Writing - part xx707 Writing a Novel, Plots and My Novels, more on Blue Rose: Enchantment and the Detective

 9 September 2021, Writing - part xx707 Writing a Novel, Plots and My Novels, more on Blue Rose: Enchantment and the Detective

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

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

 

Blue Rose: Enchantment and the Detective was another novel developed from my blog.  What I was doing is showing my readers about how a plot works and can be developed.  In addition, I was developing a romantic plot.  The example I used was a detective plot.  The reason is that the detective plot is the easiest to see and explain. 

 

The telic flaw in the detective plot is to solve the mystery.  The telic flaw is the mystery.  What I did with Blue Rose: Enchantment and the Detective is to develop a plot and then the protagonist for that plot.  The protagonist was Azure (Blue) Rose.  The point was to develop a protagonist whose problem was directly related to the telic flaw of the novel.  That’s what I did.

 

I used my typical supernatural reflected worldview with a pathos developing protagonist and that was Azure Rose Wishart.    

 

Here is some of the information on the novel:

The Lady Azure Rose Wishart, in the sixth form, the head girl at Wycombe Abbey, and a capable detective.  She is also the top girl, a scratch golfer, and lives with a couple of dubious acquaintances—one is most likely a vampire and the other a werecreature.   Well, most likely.  In any case, the Lady Azure Rose Wishart lost her estate but not her title.  Because of that, she could be on the parishes’ charity list except she has a scholarship to Wycombe and the Crown pays for her other work.  The Lady Wishart is driven to reacquire her estate and make her way in the world.  She wants to be a supernatural detective.

We first meet her as she untangles a mystery for the New Scotland Yard.  Unfortunately, this isn’t a true supernatural crime, but Azure (the Lady Wishart) solves it in no time, and she is now on New Scotland Yard’s payroll.  Another few thousand mysteries, and she might buy back her estate.  That’s her first problem, she doesn’t make enough to ensure she can ever win back her hereditary holdings.  The second problem is just about to hit her squarely between the eyes—Lachlann Calloway meets her at a party.

It was truly an accident of occasion and invitation that brought Lady Azure Rose Wishart into the sights of the dashing Wing Commander Lachlann Calloway, but so is life.  He immediately fell in love with the ravishing and dangerous Azure.  However, Azure doesn’t have time for a lover or a boyfriend.  She, of course does everything in her power to discourage him.  During their next meeting, she thoroughly embarrasses and chastises him.  On their first date, he privately blows her cover and propriety.  What Lachlann discovers is that his mother, a high level manager in her majesty’s intelligence operations, has black listed Azure from any intelligence work.  This is curious, but he’s still in love.

Instead of being discouraged, as Azure would have liked, Lachlann gloms on to her like a social leech.  She isn’t used to these types of entanglements.  In any case, Lachlann is trying his hardest to entice Azure to love.  She is trying her hardest to be rid of the puppy, Lachlann Calloway.  Lachlann’s mother wants nothing more than for Lachlann to dump the unwilling Azure.  Meanwhile, Azure, through New Scotland Yard, has uncovered a truly supernatural mystery.

With Lachlann’s help and encouragement, Azure proceeds to take a sledge hammer to the Crown’s supernatural intelligence structure—she has a mystery to solve.  The Queen approves, Lachlann’s mother disapproves, and the others have been ordered to accommodate and work with the temperamental Azure.  Azure’s goal is still the same, but not everyone else agrees.  Will Lachlann’s love prevail?  Will Azure win her estate?  Will the truly supernatural mystery be solved?  The real question is will Lachlann’s mother ever resolve herself to a potential daughter-in-law who is, in her own words, despicable?

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Azure Rose needs physical and emotional redemption.  She has lost her house, her family, and might lose her position with the Crown.  The problem is that she also has problems in some ways relating to people.  Lachlann wants to rearrange her thinking and help her.               

2.     Revelation (o) –2e, 64, 1i – 60%  Azure Rose is a person worthy of revelation.  She is the Keeper of the Book of the Fae and works for the Crown.  She has great needs that she is trying to solve herself.       

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  Azure Rose wants to be a supernatural detective—more than that, she wants to redeem her estate from the Crown.  Lachlann wants to marry Azure Rose—more than that, he wants Azure Rose to fall in love with him.  He’s trying hard.   

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% There are multiple mysteries in this novel to be solved.  That is one of the big entertainment features of the detective plot.  

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  This is a subplot with the Fae and others, but not with the main characters.  

3.     Zero to hero (a) – 29 – 26%  Azure Rose is a zero, but is working toward hero.  Lachlann is a hero, but it aiding Azure Rose to becoming a hero. 

4.     Romance (a) –1ie, 41 – 37%  Yes, well, one sided Lachlann is wooing Azure Rose. 

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 for both.

