Development - How Characters Drive the Plot

2 April 2012, Development - How Characters Drive the Plot

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
     a. Description of the character - introduction
     b. Voice of the character
     c. Continuing revelation by showing

The main characters in a novel define the plot of the novel.  Centurion is an odd novel.  It is written in a biographical style.  It has a single protagonist, no specific antagonist, and various characters who play the part of the "protagonist's helper."

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper.  In a love novel, the protagonist's helper is many times the protagonist's love interest.  Most of my novels have three distinctly drawn characters.  For example, in Aegypt, there is Paul Bolang, the protagonist, the Goddess of Darkness, the antagonist, and the Goddess of Light, the protagonist's helper and love interest.

These three types of characters, protagonist, antagonist, and protagonist's helper form the basis of most modern novels.  Aksinya follows this outline.  Aksinya is the protagonist, Asmodeus is the antagonist, and Natalya is the protagonist's helper.  Take these three characters (well defined) and you have a novel.  As you see, take a single protagonist and you can have a great novel--Centurion.  Within novels like Centurion you actually have characters who stand in the place of the antagonist and protagonist's helper, but they may be less identifiable because of the construction of the novel.  The antagonist might be especially difficult to determine. 

This is because the antagonist can be one of three types: actual, implied, and distant.  I'll write more about this tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - What's Next

31 March 2012, Development - What's Next

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 steps in making and using a character in a novel are as follows:

1. Development of the character
2. Revelation of the character
a. Description of the character - introduction
b. Voice of the character

If you've been following along, you know I started this dive into creative process with the two main characters.  These characters were well developed before I started the novel.  To me the main characters are the novel.  Okay, okay, there is this thing called the plot, but in reality, the characters are what make the novel.  The plot's important too, but it flows out of the characters.  What do I mean by that?

In the novel Aksinya, the plot flows out of the fact that Aksinya conjured up a demon.  If you call a demon and contract yourself to it, you really have only three choices:

1.  Go along with the demon
2.  Try to control the demon
3.  Try to get out of the contract

Based on Aksinya's personality, you know she will not choose number one.  She tries number two, but doesn't get anywhere.  So, the novel eventually turns to number three.  Add in the details of Aksinya's history and the motivations of the demon and the novel almost writes itself.  That's not to say another author with the same material might not write something completely different.  It means that the plot springs from the characters.

I'll introduce you to some more example, tomorrow.
I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Importance of Character Voice in a Novel

30 March 2012, Development - Importance of Character Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 steps in making and using a character in a novel are as follows:

1.  Development of the character
2.  Revelation of the character
      a.  Description of the character - introduction 
      b.  Voice of the character

I've been writing about character voice and revelation of a character in a novel.  I've tried to show you how important character voice is.  I made the list above to illustrate the basic steps in developing and revealing a character.  Remember, I made the point that a character doesn't really develop in a novel.  What we call development is really revelation.  The character was already developed (we hope) by the author.  What we call development is where the author shows us the character--the entire novel is really about this revelation.  The success or failure of the author begins and ends with character revelation.  This is how important the concept is. 

In the discussion, I showed some ways to develop and use character voice.  I also showed when the voice should change, and I gave examples of how to change character voice properly.  The point is to change the voice without making the character become something so different they can't be properly recognized in the framework of the plot. 

I also discussed how the main character might and should change within the framework of a novel.  I don't like to use the term character development here either, but this idea is more akin to what a writer means when they talk about character development. 

I'll write more about character voice in terms of scenes in a novel.  We'll start tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Importance of Change of Voice in a Novel

29 March 2012, Development - Importance of Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction (sales)
6.  Subterfuge (politics)
7.  ...there may be more, I'll think of them as I write about the others.

So, how important is character voice?  I think character voice is the most important expression of a character within a novel.  I already implied this, but let's make it official.  First, you develop a character.  This is likely what you learned in a creative writing class.  Character development is a very indepth topic.  You basically give the character a name and you design a life and personality for that character.  The life and personality are the aspects that interact within the novel.  Second, you reveal the character within the plot.  Third, one of the primary means you use to reveal the character is the character voice.

