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Saturday, May 25, 2024

Writing - part xxx695 Writing a Novel to Entertain, Ideas for the Protagonists, Sister of Light

25 May 2024, Writing - part xxx695 Writing a Novel to Entertain, Ideas for the Protagonists, Sister of Light

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I’ll keep you informed, but I need a new publisher.  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 websites http://www.sisteroflight.com/.

The four plus two basic rules I employ when writing:

1. Don’t confuse your readers.

2. Entertain your readers.

3. Ground your readers in the writing.

4. Don’t show (or tell) everything.

     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.

5. Immerse yourself in the world of your writing.

6. The initial scene is the most important scene.

 

These are the steps I use to write a novel including the five discrete parts of a novel:

 

1.     Design the initial scene

2.     Develop a theme statement (initial setting, protagonist, protagonist’s helper or antagonist, action statement)

a.      Research as required

b.     Develop the initial setting

c.      Develop the characters

d.     Identify the telic flaw (internal and external)

3.     Write the initial scene (identify the output: implied setting, implied characters, implied action movement)

4.     Write the next scene(s) to the climax (rising action)

5.     Write the climax scene

6.     Write the falling action scene(s)

7.     Write the dénouement scene

I finished writing my 31st novel, working title, Cassandra, potential title Cassandra: Enchantment and the Warriors.  The theme statement is: Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events.

 

I finished writing my 34th novel (actually my 32nd completed novel), Seoirse, potential title Seoirse: Enchantment and the Assignment.  The theme statement is: Seoirse is assigned to be Rose’s protector and helper at Monmouth while Rose deals with five goddesses and schoolwork; unfortunately, Seoirse has fallen in love with Rose.     

Here is the cover proposal for Seoirse: Enchantment and the Assignment




Cover Proposal

The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I finished writing number 31, working title Cassandra: Enchantment and the Warrior.  I just finished my 32nd novel and 33rd novel: Rose: Enchantment and the Flower, and Seoirse: Enchantment and the Assignment.

How to begin a novel.  Number one thought, we need an entertaining idea.  I usually encapsulate such an idea with a theme statement.  Since I’m writing a new novel, we need a new theme statement.  Here is an initial cut.

 

For novel 30:  Red Sonja, a Soviet spy, infiltrates the X-plane programs at Edwards AFB as a test pilot’s administrative clerk, learns about freedom, and is redeemed.

 

For Novel 32:  Shiggy Tash finds a lost girl in the isolated Scottish safe house her organization gives her for her latest assignment: Rose Craigie has nothing, is alone, and needs someone or something to rescue and acknowledge her as a human being.

 

For novel 33, Book girl:  Siobhàn Shaw is Morven McLean’s savior—they are both attending Kilgraston School in Scotland when Morven loses everything, her wealth, position, and friends, and Siobhàn Shaw is the only one left to befriend and help her discover the one thing that might save Morven’s family and existence.

 

For novel 34:  Seoirse is assigned to be Rose’s protector and helper at Monmouth while Rose deals with five goddesses and schoolwork; unfortunately, Seoirse has fallen in love with Rose.

 

For novel 35: Eoghan, a Scottish National Park Authority Ranger, while handing a supernatural problem in Loch Lomond and The Trossachs National Park discovers the crypt of Aine and accidentally releases her into the world; Eoghan wants more from the world and Aine desires a new life and perhaps love.

 

Here is the scene development outline:

 

1. Scene input (comes from the previous scene output or is an initial scene)

2. Write the scene setting (place, time, stuff, and characters)

3. Imagine the output, creative elements, plot, telic flaw resolution (climax) and develop the tension and release.

4. Write the scene using the output and creative elements to build the tension.

5. Write the release

6. Write the kicker

          

Today:  Let me tell you a little about writing.  Writing isn’t so much a hobby, a career, or a pastime.  Writing is a habit and an obsession.  We who love to write love to write. 

