10 March 2022, Writing - part xx889 Writing a Novel, We are Refining the Protagonist, Telic Flaw Revelations, Quality Plots, Anti-Hero +
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
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.
1.
Define the initial scene - 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.
2. At the same time as the above—fit a protagonist into the
initial scene. That means the minimum
of:
a.
Telic flaw – redemption
(reformation) of the protagonist
b.
Approximate age - 16
c.
Approximate social degree –
impoverished and likely homeless
d.
Sex - female
We have the initial scene and the basics that fit the
protagonist into the initial scene. Now,
we refine the protagonist, and the first step is the physical description.
Here is how I describe Lilly:
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.
This is just the initial description. Here is a more detailed description from the
novel:
Under the lights of the restaurant, Dane got a better look at
her. She was really petite for her
height, and she wasn’t all that tall.
She looked undernourished. Her
face was thin and kind of plain. Her
eyes were very large and blue. They
looked like an almost transparently blue.
Her cheek was turning a dark shade of purple already. Dane guessed that was where Billy hit
her. He didn’t think it was that
hard. Her hair was long and kept falling
into her eyes. It was blond, but how
blond was hard to tell—the dirt and, he guessed, grease discolored it. Her eyebrows were so light they were almost
invisible, so her hair must be really dirty.
Dane looked at her hands again.
They were clean and the nails were clean. That was odd.
When he was close to her, he did note she had a scent. It wasn’t that bad a scent, but it was like a
mix of dirty clothing and unwashed body.
He asked quietly, “How old are you?”
Additionally, I love to add an extra description later in
the novel. Here’s what I did with Lilly:
When they arrived at Mortvedt Library, Dane found them a place
before the large windows. It was still
early--they staked out a couch for themselves.
Lilly sat next to Dane and he noticed she didn’t stink quite as badly as
she had before. There was still the
smell of over-worn clothing and rotten tennis shoes, but her hair was somewhat
clean and her body didn’t waft of old locker and sweat. Her hair was almost golden blond—a
translucent color like her eyebrows.
Their computers came on the moment they raised the screens. They logged on almost immediately. There was no break that Dane could
detect. He asked, “How did you get the
wireless to respond so fast?”
And here too:
Dane found his black silver and gold embroidered hō and the white
hakama on their frame. He quickly
stripped out of his clothing and put them on.
He took his shaku from its peg and he was ready. It took Kuro a little longer to prepare
Lilly. When Kuro finished, Lilly’s hair
and face had been made up wonderfully.
Her white-blond hair was curled and bound in a noshi around one side of
her head and then over her shoulder. She
wore an ornament in her hair on the opposite side that depicted a gold and a
silver dragon intertwined. Her face was
made up so her eyes looked larger than ever.
Kuro hadn’t put any whitening on her face because she was so pale to
begin with. Kuro masked the light scar
of the cut on the left side of Lilly’s face.
Dane found himself staring in spite of himself.
With the physical description, we moved on to the
development of the protagonist. Finally,
we evaluate and develop the telic flaw resolution.
1.
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
The telic flaw resolution is basically the plot and the
theme all in one. I’ve written before
that every protagonist comes with a telic flaw that needs resolution. I’ll ask you to guess what the telic flaw is
for Lilly and how we might resolve it?
First of all, Lilly is friendless, impoverished, living on
the street, has no job, is a super genius, fears men, and is going to school on
a scholarship. The obvious telic flaw is
for her to have friends maybe even a boyfriend, to use her skills to make money
as well as getting a job and getting off the street. You might add all kinds of other points and
things to this. In the main, we call
this and see this as a redemption plot.
The telic flaw is to redeem Lilly from her situation.
Let’s pick some plots. Looking back
at our list we see that the redemption, revelation, and achievement overall
plots will fit this novel. I already
wrote that Lilly needs some redemption.
This isn’t nearly as much a spiritual redemption as a physical
redemption, but we can and should include as much redemption as possible. This means a little emotional, mental,
spiritual, as well as physical redemption is a great add. In fact, with Lilly, I have all of that. You can’t go wrong with a redemption
plot.
What about revelation? Why not have a
revelation plot? We can reveal Lilly’s
homeless life and her redemptive changes.
These are similar but different plots.
Other revelations are the Kami plot and the shrine discovery as well as
all of Lilly’s very interesting life.
She is a computer genius and a hacker extraordinaire. All of this is fun and exciting as well as
entertaining.
Let’s look at choosing some quality plots for our novel. I’m using my novel, Lilly: Enchantment and
the Computer, but moving to other novels as examples. Let me remind you about what the quality plot
is.
Quality (q) – These are plots based on a personal or character
quality.
And here are the quality plots. The
numbers represent the number of novels from the list of classics that use a
quality plot. The percent is the
percentage of that plot in the classics list.
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%
Quality plots are slightly less useful for just adding to a novel because
they are based on the protagonist and not as much on the plot or telic flaw
resolution. You can just add in a
quality plot to your characters or to a protagonist as a choice. You can either pick them when you first
develop your protagonist, or you can add them later as the protagonist matures
or as you figure out even more about your protagonist.
