19 June 2026, Writing - part xxxx449 The Novel, Starting and Finishing
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’m working on finishing my latest novel
number 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.
I was writing about the writing of this
novel for a while then I got caught up in taxes and finances for the season,
but I’m mostly caught up. Now, I have
work at the ranch plus other basic life things getting in my way. Still, I intend to finish up this novel. It’s taken on a life of it’s own and become a
little of an albatross because although I’ve gotten to the end and the really
fun development of the end, I’m not sure how to create the climax I really
want. I know what the climax should be,
but it’s become a little less powerful as my protagonist has gained power. Plus, I really want to write Aine or Eoghan. That’s novel 35. My numbering system is all screwed up. I’d also like to get back to novel 30 about
Red Sonja. Recognize, I don’t have much
scope for getting a publisher because I’m not pursuing a publisher as strongly
as I should. I also should be working on
independent publishing like one of my author friend recommends, but I’m not
doing much of that either. I’m not
enamored with Amazon publishing, but they rule the roost. They really couldn’t do a good job with my
previously published novel, Centurion, but Centurion is back in
the market. None of my other works,
except The Second Mission is.
Plus, I’m really not interested in working all the advertising
angles. My good friend, the author is
and is a genius at it, but I’m not as interested. I just want to write fun stuff that people
will want to read. The problem is then
getting it published and before an audience.
In any case, I want to finish this
novel. It’s a fun novel and really moved
into the place where I wanted it to go—you might say, where was that?
My novel Bookgirl is all about a
strange girl from Scotland who was put upon all her life, but who has very
special qualities. Those special
qualities are that she is a goddess and the rebirth of Dana-ana as Anu. Wow.
That’s a strange approach. The
reason is this, and you don’t have to read my novel, Dana-ana: Enchantment
and the Maiden to understand Bookgirl, but Bookgirl is a kind
of follow on about Dana-ana. How’s that?
I wrote the novel Dana-ana about a
goddess who was banished and her power taken from her because of the actions of
her followers. Further, the novel Dana-ana
was about her life after she was banished.
The novel Azure: Enchantment and the Detective, showed why
Dana-ana was tried and eventually banished.
Bookgirl shows one of the possible reasons Dana-ana was banished
and what happened as a result of her banishment. Bookgirl’s mother the goddess Morrigan made Bookgirl
to be the rebirth of Anu with the powers of Dana-ana. This was to prevent the problems of Dana-ana
which resulted in her banishment. There
are also other reasons like Dana-ana’s crazy sisters, but that’s just a side
story not in the novel. The main point
is that in Bookgirl, the protagonist is the rebirth of the goddess Anu
with the powers of Dana-ana. I don’t
fully explain this, but the point the reader should get is the power vacuum
caused by the loss of a goddess or goddesses.
In the modern era, the existence of these beings is ignored, but in my
novels, I like to reflect the ideas of the world and so the supernatural
exists. I would say the supernatural
exists to point the reader to the real supernatural in the world, but that’s
entirely the point.
There is more to write about this novel, Bookgirl.
I’ll try to build it up and then I’ll complete it. If I can work this out properly, I’ll be
producing the marketing materials for you soon.
That’s coming.
Yeah, I’m in the middle of a review of the
draft of Bookgirl to work on finishing the novel. I’m already up to chapter 19 and that’s about
the max due to wordcount. I’m aiming for
at least a 100,000 word novel, and I think I’m there. The big deal is to work out the climax and
resolution. What’s that look like?
I’ve written before about this. The climax needs to resolve the telic flaw of
the novel and to be filled with action and adventure. It needs to give a finalness to the end of
the work. With that written, what’s the
telic flaw of the novel?
