Writing - part xx680 Writing a Novel, Plots and My Novels, more on Children of Light and Darkness

 14 August 2021, Writing - part xx680 Writing a Novel, Plots and My Novels, more on Children of Light and Darkness

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 Children of Light and Darkness 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 Shadow of Light, Lumie’re and Aleksander were married, had purpose and children.  The Children were Klava and Sveta.  They were twin girls.  That was a pure setup for the next problem and event. 

 

As you might guess, Klava and Sveta are stand-ins for light and darkness.  Sveta is a diminutive for Svetlana which means light in Russian.  It was Lumie’re’s name when she was in the USSR.  Klava is a diminutive for Klavdiya which was the name of the clerk from the Soviet Fifth Shock Army who helped save Lumie’re in Berlin.  As you might guess from what I’ve written before, Klava and Sveta are the next generation of the Goddesses of Light and Darkness.  They have all the powers.  Except this novel, Children of Light and Darkness is not entirely about them perse.  The protagonist of the novel is Kathrin McCallen.

 

For Children of Light and Darkness, I was interested in getting back to the Celtic roots of mythology as well as exploring the deities of the British Isles.

 

Here is some of the information on the novel:

 

In 1960, Lumière Diakonov, the Shadow of Light, bore twin daughters.  She named them Sveta, meaning light, and Klava, meaning lame one.  One of these girls might become the Goddess of Darkness and revive a cycle of evil like the world had never seen before.  In 1965 Lumière and her husband were lost in Burma on an official mission—unknown to “the organization,” they took their daughters with them.

In 1970, new information comes to light about the loss of Lumière and her husband, and “the organization” sends Kathrin McClellan and James Calloway to Burma to hunt them down.  After a month, Kathrin and James accidentally find Klava and Sveta.  The girls are venerated as village goddesses and are called Darkness and Light by the people.  Sveta and Klava have incredible powers—powers Kathrin and James see first hand.  Kathrin and James realize, they must return these children to Britain, but how and at what cost.  Kathrin’s is an operative in interrogation.  She convinces the girls to accept her as their mother.  To the girls, this agreement is as binding as life itself.  James procures their paperwork, and Kathrin and James find themselves heading to England with two young goddesses in tow.

Now, for better or worse, Kathrin is the guardian, the official mother, of Sveta and Klava.  How do you raise two goddesses?  How do you turn them into socially responsible beings?  How do you prevent one from becoming the new Goddess of Darkness?  What agency of the government sent Kathrin and James into Burma to find them in the first place?  Who really is Kathrin McClellan?

Obviously, Sveta and Klava must go to school, but will Saint Anne's Anglican School ever be the same again?  They all need a place to live; Kathrin has a small flat that she can barely afford now.  What about a father for them—will James dump Kathrin when they return to England?

Children of Light and Darkness shows the trials and travails of Kathrin, James, Klava, and Sveta as they negotiate British society at the level of family parlors and royal palaces.  The Queen, along with the darker denizens of the British Isles become intimately involved, and the end is much more surprising than anything you can imagine. 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Children of Light and Darkness is about the physical and spiritual redemption of Kathrin as well as Klava and Sveta.  This novel was a new direction for me in exploring human needs and sin.  Kathrin is a deity who has just recently bowed her neck to the Dagda.  She is like many trying to live her life in a moral way, but still learning.               

2.     Revelation (o) –2e, 64, 1i – 60%  This novel is a strong revelation of history, but also of the mystery of who is Kathrin.  This is a great secret in the novel.  Basically, I’m leading the reader through the pantheon of Celtic deities in the modern age.   

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  The objective for the novel and for all the British deities is for Kathrin to take her place as their leader.  This is something she doesn’t wish to do. 

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% The entire mystery for the readers is who is Kathrin and what does it mean for Sveta and Klava to be her adopted children.   

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  There is a vengeance plot in the courts of the land trying to force Kathrin to take her place.  

3.     Zero to hero (a) – 29 – 26%  Not so much, but we see Kathrin, James, and the girls in a different light because of how they change.

4.     Romance (a) –1ie, 41 – 37%  There is a very strong romance plot between Kathrin and James.    

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

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

7.     Discovery (a) – 3ie, 57 – 54%  There is a huge discovery plot around just who Kathrin is and who the children are.

8.     Money (a) – 2e, 26 – 25%  Yes, kind of resolved early.  Kathrin has determined to raise Sveta and Klava, but she has little money as does James.  Much of the early tension is about expenses and pay.   

