13 December 2021, Writing - part xx802 Writing a Novel, Using Totalitarian Setting Plots in Scenes, Example
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 21st 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 29th 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 30th novel, working
title Red Sonja. I finished my 29th 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 becomes inevitable in the climax.
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%
So, what is it about writer’s block? Many if not most authors and writers will
complain about writer’s block. When I
was a younger author, I would get writer’s block very often, but I’ve
discovered something very important about writer’s block. Writer’s block is a function of the plot and
not the protagonist. The correction or
resolution of writer’s block comes from centering our writing on the
protagonist instead of the plot. This is
what I’d really like to get into as a topic.
Here is an outline of how we will approach this.
1.
Problems
with a plot focus
2. Correcting with a protagonist focus
3. How to figure out a plot with a protagonist focus
4. Writing development
5. Fixing or blowing through problems with writing
6. How to write to prevent writer’s block
7. The Scene Outline
8. Exercises
9. Examples
10.
Conclusions
The novel is the revelation of the protagonist and the scenes,
not the plots, are the process of that revelation. In fact, the plots are really part of the
scenes. Now, some plots interact beyond
and between one scene, but this is the real point we should address. What really is the plot and how is the plot
connected to the scene and the telic flaw.
I didn’t want to address the scenes yet, so let’s start with
the plot(s). In the first place, we have
a telic flaw. This is the problem the protagonist must resolve. In a comedy, the protagonist overcomes the
telic flaw, while in the tragedy, the telic flaw overcomes the
protagonist. Where is the plot? That’s a great question.
Almost every novel is a revelation of the protagonist. The author uses various plots and nudges the
novel toward the telic flaw resolution. What
about these plots, and how can we create, invent, and/or use them?
Except for the protagonist, the telic flaw is the most
important point of any novel. It’s so
important that most people don’t even know what it is, yet it is the key point
of every novel, and as I’ve noted over and over, the telic flaw is a
characteristic of the protagonist. The
protagonist owns the telic flaw. Just
like Harry Potty and Voldermort. Voldermort happens to be the overall
antagonist as well as the telic flaw of all the Harry Potty novels. Then there are the plots.
Now, the plot or plots are the means of the telic flaw
resolution and they are the means of tension and release development in the
scenes. They are also the means of the
development of the rising action to the climax of the novel. They are parts, but look at the other parts.
Mainly, we have the scenes.
The scenes are cohesive parts of a novel. They are the building blocks of a novel. Yes, scenes are made of paragraphs,
sentences, and words, but you can’t have a novel without scenes. As I noted in the outline of writing 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
So, I have a telic flaw, and I know there are scenes. Each scene is filled with tension and
release. The tension and release are the
plot(s). In fact, the tension and
release are the plots. This is the
trick, and this is where we want to go.
We need to develop tension and release in the scenes and this happens to
be the plots.
In the development of a scene, we start with the output of
the previous scene. The author then
needs to design the output of that scene.
For example, in the Harry Potty travel scenes, the output of the
previous scene is that Harry Potty must go from London to Hogwarts. That becomes the input for the travel
scene. The output for the travel scene
is that Harry arrives at Hogwarts.
Anything else is purely for tension and release. The author then provides other plots in the
scene to create tension and release.
The focus of writing any novel is the scene. The scene is all about tension and
release. The tension and release comes
from the plots. This is how we bring the
plots into the scenes and into a novel. This
means that as an author, we have the scene input and output of the scene, we
need to choose plots to then write and install in the scene.
We have five types of plots: overall, achievement, setting,
quality, and item. From these plots, we
note that, in the scene, achievement, quality, and item can be set into many
scenes. Setting can be used as the
setting of the scene, however, there is generally less control over these
plots. In other words, when we move into
the scene, the setting is usually already set.
The other types of plots give us the opportunity to build
tension and release in a scene. In
general, it is difficult to demonstrate this without delving deeply into
examples. Instead, let’s review the
potential plots and see how we might use them.
We choose plots based on three things.
First, is the input and output of the scene. Second, is the telic flaw resolution. Third, is the tension and release of the
scene.
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%
Achievement plots are easy to apply
to scenes and to overall novels. Some
quality plots lend themselves very well to scenes and some do not. Still, just like the achievement plots, we
can pick and choose them based on our overall plot(s) to power the novel and
our scenes. Then, there are setting
plots.