The telic flaw is who and what is Bookgirl
and what will she become. Bookgirl, as I
wrote is the rebirth of Anu with the powers of Dana-ana. In the novel, she used her fashion presence
to confront the Queen and the Queen’s entourage of gods and goddesses who
represent the historical parts of the UK that is: Britain proper, northern
Britain, Scotland, Ireland, and Wales. There are specific gods and goddesses who
represent each of these parts. They have
certain authorities. Bookgirl claims
authorities and is granted coauthority and authority directly under
Ceridwen. Ceridwen in my novels is the
goddess who is the overall authority over the UK or specifically the Celtic and
Gaelic people of the UK. She aids the
Queen or King of England in judicating for the Fae and courts of the gods as
well as the courts of the people. This
is a reflected worldview and magic realism.
In other words, the gods and goddesses as well as Fae (fairy) and other
beings exist in the world—just most people can’t see or detect them. This is the reflection of history and the
world. That is, this is a consistent
view of the supernatural from British and other folklore.
So, in Bookgirl Bookgirl has taken
her place as a cosovereign of the UK and England. This gets a little complicated, but the novel
explains it well in its revelation.
Bookgirl’s parents are a bound god and bond goddess who fell in love and
made her. Once they did, they set in
motion a future and a basis where Bookgirl could come into her power and have a
fulfilling life—that is as a goddess.
Bookgirl is just the person to do this.
The preparations are deep and the connections are great for all this to happen. As the novel unfolds, each of the
participants and the groups come to give fealty to Bookgirl. In the end, you know there have to be those
who would oppose her. That group is
small, but still powerful, and those are the ones who cause the climax. I’m still working on how to complete the
novel in the climax. Part of this is
Sorcha and the connections with Ashly and Sherwood Forest. I guess I should explain this. That’s next.
My novels are all somewhat connected. The novels are all standalone, but there are
tidbits that fit into other novels. You
can read each and be fully entertained, but if you have read the other novels,
you can gain real insight into the other characters and the major characters in
the novel.
In Bookgirl, I bring in Sorcha, a
major character in Sorcha: Enchantment and the Curse as well as a side
character in a few other novels. I also
bring in Ashly who is from the same novel and appears in a few others. Along with Ashly is Robar, the god of the
Oak, and Ashly’s lover the Puck from Sherwood Forest. Sorcha is a problem child. The reason I brought her into Bookgirl
is to help answer the question of her redemption from her early rebellion and
then her later responsibility. She is
only a side character, but she will take on some real problems are the end of Bookgirl. In addition, Ashly, the Dark Ash Far (Fairy)
is bound with Robar to Sorcha and to Sorcha’s work. This is part of the side explanations that
come out of Bookgirl. If you read
the other novels, things wouldn’t necessarily become clearer, but you might
gain some insight into the characters and their future. Unfortunately, Bookgirl or Anu herself
doesn’t appear in my other novels. I
might add her into a later novel, or I might go back and put in a couple of
lines in passing about her.
What is the point of Anu or Bookgirl. In writing about Bookgirl, I designed the
protagonist for this blog and as I write all the time, once you design or
develop a protagonist, you have basically written a book. The book isn’t finished, but all the
development for the book is ready to go.
I just couldn’t leave Bookgirl alone—I had to write her book. That’s how I go stuck with her.
Bookgirl is an interesting and unusual
character for my novels. In some ways
she is like Essie, the Aos Si, but in other ways she is not. I really have no future plans for Bookgirl or
Anu, but I might be able to use her. She
really isn’t a romance type character.
She is not a controlling type character.
She has really zero desire for authority, but she is powerful and yet
kind. At the same time, she is a potent
being who does have a place in the world.
She knows what she is about and she doesn’t hold back from using her
power when necessary. In this way, she
is very different than Essie. I might
write something in the future that includes Essie and Anu, that would be fabulous. Perhaps the novel on Aine and Eoghan I’m
contemplating would make a great place for their low power conflict. Essie is the sovereign of the Fae and Anu is
a Queen of the Fae. This would fit will
with Rose who is also a Princess of the Fae and with Aine as a Queen of the Fae
with an exact opposite personality to Anu, the sparks would fly.
