Development - Symbolism Question #5

30 September 2012, Development - Symbolism Question #5

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

I'm going to answer the following reader questions in the next few days. These questions have to do with symbols. I've listed the entire question set in blue, and I'll answer in black.

1. Is symbolism primarily (vs only) intended to enhance theme?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?

Answered 27 September

3. Do you have more detailed guidelines for it's employment and effectiveness?

Answered 28 September.

4. Is symbolism considered a "text-linking" literary device, or not?

Answered 29 September.

I'll continue to answer the following questions tomorrow.

To elaborate: Readers vary greatly in their recognition of symbolism, allusion, etc.. So the success of using symbolism as a literary device, like an allusion, depends largely on the audience "getting" it. The more obscure, the less they will be understood. With that in mind, do you carefully consider your audience vs yourself, or somewhere in between. .If the former, do you predominately use basic (higher level) symbols, over and over to reinforce the theme, or use a family of related symbols, each w/ finer granularity, or a bit more nuanced than earlier symbols? If the latter, I fear, it will become a private (symbolic) language of the writer and a very few, buried in the story, not enhancing the theme much. Any feedback appreciated!

This is a wonderful question because it goes directly back to the concept of levels.  In the most basic sense, the primary levels of a children's book are plot and theme.  You can write a book at this level, but it really won't be very satisfying or literary.  The plot must always be obvious.  The theme must always be discernible.  Everything else is gravy.  So get this point very clearly--as long as your readers can understand the plot and discern the theme, all the other levels are freebies. 

Shakespeare is filled with level on level on level.  The plot is obvious and the theme is discernible--all the multifarious levels are there to delight the reader (observer) and thwart the student.  No one complains about the deep and multiple levels in Shakespeare's writing (except students of literature who are supposed to tease them out).  Everyone (other than the students) just enjoy the many levels and the depth of the writing. 

The question wondered if the symbols could become a "private symbolic language."  This is impossible if the writer is using classical cultural symbols and allusions.  For example, if an author used popular fiction (as opposed to classical fiction) and commercials for her allusions, she would write something that might appeal to a few people for a couple of years, but that would be meaningless as literature.

To create, use, and modify symbols, an author must choose symbols (allusions) that are classically cultural and well understood to the classically educated.  It doesn't matter if 90 percent of the readers don't get an allusion to Shakespeare or Milton--the educated reader will get it and the allusion itself makes it timeless.

So remember this: plot must be obvious and theme must be discernible.  Everything else is gravy.

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Symbolism Question #4

29 September 2012, Development - Symbolism Question #4

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

I'm going to answer the following reader questions in the next few days. These questions have to do with symbols. I've listed the entire question set in blue, and I'll answer in black.

1. Is symbolism primarily (vs only) intended to enhance theme?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?

Answered 27 September

3. Do you have more detailed guidelines for it's employment and effectiveness?

Answered 28 September.

4. Is symbolism considered a "text-linking" literary device, or not?

"Text-linking" means that one text turns on the context of an entirely different text.  In this regard, allusion is a "text-linking" device.  When an author makes an allusion, the allusion automatically conjures the entire context of the alluded text.  This makes the current text and the alluded text within a similar context.  Note that this is only applicable to literary texts.  An allusion to a painting would not be "text-linked."   I do not necessarily like the term "text-linked" because an allusion and other potential "text-linked" literary devices are not limited to text.  I would prefer the term "context-linked."  This would include art, architecture, places, symbols, etc. within the idea of a "text-linked" literary device. 

So, in the purest sense symbolism could be "text-linked" if the symbol is literary.  For example, a Vampire is a literary symbol (they don't exist in real life and although they do have folklore antecedents, Bram Stoker defined the literary idea of a vampire).  This symbol could be "text-linked."  A cross is both a literary and a physical symbol.  An author must be careful to delineate which and what symbol she is writing about. 

Symbols are always "context-linked" literary devices, they are not necessarily "text-linked" literary devices.

Let's go into "context-linking" a little.  All authors should realize this--in fact all readers should realize this.  Allow me to use a very important concept called Rabbinic Context.  All the Old Testament, Apocryphal, Talmudic, and the New Testament documents are considered to be written under the idea of Rabbinic Context.  This means that when you read a reference to a statement in one document, the context is the entirety of the context of the statement.  Therefore, when you read a quote from a Psalm in the NT, the context is the entire Psalm and not just the singular verse (verses, chapters, punctuation, word separation, etc. were all added to the Hebrew and Greek much later anyway).  This is called Rabbinic Context.  This is also something that many readers of the mentioned documents miss.

