Writing - part xx659 Writing a Novel, Plots and My Novels, Centurion

 24 July 2021, Writing - part xx659 Writing a Novel, Plots and My Novels, Centurion

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 at www.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 21^st 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 websites 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.

5. 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)

a.      Research as required

b.     Develop the initial setting

c.      Develop the characters

d.     Identify the telic flaw (internal and external)

3.     Write the initial scene (identify the output: implied setting, implied characters, implied action movement)

4.     Write the next scene(s) to the climax (rising action)

5.     Write the climax scene

6.     Write the falling action scene(s)

7.     Write the dénouement scene

Since we are looking at Centurion, here's the cover:

I finished writing my 29^th 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 30^th novel, working title Red Sonja.  I finished my 29^th 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. 

 

For Novel 32:  Shiggy Tash finds a lost girl in the isolated Scottish safe house her organization gives her for her latest assignment: Rose Craigie has nothing, is alone, and needs someone or something to rescue and acknowledge her as a human being.

 

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. 

 

I’ve worked through creativity and the protagonist.  The ultimate point is that if you properly develop your protagonist, you have created your novel.  This moves us on to plots and initial scenes.  As I noted, if you have a protagonist, you have a novel.  The reason is that a protagonist comes with a telic flaw, and a telic flaw provides a plot and theme.  If you have a protagonist, that gives you a telic flaw, a plot, and a theme.  I will also argue this gives you an initial scene as well. 

 

So, we worked extensively on the protagonist.  I gave you many examples great, bad, and average.  Most of these were from classics, but I also used my own novels and protagonists as examples.  Here’s my plan.

 

1.     The protagonist comes with a telic flaw – the telic flaw isn’t necessarily a flaw in the protagonist, but rather a flaw in the world of the protagonist that only the Romantic protagonist can resolve.

2.     The telic flaw determines the plot.

3.     The telic flaw determines the theme.

4.     The telic flaw and the protagonist determines the initial scene.

5.     The protagonist and the telic flaw determines the initial setting.

6.     Plot examples from great classic plots.

7.     Plot examples from mediocre classic plots.

8.     Plot examples from my novels.

9.     Creativity and the telic flaw and plots.

10.  Writer’s block as a problem of continuing the plot.

 

Every great or good protagonist comes with their own telic flaw.  I showed how this worked with my own writing and novels.  Let’s go over it in terms of the plot.

 

This is all about the telic flaw.  Every protagonist and every novel must come with a telic flaw.  They are the same telic flaw.  That telic flaw can be external, internal or both.

 

We found that a self-discovery telic flaw or a personal success telic flaw can potentially take a generic plot.  We should be able to get an idea for the plot purely from the protagonist, telic flaw and setting.  All of these are interlaced and bring us our plot.

 

For a great plot, the resolution of the telic flaw has to be a surprise to the protagonist and to the reader.  This is both the measure and the goal.  As I noted before, for a great plot, the author needs to make the telic flaw resolution appear to be impossible, but then it happens.  There is much more to this. 

 

I evaluated the plots from the list of 112 classics and categorized them according to the following scale:

 

Overall (o) – These are the three overall plots we defined above: redemption, achievement, and revelation.

 

Achievement (a) – There are plots that fall under the idea of the achievement plot. 

 

Quality (q) – These are plots based on a personal or character quality.

 

Setting (s) – These are plots based on a setting.

 

Item (i) – These are plots based on an item.

I looked at each novel and pulled out the plot types, the telic flaw, plotline, and the theme of the novel.  I didn’t make a list of the themes, but we identified the telic flaw as internal and external and by plot type.  This generally gives the plotline. 

 Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%

2.     Revelation (o) –2e, 64, 1i – 60%

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51%

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%

3.     Zero to hero (a) – 29 – 26%

4.     Romance (a) –1ie, 41 – 37%

5.     Coming of age (a) –1ei, 25 – 23%

6.     Progress of technology (a) – 6 – 5%

7.     Discovery (a) – 3ie, 57 – 54%

8.     Money (a) – 2e, 26 – 25%

9.     Spoiled child (a) – 7 – 6%

10.  Legal (a) – 5 – 4%

11.  Adultery (qa) – 18 – 16%

12.  Self-discovery (a) – 3i, 12 – 13%

13.  Guilt or Crime (a) – 32 – 29%

14.  Proselytizing (a) – 4 – 4%

15.  Reason (a) – 10, 1ie – 10%

16.  Escape (a)  – 1ie, 23 – 21%

17.  Knowledge or Skill (a) – 26 – 23%

18.  Secrets (a) – 21 – 19%

Quality (q)