Remember, our goal as writers is to show and not to tell. You must discern what this means in terms of revealing a developed character.  I can tell you what it isn't.  It certainly isn't the author telling us in an omniscient voice all about the character.  You might wonder then, how do you reveal a character.  That's what I've been trying to show you for the last few weeks.  The means is not exclusively, but it is almost exclusively through character voice.  The other (reasonable) means are from physical description, other characters, and from the character telling us about themselves.

For example, the main character sits on a bar stool and has had a little too much to drink.

"You know, Angela.  I really don't like myself."

"How can you say that, Celest.  You have every thing you could want.  You have a great family."

Celest took a sip of her Martini, "That doesn't matter, I want more.  I know I'm capable of much more than that."

Angela took a deep breath, "But you've already succeeded where so many have failed."

Celest leaned across the bar, "Who will remember me when I'm gone--no one."

Okay, this is a short character revelation example, but it is very revealing.  First, it reveals a lot about the character Celest.  It is short, but we get a lot from it.  I haven't even brought in description, but you can almost see her in your mind's eye.   You can also see her friend Angela.  You begin to see into Celest's mind.  Revealing a character like this can be a lot of work, but it's worth it.  Just for grins, lets use the omniscient voice to reveal Celest.

Celest was a woman who really didn't like herself.  She was tired for her family and her work.  Although she was successful, she wasn't happy.  Her best friend Angela was her confident and conscience.

Pretty bad.  It sounds like a middle schooler wrote it--yuck.

I'll write about how to project the character's voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Subterfuge and Change of Voice in a Novel

28 March 2012, Development - Subterfuge and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction (sales)
6.  Subterfuge (politics)
4.  ...there may be more, I'll think of them as I write about the others.

Are politics and seduction the same?  I guess they can be.  We might expect a successful cheat of any ilk to have a change of voice when he or she begins to convince.  I showed you yesterday an example of this kind of change.  In a current novel I am writing, the main character plays very successfully at subterfuge until she is caught.  I give her an entirely different voice before and after.

In the beginning, she acts like she can't speak English very well, she was injured and acts as though the injury still affects her, she acts like she is ignorant, there is much more.  After she is caught, her character's voice changes in that she speaks English well, she is not as ignorant as she acted (she is still kind of ignorant), her injury had healed a while ago.  The voice of the character changed because she was acting in a different manner than before.  However, you can still tell who she is, that is, her character did not change at all.  The way she portrayed herself to the world did change significantly.  So, the voice changed, but it didn't change so much that you you couldn't tell who the character was.

Not often should a character's voice change in a novel.  When it does change, the readers must still be able to tell who the character is and to discern that character from the others.  Character voice is a critical part of a novel and reveals the developed character.
I'll write about how to project the character's voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Seduction and Change of Voice in a Novel

27 March 2012, Development - Seduction and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction (sales)
6.  Subterfuge (politics)
4.  ...there may be more, I'll think of them as I write about the others.

Seduction and sales are about the same thing.  They are both selling something.  In the question of character voice and seduction (sales), the example is a character whose personality (or at least the way of acting and speaking) changes when they are trying to seduce or sale.  You can surely imagine a character who acts one way when speaking normally, but an entirely different way when trying to seduce or sale.  Here's a conversation:

Jack turned abruptly, "I can't imagine how stupid these women are."

Dave spoke behind his hand, "Don't be so disingenuous.  You would take any one of them home with you."

Jack snorted and headed to the closest blond.  He spoke with a very syrupy tone, "Hi.  I saw you across the room and thought you looked very intellectual."

Okay, I made this obvious for you.  The speaker's tone and way of speaking is entirely different and the words are completely opposite.  A salesman would be similar.  In the novel Aegypt Monsieur Perain speaks in French to Paul Bolang in an entirely different way that he speaks in English to the Englishmen.  This is Perain's personality, and the way he exerts his authority over the Frenchmen at Fort Saint.

