16 January 2022, Writing - part xx836 Writing a Novel, the Protagonist and the Initial Scene, 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
I’ve been spending an enormous amount of time with plots;
however, plots, many times, are the problem of writer’s block. How’s that?
Let’s go back to the beginning about novels, plots,
characters, and all that.
We start with this: the novel is the revelation of the
protagonist. That means we have a
protagonist to reveal, and we have developed our protagonist. This is very important—that is the development
of the protagonist.
The idea of the revelation of the protagonist includes plots,
setting, narrative, action, and dialog—it includes everything. The problem is that first you have to have a protagonist.
I don’t think I’m going to give you another example of the
development of a protagonist. What I
will do is give an outline of the development of the protagonist .
Here’s a sketch of just that. I
haven’t tried to do this before, so there might be some development as we
do. Also, this is how I develop a
protagonist.
1.
Define the initial scene
2. At the same time as the above—fit a protagonist into the
initial scene. That means the minimum of:
a.
Telic flaw
b.
Approximate age
c.
Approximate social degree
d.
Sex
3. Refine the protagonist
a.
Physical description
b.
Background – history of the
protagonist
i. Birth
ii. Setting
iii. Life
iv. Education
v. Work
vi. Profession
vii. Family
c.
Setting – current
i. Life
ii. Setting
iii. Work
d.
Name
4. Refine the details of the protagonist
a.
Emotional description (never to be
shared directly)
b.
Mental description (never to be
shared directly)
c.
Likes and dislikes (never to be
shared directly)
5. Telic flaw resolution
a.
Changes required for the protagonist
to resolve the telic flaw
i. Physical changes
ii. Emotional changes
iii. Mental changes
b.
Alliances required for the
protagonist to resolve the telic flaw
c.
Enemies required for the protagonist
to resolve the telic flaw
d.
Plots required for the protagonist
to resolve the telic flaw
e.
Obstacles that must be overcome for
the protagonist to resolve the telic flaw
I always start with an initial scene. You might say, you have to have an initial
scene—fair enough, but the initial scene isn’t just any scene. The initial scene is the scene that sets the
novel, the protagonist, and the telic flaw of the novel (and protagonist).
I’m not certain you can write a novel without an initial scene,
and I don’t mean that ironically. The
first scene is obviously the first scene in the novel, but let me tell you many
times it is not the initial scene. Almost
every regularly published. In fact, I’d
say every regularly published novel will have an actual initial scene. In self-published, unpublished, and inexperienced
novels, you will find many times the initial scene is not really an initial
scene. It might be the first scene in
the novel, but it isn’t a scene that sets the novel, the protagonist, and the
telic flaw. Many of these novels have prologues,
scenes that set the novel but not the protagonist or the telic flaw, scenes
that set the telic flaw without the protagonist, and scenes that set the
protagonist but not the telic flaw.
Scenes like this are not initial scenes—they might be the first scene in
the novel, but they are worthless. They
won’t sell a novel to a publisher, and they won’t sell a novel to a
reader. I should go into detail about
the initial scene. Perhaps in the
context of the protagonist.
When I write a novel, I get an idea for an initial scene. My idea for the initial scene comes from
having a protagonist with an inherent telic flaw. The telic flaw belongs to the protagonist in
a modern novel. Let’s go back up in time
and remember what I’ve kept up for a long time.
Here it is:
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
These examples of initial scenes are just to get your brain
firing. I only recommend using the first
two ideas. There are four means of
writing an effective initial scene. I
know because my novels have been published with these four types of initial scenes. I don’t use the last two anymore if I can use
the first two. In fact, I can authoritatively
tell you, the first two ideas will always allow a great initial scene.
Notice, you have to pretty much have a protagonist to write
an initial scene. Any time you develop a
protagonist who has an inherent telic flaw, you will have an initial
scene. I’ve given this in examples over
and over. In fact, I took over a month
to describe the development of Rose Tash.
I’m writing her novel right now.
A protagonist always comes with a telic flaw and with an
initial scene. The point is that authors
need to properly place and write the initial scene. Many inexperienced authors dilute and destroy
their initial scene with prologues or placing the actual initial scene at some
point other than the beginning of the novel.
How do I know the author has an effective initial scene?
Ultimately, if the scene draws the reader into the novel
such that they continue to read and/or buy the novel, then it was
effective. The descriptions and rules of
thumb I’m giving you are characteristics of great initial scenes. Thus, if your initial scene sets the novel,
sets the protagonist, and sets the telic flaw, how can it not be successful? If your initial scene shows the initial
meeting between the protagonist and the antagonist or protagonist’s helper, how
can it not be exciting? Then I write, if
you have an initial scene, you have a protagonist.
