantment and the Vampire, is currently not published.  The protagonist is George Mardling.  I told you, “don’t write about vampires,” but I wrote about a vampire.  The reason was that it fit the novel and became my protagonist’s helper.  Valeska is the vampire.  George is another excellent example of how a protagonist defines the telic flaw, plot, and theme.

George Mardling and Valeska are a pair.  They really can’t be separated in the development of the telic flaw, plot, and theme.  Let’s look at George Mardling first.  George is a spy.  He is actually a share with MI6 from the Organization.  The Organization is MI19 which was shut down after WWII and, in my novels, reopened the next day as the Organization.  It does the exact same work as when it was MI19, but in a more politically correct manner.  MI19 provides covert language shares to British intelligence organizations and agencies.  For example MI6, MI5, and the Foreign Service.  George Mardling works for MI6 as a Foreign Service agent.  His job is ambassador protection and language surveillance.  The setting is Gdansk, Poland.

George Mardling accidentally meets Valeska while she is hunting blood and he is hunting a connection from the past Eastern Block.  George Mardling is shot and offers Valeska his blood.  She accepts and become bound to him.  The important connection that affects both George Mardling and Valeska is the Organization.

In my novels, the Organization has a special Stela Branch that handles the supernatural.  The moment George Mardling gets involved with Valeska, he suddenly becomes the center of their attention, for good reasons.  Then George Mardling and his partner become involved in a communist Chinese problem in Gdansk and George must remove back to England.  That’s the beginning—let’s look at the character of George Mardling.

George Mardling is a hero’s hero.  He is a truly spy-like individual and like all good spies, he is independent and individualistic.  I should mention that Valeska is a quiet hero.  She is powerful and capable of great things, but choses to be quiet, gentle, and cautious.

George Mardling is definitely from the common.  Valeska is a child of privilege from another time and place entirely.  She is literally a destitute vampire until she meets George.  Education is a major focus of the novel.  George is specially educated, while Valeska is a reader’s reader.  The first thing George buys Valeska is an iPad so she can read—she loves to read.

Valeska is a novel all about the inner world of Valeska and of George Mardling.  Their lives and the interaction of others in their lives are critical to the novel.  In addition, who Valeska is, is a great secret in the novel.  Secrets make for great inner world developments.  There is not so much a celebration of nature, beauty, but of imagination especially in the expression of the protagonist.  George Mardling is trying to achieve the redemption of himself and Valeska.  Also, there isn’t so much a rejection of industrialization as a celebration of the mystical and supernatural in the focus of the regular world.  There is an idealization of women and children, but not so much rural life.  The supernatural and mythological propel the entire novel, and at the same time, there is a total connection to history.

With that, the telic flaw, plot, and theme may not be that obvious.  The telic flaw for George Mardling is Valeska.  He has made a relationship with a vampire and that creates a crisis in his work, his nation, and his profession.  This drives the plot and the theme.  The plot is about George’s solution to take care of the problem of Valeska.  The theme is about the potential for redemption of a Vampire.  Notice, as I wrote, George Mardling and Valeska are intertwined as characters and within the plot.  This is why I wrote the novel.  This vampire is a very unusual vampire.  The plot makes it very different from other vampire novels.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

Writing – part xx226 Writing a Novel, Protagonists Plots and Theme Lilly

9 August 2020, Writing – part xx226 Writing a Novel, Protagonists Plots and Theme Lilly

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

Yesterday, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Pearce Wimund

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Lilly

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Lilly: Enchantment and the Computer, is currently not published.  The protagonist is Lilly.  Lilly’s protagonist’s helper is Dane Vale, a graduate student.  Lilly is an excellent example of how a protagonist defines the telic flaw, plot, and theme.

I got the idea for Lilly: Enchantment and the Computer by developing an initial scene, but the initial scene required Lilly.  The novel is impossible without Lilly.  Lilly is a super genius math and computer wiz who is attending a private university on scholarship.  Her scholarship is from the state and doesn’t include enough for room and board.  Due to her past, Lilly has no problem living out on the streets and from dumpsters while she takes classes and gets an education.

Lilly’s problem is that she just doesn’t have any friends, and she intentionally self isolates.  Lilly hacks computers and passwords.  She uses hacks to take people’s credits from a convenience mart.  In the initial scene, Lilly gets caught with hacked credits from another customer and Dane Vale, a cashier, rescues her.  Dane is an engineering student and very interested in Lilly because of her math and computer skills.  With this little bit of information, we have the beginnings of a plot, but there is much more in this novel.  I’ll address some of these in describing the Romantic nature of Lilly.

