Writing Ideas - New Novel, part 486, Behavior Characteristics Character Presentation Q and A

9 August 2015, Writing Ideas - New Novel, part 486, Behavior Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Speech in a novel is conversation--behavior is narration and a whole lot more.  Behavior is of course speech and everything else a character does wrapped up in a single word.  Perhaps you are imagining behavior as how the character thinks or imagines, but behavior is fully what the character does--it is within this sense the expected and unexpected action of the character.  In a novel, no character's actions can eve be completely unexpected.  Unless the behavior of the character has not been communicated t the reader. 

People always communicate themselves--the problem is many times, we don't understand what they are saying.  A novelist doesn't let this happen.  The novelist lets the reader in on the potential action.  In fact, the author gives the reader clues as to the future actions of a character--this is called foreshadowing.  A wise author uses the behavior (actions and words) of a character to foreshadow future actions.  The author doesn't have to spell out those actions, but rather give a foundation for those actions: the sweet girl who has a murderous personality, the good boy who might snap, the bad boy who might do something good, the mean girl who takes the time to help someone.  These are all behaviors focused on actions--they should not be unexpected actions.

The behavior of a character must be based in their character.  In other words, if you wrote a character without any sympathy for any human, and they act sympathetic to a person, you have created a foul.  Such a person is impossible in the context of your novel.  On the other hand, if you reveal a character who appears to show limited or no sympathy and give them a sympathetic behavior, you have begun to express a complex character.  Under what circumstances does that character act sympathetically--that is the ultimate question and the answer should lie in your novel.         

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 485, Other Characteristics Character Presentation Q and A

8 August 2015, Writing Ideas - New Novel, part 485, Other Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

So the age, education, culture, life experiences, class, and all determine a person (character's) speech patterns.  Further, a character will speak differently depending on the other character(s) involved in the conversation.  As an author, this should completely envelop your thinking about conversation.  This is why it is almost impossible to write anything, but especially conversation unless you envision the whole thing in your mind.  I see it like a stage play.  I see the characters interacting in the scene I set for them.  I see each of them and I imagine their words and movements.  That moves to the next point.  Not only is speech specific to a character or characters, but so is behavior.

In general, the behavior of a character is based in their internal psyche (if you like psychiatric or philosophical terms).  Most specifically, you are what you do, and you do what you think.  The behavior of a character directly relates to their internals (the part an author never tells).  We can make this very simplistic, but I'm not certain I want to.  My simplest characters are not simple human beings at all.  My characters tend to be conflicted and powerful.  They think deep thoughts and complex thoughts.  I place them in complex situations.  Even my bad guys are a bit more involved than you might imagine--they have motivations and reasons for their actions, and everything isn't ever wrapped up with a pretty bow. 

I don't try to relate the real world--the real world is not exciting or entertaining (for most people).  I relate the world of the novel in a way that makes it feel real, but become entertaining and exciting.  The is the point of tension development and release.  That is also the basis for all character actions.    

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 484, Age to Youth Example Speech Characteristics Character Presentation Q and A

7 August 2015, Writing Ideas - New Novel, part 484, Age to Youth Example Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Here is another example from the newest novel I am writing, working title, Shape:

Ms. Weeks began, “Now Essie, if you can, please ignore that Mrs. Lyons is in the room with us and just relax and answer my questions.”

Essie nodded.

“First, why would you like to go to school here?”

Essie smiled and glanced for a moment at Ms. Weeks, “I just learned about school and I would very much like to attend one.  Father Maddison has been teaching me, and he recommended your school to us.”

Ms. Week looked puzzled, “You just learned about school?”

Essie cocked her head, “I am adopted.  I wasn’t raised in the best circumstances.  I only recently learned to read.  That’s why I am a bit slow.”

“Slow, oh my.  Will you be able to keep up?”

“My mother tells me I will be able to, but I might need some help.”

Ms. Weeks leaned toward Essie, “What kind of help exactly?”

“I have no problems if I hear something, but my reading is still a bit slow.  Father Maddison says I have a photographic memory.”

“Amazing.  The teacher I wish to assign as your form tutor should be able to help you and pair you with other students who can also help, but I’d rather you not fail.  Your vocabulary and speech sounds very skilled.  Much better than many of our students your age.  Other than your memory, what are your special skills?”

“Father Maddison told me to say: Welsh and the organ.”

“Welsh, that will please many of our teachers—not many in Wales speak, read, or write the language any more.  What would you say your skills are?”

Essie grinned, “I can make tea and serve it.  I can sing and tell stories.”

“Very well, Ms. Lyons.  Please make us tea and serve it.”

