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Saturday, September 13, 2014

Writing Ideas - Vampire Novel, part 156, On stage Exploration methods of Revelation How to Develop Storyline, Rising Action

13 September 2014, Writing Ideas - Vampire Novel, part 156, On stage Exploration methods of Revelation How to Develop Storyline, Rising Action

Announcement: I received the proofs and a three-day deadline to give comments.  One of my regular prepub readers and I went through the three book.  I was able to correct some second edition issues in Aegypt.  The proposed cover and info can be found at  I'll keep you updated.  I should have three new books out soon.

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

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 and select "production schedule," you will be sent to

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:
I decided on a white cover style.  You can see more at

The purpose of a novel is to reveal the protagonist and usually the protagonist's helper, the author needs to place them in circumstance that allows them to reveal themselves.  The means can be conversation, exploration, discovery, other's conversation, confession, accidental discovery.

Here is some more of the "on stage" exploration of Leila from my novel, Valeska:

 George ducked his head, “Yes, thank you very much.  We just have a couple of questions for you about Etan Arms, a company registered under your name.”

Mrs. Laighléis led them into a very fine parlor.  She pointed to the seats, “Please be seated.  May I offer you tea?”

George put up his hand, “Thank you.  No need.”

Mrs. Laighléis sat down across the tea table from them.  She crossed her legs, “I was very surprised to hear about that company when you called me.”


“Yes, surprised that it was still active in my name.”

George folded his hands, “Why is that?”

“Perhaps I should give you a little background.  Ten years ago, Leila O’Dwyer handled all the paperwork for the company.  She set it all up and put it in my name.”

George asked, “Why in your name?”

“Leila O’Dwyer was sixteen at the time.  She couldn’t legally sign the documents or obligate the funds.”

“You did that for her?”

“Yes, I was happy to.”

George folded his hands, “How did you know Ms. O’Dwyer?”

“We went to university together.  We were both in engineering.  She was burning up the program from the moment she arrived.  I was moving at the normal pace.  I wasn’t very wild, and she was underage.  We struck up an uneasy friendship.  She helped me quite a lot.”

“Why was it uneasy?”

“You have to know Leila.  She was just like that.  For example, this company, Etan Arms.  She came to me one afternoon, out of the blue, with a complete incorporation package.  She had everything prepared and ready to sign.  She even had the money.  Everything was in my name, and all I had to do was sign the papers for her.  She even had papers of indemnity that prevented me from being responsible in case something went wrong or the company was sued.”

George scratched his head, “How could she do that?  Who took that responsibility?”

“I don’t remember who signed that paperwork.  I really have no idea.  There isn’t something wrong is there?  Leila isn’t in trouble?”

“No,” George lied, “There isn’t anything wrong at all.  We were just investigating the company for the government.”  

George is looking for Leila. Part of the "exploration" is to find where Leila is, but any amount of information cold be helpful.  Within the conversation, I show you the exploration and the interaction with Mrs. Laighléis.  We will see tomorrow what potentially happens during an exploration.  Remember, in all your scenes, you should have some tension and release--I do.  So you should see a degree of tension from some source in this scene.  I'll give you some hints of what you could see.  For example, if the character who is being asked the information is a good friend of the character being explored, a perception of the investigation could become tense.  Tension and release doesn't just mean tense, but you can see where that might go.  On the other hand, if the character being asked hates the other character, there is some tension.  You didn't think that an exploration scene could be this exciting, did you? 

More tomorrow.

For more information, you can visit my author site, and my individual novel websites:

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