Writing Ideas - New Novel, part 281, even more Mystery Title

16 January 2015, Writing Ideas - New Novel, part 281, even more Mystery Title

Announcement: My new novels should be available from any webseller or can be ordered from any brick and mortar bookstore.  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 website http://www.ldalford.com/ and select "production schedule," you will be sent to 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.
5. Immerse yourself in the world of your writing.

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my 25th novel, working title, Escape, is this: a girl in a fascist island nation will do anything to escape--a young cargo ferry pilot not following the rules crashes on the island.

I'll make a slight digression because I'm developing advertising and publisher materials for my newest completed novel, Lilly.  Here is the cover proposal for Lilly: Enchantment and the Computer. 

Cover Propsal

If you are setting a title on a work yourself or your publisher asks you for ideas (assuming you don't have a title already), here are some ideas for developing a title.

1.  It needs to be pithy. 

2.  It needs to be marketable. 

3. It needs to be short, but not too simple.            

4.  It needs to be unique, but not too unique. 

5.  It should not be too similar to works with negative connotations. 

6.  It should encapsulate some measure of the theme. 

7.  It should build mystery.  Why should a potential reader buy your book and read it?  This is step one of marketing.  The cover must attract, the title must seduce, and the first page must convince.  We are looking at the title.  Let's evaluate some of my published novels.  Centurion begs the question--who?  There isn't that much mystery, but for a single word title, it conjures thoughts and ideas outside the norm.  The reader thinks of the Roman Legion and should wonder enough to pick up the book.

Aegypt is an obvious mystery.  The potential reader wonders at the spelling and the ideas the word Aegypt conveys.  The whole idea of mystery is encapsulated in a word--plus, who doesn't like old Egyptian ideas: mummies, Pharaohs, Queen Nefertiti, Cleopatra, pyramids, the Sphinx... I mean the word mystery could e defied by such things. 

The Second Mission brings the immediate question to mind: what was the first mission?  That's the point of the novel.  The End of Honor is a mystery question itself.  The immediate question is how did the honor end and what caused it to end?  The Fox's Honor is similar.  The potential reader asks herself, what is the Fox's honor?  A Season of Honor keeps in the same vein--what is a season of honor and what brought it about? 

My two novels and the series that should be published are Sister of Light, Sister of Darkness, and Ancient Light.  These also pose mysteries through their titles--we hope enough mystery to encourage a potential reader to pick up the novel.  The next step is the first page, but that is an entirely different subject.

Once we have a title, we can move to the marketing materials.

At this point everything I'm doing with and for this work is about marketing to a publisher and building a website.

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com

Writing Ideas - Writing Science Fiction, part 97 more Entertainment to Technology

5 November 2013, Writing Ideas - Writing Science Fiction, part 97 more Entertainment to Technology

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to 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.
5. Immerse yourself in the world of your writing.

I am writing about the extrapolation of science and technology to be able to write science fiction.  I made the point that it is almost meaningless to try to fully extrapolate a universe (world) that is 10,000 years in the future (and maybe 1,000 years in the future) without applying some cultural and technological shaping.

By shaping the cultures of your science fiction universe, you can shape the science and technology that is extrapolated.  Here is how I culturally shaped the universe of The Chronicles of the Dragon and the Fox to make the 10,000 year extrapolation work.

In the beginning, the Wright Brothers had no idea how important or capable their invention would become.  Orville predicted that aircraft would never cross the oceans or carry people for long range transport.  He saw it as a machine for war--the wealthy proved him wrong.  The Wright Brothers did aircraft right, but they did little else right.  They had no idea that the wealthy would take their invention and make it into something very capable.  Indeed, a war increased aircraft technology and made many aircraft available to people, but even after the war, it was Linbergs and Erharts and Stearmans who made aircraft great and available to people.  The wealthy were the first to fuel air transportation, and the wealthy thought markets made air transportation eventually available to everyone.

The aircraft is like almost every other technology, it starts as a plaything only the wealthy can afford and over time becomes a technology everyone has.  Computers, CDs, DVDs, video recording tapes, audio recording tapes, phonographs, cameras, motion pictures, cell phones, and all--every modern piece of technology was first affordable and acquired by the wealthy and eventually became low cost and common place.  This is one of the reasons you don't see technology in the hands of people in socialistic and communistic countries.  Without the wealthy, a market for a product can't come into place. 

More tomorrow.

Also remember, I'm trying to show you and give you examples of how to write a science fiction theme statement and turn it into a plot.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com

Marketing Materials - Short Form, Similar Works

7 September 2011, Marketing Materials - Short Form, Similar Works
I also produce a short form for my novels.  The short form is not complete.  That is, unlike the long form, it doesn't include all the information you might need to give a publisher or an agent.  It does include the kind of information you might need for a reviewer, a newspaper, a book show, a website, and etc.  You can additionally use this information for teasers and to help write other marketing material.

The short form gives you quick and terse words to describe yourself and your work.

Short form information: 

1.  No more than 3 sentences about the content of your manuscript.

Aksinya contracted the demon, Asmodeus to save her family from the Bolsheviks, unfortunately her family was already dead—now, who can save Aksinya.   

The demon, Asmodeus' purpose is to tempt Aksinya to accomplish evil.

Before Aksinya can gain her freedom from the demon, Asmodeus, she might lose her friends, family, and acquaintances, and it will all be her fault.     

2.  One sentence about successful works similar to yours.

The conceptual theme of Aksinya is similar to Faust, a story about a man who makes a contract with the devil. The difference is the main character in Aksinya did not intend evil through her actions and constantly attempts to find some means to break her contract with the demon.

This answer to this question is more important than many would imagine.  Publishers and agents want to know something they can compare your work to.  If you can make a comparison, it becomes easier to sell an idea. 

In this sentence, you want to find some novel or work that your novel can be compared with.  The comparison can be either plot or theme.  If you can't find a classical or popular work to compare it to, you aren't looking enough (or you aren't familiar enough with literature) or the possibility really exists that you have hit on an idea that has never been used before.  I do have one novel that is that unique. 

Dana-ana: Enchantment and the Maiden is an absolutely unique plot.  There is literally nothing in classical or popular literature similar to it.  Here is what I wrote for it:

The conceptual theme of Dana-ana is unique. It has almost no similarity to other novels. It is in some ways a coming of age novel with a supernatural twist, but the supernatural basis is not similar to anything in popular or classical fiction.

This is not true of most other novels in the world.  I can find comparisons for all my other writing. Most popular and classical novels have easy comparisons.  For example, the Twilight novels can be compared to any number of young adult novels or to Dracula by Bram Stoker.  Any Vampire novel easily can be compared to Dracula.  The Harry Potter novels are easily compared to many children's novels, anime, and manga.  The theme of a school for magic isn't very unusual especially in manga.  You could compare it to the Sword in the Stone--the teaching of Aurthur by Merlin. 

This little sentence is like the sentence on the long form about the audience--it has great importance although it seems like a simple question and answer.  Audience allows the publisher to know who you focused your writing toward.  The comparison allows the publisher to understand what you think your work is similar to.

3.  No more than 2 sentences about yourself. (use 3^rd person)

4.  No more than 2 sentences that include “other,” i.e. any reasons, relationships, or other factors that might make your work more attractive.

Tomorrow, we'll continue filling out the short form for Aksinya with commentary, of course.

A New Novel, Part 208 She Should Remain in the Ecclesia

30 Apr 2011, A New Novel, Part 208 She Should Remain in the Ecclesia

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

I promised you a transition--that is indeed what I have been setting you up for.  It follows as well as a very important scene that includes some strong foreshadowing…

This is how Aksinya’s days progressed with only the variation of the domestic work of the rectory and Ecclesia. Every evening, Aksinya asked about Natalya, but she received no information. Father Makar explained every time she asked that he still sought the Lady Natalya, but that no one knew what had happened to her.


On Saturday following the morning prayers, Ekaterina prepared to take Aksinya with her to the market, but Father Dobrushin blocked the door when Aksinya tried to leave the rectory.

Ekaterina pursed her lips, “What’s wrong Father Dobrushin. The Countess can help me with carrying everything. She will be very helpful.”

Aksinya stood silent.

Father Dobrushin answered carefully, “I don’t think she should appear in the marketplace. Right now, until we determine what is going on, she should remain in the Ecclesia.”

Ekaterina glared at him, “I would like her to accompany me, and I’m certain she would like to go out.”

Father Dobrushin sighed, “I will get a Greek Bible for the Countess to study today. That will make up for missing the market.”

Aksinya didn’t raise her head, “I would like to study.”

Ekaterina made a face, but she turned, “Very well. I’ll be back before midday communion. Father Dobrushin, look after my charge.”

Father Dobrushin’s face was very serious, “I shall.” After Ekaterina was out of the sight, Father Dobrushin gestured toward Aksinya. She wasn’t watching. He cleared his throat, “Countess.”

She glanced up, “Yes.”

“Come with me. I’ll give you an old Bible to study. It is a little worn, but you should be able to read it without any problem.” Father Dobrushin led Aksinya to the side of the ark, “Wait here. I’ll get the Bible.” He went between the rails and to the back of the ark. After a few moments, he returned with a large book in his hands. He handed it to Aksinya, “You may read this all you like.”