Back to Sorcha and Sherwood. Sorcha is somewhat redeemed by the actions
and her actions in Bookgirl. She gains
the respect of Mrs. Long, Azure, and a few others based on her actions. I plan to make her a hero at the end of
Bookgirl which results in Robar building her Sherwood House and her being set
up as the intelligence and operations branch for Stela. The rest might come later as a promise that I
don’t write about directly. Still,
that’s my plan and the connections to the novel Sorcha. By the way, the novel Sorcha: Enchantment
and the Curse is really about Shiggy and not so much Sorcha, but Sorcha
plays an important role in it. Sorcha
also has her problems in Rose: Enchantment and the Flower. As I noted, I love to use and reuse
characters to give my readers even greater insight into the world of my novels
and my characters. There’s more, next.
So, this is the climax I’m putting
together. First, Sorcha was kidnapped by
an opposing god, Cernunnos. Cernunnos is
the Celtic god of the hunt. He’s
irritated at Anu (Bookgirl) because she has claimed the domain of all Gaelic
and Celtic animals including their environs.
He considers himself the sovereign of these, and that irritates him
enough to directly oppose her. The only problem
is the animals and their special keepers love Anu. Anu is all about protecting the animals where
Cernunnos is all about hunting the animals.
Big difference here.
In the novel, I give Cernunnos a could of toadies
based on his depictions in history. He
has large snake and tawny wolf. These
have been his henchmen, so to speak, for eons.
They go to do his dirty work since Cernunnos is pretty weak as a god in
the modern era. If you didn’t know, Britian is run by the crazies today. They have no hunts or even hunting almost at
all. That’s the work of the few and the
wealthy and even that is becoming impossible culturally and socially. No hunts means Cernunnos has almost zero
power as a god. He’s pissed about that
too.
Cernunnos wants a rebellion from the
animals to help him push Anu out. That’s
not likely to happen, but Anu is oblivious, not to opposition, but to
Cernunnos. The Fae know what is going
on, but Anu hasn’t asked and they usually won’t tell. That’s the problem with the Fae. So, Cernunnos has large snake and tawny wolf
attack Anu’s grand end of year post Christmas party in her new castle in Sherwood
Forest. What Cernunnos didn’t count on
is that Derfin, the great dragon is also the guardian of Anu’s castle and
capital.
Anu’s mother Morrigan has been at this for
years and nobody knew. Morrigan set up everything
for Anu because she could. She made Anu
a kingdom, Fingal’s kingdom, and made her a capital, Derfin’s olf ruins and
keep in Sherwood which just happens to be close to the great Oak and Ceridwen’s
capital and center of rule. Morrigan has
planned all this for her one and only daughter for years and years. It’s all due to Morrigan’s embarrassment and
her slightly perverse love for her daughter.
Perverse meaning that she had no real compunctions with leaving her own
child in poverty and misery, but prepared for years a kingdom and sovereignty
for Anu. Oh well, parents, even god and
goddesses are a little strange.
In any case, Cernunnos and his two
remaining helpers are all about kidnapping Anu or one of her inner court. They get the only really vulnerable one,
Sorcha, and that’s just an accident.
That’s where I am today. Sorcha
is in the clutches of Cernunnos with large snake and tawny wolf, and they have
no idea what to do with her. We shall
see where this goes. That’s next.
That’s where I am in writing the novel. Unfortunately, life and my other work is
cutting into my writing time. I really
need some quiet and lengthy time to write, but I’m not getting it at the
moment. If you want to know why. I have graduations, certified flight
instructor renewals, taxes, financial work, board work for the Opera board and
for an aviation museum, and then keeping up with my writing about writing. That’s just fun. I’ve got to keep up my writing or I’ll lose
the knack.
So, I might as well go back to the
beginning and the start of Bookgirl.