The initial scene is the first step in the development of
the protagonist. With an initial scene,
I have an idea for a protagonist. It isn’t
necessarily a fully developed protagonist.
I will write that a fully developed protagonist is easy to write an
initial scene for; however, most of the time, I have an idea for an initial scene
with a shadowy protagonist who then must be fully developed for the novel. Perhaps an example is a good place to
start. I’ll describe then show you an
example next.
In my novel, Lilly: Enchantment and the Computer, I envisioned
an initial scene where a super genius hacker girl who was impoverished so she
could go to school, was caught using another person’s account credits and was
saved by the protagonist helper. That’s
the initial scene.
Now, to get to this initial scene, we must have a protagonist. If you notice, the protagonist, at this point
just has the barest outline. I’ll give
you more information about this protagonist.
When I first developed the protagonist and the initial
scene, she had no name, background, or real development. All I knew was I wanted a girl. She is a math and science super genius, and
she is poor as poor can be. How
poor? She is so poor, she is living on
the street and uses hacked Fastmart Bucks to purchase food. That’s the impetus for the initial
scene. She happens to use the Fastmart
Bucks of a person who is in line with her.
She gets caught. That’s the basis for the setup of the entire novel.
The protagonist helper happens to be the cashier at the
Fastmart that evening. I knew his name
begore I developed her name. That’s the
background for the initial scene. The important
part is that I saw the initial scene as I also discovered or began developing
my protagonist. I wanted a scene where
the protagonist was caught hacking and then rescued by the protagonist’s
helper. I’ll show you the initial scene
for this novel and then use that as an example for the protagonist development.
The entire point is to develop a protagonist and to set a
novel with the initial scene. The
protagonist development is the ultimate power to preventing writer’s block.
Here is the initial scene from Lilly: Enchantment and the
Computer. I already gave you the
concept of the initial scene. This is
how it came out.
Autumn
2014 Tacoma, Washington State, USA
Monday evening
All Dane knew about the
girl was that she didn’t come into the FastMart very often. When she did, she didn’t pay with cash. She always used the FastMart Bucks, which you
earned by purchasing gas or food. What
was unusual was that she used a different account ID and phone number every
time.
She looked terrible,
especially for this part of the city.
She wore a baggy old sweatshirt and an over-large pair of worn-out, not
stone-washed, jeans. She had a ragged
backpack on her back. Her hair was
matted and her clothing filthy. Her face
and hands always looked clean, but Dane couldn’t vouch for the rest of
her. He never got close enough to smell
her—he figured that would be much too close.
He only knew her from his side of the cash register. She carried an inexpensive tablet computer in
one hand, and her shopping in the crook of her arm. The tablet had a broken screen and was taped
across one corner. Dane was surprised it
worked.
She shuffled, literally
shuffled, to his aisle, the only one open at this time of night and lifted a
half gallon of milk and a cheap loaf of bread to the counter. At that moment, a group of four high school
boys rushed up impatiently behind her.
They had tried to beat her to the counter to pay for their power drinks
and snacks, but were just a second too late.
They pressed right up behind her, but she didn’t budge an inch.
Before Dane could ring
up her stuff, she announced in a very soft lilting voice, “It’s four dollars
and sixty-three cents with tax.”
Dane turned her a
strange look and ran the items through the scanner. The total came back, four dollars and
sixty-three cents. Dane glanced at her,
“You’re right. Four dollars and
sixty-three cents. How are you going to
pay tonight?”
She smiled and lifted
her tablet, “Use my FastMart Bucks.”
“What’s your phone
number?”
She glanced at her
tablet, “253-280-7061.”
“The name on your
account?”
“Billy Martin…”
Dane was about to ask
her to put her password into the keypad when a voice raised behind her, “Hey
Billy, this girl is using your account. She has your name and password and
everything.”
A tall older teen
pushed up to the front, “No way.” He
eyed the girl, “You’re stealing my credits…”
It was a statement.
The girl’s face
froze. She moved pretty quickly, but not
quickly enough. Billy Martin seized her
by the arm and pulled her back toward himself, “How did you get my name and
account information?” He gripped her
other arm and moved the tablet computer into his line of view. He cursed, “She has everything listed right
here.” He shook her, “How did you get my
information?”
The girl flinched and
ducked but said nothing.
Billy twisted her arm,
“You’re going to tell me, or I’m going to beat it out of you.”