An author needs to realize seduction and sales are one of those rare situations where the voice of a character might change.  In Perain's case, it isn't seduction or sales as much as it is political.  Perhaps I should add that to the list.

How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Personality and Change of Voice in a Novel

26 March 2012, Development - Personality and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction (sales)
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

If you haven't gathered, I think characters voice is one of the most important jobs/tools/skills of a writer.  A writer develops a character (before the novel is written) and the writer reveals the developed character, plus any change in that character, through the novel.  The writer must not tell, he must show.  The means of revealing the character is mainly through the character voice.  When I write "voice," I hope you have been following along and know I am not writing just about the way a character sounds, but the way the character sounds, acts, speaks, gestures, etc.  That is, every word and action goes into defining the character voice.  Further, every character in a novel should be discernible simply by the character voice.

Another circumstance where you might see a character's voice change is through personality.  I mentioned before, some characters show one personality to certain people and another personality to another group.  For example, Aksinya shows one personality to Natalya and the demon and quite a different personality to others.  Her voice, however, isn't that much different, it is the words she speaks.  On the other hand, in one of my unpublished novels, Dana-ana, Dr. Mariread May Rowley shows a delightful change in personality and voice when she speaks privately about Dana-ana.  Mariread is a unique character, but remember, I wrote that those are the best to write about.  She isn't a main character in Dana-ana, but she has an important role and a delicious personality--one that changes.

How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Assumption of Truth and Change of Voice in a Novel

25 March 2012, Development - Assumption of Truth and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

In my novel, Aegypt, the main character did not have a change in voice.  In fact, none of the characters had a change in voice.  The change in the main character was real, but it didn't meet any of the criteria above.  The main character, Paul Bolang, did have some development as a person, but there was no change of being that might be caused by mental illness or physical or mental effects. 

The main point in the novel Aegypt is that I never let the reader know what was really real until the very end of the novel.  In Aksinya, the reader understood, at least from the point of view of the novel, that Aksinya was sane and the demon was real.  In Aegypt, I don't let you know that Paul Bolang's impressions are correct.  The reader is in the dark as much as the main character.  As the plot unfolds in Aegypt, the reader gradually begins to believe Paul's observations but never entirely.  The climax gives the answer to the great question in Aegypt:  what is truth?

This is a great comparison between novels because in one novel (Aksinya), the reader assumes the main character is right, and in the other (Aegypt), the reader isn't certain the main character is right.  The fun part is you can read Aksinya in the previous entries in this blog, and you can buy and read Aegypt.  In this way, you can see exactly what I'm talking about.  You can also see how in a novel the reader's question of truth and assumption of truth makes the novel.
How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Personality and Mental Illness and Change of Voice in a Novel

24 March 2012, Development - Personality and Mental Illness and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

The revelation of the character in a novel (a change of personality) many times requires a change of voice of the character just like mental or physical effects.  I will discuss some of the details of how to portray this change.  The descent into mental illness or the ascent out of mental illness requires the writer to express the character's voice as singular and unique, but changing.  For example, a character who is not ill at the beginning of the novel may act very reasonably.  The author defines their unique voice and then over chapters and with each scene, the character begins to act in ways that gradually shows the change.  A character may have an affected attitude, mannerism, or appearance that the author begins to show as repetitive as the novel progresses.  The point is not to tell the reader that the character is going crazy, but rather to reveal the change through the voice. 

This is the entire point--in a novel about the onset of a mental illness, the author should not expressly tell the readers what is happening.  The author should show the evidences and allow the reader to gradually discover what is happening.  If you look back at Aksinya, Aksinya slowly begins to descend into what her captors think is mental illness.  She sees a demon.  She appears to attempt suicide.  She tries to get needle and thread to put crosses on her clothing and does use her own blood to mark crosses on her clothes.  These actions are mistaken by her ecclesiastical and secular judges that she is insane.  The reader realizes (or thinks they realize) she is not insane but rather making intelligent choices.  I intentionally change the voice of the character for two reasons.  The first is that Aksinya does have a true change in personality.  The second is that I want the reader to not assume she is completely sane.  As I wrote in my commentary on the novel, I want the reader to question, in their own mind, the sanity of Aksinya.  I could have been more deliberate with this (like I was in Aegypt), but I didn't.

