Writing - part xx678 Writing a Novel, Plots and My Novels, more on Shadow of Light

 12 August 2021, Writing - part xx678 Writing a Novel, Plots and My Novels, more on Shadow of Light

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 I'm writing about Shadow of Light, here is the proposed 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

 

After I finished writing Shadow of Darkness, I wasn’t finished with Lumie’re.  In the end, she and Aliksander had escaped from the USSR, but Lumie’re hadn’t completed her goal of destroying Leila, the Goddess of Darkness.  In addition, the love story between Lumie’re and Aleksander was not complete.  So in the beginning of Shadow of Light, I broke them up again.

 

I had Lumie’re go to the British and Aleksander go to the Americans.  This provided some Cold War action and helped show the historical tension during that time.  Ultimately, Shadow of Light like all the other novels in this series is about history and especially, the history of the Twentieth Century.  If I leave anything to prosperity, it is at least a look at the world and history from a very personal standpoint.

 

Here is some of the information on the novel:

 

Lumière Bolang once had purpose and the ability to see that purpose through. She once had power and a calling and a man who loved her. Now, she has nothing. Since she defected with her love Aleksandr, the State Department took her tablet, her work, and all that made her who she was. Lumière never loved herself, but she could once achieve what she was called to do. Now, she believes she is nothing.

 

 

Aleksandr was her love. He believed in her and stuck with her through everything. He knows Lumière’s every secret. Lumière unintentionally sends him away. He loved her so much, and now she chases away her greatest comfort and help.

 

 

Lumière is the daughter of the goddess of light and her warrior. What this means is that she controls immense power of a spiritual dimension. This power is embodied in her many extraordinary human skills and her tablet. Using the tablet, she can control healing and the forces of light and night. She also controls a servant, Oba. Her purpose is to seek and destroy, Leila, the goddess of darkness, her mother’s twin. Leila influenced Hitler, Stalin, and now Mao. Lumière was attempting to travel to China to seek Leila when she and Aleksandr were forced to leave the Soviet Union.

 

 

Lumière cannot stay in America, the Americans think she is, at best, a double agent and, at worst, an outright spy. Bruce Lyons gives her a job in “the organization.” Because of her Chinese language expertise, Lumière works as a secretary in the Chinese division of the British Foreign Office and reports to “the organization.” In this capacity, she aids internal and external intelligence for the British.

 

 

Her intelligence operative status becomes evident when she meets Aleksandr in Geneva. He is a Chinese translator for the Americans, and is now engaged. Lumière pours out her heart to him, in Russian, in public, and accidentally identifies herself to the KGB. He rejects her overture. Lumière and Aleksandr are both kidnapped. The KGB wants to take them back to stand trial as traitors, but Aleksandr convinces them to let Lumière go. They release her, but retain Aleksandr to ensure Lumière’s compliance.

 

 

What the KGB doesn’t realize is the level that Lumière is working. When she reports everything to “the organization,” the British use the opportunity to gather intelligence. Lumière realizes, the time may come when she must choose between Aleksandr’s life and British security. In spite of Aleksandr’s rejection, Lumière still loves him. When Oba returns with Lumière’s tablet, she sends him to rescue Aleksandr.

 

 

Now, Lumière has purpose. She has a means of seeking the goddess of darkness through the Foreign Office connections to China. She watches Oba rescue and bring Aleksandr back to England. She has a position in “the organization.” There is hope for her to succeed and she may be able to defeat Leila. She may succeed, if only she can win back Aleksandr’s love, seek Leila, and prevent the KGB from taking her captive again.

 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Shadow of Light is about the redemption of Lumie’re and Aleksander.           

2.     Revelation (o) –2e, 64, 1i – 60%  I really hit my stride with this novel.  This is a revelation novel about Mao’s China during the Cold War right after the death of Stalin to the end of Mao as the head of the Communist Chinese Party.  Anyone who is interested about this period in China will learn much more than most history books can tell.   

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  Lumie’re’s achievement is to find and defeat the Goddess of Darkness.

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% In Shadow of Light, Lumie’re must find Aleksander, declare her love and win his love.  In addition, she must retrieve her tablet and servant.  She must also find Leila, and discover how to defeat her.  This is a powerful mystery.   

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  There is a kind of vengeance plot with Aleksander and Lumie’re as well as with the Goddess of Darkness.  

3.     Zero to hero (a) – 29 – 26%  Lumie’re becomes a hero again in this novel as does Aleksander.

4.     Romance (a) –1ie, 41 – 37%  Lumie’re works to regain Aleksander’s love.     

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

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

7.     Discovery (a) – 3ie, 57 – 54%  The discovery plots revolve around Lumie’re and her mysteries, especially finding her love, her tablet, her servant, and her antagonist.

8.     Money (a) – 2e, 26 – 25%  Not really.   

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

10.  Legal (a) – 5 – 4%  Nope. 

11.  Adultery (qa) – 18 – 16%  Nope.

12.  Self-discovery (a) – 3i, 12 – 13%  Yes, self-discovery for Lumie’re and Aleksander.

13.  Guilt or Crime (a) – 32 – 29%  Yes, there is an interesting twist in this novel.  The first is the Chinese Dragon who negotiates with the Goddess of Darkness for a real goddess (Lumie’re) and her warrior.  Second, we have a situation where Aleksander’s parents in the USSR believe Lumie’re abandoned the Church there.  This causes Lumie’re more issues that we thought she had overcome.  

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

15.  Reason (a) – 10, 1ie – 10%  Yes, the resolution as well as Lumie’re’s opposition all come through reason.

16.  Escape (a)  – 1ie, 23 – 21%  Yes, Lumie’re eventually fights to escape the British when her origins are accidentally discovered.