9.     Spoiled child (a) – 7 – 6%  Yes, but not really the main characters, but rather those around them..

10.  Legal (a) – 5 – 4%  Yes, on many levels. 

11.  Adultery (qa) – 18 – 16%  Nope.

12.  Self-discovery (a) – 3i, 12 – 13%  Yes, self-discovery for Sveta, Klava, and Kathrin.

13.  Guilt or Crime (a) – 32 – 29%  Not really.

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, Kathrin and James must return Klava and Sveta from Burma.

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, to a degree.  Kathrin is afraid James will reject her love and not marry her although she is pregnant.  This is one of the discovered secrets in the novel.

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

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

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, to a degree, Kathrin is betraying her nature and responsibility.

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—Sveta, Klava, and Kathrin as well as others all have spiritual powers but it isn’t magic in the normal sense.

10.  Mistaken identity (q) – 18 – 16%  Yes, no one knows who Kathrin is.

11.  Illness (q) – 1e, 19 – 18%  Yes, with Sveta and Klava.

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, Sveta and Klava are mentored by Kathrin.

Setting (s)

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

2.     War (s) – 20 – 18%  Yes, the Cold War to a small degree.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, travel all over Britain.

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

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%  Yes, big time with Sveta and Klava.

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

9.     School (s) – 11 – 10%  Yes, the girls attend a parochial school.

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, the golden tablet causes Sveta to be injured.  Plus, we have Kathrin’s cauldron.

 

Children of Light and Darkness ties in one of my most important characters, Kathrin McClellan or rather Kathrin McClellan Calloway also known as Ceridwen. 

 

I felt like I was on a roll with the idea of the unbound goddesses of ancient Egypt, I dabbled with the bound goddesses and gods of ancient Greece, and I wanted to do the same with the unbound gods and goddesses of the Celts.  Why the Celts?  Well, I set most of my novels in Britain, France, and the USA.  The Celtic gods and goddesses were supposed to be the deities of the Anglo-Saxons, Germanic (to a degree), Nordic (to a degree), Breton, Scottish, Irish, Picts, and a whole host of other ancient peoples from the Northern and Northwestern European areas.  Since I write a lot of my settings in this area, I wanted to use the mythology from it in a more cohesive manner, plus Ceridwen was the perfect character I could use and interject in my future projects.

 

So, I wrote a novel about Ceridwen.  Kathern McClellan Calloway has significant issues as a goddess.  She doesn’t want to take her place that is as the head of all the Courts of the realm.  She has already taken a warrior in the ancient fashion (sex), and is pregnant with a child that is supposed to be cursed.  Well the first child is a girl and is not, but the second is a boy and cursed.  This is the way of Ceridwen since the beginning, and I mean the beginning.

 

Ceridwen is the goddess of the Celts who leads their pantheon, but she also is the girl, the mother, and the crone.  She is born lives to marriage, is married and is cursed with degenerate offspring, and then dies as the crone.  The goddess Ceridwen is reborn from Oghma Grianainech and Etan, the god and goddess of magic and rebirth.  There we have it.

 

I made my Ceridwen and my Oghma and Etan, the first of the time to bow their necks to the Dagda (the true God).  This causes interesting problems for them and the Celtic realms.  There are no real negative for the Celtic realms, but there are negative and positives for Ceridwen and her parents. 

 

In any case, Ceridwen is the perfect girl, mother, and crone according to the Celtic myths.  Thus when Kathrin goes to find Klava and Sveta, we know she will bring them back to England and that she will turn them into the children and beings they should be.  This is part of the beauty of this novel.

 

In the beginning, no one knows who or what Kathrin is.  She is just an unimportant official with the Organization who was sent to Burma (Mymar) to retrieve Aleksander and Lumie’re.  That’s the connection.  In stead of Aleksander and Lumie’re, they find their children Klava and Sveta.  James, the agent who went along with Kathrin is her lover, warrior, and the father of her yet unrevealed pregnancy. 

 

This is a very entertaining novel.  It involves mystery, secrets, intrigue, dangerous, but sweat children going to Anglican school.  It has unusual and mysterious happenings all wound around Kathrin and her adopted children. 

 

Children of Light and Darkness is almost as important a setup novel as Aegypt.  In this novel, I put forward a new generation of protagonists and characters along with the continuing family of characters and protagonists.  We still need to find Aleksander and Lumie’re who have been lost before the beginning of this novel.

 

I’ll also note, Ceridwen becomes one of the most important characters in my Enchantment novels and all the continuing Ancient Light novels.  She is a sounding board I can use for the times and for authority that drives from the level of the Queen as well as the intelligence operations of the British government.  Notice, Kathrin is a lower level operative in the Organization.  This gives me scope for all kinds of fun events and missions.    

 

Next we’ll look at Warrior of Light.

 

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/
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