03 January 2022, Writing - part xx823 Writing a Novel, Using Prison Setting Plots in Scenes, Example One
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 prison setting
plot. Perhaps the most famous prison
setting plot comes out of The Count of Monte Christo. This is also a scene setting plot, because
the entire novel is not set in a prison.
I can give some examples from my
writing of a prison plot setting, but I’m getting ahead of myself.
The answer to the question, can you
have a prison setting plot in a scene is obviously, yes. In fact, very few novels use an overall
prison setting. More often than not, the
prison setting is a scene setting. Of
course, the prison scene setting is a great scene setting especially when you
need or want to use it. In fact, I’d
suggest using it whenever you have the opportunity—what do I mean by that.
In the scene examples I will show
you, the point is that my characters were accused of criminal acts or behavior
and were busted. Anytime you have the circumstance
of police or the authorities involved, you can potentially use a prison scene
setting. Your characters get busted and
go to a cell until they get bailed out or released. This hasn’t happened to most of us, but it is
a staple of anyone who watches television or crime dramas.
If you aren’t familiar, just do a
little reading and study. I suspect any
police officer will explain jail procedures to you. You might be able to read about them on
line. The point is to use them when
necessary to spice up your scenes and setting.
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
In this case, our input will be
getting arrested by the police or some authorities. Additionally, you have some kind of activity
input based on illegal activity or the appearance of illegal activity. It’s not like this happens all the time, but
I’m certain any good author can imagine such a circumstance and write about
it. As I noted, I’ll give you some
examples tomorrow.
This is from my novel Deirdre:
Enchantment and the School. I’ve
given you the part where Deirdre and Sorcha get arrested and then released.
Deirdre didn’t stop, she grabbed Ms.
Rowley’s left arm and rolled her to the side so Sorcha could touch her rosary
to the small bag. They heard a
crack. A brilliant flash of light rose
from the bag. Ms. Rowley rolled out of Deirdre’s
grasp. She cursed and screamed then
threw the bag away from her. It was
burning, burning with the smell of excrement and decaying flesh. Ms. Rowley turned them both a look of
absolute wrath and malice. She scrambled
to the side and rose on shaking legs next to her automobile. That’s when floodlights and police cars
suddenly burst into the clearing from the dirt track to the south.
Ms. Rowley stood in the light from
the headlights and the police floods.
Blood streamed from her nose and mouth.
Her face was covered with blood.
She laughed and whispered, “It wasn’t worth my bag, but you two are done
for.” Then she screamed again, “Help me
officers. They’re trying to kill me.”
Two policeman with raised pistols ran
up from behind them. One at Deirdre’s
and another at Sorcha’s side yelled, “On the ground. Get down, now.”
Deirdre and Sorcha slowly laid down
on the raw damp earth. The policemen
behind them grabbed their arms, pulled them back, and zip tied them. Deirdre felt his hands move over her
body. He took her torch and everything
else from her pockets. One of the
officers pulled her coat down around her upper arms to immobilize them. She heard another policeman call from inside
the shack, “Here’s one of the boys.
Looks like he’s out. We need an
ambulance.”
Another voice called, “We’ve another
boy on this side. He’s beaten quite
badly.”
Ms. Rowley held out her hands, “They
beat me too. They are like animals,
dangerous animals. I tried to stop them,
but they both ruthlessly attacked me.”
A policewoman handed Ms. Rowley a
thick bandage from a first aid kit, “Here you are dear. Place that on your lip and nose. They can’t hurt you now.”
A policeman grabbed Deirdre by her
arms and yanked her to her feet.
The policewoman was comforting Ms.
Rowley. Deirdre heard Ms. Rowley say,
“In my automobile, I have a video of the entire encounter. I’ve records on these girls. I tried to stop them, but they wouldn’t
listen to reason. They would have killed
me if you arrived a moment later.”
The policewoman glanced at Deirdre,
“I remember that one—stolen bike and assault.
That’s a bad one all right.”
The policeman drug Deirdre and Sorcha
to one of the police cars and stuffed them inside. By then an ambulance had arrived. Deirdre saw Chris being moved from the shack
on a gurney. Tim lay on one from the
back of the building. Then the police
car turned and moved out of the clearing then onto a paved road and toward the
police station near Eton and Windsor.
Sorcha and Deirdre sat in a holding
cell in orange jumpsuits. The police had
taken all their clothing and strip searched them. Luckily, it was policewomen. Unluckily, it was policewoman. They hadn’t missed any nook or cranny. Deirdre still felt dirty from the
experience. Her knuckles were still
bloody from punching Chris and Ms. Rowley, and her mind hovered in a daze.