Symbols in literature are all context linked.  This means that when you read about a symbol (allusion for example), the entire context of the symbol (allusion) is intended (or should be intended) by the author.  For example, if I write an allusion (symbol) to Oliver Twist, I am using the entire context of the novel.  I can also specify a specific point or aspect of Oliver Twist--Bill Sikes for example and bring into light an entirely different context.

This is the caution as well as the point of symbols.  They can clarify or they can create intentional ambiguity.  An author must realize exactly the context of the symbol and how it will and can be perceived in his writing.  

I'll continue to answer the following questions tomorrow.

To elaborate: Readers vary greatly in their recognition of symbolism, allusion, etc.. So the success of using symbolism as a literary device, like an allusion, depends largely on the audience "getting" it. The more obscure, the less they will be understood. With that in mind, do you carefully consider your audience vs yourself, or somewhere in between. .If the former, do you predominately use basic (higher level) symbols, over and over to reinforce the theme, or use a family of related symbols, each w/ finer granularity, or a bit more nuanced than earlier symbols? If the latter, I fear, it will become a private (symbolic) language of the writer and a very few, buried in the story, not enhancing the theme much. Any feedback appreciated!

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Symbolism Question #3

28 September 2012, Development - Symbolism Question #3

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

I'm going to answer the following reader questions in the next few days. These questions have to do with symbols. I've listed the entire question set in blue, and I'll answer in black.

1. Is symbolism primarily (vs only) intended to enhance theme?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?

Answered 27 September
3. Do you have more detailed guidelines for it's employment and effectiveness? 
I'm writing about figures of speech in my blog at www.novelscene.wordpress.com.  What is significant about figures of speech is that we almost always use figures of speech in our writing and speaking--we just don't realize that is what we are doing.  By the way, the last sentence was a figure of speech.  The second statement clarifies the first. 

Just as figures of speech are ubiquitous in English so are and should be symbols in both speaking and writing.  Part of the problem is education and part is cultural ignorance.  For example, the number of times I hear someone say "pun not intended" when they make a pun disgusts me.  Puns are wonderful symbols and figures of speech.  If a person isn't willing to acknowledge the intentional or unintentional use of a pun, then they certainly aren't willing to acknowledge the use of a symbol--yet, they use symbols all the time.

As I wrote, all language use is symbols--they language stands in place of the things it describes.  Further, as I wrote, without a written language, you can't think or write about non-physical things such as "love" or "wisdom" or "intellect" or "peace" or the list goes on and on and on.  Unless you have a written language, you can't imagine such things.  You can only imagine those nouns that are physically real or verbs that have obvious actions.  In this sense, all complex language use becomes symbols.  It should not be a leap for the author to use more complex symbols.

As to guidelines.  It is likely possible that someone could overdo symbols.  They must be used cautiously, subtly, and pervasively.  I put up the novel I provided on this blog, Aksinya, as an example of the use of symbols in a literary work.  If you go back through the commentary, you will see where I highlighted many of the symbols--and still you can find more and more and more.  They pervade the novel.  They infuse the writing.  They are the novel.  (another figure of speech). 

I use and I would advise you use symbols extensively through any literary fiction or essay.  They provide entertainment, and they add power to the writing.  They are also one of the singular methods to get to the theme in any complex writing--that's another answer.

I'll continue to answer the following questions tomorrow.

4. Is symbolism considered a "text-linking" literary device, or not?
I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Symbolism Question #2

27 September 2012, Development - Symbolism Question #2

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

I'm going to answer the following reader questions in the next few days. These questions have to do with symbols. I've listed the entire question set in blue, and I'll answer in black.

1. Is symbolism primarily (vs only) intended to enhance theme?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?
An allusion is a figure of speech.  Figures of speech are a subset of symbolism.  A figure of speech is a type of symbol.

Let's look at the definition of a symbol:

1. Something that represents something else by association, resemblance, or convention, especially a material object used to represent something invisible. See Synonyms at sign.

The concept in art relating to symbols is symbolism. Its definition follows:

1. The practice of representing things by means of symbols or of attributing symbolic meanings or significance to objects, events, or relationships.