This conversation may not be the best example of one between age and youth, but it does indicate the basic structural components of difference I've been mentioning.  The main point is the approach of each to the conversation.  Mrs. Weeks is an adult.  She is focused on exactly what she wants to know.  This isn't always true of every adult in conversation, but this should always be true of an adult in an interview.  The giver of the interview always has the upper hand.  Second, although she doesn't speak down to Essie, their positions are obvious. 

Essie, on the other hand, is open to the point of being naïve.  That is just Essie, but many if no most youth are like her.  She desires to please and is willing to answer the questions honestly.  An adult would not be so honest or obliging.  Adults realize quickly that the absolute truth is not always the best in every situation.  Maturity in transition makes use of this.  

In looking at these examples, you might say the differences in the approach to the ages of the characters is subtle--why, yes it is.  That is exactly the point.  

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 483, Age Examples Speech Characteristics Character Presentation Q and A

6 August 2015, Writing Ideas - New Novel, part 483, Age Examples Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Here is another example from the newest novel I am writing, working title, Shape:

Ms. Weeks led and Mrs. Lyons and Essie followed up the front stairs and to the headmistress’s office.  The secretary was missing from the front office, but Ms. Weeks went right into her office.  The room was large, bright, and airy.  It looked as if it might have started life as a classroom.  The whitewashed wooden walls were covered with photographs of girls from every year the school had been opened.  She pointed to a comfortable long sofa in front of her desk and asked, “May I offer you tea?”

Mrs. Lyons nodded.  Ms. Weeks poured.  The tea was a bit stale.

Ms. Weeks went around her desk and sat.  She made a slight face, “I received the letter from Father Maddison introducing you and Essie.  Perhaps you don’t realize, induction of new students was scheduled for June this year.  We are just about to begin the Michaelmas Term on one September.  In other words, you’ve missed the usual entrance examination and vetting process, especially those for scholarship students.”

“Ah, I see.  Then I suppose we should be going.”

Ms. Weeks brow rose, “Not so fast, please.  My intent wasn’t to put you off entirely, but to give you a little insight to my difficulties…I do have an open position in the 10^th year that I believe Essie might be able to fill, but I can’t assure you of any scholarships or many choices of curriculum.  Additionally, although Father Maddison gave Essie a glowing recommendation, she must still take the usual entrance examinations.”

“I see.  Then how shall we proceed?”

Ms. Weeks took a breath, “I know this is a little backwards, but first, I would like to interview Ms. Lyons.  Pending that, we can schedule her examinations, and finally, we can have her scholarship skills evaluated.  Father Maddison wrote that Essie is skilled in the organ and keyboard.  I do happen to have scholarship money remaining for music this year.”

Mrs. Lyons cocked her head, “In the main, I was hoping that Essie could get a tour of the school and meet some of your students.  She hasn’t had much organized schooling.  I’d like to see if the school itself is a good fit for her.”

“Yes, yes, yes…I understand entirely.  Let me interview her today.  If you can return in a week’s time, one of my new teachers will be back for the Michaelmas Semester.  I want her to administer the tests and introduce Essie to the school.  It will be her first year here, and she will be Essie’s form tutor.  My music staff will be available to introduce Essie to the music studies at the same time.  Additionally, most of the girls will be back.”

“Very well.  Would you like me to leave, or may I stay and listen to the interview?”

“Please stay.  But could you please take my desk chair while I speak to Ms. Lyons?”

Mrs. Lyons stood and walked around the desk.  Ms. Weeks took Mrs. Lyon’s seat on the sofa.

This is a conversation between two older women.  Essie is in the room, but she doesn't interact here--yet.  Mrs. Lyons is in her 80s and Ms. Weeks is in her 50s.  Ms. Weeks doesn't need to establish hierarchy--she is the headmistress.  Mrs. Lyons doesn't need to establish hierarchy, she is older.  The conversation is informative an without many exclamations or figures of speech.  Both characters are differential and respectful.  Standard English is used throughout, but the formulas and terms used are a little stuffy.  This is one example of how adults address each other, and how they interact.

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 482, Examples Speech Characteristics Character Presentation Q and A

5 August 2015, Writing Ideas - New Novel, part 482, Examples Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Here is an example from the newest novel I am writing, working title, Shape:

Tabitha laughed, “Ah, you’re that girl.  You’re the one they were talking about.  You gave that concert a week ago.  I wish I could have heard it.  Still, that isn’t very good for you…too much attention.  I don’t want that rubbing off on me.”

Essie stared at her, “You are supposed to show me around and help me become acquainted with the other students.  Isn’t that your job?”

“Perhaps my job, you just keep my secrets.”

Essie asked, “Dr. Rowley is your form tutor too?”