As I mentioned before, we want to
pick our plots first based on the input and output of the scene, second, the
telic flaw resolution, and third, the tension and release of the scene.
Setting plots are based on the
setting of the novel or the scene. Now,
here we have a slight conundrum. There
are obviously some setting plots we might not be able to use in a scene. I will try to place each of them in a scene,
but I can’t guarantee we can be successful.
Let’s look at the totalitarian
setting plot. This is another of the
setting plots that is difficult to use in scenes. Again, I think we can find a use and a means
for addressing this in a scene, but we know this is a better overall novel
plot.
Here is the scene 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
I’ve used the
totalitarian setting plot in some of my novels.
Most of these were historical novels although I did use it in a science fiction
novel, Escape from Freedom. The question
is how can we apply a totalitarian plot in a scene. Is this even applicable to a scene?
I’d say if we
again deflate the totalitarian plot to a family, a person, a business, or
something else similar. So, we can
propose a scene plot using a setting with a strong matriarch or a
patriarch. We can also make a setting
with a company or a city or a county with an authoritarian character.
I’ve written
scenes like this. This individualizes
the idea of a totalitarian plot. I’ve
written scenes and characters like this, and they don’t have to be in an kind
of totalitarian environment. I should
also note that this is a natural plot for a scene with a noble or aristocrat. You can do the same with a character who
considers him or herself a noble or aristocrat or just above the common.
Perhaps I should
give you an example of this kind of scene.
The
morning was a repeat of the previous day.
Shiggy ate breakfast, loaded Rose’s tablet with study materials, took
the lunch Rose made her, and after checking the house and sensors drove off
toward the west.
Rose
picked up the kitchen, cleaned the still clean house, put on her coat with her
lunch in the pockets, and rushed out to the yard. She practiced and applied her glamour then
headed out toward the east wall to start her surveillance around the
house. When she arrived at the northern
wall near the gate, Robyn already stood there.
She wore the same clothing as the day before with her doll Emily and her
day pack on her back. Rose wore a dark
green skirt and a green blouse.
Robyn
gave a sniff and turned directly toward Rose, “There you are Rousay girl. I’m glad you came. Where shall we go now?”
Rose
whispered, “Move around the wall to the east and stay close to it.”
Robyn
did, and Rose climbed the wall at the east and let herself down beside it. Robyn quickly joined her.
Robyn
clucked her tongue, “Why all this hiding?
Is someone keeping an eye on you from your house? Wait, don’t tell me. There are cameras watching you or your yard,
isn’t there?”
“I
shall not say.”
“Everyone
has them now days. My father and mother
set them up watching our door and the approaches to our property. They can’t see you with your glamour.” Her eyes widened, “But they might be able to
see me. That’s why you had me come
here—isn’t that right?”
“Can
you use glamour to hide yourself?”
“I
don’t use glamour.”
Rose
stared piercingly at her, “You said you had something else, stronger than
glamour. What is it, and can it hide
you?”
“Unfortunately,
my skills can’t hide at all. They would
do the opposite. I really shouldn’t show
you here. It might set off whatever sensors
you have at your house.”
Rose
glanced down.
“I
could take you to my house. We could
play there, and I could show you.”
Rose
began to tremble, “I’m not certain I should.”
“Come
on. Your glamour will hide you. They will only be able to see me crossing the
field or we could use the road.”
“Not
the road. Glamour is a bit tricky with
man made things.”
“What
about the wall?”
“It’s
old stone. I didn’t feel any change when
I touch it.”
“That’s
my understanding too.”
“What
about your parents. Can they detect
glamour?”
“They
are pretty normal in almost every way.”
“Then
how do you know about glamour at all?”
“That’s
one of my secrets, but I don’t mind telling you. When my special skills began to become
apparent, my mother took me to some of our mutual relatives to have me
evaluated.”
“Evaluated
for what?”
Robyn
gave a small laugh, “Even they didn’t know, and I swear they still don’t. It’s something to do with their connections
and their work. I’m supposed to lay low,
and no one is supposed to know about me.”
“Then
why tell me?”
“Isn’t
that obvious. I told you. Until I met you, I thought only the Fae could
work glamour. You are the first person
I’ve met who has that skill.”
“And
your skills?”