Lilly isn’t any kind of hero, at first.  Dane is the hero, and willing to help Lilly.  Lilly is completely independent and individualistic.  One of the first aspects of change is that Lilly becomes attached to Dane.  Lilly is definitely from the common ilk as is Dane, to some degree.  Lilly is a girl with no father, and a drug addict, sex worker mother.  Lilly has been in and out of foster care her entire life.  Dane’s father and mother are attorneys.

Education is a focus of the novel.  Lilly’s entire purpose in living on the street is to get an education.  She would rather live in suffering for education.

Lilly: Enchantment and the Computer is about redemption, of Lilly from her past and Lilly finding friends and a friend, Dane.  The celebration of nature, beauty, and imagination comes out of the connection of Lilly to a Japanese Shinto Temple.  This also brings the supernatural and mythical into the novel.  Lilly, while living on the street, has made friends with a Japanese Kami (god) of Metal who has moved to the USA and Seattle to take advantage of new ideas and potentially new worshipers.  Lilly has been bringing gifts, sacrifices, to this Kami with no idea what he is.  With these ideas, I was able to bring in a very interesting theme into the novel.

The theme of a Shinto Temple builds from the urban to the rural, the idealization of women, children, and rural life.  This also allows great personification.

You can also see the use of special skills—those of Lilly and those of Dane.  Although I haven’t mentioned much about Dane.

The telic flaw of the novel is Lilly is isolated and nonsocial.  She lives on the street and has no friends (well actually the Kami is her friend).  The plot is her transformation from isolated and nonsocial to contented, safe, and part of a family.  The theme is one of self-redemption.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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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Writing – part xx225 Writing a Novel, Protagonists Plots and Theme Scott Phillips

8 August 2020, Writing – part xx225 Writing a Novel, Protagonists Plots and Theme Scott Phillips

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Pearce Wimund

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Dane Vale

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Escape from Freedom, is currently not published.  The protagonist is Scott Phillips.  The protagonist’s helper is Reb.  Let’s look at Scott and see how the development of the protagonist resulted in a telic flaw, a plot, and a theme.

I had the idea for Escape from Freedom while flying in the Mediterranean for work.  I thought about the many islands in the sea and wondered what would happen if a person, for example, crash landed on Cuba, but on a foreign version much worse than Cuba.  I came up with the island of Freedom as the setting and began to develop my characters for it.

Scott Phillips is a pilot from one of the very prosperous, capitalistic, and free nations in his world.  His world happens to be a colony of the earth.  On this colony the nations were formed on large islands.  One of the islands, named Freedom happened to decide on a completely socialist/communist government and society.  The current nation of Freedom is the result.  I won’t describe Freedom much only to say it is a horrible place like the Soviet Union, Communist China, and Cuba all rolled into one.  It’s pretty much like the world of 1984.

Scott Phillips is a cargo pilot piloting a heavy lifting cargo ship over his world.  He’s supposed to give wide berth to Freedom, but to save time, he illegally cuts across the island.  The end result is that he makes an emergency landing on the island.  There he meets, Reb.  Reb or really V10+S10537 Rebecka, has remarkable scent and visual sensitivity that makes her a technological scientist of great importance to the nation of Freedom.  She is also a person longing for freedom, not the nation, but the state.  She rescues Scott Phillips from capture by the Armed Citizens and the Party officials and hides him while he gains understanding about the nation of Freedom.

In reality, in the novel, the reflection of Scott against Reb is an important point in the novel.  Although Scott Phillips is the protagonist, Reb is the real character of interest who helps Scott understand the world of Freedom while seeking freedom herself.  I’ll look at these characters together, because they were developed together.

Scott is a real hero, but he is a flawed hero.  He doesn’t see Reb as a real human at first.  He is your typical independent and individualistic protagonist, but so is Reb.  Reb more so since she is an abnormality in her society.  Reb and Scott both come from the common, but Scott is more common than Reb.  Reb was specially breed to be the human she is and as an uncommon but common citizen of Freedom, she gets special privileges due to her training and skills.  They are both educated, but educated in different ways.  Reb has just enough education to provide her services, while Scott has a more general education that allows him to see the world from a broader standpoint.  In this way, he helps Reb to learn.