“Yes, because of the Welsh.  You are I are part of the new Welsh curriculum.  Dr. Rowley was hired this year to teach it, but don’t expect too much from her.  I hear she was kicked out of university and had to come here to teach.  I’m just happy to get out of French.  I was flunking out and went over to Welsh to pull up my grades.  My mum would kill me if I didn’t.”

“I see.  Where is your roommate?”

“Amie’s working her schedule with her form tutor.”

“Is she studying Welsh too?”

“No, she’s good with most subjects.  She’s my best friend here.”

“I’d be happy to be your friend too.”

“Let’s just hold it at house buddies for now.  If you keep our secrets you might be friend material.  Right now, I think you’ll stand out too much.”

“I don’t try to stand out at all.”

Tabitha gave her a long look, but dropped her eyes, “You won’t be able too.  I’m sure of it.  You look too young, and you’re the new music scholarship student.  Just keep your distance for now—and don’t spill the beans.”

“Spill the beans?”

“What part of Britain do you come from?  Don’t let out our secrets.”

“What other secrets do you have?”

Tabitha just stared at her for a moment.  She snubbed out her cigarette and put it in a sealed glass container.  She waived the incense around a little, then put it out, “You’re hopeless.  Let’s get it over with…come on, we’ll go to dinner.  Do you have your student card?”

Essie looked quizzically at her.

“For goodness sakes, didn’t they tell you anything?  You need your student card for the dining facility and for just about everything around here.  Didn’t they give you a packet of materials?”

“It’s in my room.”

“Come on.”  Tabitha gestured with her head, “Let’s go to your room and get your card.  We’ll go to dinner.  Dinner starts at five every evening.  They did tell you that, didn’t they?”

Essie shrugged.
 
This is a conversation between two 15 year old girls.  Tabitha and Essie are both 10th year.  Essie is new to the school and Tabitha is her house buddy.  Notice, standard English is used everywhere, but exclamations and word use is added to show the youth of the characters.  You can notice many other features you will only find in youthful conversation: very direct address.  Very specific and unhidden (generally) actions and motivations.  Adults don't normally speak this way.  Especially note the condescending tone Tabitha uses with Essie.  This is also a characteristic of young people--they nearly always have a tendency to want to establish hierarchy.   

More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 481, How Speech Characteristics Character Presentation Q and A

4 August 2015, Writing Ideas - New Novel, part 481, How Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

The question then is how do we properly use speech in a novel to reveal the character?  The simplest answer is the author uses more than just speech.  The real answer is that as an author you must first understand standard English well enough that you can express a character properly according to age, education, era, etc.  The problem is how.

You will not like the answer--it is study and study and study.  Luckily much of the study can be made through reading, but a lot of reading is required.  Further, you must understand standard English and know ho you can use and abuse it properly.

Here's an example--explanation first.  I am writing a novel about an old woman, an ancient creature, and school girls--great mix, right.  The old woman will have speech patterns of an educated British aristocrat.  The ancient creature is an uneducated girl.  She will have the speech patterns of an uneducated, but reasonably well brought up Welshman.  She will speech standard English with a little simplicity added in.  Her speaking and vocabulary will increase with time.  The school girls can act like Essex girls or like aristocrats, but with that terrible aristocratic nastiness you know young people can generate. The trick is to use British terms that are old enough to be standard and obvious to the general English reader.  The girls will obviously use speech patterns that are not older and that reflect their maturity (or lack of maturity).  The point is not to fall into colloquialisms and yet to give the reader a feel for the youth of the characters.  I'll give some simple examples.   
  
More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 480, still more Speech Characteristics Character Presentation Q and A

3 August 2015, Writing Ideas - New Novel, part 480, still more Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

The nuances of human (and character) speech are many, detailed, and very difficult to explain well.  The reason is they are truly nuanced.  That is, the way you put the words together and the way you express very specific conversation is the nuance.  Here's an example:

"Good morning, Mrs. Lyons.  How do you do?"
"Good morning, Constable Evens.  Very well, thank you."

This is part of the formula for greeting perfected in the Victorian Era. Very few people speak this way who are not British educated or very old.  The use of the phrase, how do you do is standard English, but very specific to an age, education level, and at this time to a group of people.  If you had a young person speak this way, you are sending a signal to your readers.  If you have an older person speak this way, you are sending a signal to your readers.  Notice that this is not a colloquialism, this is definitely standard English--it is a nuanced use of standard English. 

This is a simple example.  I'm sure you can think of many more where the turn of phase points to the age, education, or era of the person.  An author must use care to sculpt the language each character uses from standard English to express exactly what he intends the character to communicate.  Communicate in terms of speech (the words themselves) but also communicate about himself or herself in the context of the novel, person, education, age, era, etc.  Each of these should come through in the speech of the character.  
   