How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Characters and Change of Voice in a Novel

23 March 2012, Development - Characters and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

Any physical and mental effects need to be portrayed properly through voice--this includes mental illness.  In most of my novels, I try to portray characters that are real.  I also want to portray the unique.  I've written about this before.  Characters that are too real, that is like normal people, are really not worth reading about.  Characters that are unique and interesting in their own right are the ones that make great characters and produce great scenes.

All great characters have a telic flaw and are unusual.  They all are (or should be) at the edges of human normalcy.  This means the mental and/or physical aspects are somehow different than the norm.  In many great novels, the characters have personalities, features, mental characteristics, situations, abilities, training, etc. that makes them unique or very special in human existence.  The trick is to take these types of characters and make them real and acceptable to your readers.  I intentionally didn't use the words likable or lovable.  Some characters are likable or lovable, many are not.

If you think back to your favorite novels, you will find that the characters are very human and very enjoyable, but they are not normal.  They either have characteristics or abilities that make them very different or special of they develop characteristics that make them different or special.  The trick in writing is to give them a real voice that expresses these characteristics yet that sets them apart.  

How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Reasons for Change of Voice in a Novel

22 March 2012, Development - Reasons for Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

When you have a character with mental illness, the voice of the character might change through the novel--or it might change from scene to scene.  This also applies to a character who has a radically different public and private personality.  In some characters, the voice might change when addressing other characters of a specific type.  For example, a man or a woman who is attempting to seduce a member of the opposite (or same sex) might have an entirely different voice than when they are speaking to a friend or acquaintance.  Some writers understand the feel of voice in a character and portray these variances well--many do not.

I mentioned before, a writer does well to imagine their characters are like players in a play.  The players take on the roles they are given and the author makes they act out the story and plot within the scenes.  An author sees these scenes and writes the characters each with their own voice.  When the voice changes (due to mental illness, public vs. private personality, etc.) the author is making slight controlled changes in the actions of the character such that the reader picks up on that character's changes and perceives the character properly.  That is the whole point of voice, after all.  The writer is using the voice of the character to reveal and identify the character in the novel. 

How to project the character's voice is part of the problem.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - more Change of Voice in a Novel

21 March 2012, Development - more Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  ...there may be more, I'll think of them as I write about the others.

When a character develops significantly, the voice of that character should change.  The change must be subtle and gradual, but at the end of the novel, the character is not the same character as at the beginning.  As Aristotle (and many others have noted) this change can only occur to the protagonist.  In any novel, only the protagonist can have a telic change.  That doesn't mean other characters can't change in some way, but they can't have a life changing turn of events--that is reserved for the protagonist.  If someone other than your protagonist has a life changing turn of events, you wrote about the wrong character.

In one of my novels, the main character grows up.  She goes from a gawky underdeveloped girl to a somewhat mature woman.  She finds love and discipline and realizes what is really worthwhile in the world.  She also learns to control herself.  This is the greatest difference in voice from the beginning to the end.  She begins as an unsure person and ends up more sure of herself.  The change and the change in voice are gradual and subtle.  At the beginning of the novel and at the end of the novel, you know who this character is--in other words, the voice of the character is strong, but it is different.  Can you see how difficult and yet important this is?  You must be able to write your character's voice such that it changes gradually and subtly through the entire novel.  The result can't lose the original character and the final character must be similar enough to the original that the voice is not lost.

How to project the character's voice is part of the problem.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Change of Voice in a Novel

20 March 2012, Development - Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  ...there may be more, I'll think of them as I write about the others.