The novel is entirely a showing of the inner world of the protagonist and the protagonist’s helper without telling or going into their minds.  Freedom is truly a horrific place.  Much of the novel takes place outside the urban capital and in the rural parts of the island.  Definitely, the comparison of beauty, nature, and the imagination clash in this novel.  Freedom as a nation is all about trying to achieve industrialization on the backs of the citizens.  Reb’s personal revolt and Scott’s fight for freedom illustrate this more than anything.  Idealization isn’t so much the point as the lack of freedom caused by socialism and its negative effects on everyone and everything.

This novel is very much unlike many of my other novels.  It does include a strong portion of Christianity as an opposite to the nonreligion of Freedom.  If you call this supernatural or mythical, there it is.  I don’t.  There are no historical elements at all.  Personification is all there, but the focus of the novel is freedom for Scott and redemption and freedom for Reb.

There is your telic flaw.  Scott wants to escape from Freedom and so does Reb.  For Scott is it a return to his usual life.  For Reb it is a redemption from complete oppression.  The plot comes directly out of this.  The plot is their escape from Freedom.  In the theme, the characters are both trying to escape from the oppression of Freedom in every way.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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

Posted in Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

Writing – part xx224 Writing a Novel, Protagonists Plots and Theme Essie

7 August 2020, Writing – part xx224 Writing a Novel, Protagonists Plots and Theme Essie

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Pearce Wimund

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Dane Vale

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Essie: Enchantment and the Aos Si, is currently not published.  The protagonist is Essie.  I developed Essie as an experiment for my blog.  Let’s look at Essie and see how the development of the protagonist resulted in a telic flaw, a plot, and a theme.

My desire was to develop an initial pathos building character and protagonist.  Essie is just that.  We meet Essie as a naked wild girl who is raiding pantries for meat.  She’s put the constable and the shire on edge.  Mrs. Lyons, who is an interesting character on her own, captures the feral girl in her kitchen.  Essie initially doesn’t speak, has no clothing, appears abused, and doesn’t seem to understand human society at all.  She is the classic pathos building protagonist: poor, girl, hungry, needy, abused—you can’t get any better than that.  Essie, however, is much more than that.

Mrs. Lyons works diligently to figure out Essie.  She and we know inherently there is much more about Essie than appearances tell us.  We find that Essie was captured at the orders of Ceridwen, the goddess of the Gaelic and Celtic lands.  She was held a captive for a long time.  We also discover that she is a sovereign of the Fae creatures and an equal of Ceridwen.  Ceridwen was tricked by the Fae into capturing Essie.  The reason was that Essie is plain, uneducated, unsophisticated, and represents the world and the powers of the world that bind the Fae in their place.  This gets complicated, but we discover through the novel that Essie is a messiah-like being to the Fae, and they hate her for it.  Woo, this is a complex character, and the revelation of the novel is all about her.  Now, to see how she fits in the Romantic model.

Essie is indeed a great hero.  She is willing and has been consistently willing to give her life and love to help her people and humans.  She is an entirely independent and individualistic person—alone and usually unfriended in the world.  Essie is not from the common ilk.  She is created as pathos building so she is impoverished, abused, unaggressive (in some ways), a girl, and like a child in some ways.  Essie is not educated but she is seeking to learn—this is classic in a Romantic protagonist.

We see the inner world of Essie only through her actions.  It is important, but we only see glimpses.  The celebration of nature, beauty, and imagination should be obvious.  Essie is a force of nature embodied in the Fae world.  The urban to the rural is also fixed in the plot and the scenes.  There is also a more modern theme of bringing the rural into the urban.  The idealization of women, children, and the rural are obvious in Essie also.  The inclusion of supernatural and mythical elements are also obvious—Essie is a supernatural and mythical creature.  The historical elements are also evident.  Personification is also evident—Essie depicts a being who represents the force of the world within the supernatural.

Most important in the novel is Essie’s experience of the sublime.  You would think that Essie as a representation of a Fae messiah would not need any redemption, but Essie both represents redemption to the Fae, and she desires reconciliation with Ceridwen and the Fae.  This produces a very powerful theme.  And here we come to the plot.

