23 February 2026, Writing - part xxxx333 The Novel, Self Editing
Announcement: I
still need a new publisher. However, I’ve taken the step to republish my
previously published novels. I’m starting with Centurion, and
we’ll see from there. Since previously published novels have little
chance of publication in the market (unless they are huge best sellers), I
might as well get those older novels back out. I’m going through Amazon
Publishing, and I’ll pass the information on to you.
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 two 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.
6. The initial scene is the most important scene.
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 31st novel,
working title, Cassandra, potential title Cassandra:
Enchantment and the Warriors. The theme statement is: Deirdre and
Sorcha are redirected to French finishing school where they discover difficult
mysteries, people, and events.
I finished writing my 34th novel
(actually my 32nd completed novel), Seoirse,
potential title Seoirse: Enchantment and the Assignment. The
theme statement is: Seoirse is assigned to be Rose’s protector and helper at
Monmouth while Rose deals with five goddesses and schoolwork; unfortunately,
Seoirse has fallen in love with Rose.
Here is the cover
proposal for the third edition of Centurion:
|
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 finished writing number 31,
working title Cassandra: Enchantment and the Warrior. I just
finished my 32nd novel and 33rd novel: Rose:
Enchantment and the Flower, and Seoirse: Enchantment and the
Assignment.
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 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.
For novel 33, Book girl:
Siobhàn Shaw is Morven McLean’s savior—they are both attending Kilgraston
School in Scotland when Morven loses everything, her wealth, position, and
friends, and Siobhàn Shaw is the only one left to befriend and help her
discover the one thing that might save Morven’s family and existence.
For novel 34: Seoirse is assigned to
be Rose’s protector and helper at Monmouth while Rose deals with five goddesses
and schoolwork; unfortunately, Seoirse has fallen in love with Rose.
For novel 35: Eoghan, a Scottish National
Park Authority Ranger, while handing a supernatural problem in Loch Lomond and
The Trossachs National Park discovers the crypt of Aine and accidentally
releases her into the world; Eoghan wants more from the world and Aine desires
a new life and perhaps love.
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: Let me tell you a little about writing. Writing
isn’t so much a hobby, a career, or a pastime. Writing is a habit and an
obsession. We who love to write love to write.
I want to start with these definitions as
a premise for writing.
1. Write to entertain
2. Write using the
common outline for a novel
3. Develop a telic flaw,
a protagonist, an antagonist, and plan to resolve the telic flaw.
4. Start with an initial
scene.
5. Develop and define a
modern protagonist: you get a telic flaw, a potential protagonist’s helper, and
a potential initial scene from the development.
6. Write to reveal the
protagonist.
And here is the scene:
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
I haven’t come to the end of Bookgirl yet,
but I’m close. That means some very
detailed proofing and editing. Yes, I’m
still on this topic. I thought that as I
move to finishing a novel, the editing and proofing I do with it might be
helpful. As it is, I need to finish the
novel.
In the first place, I need to mention that
my proofing and editing goes on from the first page and beginning to end of
writing. What does that mean?
The way I keep up with the writing and move
the writing is through continual review and editing. I do proofing as I edit as well. I’m looking for the big stuff and the little
stuff, and I make notes all the time to help me keep the novel moving and to
remind me what to add in in the past parts and to add in in the parts not
written yet. Let’s say that every time I
complete a chapter and move to the next (I write in chapters), I review the
previous chapter, close that out, kill the notes (the ones I keep moving along
with the chapters), review them in the new chapter, and then start with the
next chapter text. I know where I’m
going, and I know who’s going with me.
The point is to constantly review the
chapters for both proofing and editing and review the notes to keep updating
the text to improve the storyline and the plots. There is even more to this, but the constant
review of the text I’ve written along with the notes about what needs to be
added to the previous text is what lends wings to the writing. It deepens the storylines and adds to the
entertainment. I’m pretty hyped about
Bookgirl although it is not likely the best novel I’ve ever written. It’s a fun novel, and that’s what
counts. The most entertaining thing
about the novel is the way I’m fitting it into my other novels from the same
time and the future.
Bookgirl unexpectedly became a transition
novel moving from my other novels around 2016 and earlier in time to my later
novels clustered around 2028. Yes, they
are not really science fiction, but the timing of the characters and the novels
fit into that time logically, and so I went along with it. I suspect, if I get a publisher or if I
independently publish them, the date will be close to or past 2028—then they
will be perfect for the market.
The point of the editing is that I have
made amazing connections between my older novels and this novel. It’s filling little and big holes that I
never fully explained in the other novels.
These holes are common and great to have in a novel. They are also fun to work into another
novel. That’s something I should explain,
and I’ll do that, next.
We don’t really need to fill in every hole
and explain every backstory in our novels.
If you are writing Manga or a comic book, you might think about multiple
story-arches where every nuance of the story and plot is explained in excruciating
detail. That’s what mangas do because otherwise
the writers would quickly run out of the story and plotlines required to keep
it going for years and years and years. Novels
are different.
I’ve discussed before that in writing a
novel, we take many plots and storylines to drive a single telic flaw resolution
that means there are many leftovers that the author never needs to address or
explain. For example, in my novel Sorcha:
Enchantment and the Curse, I introduce Derfin, a dragon, Dark Ash, an
Unseelie Fae, and the Sherwood Puck, another Unseelie Fae. I don’t explain how they got there or why
they are even guardians for Oaken House in Sherwood Forest. I didn’t need to, and I didn’t want to. As I wrote, you don’t have to close up every
storyline or idea in the novel. I am
using Bookgirl to close up some of the holes.
In Bookgirl, I’m showing the whys and hows of Derfin, Dark Ash, and the
Puck. It really does take an entire
novel to even touch on their reasons, other than protecting Robor’s Oaken House
in Sherwood. In fact, Sherwood House
didn’t exist in Bookgirl, we shall find out why it is there, and why Derfin,
Dark Ash, and the Puck protect the house.
We also discover all about Derfin’s hoard.
These are storylines touched on in Sorcha:
Enchantment and the Curse that are not explained or shown, only mentioned
in that novel. I didn’t see any need to explain
for that novel, not necessary because I planned to address them in the future,
but because they were not important to the telic flaw resolution of the
novel.
I’ve written about this over and over
before. If it isn’t important to the
telic flaw resolution, there is no need to address the issue even complex
storylines or plots. You don’t have to
wrap up every question your novel brings up—of you do, you will never complete
a complex novel, or you certainly won’t be able to write a sellable novel. Why is this?
The main reason is in a complex novel, many
plots and storylines might be driving the telic flaw resolution. I’m not writing about key ideas in the novel
or even side stories of note. I’m
writing about the reasons for something to exist in the novel. I’ll try to explain this and get to this, next.
There’s more.
I want to write another book based on Rose
and Seoirse, and the topic will be the raising of Ceridwen—at least that’s my
plan. Before I get to that, I want to write another novel about
dependency as a theme. We shall see.
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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