When the character develops over a novel or a series of novels, the voice of the character will/must change.  For example, in my Aegypt novels (Ancient Light Series), the characters Sveta and Klava are introduced as 10 year old children.  In a later novel, they start at 14 and end up at 18.  In the final novel in the series, Klava is over 20.  The point is that the voice of a 10 year old must be different than the voice of a 20 year old (unless they are mentally disabled).  Klava and Sveta's voice changes very gradually through the novels.  In fact, in Warrior of Light, Sveta's voice as well as her maturity changes significantly.  That's the point, with a change in the maturity of the character, you should expect some change in the voice of the character.

If the character is still picking their nose after significant etiquette training, you have a character whose voice shouldn't change.  The point of true character development is that the character has a significant change in maturity, personal understanding, educational understanding, etc.  These kinds of novels are my favorite.  I really enjoy novels where the main character discovers themselves (self discovery novels), significantly improves themselves (improvement novels), or finds their special skills (self discovery novels).  I especially like novels similar to those of Andre Norton where the main character discovers their special magical, mental, physical abilities and uses them in the climax and resolution of the novel.  The change of voice in every case must be gradual--especially in a single novel.  I'll discuss that tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Telic Change and Voice in the First Scene

19 March 2012, Development - Telic Change and Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  ...there may be more, I'll think of them as I write about the others.

The most common reason for a change in character voice is when the character develops in a novel.  This development is much different than character revelation.  The development I am talking about is the classical development of a character where we see a telic change in the character.  A telic change is only supposed to happen to the protagonist (please keep it to the protagonist).  A telic change is a change either to a telic fault or that results in a novel resolution.  Usually they are the same.  The concept of a telic change comes from Aristotle's study of art (plays).  Aristotle defined the change of the protagonist as the key character change than produces the resolution of the tragedy.  For example, in Oedipus Rex, the reconciliation of fate, that is Oedipus' recognition of his faults and sin results in his self-mutilation (he poked out his eyes), loss of his family, and loss of his position (kingship).  The telic change resulted in the resolution of the play.  The change in the character is significant.  In this case, however, there really isn't a change in character voice.

I'm going to mention a little more about telic change before we move back to the main subject (change in character voice).  Most novels deal with some type of telic change (or they should).  If you have a novel and the main character does not have a telic change, rewrite the novel.  The whole point of a novel is the telic change.  For example, in Aksinya, her telic fault is her sorcery (symbolized by the demon).  The telic change in the novel is the redemptive change in her that allows her to be free of the demon and free from sorcery.  There is no change of character voice in Aksinya either.  Remember, I said that a change in character voice is rare.  I'll get to the first point tomorrow.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - The World of Voice in the First Scene

17 March 2012, Development - The World of Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 point of voice, just as the point of character revelation, is to produce a world that immerses your reader.  I've written here and elsewhere about how not to kick your readers out of the world you create on paper.  I've also written about how to keep them in that world.  Character voice and character revelation are just means of creating that world.

The proper use of character voice allows you to identify and enhance characters to ingrain them in your readers' minds.  This also becomes an important study in how to introduce and describe characters.  For example, whatever you do, don't introduce a gaggle of main characters all at once.  This is one of the best ways to lose your readers and ruin their reading experience.  An experienced writer will introduce characters one at a time or in threes at the most.  If you introduce more than one character at a time, you must ensure they are significantly different.

I'd recommend you introduce one new character per scene.  When you must bring in more than one character in a scene, very carefully introduce each character with strong description and stronger introductions.  Here are the character introductions from Aegypt:

Mr. Audrey.” Paul clasped the Englishman’s hand as he dismounted.

Lionel Audrey was a medium-height man with thinning brown hair. He wore a heavy wool suit, but he had removed the coat. Perspiration salted his brow and made his face glisten. Audrey

looked young, but his eyes were surrounded by wrinkles. He squinted out from under his thick glasses as if the glass wasn’t the right prescription, or as if he sought to penetrate further than just the surface. In spite of this impression, Audrey’s attitude was breezy and facile. He didn’t speak; he lectured in an arrogant Oxford accent.