Essie’s discovery of her skills and her education are what the plot is all about.  She discovers she has amazing musical skills—it is part of her essence.  In some ways this part of discovery develops the entire rest of the novel.  This is exactly the type of novels I like—the protagonist discovers herself and the reader discovers the protagonist.

We see in Essie the telic flaw comes directly out of her existence.  She is held captive and needs to be reconciled to Ceridwen and the world.  The plot leads to the discovery of her skills and her education.  Finally, the theme is connected directly to this—Essie must find reconciliation with herself, her subjects, and her sovereign (Ceridwen).

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.  Plus, Essie bites the Queen in the end.  How can this not be entertaining?

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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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Writing – part xx223 Writing a Novel, Protagonists Plots and Theme Shiggy

6 August 2020, Writing – part xx223 Writing a Novel, Protagonists Plots and Theme Shiggy

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  More information can be found atwww.ancientlight.com.  Check out my novels–I think you’ll really enjoy them.

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 withhttp://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.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

  1. 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)
  3. Research as required
  4. Develop the initial setting
  5. Develop the characters
  6. Identify the telic flaw (internal and external)
  7. Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
  8. Write the next scene(s) to the climax (rising action)
  9. Write the climax scene
  10. Write the falling action scene(s)
  11. Write the dénouement scene

I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.

Here is the cover proposal for Blue Rose: Enchantment and the Detective.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter.

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 30:  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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

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          

Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing.

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene.

  1. Meeting between the protagonist and the antagonist or the protagonist’s helper
  2. Action point in the plot
  3. Buildup to an exciting scene
  4. Indirect introduction of the protagonist

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas.

  1. Read novels.
  2. Fill your mind with good stuff—basically the stuff you want to write about.
  3. Figure out what will build ideas in your mind and what will kill ideas in your mind.
  4. Study.
  5. Teach.
  6. Make the catharsis.
  7. Write.

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.

So, modern characters must look like the reader’s impression of the protagonist.  This is an interesting problem as culture and society change as does the impression of the readers. 

Here is the list of characteristics for great protagonists (this is based on the concept of a Romantic protagonist):

  1. Hero, independent, and individualistic – characters who truly risk their lives for others.
  2. From the common ilk – as opposed to the nobility and wealth.
  3. Educated – both seeking education and study and loving to read and learn.
  4. Focus on the inner world of the protagonist – the mind and motivation of the protagonist.
  5. Celebration of nature, beauty, and imagination – the expression of the mind of the protagonist.
  6. Rejection of industrialization and social convention – from urban to rural.
  7. Idealization of woman, children, and rural life.
  8. Inclusion of supernatural or mythological elements.
  9. Inclusion of historical elements.
  10. Frequent use of personification.
  11. Emphasis on individual experience of the sublime.
  12. Discovery and skills—the protagonist finds his or her special skills and abilities and uses them to resolve the telic flaw.
  13. The readers agree with the mind (thoughts and decisions) of the protagonist

I added the last statement, but really this last statement is a direct reflection of 4, 11, and 12.

My ultimate point is that first I develop a great protagonist and the plot and theme of the novel I want to write comes directly out of that protagonist.  Every great protagonist comes with his or her own telic flaw.

The other day, I gave you an example of Azure Rose from my novel, Blue Rose: Enchantment and the Detective.  I showed how she was a Romantic protagonist and how she herself resulted in a plot and theme for the novel.  In other words, I didn’t develop a plot or a theme first, I developed a great protagonist and found the telic flaw, plot, and theme from her revelation.  Azure Rose came with a plot and a theme.  I’ve done this before and at the risk of repeating myself, I’ll do this a couple of more times or more.  Here is a list of my completed novels and protagonists:

A Season of Honor (Chronicles of the Dragon and the Fox III), published, Shawn du Locke

The Fox’s Honor (Chronicles of the Dragon and the Fox II), published, Devon Rathenberg