Robyn
stood. She grasped Rose’s hand.
Rose
wasn’t sure what to do.
Robyn
stared out across the field. Rose held
back for a moment, but Robyn just grasped her hand more tightly.
Finally,
Rose sputtered out, “I really shouldn’t go.
I’ve no idea what could happen if I’m away.”
Robyn
tugged harder, “You must come with me. I
insist. I’ll show you what I can do, and
we can play in my house.”
With
downcast eyes, Rose followed Robyn to the smaller whitewashed farmhouse. They headed toward the beach side of the
house, and Robyn led her to a door at the back.
They entered into a cozy kitchen filled with old scents and much old
woodwork. The door closed behind them,
and Rose felt suddenly trapped. She
stood trembling in the kitchen and couldn’t move a step forward.
Robyn
grasped her hand again and drug Rose down a thin hallway to a room. She opened the door and pulled Rose inside,
“This is my room. There’s no
surveillance and nothing to be afraid of here.”
The
room was Spartanly furnished with a bed a couple of wooden chairs and an old
wooden desk. Some toys and clothing lay
around the room. Books covered the desk,
some lined up primly at the back and some opened with papers all over. Robyn pulled Rose to one of the chairs and
pushed her into it. She sat with a
thunk.
Robyn
sat in the other chair, “Please make yourself comfortable.” She pulled out her thermos and the two
cups. She filled them with hot tea and
handed one to Rose.
Rose
took a sip.
Robyn
drank some tea then glanced up, “You needn’t be so afraid. You’re safe here. What would make you so skittish about
visiting a neighbor? Is your mother so
controlling? I guessed she was Fae. The Fae usually don’t hang around very long
after making a child such as you.”
Robyn’s eyes widened, “I’ll venture you have no mother.”
“That’s
a secret, please don’t tell it out.”
“If
you have no mother, then someone else is keeping you. I’ll bet no father either. Fathers that make children such as you
generally don’t stick around either.”
Rose
was shaking, “My da is dead.”
Robyn
sipped her tea, “I’m sorry about that.
Who’s keeping you?”
Rose
sat up, “Why do you say someone is keeping me?
I’m just living in my own home.”
Robyn
leaned toward Rose, “Listen, Rose, you aren’t old enough to have reached the
age of majority. I may be young, but I
understand that much. If you live alone
in that house then something else entirely is up.”
“I’ll
not say. I’m not alone.”
“Then
who is looking after you?”
“It’s
my sister.” Rose stopped speaking and
shook her head.
“Ah,
your sister. That sounds like an
interesting tale, and nothing as exciting as I was imagining.” Robyn let out a little sigh, “I’d made up a
pretty romantic tale in my mind about it, but a sister seems pretty normal.”
“That’s
it entirely.”
“Then
why are you so secretive about it?”
Rose
gulped, “I told you already. I came from
London with my sister and live with her because our parents are dead. I’m spending time with her because I’m a
discipline problem and have a sullen personality. That is also the reason I’m not in
school. We’re looking for a new school
for me.”
Robyn
grinned, “That surely sounds like a cover.
You said almost the same thing before verbatim. You are not from London. Your accent is pure Rousay Island. You said you hadn’t gone to school.”
“I
told you I lied. What do you mean a
cover?”
“I
think you know exactly what I mean.
Let’s evaluate what you have told me.
If there really is a sister, then she should be from Rousay Island. She would have to be the child of your father
or your mother. That makes her at least
your half-sister. If she is your sister
at all. That’s an interesting duplicity
in itself.”
Rose
stood, “Please stop. Stop
immediately. I can’t say anything
more. Please stop trying to pry all my
secrets from me. I need to go home.”
“Too
late. I think you are discovered.”
They
heard a car drive up to the front of the house.
Rose dropped her cup of tea and glanced around. She turned to run, but Robyn grabbed her
hand. Rose jerked her hand out of
Robyn’s grasp, and sniffled.
They
both heard the front door open. Rose
rushed out into the short hallway. She
came face to face with Shiggy. She
cringed and knelt down.
Shiggy
took one look around and gave a deep sigh, “Thought it was you, Robyn
Nelson. Where are your parents?”
Robyn
had come to the door, “Hello, Aunt Shiggy.
I was just entertaining your sister.”