Paul tossed the reigns of l’Orage to Sergeant le Boehm, then turned

toward the Sergeant and spoke in French. “Take the troops, Sergeant le

Boehm. Double rations and open the commissary.”

“Oui, mon Lieutenant.” Sergeant le Boehm wheeled his horse and
 headed for the fort’s entrance.

“Mr. Audrey,” Paul said again, “it is indeed a pleasure to meet you.

I thought no one would come to investigate this thing I have found in

the desert.”

“When Sir Barot told me of your find,” Audrey said, “it was all I

could do to keep from coming immediately. Oxford had to be

convinced, however, but Sir Barot said you were good as your word.”

One of the Europeans behind Audrey cleared his throat.

“Pardon me,” Audrey apologized, “I have not completed the

introductions. This—” he pointed to a small, deeply tanned Frenchman

in a fresh white suit and a Panama hat—“is Monsieur Claude Parrain.

He is an emissary of your government representing the Academie des

Sciences department of archeology and antiquities.”

"Bonjour, Lieutenant Bolang, your reputation precedes you.” He shook Paul’s hand. “I am directly responsible to the Foreign Bureau in Tunis. My job is to represent the interests of our government in this exploration.” He wiped his neck with an already damp handkerchief.

“Whatever may be found belongs to France, and I must see all protocol

is adhered to.”

Paul knew Parrain as a career bureaucrat. The little man’s smile

was tinged with irony, and he watched Paul with a curious stare, a

blend of pity and apathy. He knew the circumstances at Fort Saint, and

his manner insinuated a level of conspiracy outside of his responsibility.

Parrain was a minor official in cultural affairs; he had no official

knowledge of the Legion’s operations and little of classical archeology.

Paul kept his features bland. Parrain still had some authority over the

use of French property. He was not a man Paul wanted to antagonize

purposelessly.

Before Audrey could introduce him, the third European stepped

forward and engulfed Paul’s hand in his own. His accent was a thick

Scottish brogue, which Paul had trouble deciphering, but he made out,

“Aye, Lieutenant, glad to meet you. Now we can get to work. I’m James

Williams, Engineer on this project.” Williams had a radiant, almost

burnished, scarlet complexion. Later, Paul would discover that the

sunburn was perpetual and never turned into a tan. Williams had

worked in Africa for years—right out of the mines of Scotland, and he

could curse in more tongues than Paul could speak. His confident

demeanor advertised his competence, and to Paul that reduced the

coarseness of his voice and features.

In this scene, I introduce three primary characters in the published novel, Aegypt. Notice that each man gets his own description, introduction, and has specific markers, mannerisms, and characteristic that are unique to him. I'll posit this as a proper example of how to introduce multiple characters in a novel. To introduce a single character, simply do the same once. There isn't much difference except you must ensure with multiple characters, they are separately identified.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Using Voice in the First Scene

16 March 2012, Development - Using Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Voice is the words and actions of the character that you use to reveal the character in your novel.  The voice of the character(s) is a critical piece of creating a character.  It is so important, that you must give a voice to every character--this includes the secondary and tertiary characters.  My measure is that all characters must have some voice.  Voice means that the characters are unique enough that you can determine them through their actions, name, and speech.  You might think that a name makes it easy to determine differences.  This isn't true at all.  A name is simply one handle (a tag) used to identify a character.  In perfect character voice, the reader should be able to determine the character simply by their actions and their way of speaking.

Using voice like this is a goal, but almost impossible to achieve.  In some scenes, you can do this.  In other scenes, it is not possible.  What you should strive to do is to make the characters come alive so well, they pop out of the page.  In a perfect situation, the reader should be able to determine the character simply by the words and actions of the character.  The tags are simply redundant.  In reality, the author should use the name tags, actions, and words to differentiate and identify the characters the best they can.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Setting up Voice in the First Scene

15 March 2012, Development - Setting up Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

Character voice is the last stage of character revelation.  Many people call this character development.  I'll make the point again.  The characters must be developed prior to their revelation in the novel.  In a novel, you don't develop the characters, you reveal them.  There is a step of true character development, but this is very particular and usually reserved for the main character.