Sorcha sat quietly on the bunk. They hadn’t said much to one another. They knew they were under surveillance. After what seemed like hours, two policewomen
finally came to the cell. The first, a
sergeant by the appearance of her rank, held a baton. She motioned toward Sorcha and Deirdre,
“Stand up and step back from the door.”
Sorcha and Deirdre complied.
“Drop your suits.”
Sorcha and Deirdre unzipped them and
let them fall to their knees.
“Turn around, and bend over.”
They did.
“Pull up, zip up, put out your hands,
and don’t move.”
Deirdre heard the cell door
open. One policewoman came to her and
pulled her hands behind her back and lashed her wrists together with a zip
tie. The woman turned her around, “Move
slowly and carefully. I saw your
video. Quite the fighter you are. Beat a boy and a grown woman--dangerous in
the extreme.”
The policewomen marched them through
the cell door and down an open corridor through another locked door. They took them to the side and into a stark
room with a metal table in the middle.
The table and the chairs were bolted to the floor. Two chairs sat on the other side. A single chair sat on the side near the
door. The woman sat Deirdre and Sorcha
in the two chairs on the other side. The
first one raised her baton, “Don’t move from this chair. We are watching everything you do in here. It’s all on the record, and everything will
be used against you.”
One of the policewomen stepped out,
and Luna came in.
The remaining policewoman moved to
the door, “Are you certain you don’t want us to stay with you? These two are very dangerous.”
Luna drawled, “I know they are. I saw the video.”
The policewoman laughed, “Likely
everyone in Britain has seen it. How it
got into the hands of the media, I have no idea.”
Luna motioned to the woman, “I’ll be
all right alone with them. You are
recording everything here, aren’t you?”
“Yes, ma’am.”
Luna sighed. She frowned, “Good.” She sat in the chair, “Inform me immediately
when they are released to my custody.”
“Yes, ma’am.”
The policewoman exited the door and
closed it.
Luna discretely touched her lips,
“Now Ms. Calloway and Ms. Weir, I need to inform you about some things. I’ll get the entire story later, but I’d like
you to know exactly where we stand. The
first is that your entire altercation was recorded on video. In addition, Ms. Weir and Ms. Calloway’s
records have been made available to the press.
The video is very interesting. It
shows Ms. Calloway exiting a building in the woods while pulling her underwear
and pants up. She is seen attacking a
teacher with her fists and feet. Ms.
Weir joins the fun and appears to be beating the fallen teacher. That’s exactly what the video shows. It’s very detailed. Detailed enough that the news had to pixilate
Ms. Calloway’s more delicate parts.”
Deirdre didn’t say anything. She blushed a brilliant shade of crimson.
Sorcha didn’t speak.
Luna touched her lips, “We’ll discuss
this at our leisure, and we should have plenty of time for leisure. You will not be returning to Wycombe.”
Deirdre almost said something. She leaned forward then back. Hot tears filled her eyes.
Sorcha asked, “How are Tim and
Chris?”
“Not much worse for wear. You both did quite a job on them. I assume it was you. They were released from hospital. They weren’t happy. They were very confused.”
Deirdre kept her head down, “I’ll not
say it was us.”
Luna tapped her lips again.
The door to the room opened. The sergeant policewoman looked in, “The
judge released them to your custody. Not
sure why you would want them, but that’s that.”
Luna stood, “Yes, that’s that.”
The policewomen led Sorcha and
Deirdre to a room where they could retrieve their clothing. They released the zip ties and stood over
them while they put back on their knickers, vests, sweaters, slacks, and
coats.
The sergeant remarked, “There isn’t
much to you girls. Surprised you could
do that much damage to a couple of strong boys and a fully grown woman, but
wild ones are like that.”
Deirdre and Sorcha followed Luna out
of the police station and to her Triumph.
She put them in the back, like usual, and headed into London.
Deirdre asked, “Are we going to see
mother?”
“Yes.
Mother and father.”
“You might as well kill me now. This is the end.”
Luna laughed, “It isn’t quite the
end, but I’m certain you may not appreciate the results.”
Instead of heading to Rosewood House,
Luna turned into the brownstone at Kensington Palace Gardens.
Deirdre stated, “Where is this?”
“Work, dear. This is where they work.”
“Oh.”
As I wrote, the output can be being
released from prison, escaping from prison, or staying in prison. Lots of options here.
In this case, Deirdre and Sorcha
were setup and framed. Luna knows
this. Their framer did get what she
wanted—the girls kicked out of school and compromised. Sad, but true.
In this case, the ending wasn’t as
happy as we would like, but in the end, they did succeed to a large degree.
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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