Lets look at language as a symbol. Authors use language as the paintbrush of their art. Language itself is a symbol and is used to form symbols. One of the chief uses of language is called figures of speech. Here is the definition of a figure of speech:

A figure of speech is the use of a word or words diverging from its usual meaning. It can also be a special repetition, arrangement or omission of words with literal meaning, or a phrase with a specialized meaning not based on the literal meaning of the words in it, as in idiom, metaphor, simile, hyperbole, or personification. Figures of speech often provide emphasis, freshness of expression, or clarity. However, clarity may also suffer from their use, as any figure of speech introduces an ambiguity between literal and figurative interpretation. A figure of speech is sometimes called a rhetorical figure or a locution.

An allusion is a figure of speech that makes a reference to, or representation of, people, places, events, literary work, myths, or works of art, either directly or by implication. M. H. Abrams defined allusion as "a brief reference, explicit or indirect, to a person, place or event, or to another literary work or passage".  It is left to the reader or hearer to make the connection (Fowler); where the connection is detailed in depth by the author, it is preferable to call it "a reference".  In the arts, a literary allusion puts the alluded text in a new context under which it assumes new meanings and denotations. It is not possible to predetermine the nature of all the new meanings and intertexual patterns that an allusion will generate. Literary allusion is closely related to parody and pastiche, which are also "text-linking" literary devices.

In a freer informal definition, allusion is a passing or casual reference, an incidental mention of something, either directly or by implication: In the stock market he met his Waterloo.
The exact answer to the question is that they are the same, but I get the point of the question.  It is this:  is a symbol more effective than a symbol that points to a symbol.  An allusion is a symbol that points to a source for that symbol.  The logical answer is that a bare symbol is more effective than a symbol of a symbol.  Logic doesn't always hold sway in art.  Many times a pure symbol can be more effective because it conjures a picture that is unmistakable.  On the other hand an allusion can produce an even more powerful picture.  For example, the symbol of the cross is an unmistakable image.  The allusion "Surely this must be the/a son of God." is a powerful image on its own.  Or, the image of the soldiers gambling for the cloak of Christ.  Or, the image of the women at the empty tomb.  Allusions are powerful because they incorporate entire stories in a single picture, statement, etc.  Naked symbols, in this sense, are powerful because they do the same.  An author chooses carefully the appropriate symbols (including allusions) to use to clarify or to produce ambiguity.

I'll continue to answer the following questions tomorrow.

3. Do you have more detailed guidelines for it's employment & effectiveness?

4. Is symbolism considered a "text-linking" literary device, or not?

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Symbolism Questions

26 September 2012, Development - Symbolism Questions

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

I'm going to answer the following reader questions in the next few days.  These questions have to do with symbols.  I've listed the entire question set in blue, and I'll answer in black.

1. Is symbolism primarily (vs only) intended to enhance theme? 

Symbolism is wholly incorporated in all writing.  There are two basic levels in all writing: plot and theme.  Symbolism works on both these levels (but realize, there can be additional levels beyond plot and theme).  Plot and theme are the basic levels of symbolism.  For example, I can write about a character:  The lady was tall and slender.  She stood with half her face enveloped in shadow.  The tattered sleeves of her red dress were visible as she raised her hands slightly--to gesture...to catch the passerby's attention.  The half of her face that was visible bore the remnants of beauty, but at the edge of the shadows, the lip of a chancre and a scar were visible.  

In this example, there is no indication of theme, but we have extensive symbolism in the description.  From the example, you can guess the lady is slender because she is malnourished.  The red dress could indicate she is a prostitute (no indications of time here).  The tattered sleeves shows she is poor and has likely one dress (this one).  She raises her hands to gain a potential customer's attention.  She is likely older, but that isn't clear--she was once beautiful.  The chancre indicates a venereal disease (likely syphilis) and the scar that she has been infected more than once.  

Here, in this example is enough symbolism to build many levels in the plot without a single touch on a theme.  To set the theme in place, we would need to connect the woman or the symbols cohesively to some overall point.  We have many choices.  We could use as a theme: poverty, squalor, ruined life, prostitution, redemption, degradation, and all.  There are many choices.

I'll continue to answer the following questions tomorrow. 
2. Is symbolism more (or less) effective than allusion?
3. Do you have more detailed guidelines for it's employment & effectiveness?
4. Is symb...olism considered a "text-linking" literary device, or not?