Rose
was blubbering, “Please forgive me, Ms. Tash.
I didn’t mean to do anything wrong.”
Shiggy
picked her up and held her close. Rose
gave a gasp.
Rose
could hear the smile in Shiggy’s voice, “I know she tricked you. If I had any idea who was here, I could have
warned you.”
Rose
let out a long deep breath.
Shiggy
shook her gently, “That doesn’t mean I won’t punish you appropriately.”
“Not
where anyone else can see, please.”
Shiggy
pulled out a handkerchief and wiped Rose’s eyes and nose, “Come on let’s sit in
the kitchen. Robyn make us some tea, and
bring out the biscuits. I should have
guessed when Rose brought them up.”
Shiggy
pulled Rose to the kitchen and sat her in one of the wooden chairs at the table
there. Robyn retrieved Rose’s cup and
her own. She got another cup from the
cupboard, and poured them tea from her thermos.
Shiggy
sat and sipped her tea, “So Rose got Emily’s cup this time.”
Robyn
sat, “of course. How did you find her so
quickly?”
“I’m
tracking her.”
Robyn
stared at Shiggy, “Who is she?”
Shiggy
smiled over her mug, “She is Rose Tash, my sweet little sister. She came from London with me and lives with me
because our parents are dead. She’s
spending time with me because she is a discipline problem and has a sullen
personality. That’s also the reason she’s
not in school. We’re looking for a new
school for her. She’s slightly
barmy. That explains why she has so many
problems, and why her education level is so low. She only speaks the bare minimum for
civility.”
“Aunt
Shiggy, that is obviously a cover. She
is not your sister, and she is not from London.
She hasn’t been to school at all.”
Shiggy
gave Robyn a long hard look, “That is the truth and that is all you need to
know. Where are your parents?”
“They’re
at work on assignment.”
“That’s
not too big a stretch. Rose,” Shiggy
turned toward her, “That is also a cover.”
Rose
didn’t say anything.
Robyn
looked up from her tea, “You aren’t going to really punish her, are you?”
“I
shall.”
“Is
she one of your trainees? She’s pretty
young for that, or are you taking advantage of a misbegotten child on the
Islands?”
Shiggy
glared at Robyn, “She is a trainee. She’s
under contract.”
Robyn’s
brow rose, “Well that’s good to know. I
though you might be taking advantage of her.”
“Robyn
Nelson, you are one of the most exasperating children I have ever met. You should learn some discipline from Rose.”
Robyn
lifted her hand, “Does that mean she can come to play?”
“I’ll
speak to your parents, but yes she may.
As long as you do what I ask. I
have specific instructions for you, Robyn Nelson.”
Robyn
leaned forward, “Let me guess.”
Shiggy
put her hand over her face. Rose
couldn’t tell if she was smiling or annoyed, “Go ahead. This is what you do best.”
Robyn
grinned, “You wish me to teach her how to speak like she comes from London and
not Rousay. You wish me to acquaint her
with manners and civilized modern behavior.
You wish me to teach her about the work.”
Shiggy
put up her hand, “You are correct. I
want you to help her sound like she comes from London and not Rousay. I also want to to show her all the fun things
that you are used to and that girls love to do.
You will not say anything about work, not your parents nor mine. You will teach her to the best of your
ability the schooling I have been preparing for her.”
Robyn
shrugged, “That sounds like fun to me. I
shall, but are you really going to punish her.
It was entirely my fault that she is here, and that I contacted her.”
“I
guessed that, but she is my trainee, and she was not supposed to leave the
grounds.”
“Then
punish me.”
“I’ve
half a mind to do just that.”
“How
were you going to punish her?”
Shiggy
sighed. She pulled a small bag of
biscuits from her coat pocket, “I was going to keep this present from her. It is the second present she had ever
expected in her short life. I was also
going to smack the back of her head.”
Robyn
stood and moved closer to Shiggy, “Then smack the back of my head, but give her
the biscuits.”
Rose
glanced up through her fingers, “You needn’t hit her. She is the first friend I’ve ever had.”
Shiggy
laughed, “Robyn is a dangerous friend, but she should be a fast one.”
Robyn
nodded, “I haven’t had many friends either.
Go ahead, hit me as you desire.”
Shiggy
grinned. She smacked the back of Robyn’s
head.