More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 479, more Speech Characteristics Character Presentation Q and A

2 August 2015, Writing Ideas - New Novel, part 479, more Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

Characters don't just have speech patterns (accents) or other languages.  They also have speech patterns based on their education, social position, and age.  These are much more difficult to develop or use, but they also are so subtle that only the perfectionist author will get them. 

These are especially difficult, and I'm not certain anyone has fully or properly succeeded with this.  Not to mention any books in particular, it is just very difficult to present the speech patterns of young and old without either sounding too dated or too colloquial.  I've mentioned The Little Witch before.  This is a wonderful novel that is ruined because the author used 1950s colloquialisms.  They just don't sound right today.  The author as trying to make the adults and the kids sound modern and different, but the ultimate solution is to prevent dating your novel, always use standard English.

Here is the problem, the difference between a young person or a child and an adult using standard English is usually vocabulary.  You might put in some poor grammar for a little child, but even that can cause problems of sound for your readers.  Some colloquialisms work, and some just don't.  How do you know which will work--listen to the words used generally in an educated community.  Those colloquialisms are usually the ones in acceptable use, but don't be so sure.  Some word use will be gone soon and your novel will just sound dated.  There is much more to this.  
    
More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic 

Writing Ideas - New Novel, part 478, Speech Characteristics Character Presentation Q and A

1 August 2015, Writing Ideas - New Novel, part 478, Speech Characteristics Character Presentation Q and A

Announcement: Delay, my new novels can be seen on the internet, but the publisher has delayed all their fiction output due to the economy.  I'll keep you informed.  More information can be found at www.ancientlight.com.  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing 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 26th novel, working title, Shape, is this: Mrs. Lyons captures a shape-shifting girl in her pantry and rehabilitates her.

Here is the cover proposal for Lilly: Enchantment and the Computer.  Lilly is my 24th novel.

Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action.  I've started writing Shape.

I'm an advocate of using the/a scene input/output method to drive the rising action--in fact, to write any novel. 

Scene development:
1.  Scene input (easy)
2.  Scene output (a little harder)
3.  Scene setting (basic stuff)
4.  Creativity (creative elements of the scene)
5.  Tension (development of creative elements to build excitement)
6.  Release (climax of creative elements)

I can immediately discern three ways to invoke creativity:

1.  History extrapolation
2.  Technological extrapolation
3.  Intellectual extrapolation

Creativity is like an extrapolation of what has been.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing. 

One of my blog readers posed these questions.  I'll use the next few weeks to answer them.

1.  Conflict/tension between characters
2.  Character presentation (appearance, speech, behavior, gestures, actions)
3.  Change, complexity of relationship, and relation to issues/theme
4.  Evolving vs static character
5.  Language and style
6.  Verbal, gesture, action
7.  Words employed
8.  Sentence length
9.  Complexity
10.  Type of grammar
11.  Diction
12.  Field of reference or allusion
13.  Tone
14.  Mannerism suggest by speech
15.  Style
16.  Distinct manner of writing or speaking you employ, and why (like Pinter's style includes gaps, silences, non-sequitors, and fragments while Chekhov's includes 'apparent' inconclusiveness).

Moving on to 2.  2.  Character presentation (appearance, speech, behavior, gestures, actions)

An author develops a character first and then reveals the character through the plot.  Plot revelation is what it is all about.  We do not reveal characters by telling.  First develop, then reveal.

Appearance, speech, behavior, gestures, and actions are means of character revelation.  I really like this list--let's look at each piece.

At first, when using another language, I would simply state: he replied in French.  My Ancient Light novels contain many different language and cultural changes.  In them, I began to express the first statement or two in the language in question and then continue with: he continued to reply in Russian.  I have placed the translation of the foreign words or phrases in a footnote.  I haven't had a novel published with this formula, so I don't know what an editor will do with the foreign text. 

In cases where the language change is very important, I usually place the foreign text in the language and the translation in a footnote.  I also used this technique in Ancient Light.  Again, since these novels haven't been published, I'm unsure what an editor will want to do with them.

Whatever you do, the feel of the foreign language is important to build in the novel.  The language is an important part of a culture and the use or feel of the language is critical to developing and revealing the characters and possibly the plot.  You will note, the same comment applies to speech patterns I already wrote about yesterday. 

Ultimately, the use of speech patterns (accents) or languages can't distract from the novel itself. Both need to be integrated so they don't interfere in the feel or read of the novel.  As I noted yesterday, I didn't like the way my use of a speech pattern provided a distraction in one of my Dragon and Fox novels.  On the other hand, I've found some use of speech patterns (accents) necessary to reveal (convey) a character.  Concerning speech, there is more than languages and accents in the use of speech to present (reveal) a character.
     
More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:

http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com  

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic