21 December 2021, Writing - part xx810 Writing a Novel, Using Historical Setting Plots in Scenes
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 historical
setting plot. The historical setting
plot may be the most important setting plot in all of literature. What is surprising is that only 17 percent of
all classics include it. To me this is
interesting, and you might say, how it that possible?
I’ll explain exactly how this is
possible. Most classics and many modern
novels are written in the current event horizon—that is, they are written in
the “now.” In fact, many Victorian
writers as well as writers up into the Twentieth Century carefully hide their
places and times. You should know exactly
what I mean—they had dates like 21 September 18XX and such, and places like
somewhere in London. This is the
opposite of the historical setting. This
is an ahistorical setting.
I do completely otherwise in my
writing. As a matter of fact, in one of
my first published novels, my publisher recommended putting in dates and places
at the beginnings of the chapters. I
thought that was a great idea, so I continued it with every novel. At the top of every chapter, the first
paragraph, I identify the time of the year and the year like October 1993 and
the place, Saint Malo, France. In this
way, I set every chapter, scene, and point in my novels in history. Even if they are novels written in the “now,”
they are historically placed. In fact,
with the way technology and time is changing in the modern world, the reader
really needs a historical setting for the novel.
Now about scenes. Let’s start with the scene outine.
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
Generally, we’d just say the scene
is part of the overall novel. With a
novel historical setting, aren’t the scenes in a historical setting too—yes, but
there is more to this problem and this question.
I want to set my novels in history
and in time. That means I use real time,
history, and places for my scenes and settings.
What I do is I use real places set in real time. You might ask how do you accomplish
this? I’ll show you an example tomorrow,
but the answer is easy.
Let’s say I need a restaurant for
my characters to dine. I find a real
restaurant in the real place I have put them.
Thus, if they are in Saint Malo, France, I find them a restaurant in
Saint Malo, France that existed at the time and in the place my characters
happen to be visiting. Then I use that
restaurant, its menu, its specialties, its description, its people, its
uniforms, its everything to the utmost of my ability. If possible, I’d like my readers to be able
to go to that place and have the same or a similar experience in dining that my
characters did. Obviously, we aren’t
writing a travel log. The point of the
characters dining isn’t just for the sake of the restaurant. The purpose for the meal is to get the
characters together for conversation about the resolution of the telic flaw of
the novel. The point is to make it a
historical setting by using a real dining facility in time and place.
By doing this, we are immediately
casting our novel into a real historical space.
You can do this with less mundane circumstances as well. I’ll also show you an example of this. What if your characters and their adventures
happen to overlap with actual historical peoples and events—that is the use of a
historical setting in a scene. In the
case of many of my novels, the characters happen to meet with leaders, both famous
and infamous. This is, again, the use of
the historical plot setting. Even if the
overall novel isn’t necessarily an historical novel, the scenes can be
enveloped in history. I’ll give you an
example of this.
This is an example of a historical
setting scene from my originally contracted novel, Ancient Light: Sister of
Darkness. In this scene the
protagonist, who is a spy in Hitler’s Reich, has been invited to a party given
by the Fuhrer.
In the middle of the summer, Paul and
Lisette were invited to a supper in the Neues Reichs Chancellery. The party was a reward from Hitler to the
special liaison officers for their work in the defense of the Reich. Lisette shopped for days to find just the
right dress. That evening, she and Paul
walked across the street to the Chancellery.
They entered the main doors under the large Nazi eagle above them and
into the Neues Reichs Chancellery.
Lisette paused to brush her dress, “My sister’s ugly symbols.”
The aide to Standartenführer Lorizt
greeted them at the door and pointed them to the receiving line. Standartenführer Lorizt and his wife,
Roswitha, stood at the front of the line and introduced the officers to Hitler
himself. Paul and Lisette made their way
to the line. Almost before he was
finished introducing a Polish officer, Lorizt grabbed Paul’s hand, “Here, mein
Führer, is our connection with the LVF.
You know him well from his reports.
And you understand as well as I, his importance to the Reich.”
Hitler spoke in a clear and strong voice,
“I do indeed know. I have often read the
Obersturmbannführer’s reports. Paul Doriot, the German in your reports speak
as though you were born to it rather than French.”
Paul
bowed slightly.
“Your
record speaks to your manners and to your dignity. And this is…” Hitler turned toward Lisette.
Lorizt
took Lisette gently by the arm, “This is Obersturmbannführer Doriot’s friend
Lisette.”
“Ah,
Lisette,” smiled the Führer, “I wanted to see what was a Lisette since I
approved the orders. I do not encourage
such relationships, but I must confess to a romantic notion of them. I understand you sing.”
When Lisette did not respond, Hitler
glanced at Paul.
Paul leaned toward the Führer, “She does
not speak much German and does not wish to embarrass herself or others. She sings beautifully, but only in French.”
Hitler nodded and even smiled at the
information, “That is a shame. In any
case, enjoy the party and please know I represent a grateful nation when I
thank you for your dedication to your very important duties.”
Paul bowed again. They moved quickly away from the receiving
line. Lisette whispered to Paul in
French, “Where is his mistress?”
“I don’t know. It is not a well known piece of information.”
“He almost told you to your face, he has
one. If she is here, we should take a
look at her. But we must be very
cautious, if my sister is using her to influence Hitler, she may be living
through her.”
“God help his mistress if that is
true. Perhaps we should leave now. If she spots us, we might well be
discovered.”
“Don’t worry. With your mustache and beard and my makeup,
we could fool anyone. She will not be
able to see us in truth, only as her puppet sees us. I think we will be safe.”
“Every important officer and Nazi party
member in
Lisette searched with her eyes around the
room. They stood together in an isolated
spot, “I applied myself well to my work.
On the third of June, Hitler departed
“Who was married?”
“That is what is so interesting, Hermann
Fegelein, an officer who serves as Himmler's liaison on Hitler's staff, married
a woman named Gretl Braun.”
“I know Fegelein—work with him
sometimes. I remember his wedding. I congratulated the man myself. I feel sorry for the lady. Fegelein is a playboy and a cad. Gretl is a sweet woman, but not the beauty
Fegelein is used to wooing.”
Lisette gestured largely, “Gretl Braun is
a no one. She is not a beauty. She is not a professional woman. She has no direct connections to the Nazi
Party. Not from her father or brothers
or anyone who is close to her. What does
that suggest to you?”
“Fegelein wouldn’t give her a second look
unless there was some other strong connection, but what connection could that
be?”
“Her sister,” Lisette looked smug. “Eva Braun is always with Hitler. Haven’t you noticed? I have watched them for months now and
compared notes with the wives of the headquarter’s officers.”
“They don’t suspect your interest?”
“Nothing at all, it’s only gossip. I provide the ladies an opportunity to speak
French—it’s still considered a desirable skill among these debutants. They are struck by my celebrity.”
“Do you know what Eva Braun looks like?”
“I have a description. Let’s move closer to Hitler. From what I know of her, she would remain
near to him.”
“How can you be sure she is here?”
“She loves parties and people. That keeps up her excitement. Hitler dotes on her, and she on him. These events are her few opportunities to get
out socially. Hush, we’re getting
closer.”
Paul retrieved a glass of wine for
Lisette and an Ansbach for himself. They
milled around the general area of the Führer.
Paul engaged numerous officers in conversation. Lisette spoke to many of her lady
friends—only in French. She stepped
close to Paul, “There is Goebbels and Bormann.”
She pointed with her chin. “The
woman between them. Do you see her?”
“Yes.”
The woman was about thirty years
old. She had a round fresh face with a
German maiden’s complexion. Her hair was
slightly curled, light brown, and fell to the back of her neck. The dress she wore was silk and very fine
though not very feminine or stylish. She
had on little makeup and only a smudge of lipstick.
Lisette walked toward the woman. She turned and touched Paul’s arm, “I must
know. I must be sure.” Paul followed slightly behind her.
The gentlemen around the woman were
busily involved in conversations. She
was alone. Lisette came up to her. In accented and slow German, she held out her
hand, “You are Eva Braun?”
The woman started, then relaxed, “I am.”
“I am Mademoiselle Lisette, Obersturmbannführer Doriot’s
mistress.”
“Oh…you
are?” Eva touched Lisette’s hand. “Adolf
is’ not in favor of such relationships,” She did not blush, but Lisette
detected her discomfort. “Is this
Obersturmbannführer Doriot?”
“Yes,
he is more interested in speaking to the gentlemen. Run along…” Lisette shooed Paul off.
“You
are French?”
“Yes,
we came from Marseille.”
“Our
number of allies is amazing.”
Did
she not know
“Yes…,”
her eyes widened and she paused as though listening to something far away.
Lisette
cautiously turned her face to the side.
Eva didn’t appear to look at anything in the room. Suddenly her attention snapped back to
Lisette. The corners of Eva’s lips
turned down then slightly up. She put her
hand on Lisette’s arm, “I’ve enjoyed speaking to you. I see an old friend, and I must speak to
him. Please excuse me.” Eva walked with determination toward the thin
and cruel looking Joseph Goebbels.
Lisette
found Paul and hung on his arm the rest of the long night.
The
early morning hours came across them nearly alone on the street headed back to
their apartment. Lisette’s eyes burned
with purpose and yearning, “Eva is my sister’s agent. I saw her through the woman’s eyes.”
“Did
she recognize you…us?”
“No,”
Lisette’s words were decisive, “I saw the moment my sister touched her soul—she
did not even look at me. She was
hatching some plan that required Goebbels.”
“Someone
will die because of it.”
“There
was something else in her look.”
“What?”
Almost
in despair, Lisette choked, “I almost thought I could see Lumière
peering at me through her eyes.”
“Lumière, how can that be?”
“I don’t know. My sister wanted her here for some
reason. We thought it was as a hostage,
but there may be much more we don’t know.
If she is forcing Lumière to do her evil…”
“No one forces Lumière to do anything.”
Lisette gave a quiet sob, “You’re
right. She is stronger than I was. Much stronger than I am.”
“You are certain it is Eva Braun?”
“She is Hitler’s mistress, and I saw my
sister through her eyes.”
“What will you do?”
“This war is headed for its final
cataclysm. We must prepare for it. To defeat Hitler and
Tomorrow, I’ll give you a more direct
example of a historical setting in a scene.
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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