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Monday, April 25, 2016

Writing Ideas - New Novel, part 745, more Developing Conversation, My Distinct Manner of Writing Q and A

25 April 2016, Writing Ideas - New Novel, part 745, more Developing Conversation, My Distinct Manner of Writing Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at  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 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.

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

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 26th novel, working title, Shape, proposed title, Essie: Enchantment and the Aos Si, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

I just started writing my 27th novel, working title, Claire, potential title Sorcha: Enchantment and the Curse.  This might need some tweaking.  The theme statement is something like this: Claire (Sorcha) Davis accepts Shiggy, a dangerous screw-up, into her Stela branch of the organization and rehabilitates her.  

Here is the cover proposal for Essie: Enchantment and the Aos SiEssie is my 26th novel.
Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I’m editing many of my novels using comments from my primary reader.  I finished editing Children of Light and Darkness and am now writing on my 27th novel, working title Claire.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:

1.  Scene input (easy)

2.  Scene output (a little harder)

3.  Scene setting (basic stuff)

4.  Creativity (creative elements of the scene)

5.  Tension (development of creative elements to build excitement)

6.  Release (climax of creative elements)

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters

2.  Character presentation (appearance, speech, behavior, gestures, actions)

3.  Change, complexity of relationship, and relation to issues/theme

4.  Evolving vs static character

5.  Language and style

6.  Verbal, gesture, action

7.  Words employed

8.  Sentence length

9.  Complexity

10.  Type of grammar

11.  Diction

12.  Field of reference or allusion

13.  Tone - how tone is created through diction, rhythm, sentence construction, sound effects, images created by similes, syntax/re-arrangement of words in sentence, the inflections of the silent or spoken voice, etc.

14.  Mannerism suggested by speech

15.  Style

16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequiturs, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 16. 16. Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequiturs, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Here is the example of conversation from my latest novel.  I’ll try to point out those features that are manner and style in the writing.  First of all, in this short piece, you can see the theme types in my writing.  There is a fairy—a fae being who is the focus of the argument.  The tension and release cycle is based around the fairy, Angel and the incident of the Christmas party. 


The conversation begins with no explanation as to the problem—then, bang, Sveta let’s Shiggy have it.  Shiggy isn’t really at fault.  Angel isn’t really at fault.  Sorcha isn’t really at fault.  I love this kind of situation.  There is tension and a very good reason for tension—through the entire novel, the message is that being friends with the fae is a dangerous thing.  We find this to be true to some degree.  Sveta doesn’t want the fae in her house—she can’t control them. 


If you notice, Angel attempts to address who Sveta really is.  Sveta doesn’t want Shiggy to know, and thus shuts Angel down.  The reader never really gets to know who Sveta is—if a reader has read my other novels, they will know.  Who she is, is not important to the novel, but the fact she is someone special is important—this is also a manner of my writing.  I love secrets.  I love to present secrets to my readers and never tell them the answer.  Some of the secrets can be answered in history and literature.  Some can be answered in my other writing.  Some are just fun secrets.  You never know everything about a person—there are always secrets.  Secrets is one of the elements of style in my writing.


Angel is a terrible choice for Shiggy’s conscious.  This is another manner of writing that I love to use.  That is a bad choice for some project or for some work that causes other problems in the novel.  Usually, in most writing, the author writes about characters making logical and reasoned choices.  People rarely make perfect logical or reasoned choices.  In the real world, it’s not unusual to have a person who is a terrible choice for a job or a project.  I like to use this for tension and release and just for the fun of the irony.  Angel is a bad choice, but how much fun can that be.  Think about it, a powerful and dangerous being who isn’t bright but who is in charge of being a conscious for Shiggy.  Poor choices (by the characters) is an element of my style.


I like irony, paradox, and satire.  Look at the example below.  Angel is irony.  To Sveta, this is a paradox.  The entire situation is satire.  These logical conundrums are distinct manner of my writing.


      Sveta suddenly stared at Shiggy’s shoulder, “Not quite yet.  Shiggy, Sorcha come with me and bring…well you know.”  Sveta kissed Daniel’s cheek, “Entertain these gentlemen for just a moment, we girls need to take a powder.  I’ll be back before our next guests arrive.”

Daniel stood for a moment speechless.  He turned to Captain Cross and Major Easom.

Sveta grasped Shiggy’s hand and pulled her to the side and into a sitting room.  Sorcha swaggered after them.

Sveta didn’t let go of Shiggy, “Sorcha, close the door.”  She turned to Shiggy and pointed at Shiggy’s left shoulder, “Really, what do you mean by bringing her with you?”