1.     Messiah (q) – 10 – 9%

2.     Adultery (qa) – 18 – 16%

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%

4.     Miscommunication (q) – 8 – 7%

5.     Love triangle (q) – 14 – 12%

6.     Betrayal (q) – 1i, 1ie, 46 – 43%

7.     Blood will out or fate (q) –1i, 1e, 26 – 25%

8.     Psychological (q) –1i, 45 – 41%

9.     Magic (q) – 8 – 7%

10.  Mistaken identity (q) – 18 – 16%

11.  Illness (q) – 1e, 19 – 18%

12.  Anti-hero (q) – 6 – 5%

13.  Immorality (q) – 3i, 8 – 10%

14.  Satire (q) – 10 – 9%

15.  Camaraderie (q) – 19 – 17%

16.  Curse (q) – 4 – 4%

17.  Insanity (q) – 8 – 7%

18.  Mentor (q) – 12 – 11%

Setting (s)

1.     End of the World (s) – 3 – 3%

2.     War (s) – 20 – 18%

3.     Anti-war (s) –2 – 2%

4.     Travel (s) –1e, 62 – 56%

5.     Totalitarian (s) – 1e, 8 – 8%

6.     Horror (s) – 15 – 13%

7.     Children (s) – 24 – 21%

8.     Historical (s) – 19 – 17%

9.     School (s) – 11 – 10%

10.  Parallel (s) – 4 – 4%

11.  Allegory (s) – 10 – 9%

12.  Fantasy world (s) – 5 – 4%

13.  Prison (s) – 2 – 2%

Item (i)

1.     Article (i) – 1e, 46 – 42%

Here is a list of my novels:

 

1*	SF	A Season of Honor (Honor III)	1986	P 08
2	1		30-Oct	Nov
2*	SF	The Fox’s Honor (Honor II)	1989	P 08
3	2		2-May	Oct
3	SF	The End of Honor (Honor I)	1995	P 08
9	3		13-Jul	Jul
4	HF	Antebellum	1991	*
4	4		7-Feb
5*	F	Aegypt	1992	P 08
5	5		16-Jun	Jan
6*	HF	Centurion	1995	P 08
8	6		1-Feb	Jan
7a*	SF	Athelstan Cying	1992	A
6	7		26-Sep
8 15	SF	Twilight Lamb	2007	A
7b*	8		8-Aug
9 16	SF	Regia Anglorum	2007	A
7c	17		23-Nov
10*	SF	The Second Mission*	1996	P 03
10	9		13-Nov	Aug
11	Fan	Illidin	1977	I
1			Sep
12	F	Sister of Light	1997	C
11	10		16-Aug
13	F	House	1994	I
7			23-Dec
14	F	Hestia: Enchantment of the Hearth	2006	*
13	11		28-Dec
15	Fan	Aramis	2006	I
12			27-Apr
16	HF	Japan		I
14
17	F	Sister of Darkness	2008	C
17	12		3-Jun
18	F	Shadow of Darkness	2008	A
18	13		14-Sep
19	F	Shadow of Light	2008	A
tt5t	14		24-Oct
20	F	Children of Light and Darkness	2008	A
20	15		1-Dec
21	F	Warrior of Light	2009	A
21	16		1-Feb
22	HF	Praetorian
22
23 23	SF	Shadowed Vale	2009	A
	18		10-May
24 24	SF	Ddraig Goch	2009	W
			25-Aug
25	F	Warrior of Darkness	2009	*
25	19		29-Oct
26	F	Dana-ana: Enchantment and the Maiden	2010	*
26	20		10-Jun
27	F	Aksinya: Enchantment and the Daemon	2010	A
27	21		1-Nov
28	F	Khione: Enchantment and the Fox	2011	*
28	22		1-Mar
29	F	Valeska: Enchantment and the Vampire	2013	*
29	23		26-Nov
30	F	Lilly: Enchantment and the Computer	2014	*
30	24		1-May
31	SF	Escape from Freedom	2014	*
31	25		2-Oct
32	F	Essie: Enchantment and the Aos Si	2015	*
32	26		1-May
33	F	Sorcha: Enchantment and the Curse	2016	*
33	27		1-Mar
34	F	Red Sonja	2016	W
34	XX		1-Mar
35	F	Deirdre: Enchantment and the School	2016	*
35	28		1-Jul
36	F	Blue Rose: Enchantment and the Detective	2018	*
36	29		1-Jul
37	F	Cassandra: Enchantment and the Warriors	2018	*
37			1-Jul
38	F	Rose: Enchantment and the Flower	2021	*
38			1-Mar