So the point is to reveal the character that you have already developed.  The revelation is letting the reader know the character of the character.  When you do this, you can't tell the reader anything.  You can use description.  For example from Aksinya:

The woman was dressed in a black gown that was much too large for her.  Beautiful handmade lace cascaded down the front of the dress and decorated the sleeves.  Thick velvet competed with black satin to form a perfect attire to greet a Tsar, but certainly not a commissar.  The gown fell loosely away from the woman’s thin chest and small breasts.  It looked odd draped on her body, like a girl playing dress-up from her mother’s closet.  But this gown obviously came from the closet of a princess.

Aksinya, the woman within the pentagram, squinted across the dark cellar.  She was barely eighteen and much too thin for her age.  She was petite; that was a polite way of saying small.  And underdeveloped, that was a polite way of saying she didn’t yet appear much like a woman.  Aksinya’s hair was dark brown and silky and beautiful, bound up in a long braid, but her face was plain and Russian, so Russian.  Her voice was soft and sometimes too shrill.  When she was excited it rose in strength and pitch, so she never sounded very mature or well mannered.

From this description of Aksinya, you know a lot about her.  You see more than once that she is small, thin, and underdeveloped.  You know she is Russian.  You can see her features in your mind, if you know anything about Russian women.  You know her hair is long and brown and braided.  You know her voice is soft, but shrill when she is excited.  You don't know anything about her character, but you might be picking up a little about her personality.  The description just begins the process of revelation.  The true revelation happens through the character's words and actions.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - The First Scene in the Creative Process

10 March 2012, Development - The First Scene in the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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/.

I have a picture to begin the novel.  All that picture needs is to be turned on--that is, the scene needs to start.  All the research is not complete, the novel isn't written yet, but all the necessary elements are in place to begin.  My creative process has started.  My next step is to write the first scene.

The first scene of any novel is the most important.  If you grasp your readers with the first scene, you will most likely hold them through the entire novel.  To turn the picture into the first scene, I need a couple of things. 

First, I need the entertaining and exciting part that will make up the scene.  Every scene must be exciting and entertaining.  If your scenes are not entertaining or exciting, rewrite them.  If you can't write an entertaining or exciting scene, give it up.  Your primary purpose as a writer is to write things people will read and that entertains them. 

To make an entertaining scene, you must develop the tension and the release in the scene.  Tension and release is the means to make a scene exciting and entertaining.  A scene is exciting because it has strong tension and release.  This is the only means to make a scene.  The tension and release is how you write a worthwhile scene.  I've been discussing this topic in depth on my Zen of Scenes blog at www.novelscene.wordpress.com.  I'll extend some of that discussion here in the future.

Second, I need the voice of the characters.  The history and description of the characters is not enough.  An author gives a voice to his characters.  The voice of the character includes their history, description, personality, et al, but it is the individual feel and writing that brings that character alive.  You will understand what I mean if you think back to characters in books who had little voice--you had no idea when that character was acting or speaking.  The author failed to bring that unique character alive.  This is akin to character revelation (development).  However, you can have a perfectly developed or revealed character who has little or no voice.
We'll look more at the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Publication - Blog Interviews Content

10 January 2012, Publication - Blog Interviews Content

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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, go to my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Here is the list of ideas for advertising--there are more and I'll add to the list as we go along.  I'm certainly not an expert in all these, but I've dabbled in all of them.  I'll try to relate my experience and the degree of that experience to you.

1.  Have a website for your novel.
2.  Write a blog.
3.  Advertise.
4.  Literary awards.
5.  Book cards.
6.  Contests.
7.  Interviews.
8.  Blog tours.
9.  Press releases.
10.  Speaking and teaching.
11.  e-mailing.
12.  Gifts.
13.  Book signings.
14.  Book trailers
15.  ...