8.     Money (a) – 2e, 26 – 25%  Money is an important plot in the novel.  Azure Rose is driven to recover her estate, and she needs money.   

9.     Spoiled child (a) – 7 – 6%  Azure Rose is the opposite of a spoiled child, but she sometimes acts spoiled.  

10.  Legal (a) – 5 – 4%  Yes, to a large degree with the crown and the problems of Azure Rose and her family. 

11.  Adultery (qa) – 18 – 16%  Nope. 

12.  Self-discovery (a) – 3i, 12 – 13%  There is a very strong element of self-discovery for the characters in this novel.

13.  Guilt or Crime (a) – 32 – 29%  Azure Rose is shown to be guilty of crimes, but it is a misunderstanding.

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%  Nope.

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, through the novel Azure Rose rejects Lachlann’s love.

4.     Miscommunication (q) – 8 – 7%  Yes, there is a misunderstanding that leads to Azure Rose being looked at in a negative fashoin.

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

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

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%  To some degree with the idea of glamour.

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

11.  Illness (q) – 1e, 19 – 18%  Yes, Lachlann is injured.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Nope.

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.

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%  Some travel around Wycombe and Britain.

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

6.     Horror (s) – 15 – 13%  Nope.

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

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

9.     School (s) – 11 – 10%  Yes, Wycombe Abby.

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, side point of Azure Rose’s father and family issues.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes, the Book of the Fae.

 

I wrote Blue Rose: Enchantment and the Detective as an example of a detective plot.  The reason was to give as simple example as possible of the telic flaw interaction with the protagonist.

 

If you remember, in a comedy where the protagonist overcomes the telic flaw, the telic flaw is the problem that must be overcome or resolved in the novel.  In the case of the detective plot, the telic flaw is the mystery or the crime (same thing).  The protagonist must resolve the mystery to resolve the telic flaw.  I used a detective plot as an example because it is perhaps the simplest type of overall plot in a novel.  I also wanted to show my readers how the protagonist interacts with the telic flaw. 

 

I’ve written about this before.  The plot of a Romantic novel should look impossible to resolve—the author cognately writes and designs the plot such that the resolution looks impossible until it is inevitable in the climax.  In addition, the telic flaw of the novel should become the telic flaw of the protagonist.  This is easy to see in a detective plot.  The reason is that the mystery must obviously be resolved by the protagonist.  The mystery becomes the telic flaw for the protagonist.  Such a direct connection is more difficult to see in a romance plot.  Although the characters are supposed to fall in love, that’s the telic flaw of the protagonist, the connection between the telic flaw and the protagonist is more tenuous.  In the mystery or detective plot, it is direct.  As I wrote, I use this as an example to make this obvious.

 

There is much more to Blue Rose: Enchantment and the Detective.  This novel is only on the surface a detective novel.  I wrote in my blogs that I developed Azure Rose for the express purpose of the detective type protagonist and plot, she is.  Even more, I designed her as a type of female Sherlock Holms.  I couldn’t help bringing in a romance plot with a love interest.  Azure Rose has no desire to be in love at all.  I really liked this part too.

 

One of my main prepublication readers kept pushing me to write a novel where the male strongly pursued the female protagonist.  I set up this situation for just that reason.  In addition, the circumstances of the plot just happened to integrate many of the other characters, settings, and organizations I happened to develop for other novels.

 

Thus, Lachlann happens to be the son of Ceridwen a very important character and protagonist in my other novels.  Ceridwen or Kathrin Calloway is not enamored of Azure Rose—in fact, she despises her and has poisoned the courts and others against Azure Rose.  This brings in the miscommunication and legal aspects of the plot plus creates a conflict between Lachlann and his mother.  This might need some more work in the novel.  My prepublication reader thought some of it seemed contrived, but so it was.  I just need to make it more cohesive. 

 

With Blue Rose: Enchantment and the Detective, I really wanted to write a fun and entertaining example of a great detective plot and make the plot very complex.  I added in the reflected worldview through the fact that Azure Rose is the Keeper of the Book of the Fae.  Her work to reconcile the Fae and there legal difficulties is a very fun add to the novel, and brings Lacklann in.  The ultimate resolution of the climax is the mystery of Dana-ana which resolves to set up my novel Dana-ana: Enchantment of the Maiden.  I always wanted to write a novel to show how Dana-ana was banished and why she was punished, and I did.

 

Blue Rose: Enchantment and the Detective is the last of my completed novels.  I guess I can write about the novels I’m writing on at the moment.  For some reason, my writing time has been squeezed in the last couple of years.  I’ll give some information on the two books I’m writing at the moment and the other book I need to finish.  I can also give you some information on my technical writing.    

 

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