 

Centurion was my first novel published by Oaktara.  Unfortunately, Oaktara is out of business.  Centurion is a regular historical fiction novel.  I highly researched it and used the knowledge I gleaned from researching The Second Mission in ancient Greek to study primary sources in Greek and translations in Latin.  I do ancient Greek but not Latin.

Centurion was my second historical novel.  It is set just before the First Century and until 33 AD.  It covers the life of the Centurion who executed Jesus Christ.  This is a highly researched novel about the Roman Legion, but uses the time and incidents in the time of Christ as the main plotline.

 

Here is the blurb and some other information:

 

A longing heart.

An unlikely friendship.

 

Love...and the bitterest of betrayals.  

     

Who was the man ordered to crucify Christ?

       

     

What did he witness that led him to proclaim, “This was surely the Son of God?”

 

Traditionally, we named him, the Centurion Abenadar, and we know almost nothing about him.  The novel, Centurion, gives life to Centurion Abenadar. 

 

Abenadar’s life is based on primary source documents about the Roman Legion. Abenadar was close enough to the Procurator of Judea, Pontius Pilate, that Pilate trusted him with the responsibility of the controversial and potentially explosive crucifixion of Christ.  At the same time, Abenadar was a man to whom Pilate effortlessly gave the dirty work of the crucifixion, the execution for which Pilate himself would not take responsibility. 

 

Centurion casts Abenadar as the bastard child of the Roman ambassador to the court of Herod the Great.  Abenadar’s mother was a Judean girl, the Roman ambassador’s concubine.  When the ambassador returned to Rome, he left her pregnant, and in disgrace.  The girl returned to her home in Nazareth of Galilee.  She named her son, Abenadar, after his father. 

 

Abenadar’s father did not leave him with nothing—he granted his son Roman citizenship.  When Abenadar accepted his legacy, he also discovered a place in the Roman Legion stationed in Galilee.  Abenadar found in the legion and Roman citizenship a boon and a curse.  From his mother’s training in Herod’s court, Abenadar spoke and read Hebrew, Greek, and Latin, and from the taint of his father’s legacy and his hard childhood, Abenadar learned to be a cunning fighter.  The legion honed these skills.  Centurion maps the rise of Abenadar through the ranks and units in Palestine until he is a chief advisor and one of the lead Centurions in Jerusalem.  In this capacity, he both advised Pilate and became the vehicle to enact Pilate’s decree.

   

Abenadar was more than a Centurion; he was also half Judean.  His abilities derived from his understanding and communication with the people of Judea.  But Abenadar was a man, not a piece of cardboard—all the forces in his life shaped and formed him.  He fervently trusted in God—and in the legion.  When he accidentally rescued a prostitute, Ruth, in the streets of Jerusalem, he redeemed her—for himself.  Ruth was a destitute girl; the death of her parents forced her into her past life.  After Abenadar took her in, she lived a semblance of the life she was raised to lead.  Life with Ruth changed Abenadar.  He returned to the Judean practice of his youth, and through Ruth’s faith, Abenadar’s life became connected to the new prophet—Jesus. 

   

Abenadar experienced the events in the city of Jerusalem from inside the court of Pilate and from the city streets.  When Jesus was brought before Pilate, Abenadar became his interpreter and translator.  When Pilate gave Jesus over to the Priests, he instructed Abenadar to crucify Jesus. 

 

Through Abenadar’s eyes, Centurion reveals the crucifixion and the resurrection. Abenadar’s greatest fear was that he would lose Ruth, for she believed the message of the prophet he must execute.  But Abenadar misjudged Ruth’s love and her faith.  And he misjudged how his experience of the Christ would change him.

 

 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  The Centurion Abenadar needs redemption.  He is the child of a Roman Ambassador and a Jewish woman, a concubine.  He is hated by his own people, the Romans, and the Greeks, but he can converse with them all.  He wants love and acceptance, but can’t find that even as he climbs the ranks to a Centurion.   

