Writing - part xx690 Writing a Novel, Plots and My Novels, more on Aksinya: Enchantment and the Daemon

 24 August 2021, Writing - part xx690 Writing a Novel, Plots and My Novels, more on Aksinya: Enchantment and the Daemon

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 Aksinya: Enchantment and the Deamon, 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

 

I’m still writing my Enchantment novels.  Aksinya: Enchantment and the Daemon is the third.

I’ll write more about where this novel came from tomorrow, but for the moment, imagine the opposite of Faust.  This is exactly what I wanted with this novel.  In Faust, the protagonist Faust calls a demon (or Satan however you read it) and gains power by trading his soul.  I wanted a character like Faust, but who accomplished her calling of a demon for a righteous purpose, thus Aksinya.  I further wanted a comedy and a Romantic plot.  Aksinya had to be able to find out a way to free herself from the demon.  This turns Faust on its head. 

 

Here is some of the information on the novel:

 

In November 1918, Lady Aksinya Andreiovna Golitsyna called the demon Asmodeus to protect her noble family from the Bolsheviks.  At the time, Russia was in the middle of a revolution and a civil war.  The aristocracy was at risk every moment from rapine and murder.  Aksinya conjured a demon to protect her family, but she was too late.  When Aksinya and Asmodeus arrived at the estate, her father and mother, brother and sister were already dead.  She became the Countess of Golitsyna because no one else remained alive.  Aksinya was left in a very trying situation:  she had conjured a demon, whose only purpose was to aid her in accomplishing evil, but Aksinya didn’t desire to accomplish evil—she only wanted to protect her family and now, they were all dead.

 

Aksinya was unfortunately well trained to accomplish evil.  She was a sorceress and a powerful one.  At every turn, the demon, Asmodeus tempts Aksinya through her sorcery to evil.  Aksinya has other problems as well.  With the demon at her side, the world for Aksinya becomes one of repeated temptation and fall.  The demon tempts her to call a servant, the Lady Natalya.  He tempts her to travel to Wien, Austria and to her relatives there.  He tempts her to sorcery at every turn.  He tempts her to take a lover.  Each of the temptations drives her deeper and deeper into the depths of evil and despair.

 

Aksinya isn’t passive in her resistance, but she has few tools and fewer chances to fight against Asmodeus.  Plus, she doesn’t want to fight his temptation—that is the nature of temptation.  She desires sorcery.  She desires noble and aristocratic possessions.  She desires control, and the demon gives her all these things.

 

What Aksinya doesn’t realize is that Asmodeus’ purpose is not for her good at all, only for evil.  His purpose is to tempt her into destruction, and her destruction will result in the end of her friends, acquaintances, and relatives.  The demon plans a much greater end to everything in Aksinya’s life than she could ever imagine.

 

Aksinya wishes to be free from the demon, and she will give up almost everything to achieve that goal.  Will she be able to gain her freedom and will she be able to face the results of that freedom?

 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Aksinya: Enchantment and the Daemon includes multiple redemption plots.  The obvious one is Aksinya herself.  Putting aside the possibility to redeem a demon (that’s worth another novel), there is also Aksinya’s handmaiden, her teacher, her lover, and finally the man she marries.  Each of these need a type of redemption from their own problems and sin.  I didn’t mention Aksinya’s priest—he also needs some redemption, which he doesn’t really get—or we are not sure.              

2.     Revelation (o) –2e, 64, 1i – 60%  Aksinya: Enchantment and the Daemon is about the revelation of temptation.  The demon provides Aksinya all kinds of temptation, all very subtle.  She barely realizes the result until in the end, she has failed to follow what she knows it right and true.     

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  The achievement is from the curse of the demon.  We know this was impossible for Faust and all the others of his ilk.  Can Aksinya free herself or be freed from the demon?   

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% Here is the big question of this novel.  Is the demon real or not.  We see through Aksinya’s eyes, but no one else seems to notice or see the demon.  Is this demon Aksinya’s imagination, her personal demon, or is he real?       

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  Aksinya gets her revenge, but at the cost to her soul.  Revenge and vengeance is not so much a driver as an ever present temptation.   

3.     Zero to hero (a) – 29 – 26%  It’s hard for Aksinya to be a hero of any kind, but she becomes one.  Her fiancé becomes more of one for her and them.

4.     Romance (a) –1ie, 41 – 37%  Part of Aksinya’s problem is sex and desire.  This is part of the temptation through the novel, but there is also romance that is one sided, and romance that is fulfilled.    

5.     Coming of age (a) –1ei, 25 – 23%  Some, with Natalia, Aksinya’s lady in waiting and Aksinya herself.

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

7.     Discovery (a) – 3ie, 57 – 54%  This entire novel is about discovery from cover to cover.

8.     Money (a) – 2e, 26 – 25%  Money plays an important part in the novel.  There is little lack of it, but Aksinya is driven to bankruptcy by the demon, and this becomes a court case.   

9.     Spoiled child (a) – 7 – 6%  Aksinya is not really a spoiled child.  She is a pathos child with real issues based on her bringing up.  She does act the spoiled rich child, but we can forgive her.