The anti-hero plot is really not a valid plot, in my opinion. Let me explain why.
In the first place, the anti-hero plot is found in only six of the
classics. It barely moves the needle for
use, and it is found only in so-called modern classics. I guess I’ll go back to the basics,
again. That’s always a great place to
start.
Every novel (any piece of fiction) must have a protagonist and an
antagonist. This is the basis of all
literature, period. Don’t ask me why
this works, but it does. We are talking about
writing works that people will enjoy. I
suspect you’ve read stuff that no one could ever enjoy—I have. I have writing on my shelves that are
terrible, some unreadable, and some just boring. What kind of writing do I have? Ulysses by James Joyce for one. I have his other novels too. They are not entertaining, and they are
worthless if you are looking for entertainment or any other good attribute of
writing. I have plenty of other novels
that fit the James Joyce idiocy award for poor writing. They are mostly from the middle age of
science fiction in the 1960s through 1970s.
Yes, there was a period where some science fiction authors tried to do the
Joyce thing—they failed or succeeded however you look at it. They wrote novels that were completely
unentertaining. No one reads them today—they
are dead writing.
I also have many works I’ve reviewed for the self-published. I do have a friend who was originally
regularly published and now self-publishes.
His works are very good. Most of
th self published just haven’t written enough to achieve the craft of
writing. Now, back to the point.
Every successful novel must have a protagonist (hero) and an antagonist
(anti-hero). Every successful novel must
have a telic flaw which belongs to the protagonist, and which is resolved in
the novel by the protagonist. If the
telic flaw overcomes the protagonist, that is a tragedy. If the telic flaw is overcome by the
protagonist, that is a comedy. These are
the basics of writing. You can try to
draw outside these bounds, but you are not following the basic rules of fiction
writing. The Greeks established these
rules based on reasoning and observation.
They aren’t just made up and applied gratuitously. These are rules for writing entertaining writing.
You can see that focusing the plot on the antagonist is turning the novel on
its head. If you want to do this, then
make the antagonist your protagonist.
The problem with this is most readers aren’t interested in the bad
person being successful. They don’t want
to see the wealthy, evil, immoral aristocrat win against the common, nice,
hard-working, drudge.
In the Victorian Era, the wealthy and aristocratic were the heroes. They still ended up doing good and resolving
the telic flaw. On the other hand, the antagonist
(anti-hero) intentionally foils the hero in resolving the telic flaw. We really hate people like that. That’s why they are the anti-heroes.
What do people want? It is okay to
have a Jean Valjean who is a bad person who is redeemed—even if he dies in the
end. It is okay to drive your
protagonist to the bottom (zero) and then to the top (hero), but your
protagonist must be the hero. Anything
else is pretty unacceptable to your readers.
For the underdog to not win and the high and mighty to overcome the
underdog is just unthinkable—unless you are writing a tragedy. That’s a tragedy, after all.
Now, you can potentially use the anti-hero plot in scenes. We all remember our most hated Harry Potty
scene. You know the one where he is
pouty and unhappy in the squeezy house and he abandons his friends etc. We hated that. It is the lowest points of the Harry Potty
novels. I would have never written it,
but that is a typical anti-hero plot.
A better use of the anti-hero plot in a scene is where the protagonist is at
odds with themselves and their friends and must make a very difficult decision,
one that makes them look like the bad guy.
The reader feels the anguish of the protagonist and in the end
recognizes the decision was necessary to resolve the telic flaw and help everyone. I use this, to a degree in Lilly:
Enchantment and the Computer. Lilly
must make a very difficult decision for her—she must decide to trust Coyote,
who has been pranking her—to save Dane and her shrine, and all its
servants. This is a type of betrayal to
Lilly, but in the end, we see it allowed her to resolve the telic flaw and
succeed. Now that is a scene based use
of the anti-hero plot. In other words,
when the author makes the protagonist act in place of the antagonist that is an
anti-hero scene plot.
You can’t leave your protagonist in that place. The resolution must always show the
protagonist was acting for the best of everyone and the setting world of the protagonist
(novel).
The anti-hero plot can be used to good effect as a scene plot. You can choose it as a plot, and it can be
very powerful. I recommend using it
sparingly, once per novel, and carefully.
Rowling almost ruined her protagonist with it for zero effect in her
novels. If you use this plot, use it
well to make your protagonist look stronger and better, not the opposite.
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%
At this point, just look at the list of plots from the
classics and just pick one. This is one
method—perhaps not the best one.
We choose plots based on the protagonist, the characters,
the setting, and the telic flaw. Perhaps
this needs more detailed explanation.
We still turn all this information into plots.
We’ll continue to look at the telic flaw resolution and the
protagonist.
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
fiction, theme, plot, story,
storyline, character development, scene, setting, conversation, novel, book,
writing, information, study, marketing, tension, release, creative, idea, logic
No comments:
Post a Comment