05 January 2022, Writing - part xx825 Writing a Novel, Using Prison Setting Plots in Scenes, Example Three
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.
|
|
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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 Aksinya:
Enchantment and the Daemon. Aksinya
is in prison waiting trial for civil crimes.
She was already found guilty of sorcery by an ecclesiastical court..
Aksinya woke in the dreary cell they had
assigned her under the Rathaus at Wien.
She was alone. Frau Becker had
allowed her to take the blankets marked with the bloody crosses at each
corner. She still wore the dress
Ekaterina had given her. Sloppy crosses
in her blood still marked it also.
Aksinya felt somewhat safe. She
recited her rosary. That was her true
comfort.
She heard steps outside her cell and rose
from her knees to sit on the hard cot she had here. There was a knock on the door to warn her and
the guard called out, “Fraulein, prepare yourself and stand away from the door.”
Aksinya knew the drill by now, “I’m ready.”
The small hatch at eye level in the door
opened. The matron glanced inside. Aksinya showed her hands, and a heavy key
clanked in the lock. The door
opened. The matron nodded to her. A male guard stood behind her. The matron motioned, “Your priest and a Frau
are here to visit you. I will remain
with you, if you wish.”
Aksinya shook her head.
Father Dobrushin and Mataruska Ekaterina entered the cell.
Aksinya smiled then that turned down a
little, “Where is Father Makar?”
Ekaterina and Father Dobrushin glanced at
one another. Ekaterina shifted her
mouth, “He would not come.”
Aksinya glanced down. When she looked up again, the cell door was
shut and the two stood alone with her.
Aksinya tried to smile again. She
opened her hands, “It isn’t much more than I had at the Ecclesia…”
Ekaterina sat beside Aksinya and put her
arms around her.
Aksinya sniffled, “Aren’t you afraid you
will be tainted by me. Everyone else who
has befriended me has been ruined.”
Ekaterina held her closer and clucked, “Don’t
be foolish. We know all about you. We won’t abandon you.”
“You should.”
Father Dobrushin stuck his hands behind his
back, “We will not.” He waited a moment
then asked, “Why did you leave the Ecclesia?
I told you not to go.”
“I had to find Natalya. I had to know if she was alive. I love her.
I didn’t realize…”
“You didn’t realize…”
“All of that was the demon’s doing. He visited me while I was in the Cardinal’s
house. He told me he had planned
everything.” Tears choked Aksinya’s
words, “He told me he allowed my family to be killed.”
Ekaterina pulled Aksinya’s head against her
and stroked her hair.
Aksinya moaned, “I caused them all such
pain. I wish I were dead. If I were dead, the world would have been
such a better place for everyone.”
Ekaterina shook her gently, “You are not
dead, and the Dear Lord doesn’t wish you dead.
Now, your life’s work must be to right this wrong. Do you wish to add more sin and evil to what
already exists.”
Aksinya sat up and drew her sleeve across
her eyes, “I’m afraid what I’ve done can never be made right.”
Father Dobrushin sighed, “Perhaps it cannot,
but likewise, you can’t bear all the blame for what has happened.”
“I willingly bear it.”
“You may not bear any more than that which
is your own sin. Others made choices. They can only be held responsible for those
choices—not you.”
“I face a trial in the courts of Wien, now.”
Ekaterina smiled, “And we will do everything
we can to help you.”
“Their mind is already made up too. When I had my preliminary hearing, they told
me, I will go to the workhouse to pay off my debt. I will go to prison for beating Natalya. My aunt and uncle won’t help me. They hate me.
They lost their position in the community and among the nobility. Herr von Taaffe has lost the backing of his
father. I sent him away before. He cannot help me. I have no money. All of my goods, jewelry, and clothing have
been sold. They still weren’t enough to
pay my debts. I, even now, have a
contract with a demon, and I pray to God I could be rid of him.”
Father Dobrushin pressed his hands together,
“There may be a way to be rid of the demon.”
“You shouldn’t speak about such things too
loudly even in jest. I know he watches
me. He waits for more ways to destroy
anyone close to me—to torment me.”
“Princess…”
Aksinya turned her face away, “You shouldn’t
use that address with me. Aksinya is
enough.”
“Princess Aksinya…”
Aksinya clenched her jaw.
“Listen to me. Did the demon give you a surety? Think…it would be something to bind the
contract to you.”
“He gave me a locket. I detested it from the beginning and hid it
in my jewelry box.”
“What did it look like?”
Aksinya thought for a moment, “It was shaped
like a heart and silver colored, with a tarnish that couldn’t be cleaned. On the outside were strange marks like words
of an odd language and in the center a fish.