Shiggy swallowed, “Mrs. Long may I introduce Angel Trumpet of the Seelie Court.”

Angel curtsied very nicely, “Good evening, Lady of…”  Sveta made an elaborate symbol in the air.  It shimmered and pulsed for a moment, then disappeared. 

Whatever Angel was going to say suddenly stopped.  Sveta raised her chin and gripped Shiggy’s arm, “Angel Trumpet, I did not invite you into this house, and I did not expect you,” she glared at Shiggy, “to bring one of the fae in here.”

Shiggy tried to pull away, “Ma’am, my arm.”

Sveta glared at Shiggy and Angel, “Sorcha, what is the meaning of this?”

Sorcha slid over, but not too close, “Well, Aunty, Mrs. Calloway thought Shiggy should have a little extra help in the judgement and wrong-doing area.  She assigned Ms. Angel Trumpet here to be Shiggy’s conscious.”

“You’re kidding, right?”

“Serious as a heart attack.”

“Why would she do something like this?”

“You can ask her.  She’s attending this evening.  I suspect she’ll ask Shiggy and Angel how things are working out.”

Sveta continued to glare, “Why in the world would Mrs. Calloway assign this stupid fairy to Shiggy?”

Angel snuffled.

“Not a word or a sniffle out of you, Angel Trumpet.  I don’t need you poisoning my guests or burning my carpet.”

Angel squeaked.

“And what is this fae creature wearing?”

Shiggy was still trying to twist out of Sveta’s grasp, “It’s just Barbie clothing.  I thought she could use a little finery for the season.”

Sveta closed her eyes, “Sorcha does this Shiggy understand about fae gifts?”

Shiggy yelled, “You don’t need to ask her, ma’am.  I understand.  I understand.”

Sveta’s eyes popped open.  She groaned, “Very well, Angel Trumpet, what did you give in return for this very fine gift?”

Angel sniffed, “I gave a bit of fae fire…as…as well as companionship.  What are such gifts among friends?”

Sveta stuck her finger against Angel’s neck.  She still held Shiggy with a grasp of steel. “A friend.  You call this Shiggy a friend?”

Angel trembled and sniffled, “She is a friend of the fae.”

“Sorcha.  Sorcha, did you know this?”

Sorcha still stood near the door, “I knew she was accepted by an Unseelie.  About the Seelie, I didn’t know.”

Shiggy sniffled, “What is so wrong with being a friend of the fae?”

Sorcha and Sveta answered together, “Obligations, dear.”

Sveta suddenly released Shiggy.  That sent her reeling back against Sorcha.  Sorcha caught her.

Sveta still glared.  She crossed her arms, “The first is this.  Angel Trumpet, no one in this house invited you inside.  You are not a companion, guest, associate, friend, or servant here.  Do you understand this?”

Angel pressed her hands together, “Mrs. Calloway made this abundantly clear in the charging.  I am only an associate for Shiggy.  I can only go where she goes and nowhere else.  I cannot and will not return to this house.”

“Swear it.”

Angel balked, “I swore already to Mrs. Calloway.”

“Swear it to me, or so help me…”

“I do swear all you asked by the One and All that I will not consider my entrance a standing invitation into your house.”  Angel’s hair puffed out.  She snarled, “I hate that.”

Sveta lowered her chin, “Second, I will have no fae events at my party.  Ms. Tash, Shiggy, you are responsible for that dolled up fairy.  Do not let her out of your sight and do not allow her to accomplish any action, use fae power, invite any other fae here, disturb or bother my other guests.  Is that clear?  There will be guests here who can see her.  If anyone asks, tell them Mrs. Calloway allowed it and I know about it.  Do not tell anyone about gifts, being friends, being assigned, or anything else concerning this issue.  In every sense, use what little common sense you seem to have Shiggy Tash, and do not cause an eruption of unrestraint tonight.”

Shiggy nodded emphatically.

“I really should make you and this fairy swear, but she knows what will happen to her already, and you can’t swear in this fashion.  Third, this has royally disturbed my holiday.  I don’t know how you can repair the current situation, but I want to see both of you in my office next Monday.  Thank the Dagda that I don’t have to put up with Heidi or Scáth this year.”  Sveta stomped to the door.  Sorcha jumped out of her way and pulled Shiggy to the side.  Sveta stood for a good ten seconds taking deep breaths.  She smiled, opened the door, and glided out again.


There are other elements in the writing that you can find distinctly in my writing and conversation—especially the gestures and mannerisms of the characters.  I’ll look at that next.


More tomorrow.

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

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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