You can be interviewed for print media, for radio, for TV, on blogs, Internet general, character interviews, trailers just to name a few. 

There is an implied question about the content of a blog interview--that is, just answering the questions isn't enough.  I probably don't need to tell many writers this, but the concept of answering questions is to do it in a very constructive and artful way.  You also want to ensure you write the answer in your voice.  The point is to get across your skill and your style and excite your potential readers.  Again, I'll point to the blog interview I did on my novel Centurion for Lynnette Bonner.  You can see it at http://lynnettebonner.blogspot.com/2010/08/lionel-alford-talks-about-his-book.html. 

Overall, this is the point I'm making in terms of all your writing about your own book, you want to convince and excite potential readers to pick up and read your novel.  There really isn't any other purpose.  If you aren't excited about your novel, no one else should be either.  Anything you are excited about, you will talk about and try to get others excited about too.

This is what bothers me about authors who say they aren't interested in promoting their own works.  I can understand not really wishing to sell your own works, but the idea that someone isn't interested in promoting their created art, is beyond me.  Writers want other people to read their writing and to appreciate it.  That is the point of writing (a communication tool).
Let's move on to general Internet interviews, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Writing Historical Fiction, part 6 The Voice of the Times and Culture

I'm not certain there is any writing that is easy.  All writing is difficult, but I think historical fiction may be the most difficult.  First, it requires a lot of research and especially primary and secondary source research (real research) that is if you intend to write good historical fiction.  Second, you must immerse yourself in the culture and understand it from the point of a participant.  Third, you have to be able to find the voice of the times and culture.  The voice of the times and culture is the point of immersion and research.  Fourth, you have to be able to write well.  The fourth point is beyond the scope of this series, but is is a critical point.  Many of us have read literature today that is crippled by the inability of the author to write well.  Many popular books are missing the spark of good writing and makes you wonder why they were published to begin with.  But back to the third point...if you can't capture the voice of the times and culture, your historical fiction will not be historical fiction, it will be a modern novel set in a historical period.  That simple observation has been my greatest experience with writing that claims to be historical fiction today.  Most is not historical at all, but rather modern fiction set in a historical period.  When you find modern issues and modern ideas along with historical infidelity in a historical novel, that writer has not taken the three required steps to write about the times.  So how do you find the voice of the times?  That is a function of immersion and knowledge, but the precise point is that you have to subjugate your mind to the mind of the times.  Now comes the difficult point.  To have the voice of the times and culture means the ability to convey that time and culture to your readers in the modern world.  I personally use many genre crossing techniques to allow a modern person to see the times and culture through the eyes of the modern world.  The normal technique in historical fiction is the one from my novel Centurion http://www.centurionnovel.com/.  Centurion uses the typical model of simply a novel from the viewpoint of the people of the times.  There are no tricks and there is no ability or basis for comparison with the modern world.  The novel unfolds as a normal piece of historical fiction writing.  In The Second Mission http://www.thesecondmission.com/, I use time travel as a technique to move the reader into the past.  This method allows the writer to make comparisons and to convey the period through the eyes of a modern person.  It also allows comparisons with a future world or ideas.  This is a complex method and requires the author to be strongly consistent in immersion and research.  If the comparisons aren't there, then their is no purpose in using this technique.  The third method I have used (by no means the last) is using a fantastic means to pull people from the past into the present.  Aegypt http://www.aegyptnovel.com/ takes place in 1926 and pulls a being from the 18th Egyptian dynasty (1539 to 1295 BC) into that place and time.  The comparisons here and the power in the novel is the ability to see the world in the French Foreign Legion in Tunisia in 1926, the period of great archaeological discoveries in Egypt, plus the comparison of the world from the eyes of a person from classical Egypt.  And that ultimately is the power of historical fiction.  It allows the author to present the past as it was and lets the reader see the differences in the times and culture.  Tomorrow, I'll expand on this.