It couldn’t be opened, and it had a chain connected to it of the same
material with links that were also heart shaped. It wasn’t large and could be worn as a
necklace.”
“Where is it now?”
“Likely in my jewelry box and sold with
everything else. I couldn’t stand the
sight of it. I hid it under the drawer
inside.” She pressed her lips together,
“Do you think it could help?”
“I think it is a key to ending your contract
with the creature.”
“Then I was a fool to lose it. It is like everything I have done—thoughtless
and harmful.”
Ekaterina pulled Aksinya close again, “When
is your trial?”
“In three days, but please don’t come to
it. I would prefer you not have to hear
anymore that is bad about me.” She tried
to smile again, “I shall gladly face all the punishment I deserve and then
some. After that, I will feel like I
have atoned for a portion of my evil.”
Father Dobrushin was thoughtful, “How did
they get the jury together so quickly?”
Aksinya rubbed her nose and smiled, “Ah the
problem of my peers. I waived a trial of
my peers and accepted a four judge panel.
They called it the Schöffengericht.”
Father Dobrushin sighed and frowned, “That
might not have been wise, Princess.”
Aksinya squinted, “I don’t care if it is
wise. I want to get all of this over
with.”
“The repercussions of rushing through these
very important details will potentially be your incarceration in a workhouse or
prison. Have you thought that what
happens to you might be important to others?”
Aksinya’s mouth fell open. When she was able Aksinya choked out, “Why
would anyone care about me?”
Father Dobrushin’s voice rose, “Don’t you
care for anyone?”
Aksinya cried out, “I care for many, many
people. I love them all, but my
existence causes them all pain. No one
should love me. No one should give me a
second thought.”
His voice softened, “Just as you can’t stop
your affection for those you love, they can’t halt their love for you.”
“I don’t understand. Why should anyone love me?”
“Why should they not?”
“The reasons they should not love me, Father
are too many to count.”
“You don’t want to win at your trial, do
you?”
“No, I don’t. I want to be punished.”
Father Dobrushin’s face displayed great
anger for a moment. He turned toward the
wall then back toward Aksinya. She
picked at the bandage on her arm. Father
Dobrushin asked, “What happened to your arm?”
Aksinya stared at the bandage on her forearm
and hand, “It was necessary.”
“What was necessary?”
“The clothing must all be marked with
crosses or the demon can remove them. He
tried to freeze me to death in the Cardinal’s house.”
“He, you mean the demon? What does that have to do with your arm?”
“I…I cut myself to mark my dress and
blankets so the demon could not take them again.”
Ekaterina asked, “You marked them with your
blood?”
Aksinya’s shoulders rose, “They wouldn’t
give me anything else to mark them with.”
Ekaterina grabbed the hem of Aksinya’s dress
and scanned it. She looked at the
blankets, “Are these the ones you marked?”
Aksinya smiled, “Frau Becker let me keep
them. That was very kind of her.”
Father Dobrushin asked, “Have you seen the
demon since you were at the Cardinal’s house?”
“No.
He has ignored me since then, and that makes me very happy.”
“I pray for you every day, Princess. I want you to be free of this creature. I also don’t want you to be punished for
something you did not do.”
Aksinya’s stared at him wide-eyed, “What do
you think I am not guilty of?”
“Whatever your sins, this trial is only about
your assault on the Lady Natalya and your debt.
There is nothing else that they will try you for and the outcome and
guilt is uncertain.”
“Uncertain.
I did indeed beat the Lady Natalya.
I did allow my household to fall into debt…”
“Princess,” he interrupted her, “Have they
assigned a defender to you?”
“Like the Inquisitor Esposito?”
“Yes, like the inquisitor.”
“They have not.”
“I will defend you.”
Aksinya laughed, “I don’t think it will do
any good, but I shall permit it.”
“I was not of a mind to give you a choice.”
Aksinya scowled at him, “If the court will
allow you, I shall be happy to have you defend me.”
A knock came at the cell door.
Ekaterina touched Aksinya’s arm, “We must
leave. Would you like us to bring you
anything?”
Aksinya pressed her hands together, “Yes,
please bring me the Greek Bible Father Dobrushin lent me. I only know the Gospels and Acts. I wish to memorize Paul’s letters.”
Ekaterina stammered, “Memorize? Certainly.
I will bring it tomorrow.”
As I wrote, the output can be being
released from prison, escaping from prison, or staying in prison. Lots of options here.
Not all my characters are going to
jail. I have a few other examples I can
show you. This one is different in that
Aksinya is going to be tried. In the
other cases, the protagonists were begin held, but their cases never went to
court.
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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