To elaborate: Readers vary greatly in their recognition of symbolism, allusion, etc.. So the success of using symbolism as a literary device, like an allusion, depends largely on the audience "getting" it. The more obscure, the less they will be understood. With that in mind, do you carefully consider your auidence vs yourself, or somewhere in between. .If the former, do you predominately use basic (higher level) symbols, over and over to reinforce the theme, or use a family of related symbols, each w/ finer granularity, or a bit more nuanced than earlier symbols? If the latter, I fear, it will become a private (symbolic) language of the writer and a very few, buried in the story, not enhancing the theme much. Any feedback appreciated! 
I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Writing Creativity

25 September 2012, Development - Writing Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

We have been through the basics of creativity.  Now I want to get into the use of creativity.  I've been here before, but repetition is always good for learning, and I will approach the subject from another viewpoint.

I hope that everyone who read this can say they have some degree of creativity.  I also hope you are seeking to learn and foster the creativity you have.  The art of writing has everything to do with creativity.  Creativity is the beginning of all art and especially of writing.  The question is again, how to harness the creativity you have to create.

If you noticed, one of the "filling" methods was reading.  If you wish to write, you must read.  You must read everything you can get your hands on.  Reading is critical.  It first helps you to learn creativity and it second, helps fill up your creative reservoir.  Reading provides much much more for the writer.

I suspect that no one desires to write fiction who doesn't love to read fiction and who doesn't become immersed in fiction.  I love to read good fiction.  That's why I had the desire to write.  My love of fiction gave me a desire to create novels like but better than those I read.  I wanted to produce writing that people would love to read.  This is the basis for creativity and for all writing.

I'll move on to basic writing exercises, tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Conclusions Creativity

24 September 2012, Development - Conclusions Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

I'm going to take down the list tomorrow, so you better get it today.  I've explained that there are three aspects to creativity: inherent (you are born with it), learned (you learn it), and fostered (you encourage it).  What this all boils down to is a very simple truism: creative people work hard to be creative.  Creativity isn't simply about being born creative.  Creativity is about taking the skills you have and learning and fostering them. 

I suspect this is true for every single worthwhile thing in human history.  That is, skills are dependent on some degree of inherent ability, followed by learning that makes the skills real, followed by fostering and encouraging those skills.  I guess I should add a fourth aspect--practice.  For example, if you want to be a creative writer, you learn to write, you foster writing, and you practice writing (you write).

The actual writing is an important point because it has to do with learning, fostering, and the overall creative process.  The point is this: don't waste your time--ever.  Make sure everything you do promotes learning, fostering, and practice.  Perhaps the most important thing you will do today is to give up unworthwhile pursuits.  Do it and do it quickly.  Spend you time in pursuits that will lead to a better and more capable you.

I'll move on to basic writing exercises, tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - and even more Fostering Creativity

23 September 2012, Development - and even more Fostering Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

We've looked at inherent creativity and learning creativity--now I want to move to the third aspect of improving and proving creativity--fostering creativity.  The overall point in fostering creativity is to use your time constructively.  For example, if you want to be a great writer, but you spend large portions of your life in front of the boob tube (television), you will never be a great writer.  You can easily apply this simple rule to every aspect of life.  So if you want to be a great artist, but you spend a large amount of your time in front of the boob-tube, you will never become a great artist. 

In my idea of fostering creativity, I, like Aristotle and Plato, take the idea of filling and catharsis beyond the point of just writing or creating art. I think you can absolutely fritter your life away by participating in activities that sap your creativity.  I also think you can encourage your creativity by participating in activities that build (foster) your creativity.

Every person needs to determine for themselves what provides filling.  I would argue that all the events on my list sap your creativity.  And whether I'm right, it is a question of catharsis or filling in creativity--or it is simply a question of wasting your time when you could have been writing--who cares.  The ultimate point is that you should stop wasting your time and start writing.  I've tried to give you some ideas how to do this--I'll conclude, tomorrow.

I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - even more Fostering Creativity

22 September 2012, Development - even more Fostering Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

We've looked at inherent creativity and learning creativity--now I want to move to the third aspect of improving and proving creativity--fostering creativity.  In fostering creativity, you need to determine for yourself what is cathartic and what is filling.  Those pursuits that fill your mind with creative thoughts are filling and those that sap your mind are cathartic.  Writing is a cathartic process.