The End of Honor (Chronicles of the Dragon and the Fox I), published, John-Mark

Antebellum, not published, Heather Sybil Roberts

Aegypt, published, Paul Bolong

Centurion, published, Centurion Abenadar

Athelstan Cying, not published, Den Protania

Twilight Lamb, not published, Den Protania

Regia Anglorum, not published, Nikita Protania

The Second Mission, published, Alan Fisher

Sister of Light, not published, Leora Bolang

Hestia: Enchantment of the Hearth, not published, Angela Matheson

Sister of Darkness, not published, Leora Bolang

Shadow of Darkness, not published, Lumière Bolang

Shadow of Light, not published, Lumière Bolang

Children of Light and Darkness, not published, Kathrin McClellan

Warrior of Light, not published, David Long

Shadowed Vale, not published, Nikita Protania

Warrior of Darkness, not published, Klava Calloway

Dana-ana: Enchantment and the Maiden, not published, Byron Macintyre

Aksinya: Enchantment and the Daemon, not published, Aksinya

Khione: Enchantment and the Fox, not published, Pearce Wimund

Valeska: Enchantment and the Vampire, not published, George Mardling

Lilly: Enchantment and the Computer, not published, Dane Vale

Escape from Freedom, not published, Scott Phillips

Essie: Enchantment and the Aos Si, not published, Essie

Sorcha: Enchantment and the Curse, not published, Shiggy

Deirdre: Enchantment and the School, not published, Deirdre Calloway

Blue Rose: Enchantment and the Detective, not published, Azure Rose

Sorcha: Enchantment and the Curse, is currently not published.  The protagonist is Shiggy.  It’s actually a much longer name than that, but Shiggy gets renamed early.  Shiggy is a fun character and my problem child.  Problem children make great protagonists.  Let’s look at Shiggy and see how the development of the protagonist resulted in a telic flaw, a plot, and a theme.

Shiggy doesn’t start as a hero.  She wants to be a hero, but she just doesn’t have the skills and abilities to achieve it.  Shiggy has no friends.  She may be the most independent and individualistic person you might ever meet.  Shiggy wants friends, but she can’t imagine a world where she is or has any friends.  The problem with Shiggy is she is the perfect example of a total screw up.  In the novel, we find the full extent of Shiggy’s mistakes, but I’ll give the short version.  She started her problems as a graduate student at Oxford where she accidentally exposed her students to a radioactive substance.  When she was fired from Oxford, she went to the British Military Intelligence and was headed for commissioning in the Army until she blew the kneecap off an instructor during target practice.  Because Shiggy was training for intelligence, the MI6 structure picked her up.  They had here assigned to their science branch until she accidentally released nerve agent in the lab.  No one died, but they sent her to communications and so on until Shiggy was eventually assigned to all of the MI offices.  In the final encounter that sealed her fate, she accidentally shot a hostage with a laser scored pistol during a rescue practice, and one of her instructors shot her with a tranc-dart.

Shiggy wakes restrained in a lab and is confronted by Sorcha who is her trainer and handler.  The problem with Shiggy is that she has been privy to the intelligence information and techniques of every office in MI6.  Sorcha must take the failure who is Shiggy and make her the number two member of Sorcha’s supernatural intelligence office.

You can already see the telic flaw and the resulting plot and theme of the novel, but I’ll expand on the other qualities of Shiggy.

Shiggy is definitely from the common ilk.  She is definitely over educated.  That’s one of the things that makes her so dangerous and capable (from a theoretical standpoint).  Shiggy is completely a novel about the mind of the protagonist.  You can tell the telic flaw that comes with her is her curse, well actually her immaturity and lack of coordinated skill.  She has other problems, but those are just icing.  Shiggy’s world is set in Sherwood Forest and among the Fae.  This is the celebration of nature, beauty, and the imagination along with the rejection of the urban in favor of the rural.  The idealization of women and the rural life should be obvious, but Shiggy’s character and other denizens of Shiggy’s world bring in children as well.  All my novels are based in real history.  Personification is just a style—to a degree.  The end, of course, is the redemption of the protagonist.  This is ultimately the experience of the sublime.  As I already noted, Sorcha’s job is to help Shiggy express her skills in a way that makes her a tool in the intelligence structure—instead of a security risk.

I already mentioned the telic flaw of the novel is Shiggy needs to learn to be an asset to the intelligence community.  This also will lead to her own personal success.  The plot is this training and education.  The theme is the acceptance of responsibility and gaining proper life skills.  You might also say it is about social skills and responsibilities.  This is all from the singular character who is Shiggy.

I hope you can see that the entire plot, telic flaw, and theme came out of the development of this character.  This is exactly what I mean when I write that the plot, theme, and telic flaw comes directly out of the protagonist.

Ultimately, the point is that we need to keep our readers content and pleased with our characters while presenting the revelation of the protagonist and the plot.

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

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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