The starting and the beginning are the most important parts of any
novel. As I explained before, I develop novels
beginning with the initial scene and the protagonist. I am also a great fan of the protagonist’s
helper. I usually get an idea for a
novel based on an initial scene, design the protagonist, and then write the
initial scene. Everything else I the novel
follows from this.
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’m moving back in time, but at this
moment for Bookgirl, I’m approaching the climax scene. I’m looking back at the initial scene to help
with the idea of starting a novel. What
started Bookgirl?
The idea I have that set Bookgirl
in motion was the idea of a girl who was unusual in many ways, but mainly
characterized by always reading a book.
This idea came from the general development of a great protagonist. Readers love protagonists who are like them,
and readers are readers because they love books. Bookgirl, the protagonist, loves books—they are
her life, but that wasn’t all about Bookgirl.
I saw Bookgirl as the catalyst and the protagonist for this novel, but
the initial scene was about the beginning antagonist who became the protagonist’s
helper. I didn’t initially intent this,
but that’s how it worked out. My vision
of the initial scene was for Bookgirl to be bullied for her looks, personality,
and book loving by an antagonistic character.
In the beginning, we are introduced to Bookgirl, but then see her being
abused and bullied. The first point or
part is all setup and introduction to the characters. It is common and normal. Now, I assert that a deus ex machina (an
unusual and unique) situation initiates every novel. I’m wrong to use the tern deus ex machina
which means a god machine from Greek literature and plays. In the Greek renditions, the deus ex machina causes
the resolution of the play. In the god
machine, a kind of lifting device, the god comes down from the heavens and
makes everything turn out right—it’s a Greek method of brining in the calvary to
rescue everyone. Obviously, a deus ex
machina is no good for resolving the telic flaw and the climax of a novel (or a
play), but the idea of a singular unique situation that initiates the play or
the novel is indeed a great idea.
Think about it. Most novels begin just like this or have some
overtones like this. There is a chance
meeting, the change engagement, the chance conversation, the chance
discovery. In Harry Potty, we have a
child who could not be killed with an unstoppable curse. In Th e Hobbit, a group of dwarves are
directed to Billbo Baggen’s house—a chance meeting set up by the wizard. Yes, events can have a greater character than
chance or more direction than the lottery, but many novels begin with just such
an unexpected encounter.
I’ll get into this unexpected encounter
for Bookgirl, next.
I’ve written a lot about the initial
scene. This scene is what sells your
novel to both a publisher and to the public.
I’ll give you the short explanation.
When someone is looking for a novel, they usually go first to the genre
the are interested in. For example,
science fiction or romance or drama.
Bookstores categorize by genre, and this the reason that mixed genre
novels don’t do as well as straight genre novels. Luckily there is a new genre, magical realism
that transcends much of the genres and makes mixed type books a little easier
to market. In any case, the reader
usually seeks in the genre they are most interested in. Then they look at the covers and titles. The covers and titles can really sell a
novel, but many have been burned by both, so for all readers, they look beyond
this. The only people who would buy a
novel based on the cover and title are those looking just for that title. They have already scoped out the novel.
Once a potential reader has a book in
their hand, they might look a the front piece info. For a paperback, this is the rear cover
material, but in a hardback, this is the material in the slipcover on the front
and sometimes the back inside the slipcover.
Many experienced readers either ignore or just don’t look at this—they know
it is marketing material, but if they have picked up the novel cold, they might
look at it to get an idea about the novel itself. The genre is the first hook. The cover and title is the second hook. The back cover material or the front piece material
is the third hook. Once you have the
potential reader here, you might have a chance at a sale. The last and most important hook is the
initial scene. Let’s break this down.
The initial scene starts with an initial
sentence, initial paragraph, and the first page. Any experienced reader starts with the initial
sentence. That’s a hook for a hook. If they like that sentence, they might be
tempted to read the initial paragraph then the first page, then the entire
scene. If you catch them with the initial
scene, you have likely sold a copy. It
does start with genre, but quickly moves to the actual writing. That writing is always the real hook.
