Writing - part xx693 Writing a Novel, Plots and My Novels, Valeska: Enchantment and the Vampire

 27 August 2021, Writing - part xx693 Writing a Novel, Plots and My Novels, Valeska: Enchantment and the Vampire

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 Valeska: Enchantment and the Vampire, 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.  Valeska: Enchantment and the Vampire is the fifth novel in the series.  I know.  I know.  I advised you, and me, not to write vampire novels, but then I had an inspiration for a vampire novel.  What can I say. 

 

I was reading about vampires in Asian writing as well as western writing and came up with a wonderful initial scene.  My initial scene had one of my covert intelligence agents being ambushed and dying.  He happened to disturb a vampire who was hunting during the full moon. 

 

My vampires are a little different than others.  They aren’t sparkly vampires.  They are even more logical than the original vampire, Dracula.  My vampires can’t dine or attack Christians.  I know why Bram Stoker didn’t levy this requirement on his vampires—in the Victorian Era, they would starve, but his vampire is not rational.  How do we know?  The cross, holy water, and Christian symbols such as the Bible and other elements can harm and also repel vampires.  A Christian person is said to have the cross of Christ on his or her forehead and heart—they are permanent and exclusive to Christians.  If a cross can repel a vampire, certainly a saved soul can also.  Since vampires are a proof of God, this makes perfect sense.

 

Thus, my covert intelligence agent is a Christian, but because he is dying, he allows the vampire to dine.  This causes her a problem—now she can’t dine on anyone else.  I’ll explain more about his novel tomorrow.

 

Here is some of the information on the novel:

 

George Mardling was dying.  It must be completely understood that the gunshot that struck him down during a simple contact mission was not survivable.  Unfortunately or fortunately, depending how you look at it, George’s failed mission had also spoiled the hunt of a destitute vampire.  It was the time of a full moon—the time when vampires hunted human blood or become immaterial.  She was starving.  Her clothing was ruined by sleeping in tombs filled with corruption.  She was filthy, and she wanted his blood.  Since George had no further use for it, he granted it to her.  She said that was likely a sin, but at that moment, George didn’t care.  However, because George was a cross-bearer, she couldn’t just take his blood—his permission was required.  George allowed her to feed.  It didn’t make him a vampire—she promised him that, but she did give him back his life, and somehow, his blood made her dependent on him for the existence she had.  Her name was Valeska.  Her given name was Heidi, and she had been made a vampire over two hundred years ago when she was fifteen.

 

George was an agent for the Crown—he went about his work once more thankful for life.  When the full moon came again, Heidi/Valeska hunted George—she could not do otherwise.  They began a strange symbiotic relationship.

 

When George was recalled to Britain by the Crown, he brought Heidi back with him—he could not leave her to lose the little life she had.  The organization George worked for possessed a classified branch called Stele that worked with and protected Britain from the supernatural.  George’s actions and his miraculous recovery prompted Stele to action.  They wanted to know what Heidi was and if she posed a threat to them and the country.  That’s when Leila and Scáth became involved.  They were agents of Stele and both had their own problems.  Chiefly, Scáth was a being similar to Heidi, and Leila was something else altogether. 

 

George must prove Heidi is no threat to Britain and Stele.  He must work with Leila and Scáth, and Leila has fallen in love with him.  That would be alright, but Heidi’s existence has become George’s purpose, and because of it, he has been touched by the grave and death.  Leila is a being who needs someone like George.  She has power beyond a normal person—that’s why she works for Stele.  Her power is darkness, and the natural friendship she and Heidi should have is colored by both of their relationships with George.  George is pulled from both sides.  He doesn’t want to lose everything he has worked for, and at the same time, he has become a pawn in larger schemes than anyone could imagine.  The life of Leila, the existence of Heidi, and the safety of the British people are now dependent on his actions.

 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Valeska: Enchantment and the Vampire is all about redemption.  I wrote that my Enchantment novels are all about the redemption of beings we think can’t be redeemed.  This novel is about the potential redemption of a Vampire.  Along the way, I sprinkle love, unrequited love, unfulfilled love, plus some other fun stuff.              

2.     Revelation (o) –2e, 64, 1i – 60%  This is a novel about the revelation of stele operations as well as about a vampire.  There is entertainment and intrigue for everyone in this novel.  I like the intelligence focus and the secrets wrapped all around them.  I suspect many of my readers will like the romance.       

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  There is much about achievement and much to be achieved in this novel.  Perhaps I made too much in it, but Heidi (Valeska, the vampire) wants security and acceptance.  George, my protagonist wants a family and peace in his life.  Leila, wants to make George her warrior.  She is looking for love and her place in the world.  Scaith wants peace for her mistress, Leila.   

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% The initial mystery is about Valeska and about Chinese Communist operations in Europe.  This changes to Leila and magic use in Britain.  This isn’t a logical fallacy, it is George moving from MI6 operations in Europe to Stele operations in Britain.       

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  Leila causes a terrible problem for herself and others when she misinterprets Heidi (Valeska’s) relationship with George.  This is a major driver in the novel.  

3.     Zero to hero (a) – 29 – 26%  This novel is somewhat about this, like almost every comedy novel, but it isn’t as strong and it’s about both George and Leila.

4.     Romance (a) –1ie, 41 – 37%  Yes, George is being pursued by Leila.  This is about learning to love and loving others.   

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

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 small part in the novel.  Leila borrows ancient gold from her grandfather which is one of the ways they try to track her down.    

9.     Spoiled child (a) – 7 – 6%  Not really.  Valeska projects herself as a spoiled child and Leila has some immature characteristics, but it’s not really about that as much as about self-discovery.  

10.  Legal (a) – 5 – 4%  To a slight degree with Leila and George. 

11.  Adultery (qa) – 18 – 16%  Nope. 

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, George is trapped by rogue gods to threaten Leila.

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%  Nope.

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%  Yes, Leila thinks George has rejected her love.

4.     Miscommunication (q) – 8 – 7%  Yes, with Leila which sets off the entire problem in the second part of the novel.

5.     Love triangle (q) – 14 – 12%  Yes, to a degree.

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, the impression of betrayal.

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 really not about magic, but Leila as well as other characters have the ability to make miracles of a type.

10.  Mistaken identity (q) – 18 – 16%  Yes, to a degree.

11.  Illness (q) – 1e, 19 – 18%  Yes, George is shot and has a mortal wound which drives the entire plotline.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Yes, the impression of immorality.

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%  Slight with the name of Leila and the vampire issues with Valeska. 

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, very strongly with Valeska and Scaith for Leila.

Setting (s)

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

2.     War (s) – 20 – 18%  Nope.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, in Europe, Britain, and Ireland.

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

6.     Horror (s) – 15 – 13%  A little.

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

8.     Historical (s) – 19 – 17%  Yes, it’s modern era.

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%  Nope.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes, Leila’s tablet.

 

Next, we’ll look at Valeska: Enchantment and the Vampire in greater depth.

 

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