2.     Revelation (o) –2e, 64, 1i – 60%  The life of Abenadar and the training and life of the Roman Legions is revealed in exquisite detail.  This is a major part of the entertainment and development of the novel.    

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  The achievement plots are about love, promotions, and positions as well as acceptance.

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% There is some mystery about who attacks Adenadar, about Ruth, about Jesus, and about figuring out problems in Jerusalem.

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  Actually, the opposite.  There are some seeking vengeance against Abenadar, but it’s a subplot. 

3.     Zero to hero (a) – 29 – 26%  Very strongly with Abenadar.

4.     Romance (a) –1ie, 41 – 37%  Yes, very strong.  Abenadar saves a woman of the streets and gives her a home.  She becomes part of his connection to Jesus. 

5.     Coming of age (a) –1ei, 25 – 23%  Yes, to an extent.

6.     Progress of technology (a) – 6 – 5%  Not really.

7.     Discovery (a) – 3ie, 57 – 54%  About the Roman Legion and training to be a Legionnaire

8.     Money (a) – 2e, 26 – 25%  Yes, to some degree with the other soldiers.

9.     Spoiled child (a) – 7 – 6%  Nope.

10.  Legal (a) – 5 – 4%  Not really.

11.  Adultery (qa) – 18 – 16%  Nope.

12.  Self-discovery (a) – 3i, 12 – 13%  The self-discovery and coming of age is the same plot.  The characters are adults and not children.

13.  Guilt or Crime (a) – 32 – 29%  Abenadar has guilt about his circumstances and life.  This is part of the problem of redemption and especially about his life as a Jew.   

14.  Proselytizing (a) – 4 – 4%  Nope.

15.  Reason (a) – 10, 1ie – 10%  Yes, Much of Abenadar’s power as a leader comes from his intellect.  This drives the novel. 

16.  Escape (a)  – 1ie, 23 – 21%  Only figurative.

17.  Knowledge or Skill (a) – 26 – 23%  Knowledge and skill as a leader and a soldier are very important.  These allow Abenadar to be promoted.

18.  Secrets (a) – 21 – 19%  Not really.

Quality (q)

1.     Messiah (q) – 10 – 9%  Nope.

2.     Adultery (qa) – 18 – 16%  Nope.

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%  Yes, a little, but not very strong.

4.     Miscommunication (q) – 8 – 7%  Not really.

5.     Love triangle (q) – 14 – 12%  Nope.

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  There is a degree of betrayal with Christ and Abenadar, but it only comes from Abenadar’s feelings and ideas.

7.     Blood will out or fate (q) –1i, 1e, 26 – 25%  Nope.

8.     Psychological (q) –1i, 45 – 41%  There is a very strong psychological component in this novel.  The conflicted mind and heart of Abenadar as well as Ruth are very important in the novel.

9.     Magic (q) – 8 – 7%  Nope.

10.  Mistaken identity (q) – 18 – 16%  Nope.

11.  Illness (q) – 1e, 19 – 18%  Yes, Abenadar is injured and this creates two important turning points in the novel.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Some with Abenadar’s life in the Legion compared to his Jewish background.

14.  Satire (q) – 10 – 9%  Not really.

15.  Camaraderie (q) – 19 – 17%  Yes, between the Legionnaires.

16.  Curse (q) – 4 – 4%  Nope.

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, very strongly between Abenadar and his mentors.

Setting (s)

1.     End of the World (s) – 3 – 3%  Nope.

2.     War (s) – 20 – 18%  Yes and battles.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, extensively to battles and within the Levant.

5.     Totalitarian (s) – 1e, 8 – 8%  Nope.

6.     Horror (s) – 15 – 13%  Not really.

7.     Children (s) – 24 – 21%  Nope.

8.     Historical (s) – 19 – 17%  This is a full on historical novel with great details you won’t find in most novels of its time.

9.     School (s) – 11 – 10%  Training in the Legion.

10.  Parallel (s) – 4 – 4%  Nope.

11.  Allegory (s) – 10 – 9%  Nope.

12.  Fantasy world (s) – 5 – 4%  Nope.

13.  Prison (s) – 2 – 2%  Nope.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes to a degree.  The legion plume and some other items that mark the Legion and the Legionnaires are important in the plots.  

 

I’ll write more about Centurion tomorrow.

 

In the end, we can figure out what makes a work have a great plot and theme, and apply this to our writing.     

      

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