Think about your own book selection
process, I’m sure it is similar. I have
heard of readers who go to the last page, but these are few and far
between. I would never want to ruin a
great novel with reading the final page or pages. In fact, I argue all the time that a weak
climax and a weak ending for a novel is much better than a poor initial
scene. The initial scene is the critical
part of the novel. It leads to the rising
action which for me is the best part. I’m
almost disappointed when I get to the climax because that means the novel is
coming to an end. In a great novel, the
rising action just continues to excite and interest me. I don’t want the novel to end because I love
the characters and the story.
Let me give you a great example of
this. In Asia and infiltrating the USA
and European markets is the light novel series.
These light novels sometimes go into the multiple double digits in a
series without much of a climax and no ending.
The reason they are so popular is the story and the characters. These move the light novels along—without any
climax or with small climaxes. That
should prove my point. A strong initial
scene can drive a novel to greatness. In
fact, what is even more intriguing about these light novels is that each novel
in the series is just a continuation with a strong initial scene. In other words the initial scene for the
entire series has propelled the series and not just a single novel. This is not how I write, and I think this is a
very difficult and dangerous approach to writing. I don’t recommend it, but it exists and
produces bestsellers in foreign markets.
I haven’t seen it in USA books except as imports and translations. The potential is there.
I still recommend writing in the style I
use. Each of my novels is a unique and
independent novel. They each start with
a strong and unique initial scene. They
have a strong and fun rising action. The
climax is action based and tied to the telic flaw. The falling action and dénouement completes
the novel and gives me latitude for further novels. In this way, my novels can be independent and
yet connected. Novels I hate are those
that do not complete with the novel. In
other words novels that have no climax or completion at all and require you to
read another novel to get to the end.
This might be a good reason to read the last page first.
For every novel, I recommend basing it on
a singular telic flaw which you introduce in the initial scene. I’ll explain this next as I go through the novel
development outline and explain about the initial scene for Bookgirl. That’s next.
Let’s start with the initial scene. This is the scene that will sell your novel
to a reader or a publisher. Yes, as I wrote,
there are other attributes like the title, cover, genre, and marketing
materials that help bring your novel to the attention of a potential reader,
but to clinch the deal, the initial scene, initial paragraph, initial sentence has
got to grab them and convince them to buy your novel. As a writer, I’d also state without any equivocation,
that the initial scene launches your novel.
Each of my novels came out of an idea for an initial scene. Bookgirl was the same.
This is what I’ve written about the initial
scene. You should craft the initial
scene as an action scene where the protagonist first meets the antagonist or
the protagonist’s helper. I like the protagonist’s helper because I use them
and because I think this makes the best kind of initial scene. In Bookgirl, Siobhàn Shaw meets Morven
McLean as her protagonist’s helper in the initial scene. They know each other, and in fact, Morven bullies
Siobhàn. I should eventually show you
the scene. I think I’ve done that
before, but it can’t help to do it again.
Morven McLean has been bullying Siobhàn
Shaw ever since Morven entered Kilgraston School. Morven bullies Siobhàn because Siobhàn has
something Morven can’t ever have. Siobhàn
has the body and presence of a model, and Morven knows it. She keeps it under wraps because she knows
she can never achieve what Siobhàn has inside herself. Morven is a hopelessly bad child who wants to
prevent others from succeeding. In the
initial scene, we see Morven mercilessly bullying Siobhàn, and then Morven
loses everything. Her father and mother
are taken away to prison, and Morven loses her house, home, parents, and everything
else that makes her life worth living and Siobhàn worth abusing. In spite of this, and when all the other
girls turn their backs on Morven, Siobhàn treats her with kindness, and gives
her a place to stay.
This is the scene I should give you so you
can see what this kind of initial scene gives you. I’ll do that and explain it. That’s 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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