Robyn
fell forward, caught herself, and stepped back.
She rubbed the back of her head, “I didn’t think you’d really do
that.” She turned toward Rose with
slightly glistening eyes, “Does she hit you often?”
Rose
nodded.
Robyn
turned back to Shiggy, “Aunt Shiggy, Rose might be your trainee, but I insist
you not strike her. It’s not very
civilized.”
“Robyn
Nelson, I know exactly why you are here with your parents. I know that you have not been properly
disciplined by them your entire life. I
shall strike Rose as necessary, and now that you are helping me to train her, I
shall strike you as necessary too.”
Robyn
stood straight, “Then we shall work to do our best so that you will find no
fault with us and no need to ever strike us again.”
Shiggy
stared her down, “I am not afraid of you, Robyn. If I need to, I shall apply corporal
punishment to the proper degree. Rose
has not needed much encouragement like that for a while.”
Robyn
sat down and took a sip of her tea.
Shiggy
opened the bag of biscuits and placed them on the table. Rose divided them equally between the three
of them. Shiggy grinned, “Did you teach
her that?”
Robyn
nodded. She picked up a biscuit and
asked, “Now will you tell me about Rose, or may she tell me about herself. I’ve guessed most of it already. I’d like to test my acumen.”
Shiggy
ate a biscuit, “What have you guessed?”
“She
is the child of a Fae. Her father is dead. She comes from Rousay Island. I suspect you found her here.”
“Rose
and I shall neither confirm nor deny your suppositions. By the way, how did you find her?”
“Isn’t
it obvious, Aunt Shiggy. She was using
glamour, and I smelled the sweet scent of it from all the way over here. By the way, are you on the same assignment as
my parents?”
Shiggy’s
eyes took on a dangerous look, “You, Robyn Nelson, shall not say anything about
any of that. I didn’t know your parents
were here, and I have no idea what they are about. You are not supposed to know anything about
any of that.”
Robyn
wasn’t put off at all, “I’ll keep my eyes open.”
Shiggy
shook her finger at Robyn, “You have nothing to do with any of this. You will play with and teach my little
sister, Rose Tash just as I have instructed you.”
Rose
smiled, “You should make her promise by the One and All.”
Shiggy
gave a broad smile, “That’s what I love about you, Rose. Let’s have our sweet Robyn do just
that.” Shiggy screwed up her face in
thought for a few moments, then she said, “Robyn Nelson, swear by the One and
All, that you will not say a word, other than the cover about Rose Tash. You will teach her to speak as if she came
from London, and help her with her studies.”
Robyn’s
voice sounded bland. She repeated the
words and added, “By the One and All.”
They heard thunder in the distance, and Robyn’s hair rose on her head. “I shall hold that against you, Rose Tash.”
Rose
lowered her head.
Robyn
stamped her foot, “I didn’t mean that as seriously as it sounded. You needn’t look so put out.”
Rose
sniffled, and Shiggy wiped her eyes and nose again. Shiggy gave Robyn a very serious look again,
“Listen Robyn, Rose is a very delicate girl.
She is easily upset, but she usually doesn’t show it so much. You must be kind to her. She hasn’t had a friend before, and you must
be a good friend to her. I insist.”
Robyn
glanced to the side, “I understand. That’s
part of my problem and nature.”
“I’d
rather it be a problem and not part of your nature. I could easily beat the problem part out of
you. The nature part is up to you. Now, let’s finish our tea and biscuits. I have more work to do today. Rose may stay here until your parents
return. Have then call me when they get
back.”
“Which
number should they use, the official one or your personal one?”
“You
are such a problem, Robyn. Tell then to
use the personal one. We are all here
for work, but our current association is personal.”
“Very
well.”
They
finished their tea and biscuits. Rose
and Robyn saw Shiggy to the door. Shiggy
ruffled Rose’s hair as she left. When
Shiggy’s Triumph was out of sight, Robyn gestured for Rose to follow her back
to her room. They sat back on the
chairs, and Robyn began schooling Rose to acquire an accomplished London
accent.
In this scene, we
see Robyn ad Shiggy acting in a very high handed way. This is what I mean by a totalitarian setting
in a scene. The point is to produce a
scene where one of the characters has attributes that appear to place them
above the others or another.
We’ll look at the next setting plot
tomorrow.
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
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