Dane spoke up, “Don’t
hurt her. I’ll call the cops if you
like.”
Billy scowled at him,
“Keep out of this. This is between me
and her.”
Dane shrugged, “Then
take it outside, but I’ll call the cops on her and on you if necessary.”
“Shut up, wimp. I’ll do what I want. Right now, I want to know how she stole my
account information.”
Dane wasn’t a
wimp. He was tall and muscular, but
still pretty thin. Billy had at least
fifty pounds on him. In the past, Dane
had run and skied cross country. He eyed
Billy up and down, “I’ll warn you one more time. Take it outside.”
Billy eyed Dane
back. He slowly and deliberately
wrenched the girl’s tablet from her hand and threw it to the concrete floor.
She gave an anguished
cry and tried to pick it up.
Billy still held
tightly to her wrist. He lifted his boot
and ground his heel into the tablet. It gave
a crackle and a pop. He sneered, “Now
you don’t have my information anymore.”
The girl cried out
again and struggled to be free.
Billy raised his fist
and aimed a blow at the girl’s face.
That’s when Dane
vaulted himself over the counter. He
struck Billy’s arm that held the girl’s wrist with his feet. As a result, Billy’s blow only partially
connected with the side of the girl’s face.
When Dane hit Billy’s arm, she pulled loose, staggered back against
counter, and then fell to the floor.
Billy went down for a
moment but jumped back up almost immediately.
By then, Jeff, the manager of the FastMart was running from the
back. He took one look at what was
happening and pulled out his cell phone.
While Jeff rang 911, Dane tugged the girl off the floor by her
sweatshirt, grabbed her arm, and ran for the doors.
Billy roared in
surprise then shouted, “After them.” He
was a little slow and inadvertently blocked the aisle to the counter. By the time, he and the other three boys were
in pursuit, Dane and the girl already had a good half block on them.
Dane didn’t let go of
the girl’s arm. He kept a tight grasp on
her and was amazed that she could keep up with him. At some point, his hold on her arm
transitioned to her hand. She still kept
up. They turned at the corner and then
back through an alley. Dane was familiar
with this part of the block—it’s where the garbage went out and was picked
up. The girl seemed to know it well
too. The night was cool and the alley
very dark. The Puget Sound skies were
somber and cloud laden although little rain had fallen that day.
Dane exited on the
other side of the block and stopped.
They both bent over to catch their breath and see if anyone still
followed them. Dane heard nothing at
first, and then police sirens.
Dane stood
straight. He stared at the girl up and
down and wasn’t sure what to say.
She glanced at him and
smiled, “Thanks. No one’s helped me
before.” Then she scowled, “He busted my
tablet.”
Dane took a deep
lungful of fresh air, “You’re lucky he didn’t bust your face.” He paused only a moment, then more gently
asked, “Are you all right? He did hit
you.”
She shrugged, “I’ve had
worse.”
He couldn’t see her
face very well in the light from the streetlamps, “What where you doing, and
how did you get his account?”
She shrugged again, “I
was getting dinner. I don’t have any
money.”
Dane put out his hand,
but he didn’t touch her, “I notice you use a different account each time. Did you steal those too?”
She shrugged, “How else
am I supposed to eat?”
“Most people earn
money.”
She didn’t look at him,
“I am not most people.”
“Who are you?”
She gave a slight
smile, “No one has ever asked me that around here either. I’m Lilly.”
“No one ever asked
you…?” Dane started, he finished with,
“I’m Dane, Dane Vale.” He paused a
moment for her to respond.
“It’s Lilly—just
Lilly.”
Dane asked, “Are you
hungry?”
“Yes. Very.
I didn’t get anything from FastMart.”
She stared oddly at him, “What about your work?”
“It was almost quitting
time for me anyway. I’d rather not meet
up with Billy and his friends again tonight.”
“Me either.” She glanced at him again, “Are you trying to
pick me up?”
It was Dane’s turn to
shrug, “Not really. I’m just a little
curious…”
“Curious?”
“I’ve never met a real
hacker before.”
She tugged at her lip,
“Do you think I’m a hacker?”
“Isn’t that what you
are?”
“I guess.”
Dane gave a wave, “Come
on. The campus coffee shop is still
open.”
She shuffled behind
him, and they headed to 208 Garfield.
Dane was cautious. He didn’t
think they would meet Billy again in this direction, but you couldn’t tell.
Here we are with a completed initial scene. It continues on a bit more. Perhaps I’ll show you some of that. For now, we have an initial scene, and I can
begin to explain how I develop a protagonist.
This is how to make a novel with a protagonist focus.
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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