Many people in the past used writing as a release--that is cathartic.  Today, you can do the same--that is the process of creativity in writing.  The important point is to not waste your mind in unproductive catharsis.  The main problem for many people in the modern world is they waste their energy in nonproductive activities.  A writer can't afford this.  You can also note the reason you might not feel able to write or feel unproductive in your writing--if you spend much of your time in activities that unfill your creative reservoir, you will not be able to write.

This, in my opinion, is the reason many writers get "writer's block."  If you spend your time in cathartic activities, you won't be able to be creative.  You will mistake this for "writer's block" when actually you've unfilled your creative reservoir.  So, try this: spend time in some of the filling activities I mentioned yesterday and then sit down to write.  Don't spend your time in unproductive activities and see how creative your writing might become.  I'll look more at the filling and unfilling activities more tomorrow.

I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - more Fostering Creativity

21 September 2012, Development - more Fostering Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think their are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

We've looked at inherent creativity and learning creativity--now I want to move to the third aspect of improving and proving creativity--fostering creativity.  In the learning of creativity, we saw that experience and work in creative pursuits led to the learning creativity.  Fostering creativity is similar.

I wrote this before:  the creative process, as Socrates and Aristotle asserted is cathartic. I also learned the basis of this from Mr. Martin (my High School English teacher). You must fill your mind with all kinds of good and powerful information, emotions, sensations, and experiences. When appropriately filled, you let it all out on a page of white paper, or in my case into an ether construction that looks like a white page--Plato would be proud. An artist must be very careful that every input does cause his imagination to expand and become filled. Experiences that exhaust you; exhaust your imagination. Experiences that bring out your emotions, enhance your ability to express, on a page, those emotions. Encounters in silence and unique or dramatic visual experiences build up your imagination. Based on my own prejudices and understanding, here is what I think fills and empties (these are experience based and not logic based, so don't get all worked up about the examples):

	Filling	Emptying
	Contemplative process:	Creative process:
	Reading	Writing
	Imaginative contemplation	Making a video
	Playing or singing	Writing music
	Reciting a poem	Memorizing a poem
	Studying	Studying for a test
	Writing essays and technical papers	Writing fiction
	Reading a fiction book	Reading a nonfiction book
	Watching a contemplative movie	Watching TV
	Listening to well developed music	Listening to anything you might hear from an elevator or from the enclosed car next to you
	Work	Leisure
	Listening to intellectual conversation and debate	Listening to social conversation
	Participating in intellectual conversation and debate	Participating in social conversation
	Looking at a photo or a picture book	Reading all the words in a photo or picture book
	Watching people	Interacting socially with people
	Reading a newspaper	Writing for a newspaper

 

When my brain is filled with good stuff, I write. I write every day after lunch. Wait--you said, you should write in a cathartic moment after all the good things fill your mind. Can that occur if you have a set schedule for writing? Yes. I work in the mornings and I write in the afternoon. Notice that work is something that fills up my imagination. I want to get done with my work so I can write. My work is mostly study related; I listen to conversational radio and contemplative music in the morning, and I am ready to write in the afternoon.

I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Fostering Creativity

20 September 2012, Development - Fostering Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

We've looked at inherent creativity and learning creativity--now I want to move to the third aspect of improving and proving creativity--fostering creativity. It should go without saying that if you have no capacity for creativity, you won't get anywhere. I gave your the creativity test (see the questions above). We then moved into learning creativity and I showed you how to use the list to help direct your creativity learning. We can also use the same list to foster creativity.

Fostering creativity is even more a factor of personal creativity than learning creativity. This is because each person must discover what helps them best foster their own creativity. I can tell you from my experience, and I believe that certain events will generally increase creativity and others will generally decrease creativity.

Fostering creativity is mainly a factor of what you do with your time. We will discuss this tomorrow.
I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - even more Evidence of Creativity

19 September 2012, Development - even more Evidence of Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

What is appropriate writing? What is appropriate study? What is appropriate life and experiences? The answer to these questions provides the focus to learn creativity.  We looked at music as the element of learning creativity, but you can do the same with any of the creative concepts on the list above.  For example.  If you like plays and drama, that will lead you to study plays and drama, which will lead you to learn the language of plays and drama (how to act), which will lead you to want to act in plays and drama, which will lead you to write plays and dramas.