“May I take it to my room?”

“Yes. If you have nothing else you need to do, you should study it now.”

Aksinya clasped the large book to her chest. The place still stung between her breasts where the crucifix had burned her. She took the Bible back to her room and began to read it. She was so intrigued with what she read, Ekaterina had to retrieve her for the midday communion. Following communion, Aksinya continued to read until Ekaterina called her to come help with supper. Aksinya dragged herself away from the book and went to help.

After dinner, Aksinya begged a taper from Ekaterina and continued to read until the wax and floss was entirely gone. Then she prayed her rosary until she fell asleep. Her last prayer was that she might have light to spare so she could spend enough time to memorize the Greek Bible Father Dobrushin had lent her.

After that, Aksinya’s days were completely filled with her work, prayer, and memorization of the Greek Bible.

We start with the transition right away.  Remember I told you yesterday I was setting everything up for this transition.  The transition is to set you up for the time lapse that will come next.  So, what I showed yesterday was the general day Aksinya lived in the rectory and Ecclesia.  The next (transition) gives you an idea that time is passing.  Tomorrow, more time will have passed.  The purpose is to show you generally what is transpiring in a way that you know what is going on, but I don't have to show or tell you everything.  This is an advanced form of a transition: you start slow and easy and move a little quicker each time.  Eventually, the reader has a feel that time has passed, but also has the impression that they understand well what has been going on in the life of the main character.

Thus: This is how Aksinya’s days progressed with only the variation of the domestic work of the rectory and Ecclesia. Days have passed and each was similar to the last that I showed you.  Also, Aksinya asks about Natalya every day.  It would be redundant for me to show you this every day for weeks, so I give you a short synopsis in the narrative and all is good.  We still don't know what happened to Natalya--just keeping the tension going as well.

Then out of the transition, I give you another scene.  First the setting: when, Saturday; where, the rectory; who, Ekaterina, Aksinya, and Father Dobrushin, the what, Ekaterina wants to take Aksinya to the market with her.  Father Dobrushin doesn't think this is a good idea.  Aksinya is resigned to her role as servent.  This makes their address to her as Countess all the more ironic.  I don't tell you Father Dobrushin is worried or concerned, I just show you.  His statement is a parallel to what he said before--Aksinya should stay in the Ecclesia.  He gives no reasons, but you should be able to fathom his mind.  He is worried that outside the Ecclesia, she will be unprotected from...the police, the authorities,...the demon.  This is a foreshadowing.  You might ask, why all this foreshadowing all the time.  There is foreshadowing in almost every scene--yes.  There is foreshadowing in almost every scene, this is the way to drive a plot.  The foreshadowing is a means to connect the storyline in the scenes.  This along with symbols, analogy, allegory, connected characters, the connections between and among characters.  In a novel, these are the glue that binds the scenes and gives you a rich plot.  If you need more convincing, think about the crucifix Aksinya wears between her breasts and about the demon himself, or Akinsya's luxuria problem.  All these simple elements bring the scenes together and give sense to the whole.

Father Dobrushin then tempts Aksinya.  His temptation is not the same as the demons--it is not a temptation to sin or to evil.  He offers her a Greek Bible to study.  He knows her well enough to understand that this will beguile and intregue her.  Indeed, Aksinya is interested.  You also know from her response that she would have liked to have gone to the market, but she would also like to study the book.  Ekaterina isn't so happy.  She wanted a friendly companion and help.  Ekaterina isn't as interested in study.  She warns Father Dobrushin to look after "her charge."  See how serriously the father takes on that responsibility--this isn't a game to either of them.

In this time, Bibles were still relatively rare and special.  This Bible is very special; since it is from the Ark (in the Ecclesia), it is one of the Bibles used for the readings in the Ecclesia.  Note how Aksinya treats this Bible like she did the books of sorcery.  She wants to read it in her room.  She clasps it to her chest even though that brings her pain.  This is all new for her.  The image of the pain is new in this novel.  Before, Aksinya had pain when she participated in evil and then was exposed to the church.  Now, she gladly accepts pain due to the church--this is very new and another tie between the scenes in the entire novel. 

Aksinya's study of the book is just like her study of the books of sorcery.  She can't put it down, but the new Aksinya tears herself away from the Bible to do her work in the rectory and Ecclesia.  This is a new Aksinya.  She is putting away luxuria.  She reads into the night until her taper is gone.  Her prayers are for light--but note, she doesn't make a light (through sorcery).  This is one of those ties that bind the scenes.  Because of what went before, you can easily see Aksinya in the role she is portrayed.  Then another very short transition.  Tomorrow, another transition.