17.  Knowledge or Skill (a) – 26 – 23%  Knowledge and skills are the tools that are used and that Lumie’re is unconsciously learning.

18.  Secrets (a) – 21 – 19%  This novel is filled with secrets and revealed secrets.

Quality (q)

1.     Messiah (q) – 10 – 9%  Nope.

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

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%  Yes, Lumie’re rejects Aleksander’s love.

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

5.     Love triangle (q) – 14 – 12%  Yes, Aleksander has taken a fiancée.  She’s a spy for the USSR, but that is Lumie’re’s competition for a while.

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, Lumie’re betrays Aleksander in the beginning.  There is some betrayal with Aleksander’s fiancée.  We also have betrayal with the Dragon.

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

8.     Psychological (q) –1i, 45 – 41%  This is a psychological novel on many levels. 

9.     Magic (q) – 8 – 7%  Not really—Leila, Leora, and Lumie’re all have spiritual powers but it isn’t magic in the normal sense.

10.  Mistaken identity (q) – 18 – 16%  Yes, no one knows who Lumie’re is.  She is a spy for British intelligence.

11.  Illness (q) – 1e, 19 – 18%  Yes, a small part of the plot.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Not really

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

15.  Camaraderie (q) – 19 – 17%  Yes, there is a large degree of moving camaraderie based on associations and groups.

16.  Curse (q) – 4 – 4%  Nope.

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, Aleksander becomes a mentor to the Dragon.

Setting (s)

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

2.     War (s) – 20 – 18%  Yes, the Cold War.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, travel all over China and the eventual escape.

5.     Totalitarian (s) – 1e, 8 – 8%  Yes, with Mao’s China.

6.     Horror (s) – 15 – 13%  Yes, there is a touch of horror in the novel it is a type of suspense novel.

7.     Children (s) – 24 – 21%  Not really.

8.     Historical (s) – 19 – 17%  Yes, the novel is filled with historical information, events, and people.

9.     School (s) – 11 – 10%  Nope.

10.  Parallel (s) – 4 – 4%  Nope.

11.  Allegory (s) – 10 – 9%  Nope.

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

13.  Prison (s) – 2 – 2%  Yes, Lumie’re and Aleksander are imprisoned by the Dragon.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes, the changed black/gold table (Osiris Offering Formula) is a key item in the plot of the novel.

 

As I wrote, I really didn’t start this series as an evaluation or elucidation of the evil deeds and doers of the Twentieth Century, but that’s kind of what it turned out to be.  I saw how the evil of that century started in large measure with the German National Socialists and gave them a muse in the Goddess of Darkness.  At the same time, the Goddess of Light and her warrior Paul Bolang were fighting the supernatural and spiritual evil of the Goddess of Darkness.  This provided a great antagonist and a new protagonist for each of my novels. 

 

In Shadow of Darkness and Shadow of Light, Lumie’re Bolang becomes the protagonist.  In Shadow of Darkness we get to see the USSR and Stalin as the puppet and instigator of the evil of the Goddess of Darkness.  Lumie’re did what she could to blunt the evil of Stalin, but barely escaped with her life.  She want’s to have better success against Mao and the Goddess of Darkness’s actions in China.

 

Thus, we have in Shadow of Light, Lumie’re working at full strength through the British Foreign Office and the Organization to infiltrate and influence China.  At the same time, she is seeking to find and defeat Leila, the Goddess of Darkness. 

 

Aleksander is Lumie’re’s protagonist’s helper.  They work together, but in some measure, this novel is about the redemption of Aleksander as a man and a warrior. 

 

In the novels, I created my own myth about these Goddesses and the idea of modern Goddesses in the world.  The Goddess of Light is an intellectual who seeks a warrior who is a man of action.  The Goddess of Darkness is a warrior who seeks a warrior who is an intellectual.  Both are still warriors, but it is a sense of proportion and degree.  Aleksander is an intellectual.  He was never trained to be a man of action.  Although Lumie’re chose Aleksander precisely because he is an intellectual, she also want him to act like her father, who was a man of action.  This entire problem was caused by the circumstances of the birth and interaction of the family of Leora and Paul.  I could get into this pretty deeply, perhaps I shall.

 

In ancient Egypt, the Goddesses of Light and Darkness were always twins.  They were picked as the first pair of children born following the death of the previous Goddesses.  The Goddesses always were born together and died together.  They usually didn’t bear children.  Their warriors were chosen for them from the priests for the Goddess of Darkness and from the pharaohs sons for the Goddess of Light.  In the modern world, all this was thrown into confusion. 

 

Thus when the Goddess of Darkness physically died and the Goddess of Light did not, the being of the Goddess of Darkness was required to be born into the world.  That child was the first daughter born to Leora and Paul—Lumie’re.  In the ancient world Lumie’re would have been instructed by the priests about her responsibilities and her warrior, but what really wasn’t possible in the modern world.  Since Paul, her father was a man of action, Lumie’re expects her warrior to also act that way, yet, she chose an intellectual who really wasn’t fit to fill that role.  This is a key tension in Shadow of Light.  There is even more in this novel.

 

Although, I didn’t really write this series to highlight beings we imagine could never be redeemed, I did provide an interesting supernatural being in the mix, that is the Dragon.  The Dragon is a creature of Chinese and Western myth, but in China the Dragons are looking for enlightenment.  This is the kind of Dragon I provide.

 

All in all, Shadow of Light is an entertaining look at Cold War politics interspersed with China and the myths of China.  It is first of all an historical novel and second a novel about feet on the ground in the middle of these very important events in that history.

 

Next we’ll look at Children of Light and Darkness.

 

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