I hope you are getting the point.  If you never had any desire to create music, writing, drama, acting, art, then you are likely not creative and there may be no hope for you.  On the other hand, if you have desired to be creative and tried to create any of these end products, that is an indication of creativity and means you can learn to be more creative.  The next step is fostering the creativity you have learned. I'll write about that tomorrow.

I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - more Evidence of Creativity

18 September 2012, Development - more Evidence of Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

What is appropriate writing? What is appropriate study? What is appropriate life and experiences? The answer to these questions provides the focus to learn creativity.  I took music all the way down the creative path.  From the simple question, "Do you like music?," we found that a creative person will then study music, learn the language of music, learn to play or sing music, and try to create their own music (or songs).  This is the essence of creativity. 

If I were to select another subject from the questions above--for example, "Do you like art?"  What do you think a creative person will do if they like art?  I know what they will do--they will study about art, they will learn the language of art (actually a language of art--there are many), they will attempt to create their own art.  At this point, the quality of the music--or the art is immaterial.  What is important is the creativity. 

This is just like children.  If you put a sheet of paper in front of a child and give them a writing utensil, they will draw a picture.  The children who don't are not creative.  A person who won't isn't creative.  A creative person who finds themselves on a stage will dance, sing, or recite something.  I know because I am a creative person, and I have always been a creative person.  I have written music, lyrics, acted in plays, musicals, ballet, not opera (yet).  I write novels.  My creativity engulfs my life.  This is what creativity and learning creativity is all about. 

Remember, at the beginning, I wrote, people are born with a creative gene, but they can learn to be more creative.  If you want to be more creative--you must engage your creative gene.  You accomplish that through being creative.  Do the things on the list above. 

There is a third attribute to creativity--fostering creativity.  I'll write about that tomorrow.

I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Evidence of Creativity

17 September 2012, Development - Evidence of Creativity

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

Creativity is work and not an act of divine providence, random fate, or abstract accident. Creativity is hard work that is equal to the effort expended on it. If you wish to write (or be creative in any way): study, put lots of effort into it, and work hard at it.

The question then is how do you work at creativity? I think there are three parts to creativity: inherent creativity, learned creativity, and fostered creativity.

Embedded in the following questions is the way to learn creativity. Basically, to learn creativity, you must practice being creative. Without the spark of inherent creativity, this will be impossible, but if you have any touch of creativity, doing the above will bring out your creativity.

1. Do you like art (1)?
2. Have you created quality art (3)?
3. Do you like music (1)? (all kinds not just one type or another)
4. Have you written any music (3)?
5. Have you written any lyrics (3)?
6. Do you play any instrument (2)?
7. Do you like to sing (1)?
8. Do you sing in parts (2)?
9. Do you like to read (1)?
10. Do you like to write (2)?
11. Have you written any poetry (3)?
12. Have you written any stories (3)?
13. Have you written a novel (4)?
14. Have you written a book (4)?
15. Do you get great ideas (2)?
16. Have you ever successfully implemented your great idea (3)?
17. Do you like plays, musicals, opera, or ballet (1)?
18. Have you acted in a play, musical, opera, or ballet (2)?
19. Have you written a play, musical, opera, or ballet (4)?

What is appropriate writing? What is appropriate study? What is appropriate life and experiences? The answer to these questions provides the focus to learn creativity. I've been pursuing "music" as a means to learn creativity.  If you like music, you will learn to use music.  I mean specifically that you will want to learn to play instruments and sing.  A creative person will not be able to stop herself. 

The next step in creativity is obvious.  If you like to sing and play instruments, you will naturally want to make your own music and songs.  It is impossible for a person who likes music and who knows how to sing or play an instrument to not want to play their own music.  When a musician is playing a piece, it is not uncommon for them to extemporize or to play their own ditties.  Those ditties become music and a person who knows the language of music can write down their music.  You will not be able to keep a creative person who likes music from going all the way down this path.

Although I am a writer, I play and sing music.  I have written my own songs and musical pieces.  Like a said, creativity leads to this end.  It can't do otherwise.  If you say you like music and you haven't reached this point of creativity, you either don't really like music, or you aren't very creative.  There is much more to this... I'll discuss it tomorrow.
I'll write more about how to spend your time in developing creativity tomorrow.

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonorhttp://www.aseasonofhonor.com/.