10.  Legal (a) – 5 – 4%  Yes, this is a strong theme in this novel.  Aksinya faces an ecclesiastical court and a secular court.  Her savior is her priest. 

11.  Adultery (qa) – 18 – 16%  Yes, Natalia has sex with Aksinya’s lover and potential husband.

12.  Self-discovery (a) – 3i, 12 – 13%  Yes, self-discovery is the nature of this novel.  All the characters are discovering things about themselves and others.  The others are real revelations about the power and actions of people—mostly not of a positive nature.

13.  Guilt or Crime (a) – 32 – 29%  Yes, this is a major driver in the novel.

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

15.  Reason (a) – 10, 1ie – 10%  Yes, the resolution all comes through reason.

16.  Escape (a)  – 1ie, 23 – 21%  Yes, Aksinya must escape her personal demon.

17.  Knowledge or Skill (a) – 26 – 23%  Knowledge and skills are the tools that are used and that they are 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%  Yes, this is a problem for Natalia.  She has been used and abused her entire life.

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%  Yes, Aksinya rejects her potential fiancé because Natalia tricks him into sex.

4.     Miscommunication (q) – 8 – 7%  Huge, the demon is constantly using tricks like miscommunication to tempt Aksinya and to drive his endpoints home.

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

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, this is very strong in this novel.

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%  This novel is all about Akisnya’s use of sorcery (magic) to affect the world.

10.  Mistaken identity (q) – 18 – 16%  Yes, with Natalia and the demon.

11.  Illness (q) – 1e, 19 – 18%  Yes, Aksinya allows herself to be injured to save her friends.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Yes, the temptations lead Aksinya to large and small sins.

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%  Yes, Aksinya is cursed with a demon—it was her own fault. 

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, very strong with Aksinya’s priest and her German teacher.

Setting (s)

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

2.     War (s) – 20 – 18%  Yes, World War I.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, travel from Russia to Austria and around Austria.

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

6.     Horror (s) – 15 – 13%  Yes, to a degree this is a strong suspense novel.

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

8.     Historical (s) – 19 – 17%  Yes, very strongly with historical events and people all around.

9.     School (s) – 11 – 10%  Yes, Aksinya enters a parochial girl’s school in Wien.

10.  Parallel (s) – 4 – 4%  Yes, to the Book to Tobit.

11.  Allegory (s) – 10 – 9%  Yes, to the Book of Tobit.

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

13.  Prison (s) – 2 – 2%  Yes, Aksinya is imprisoned waiting for her trials.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes, the surety of the demon and Aksinya act as important actual items in the novel.

 

Yes, Aksinya: Enchantment and the Daemon is my anti-Faust novel.  I really wanted to write a novel about temptation with a Faustian protagonist.  I also wanted to make my protagonist pathos building.  I started with a girl who was not really abused but from an aristocratic background who was left alone much too often.  Aksinya learned sorcery because she thought she was ugly, and she wanted to change the world around her.  She became a powerful sorceress because it fit her and because she was tempted to it.  She became so good at it that she called a demon.  You don’t get much choice when you call demons, and Asmodeus came to me. 

 

Asmodeus is the demon of luxuria.  What is luxuria, you might ask?  Luxuria is the lust for anything but specifically for sex, food, money, goods, clothing, popularity, and all.  Asmodeus is also the demon from the Book of Tobit from the Bible and specifically from the Apocrypha.  Aksinya: Enchantment and the Daemon is a semi-allegory of Tobit.  What is a semi-allegory?

 

The novel is not a retelling or a total allegory of Tobit it is a semi-allegory.  This means that not everything fits neatly into the ideas, characters, and settings of Tobit.  What does fit is that Aksinya: Enchantment and the Daemon has a protagonist who is like Sara from Tobit.  Sara did not call the demon Asmodeus who haunts her and murders her potential husbands.  On the other hand, Aksinya did call Asmodeus.  These are the same demons, just so you know.  

 

The demon Asmodeus did give Aksinya a fish shaped pendant as a surety.  Aksinya gave the demon her long braids.  Spoiler, the fish shaped pendent is part of the solution to freeing Aksinya from the demon.  In any case many things must happen to get to the end of the novel.

 

From the beginning, the demon tempts Aksinya to sin.  The sins at first are small, but they grow with time.  In the end, the sins begin to consume Aksinya’s friends and relatives.  In the end, Aksinya must face an ecclesiastical trial for her sorcery and a secular trial for the illegal contracts of the demon.

 

The point of Aksinya: Enchantment and the Daemon is to show that Faust could be redeemed.  In this case, the Faust is Aksinya.  Aksinya was also different than Faust in that she did not intend to call the demon for her own good.  In the end, she overcomes the demon through the same means as did Tobias in Tobit. 

 

Also, some have asked why call the title Daemon and no demon.  Just take that to be the ancient use and spelling of the word.  If a publisher asked me to normalize the word, I would.  It just thought that Daemon gave an older and more unique quality to the title of the work.    

 

Next, we’ll look at Khione: Enchantment and the Fox.

 

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