 

If you love to write, the problem is gaining the skills to write well.  We want to write well enough to have others enjoy our writing.  This is important.  No one writes just for themselves the idea is absolutely irrational and silly.  I can prove why.

 

In the first place, the purpose of writing is communication—that’s the only purpose.  Writing is the abstract communication of the mind through symbols.  As time goes by, we as writers gain more and better tools and our readers gain more and better appreciation for those tools and skills—even if they have no idea what they are. 

 

We are in the modern era.  In this time, the action and dialog style along with the push of technology forced novels into the form of third person, past tense, action and dialog style, implying the future.  This is the modern style of the novel.  I also showed how the end of literature created the reflected worldview.  We have three possible worldviews for a novel: the real, the reflected, and the created.  I choose to work in the reflected worldview.

 

Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing. 

 

Ideas.  We need ideas.  Ideas allow us to figure out the protagonist and the telic flaw.  Ideas don’t come fully armed from the mind of Zeus.  We need to cultivate ideas. 

 

1.     Read novels. 

2.     Fill your mind with good stuff—basically the stuff you want to write about. 

3.     Figure out what will build ideas in your mind and what will kill ideas in your mind.

4.     Study.

5.     Teach. 

6.     Make the catharsis. 

7.     Write.

 

The development of ideas is based on study and research, but it is also based on creativity.  Creativity is the extrapolation of older ideas to form new ones or to present old ideas in a new form.  It is a reflection of something new created with ties to the history, science, and logic (the intellect).  Creativity requires consuming, thinking, and producing.

 

If we have filled our mind with all kinds of information and ideas, we are ready to become creative.  Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way. 

 

The beginning of creativity is study and effort.  We can use this to extrapolate to creativity.  In addition, we need to look at recording ideas and working with ideas.

 

With that said, where should we go?  Should I delve into ideas and creativity again, or should we just move into the novel again?  Should I develop a new protagonist, which, we know, will result in a new novel.  I’ve got an idea, but it went stale.  Let’s look at the outline for a novel again:

 

1.      The initial scene

2.     The rising action scenes

3.     The climax scene

4.     The falling action scene(s)

5.     The dénouement scene(s)

   

The initial scene is the most important scene and part of any novel.  To get to the initial scene, you don’t need a plot, you need a protagonist.

 

My main focus, at the moment, is marketing my novels.  That specifically means submissions.  I’m aiming for agents because if I can get an agent, I think that might give me more contacts with publishers plus a let up in the business.  I would like to write another novel, but I’m holding off and editing one of my older novels Shadow of Darkness.  I thought that novel would have fit perfectly with one potential agent who said they were looking for Jewish based and non-Western mythology in fantasy.  That’s exactly what Shadow of Darkness is, but they passed on it.  In any case, I’m looking for an agent who will fall in love with my writing and then promote it to publishers.  That’s the goal.

I’m back to my main point—we are looking for entertaining ideas to write about.  I covered some real territory in the last few blogs, and I’ll pull this information together is a cognizant way. 

The last point I made was about experience.  I really think an author needs a broad level of experience in something, and I don’t think writing is enough by itself.  If you look at our favorite authors from the Twentieth Century, you’ll find a huge number happened to participate in the fighting in World War I and World War 11.  This seems to be a favorite history fact for the World War I authors, but ignored in the World War II authors.  I find this fascinating in itself.

When I researched the lives of my favorite authors, I found many had military or at least government connections into the fighting in some way.  Even the great women writers of the time participated in some way.  The same is true, to a lesser extent in the modern era.  We find many authors, especially of political and topical novels to have experience in the military.  Perhaps the publishers are keeping their histories an intentionally secret, which I think was the plan for the World War II authors. 

In any case, experience is a critical element of the writer both for their depth of knowledge and their depth of understanding.  I think we perhaps see less of this in authors and less quality works because of the obvious prejudice against certain types of writers, settings, and plots.  Yes, there is something wrong with the world when exciting and true tales are buried by the surreal and silly.  When the makeup of ones chromosomes are more important than one’s writing skill or thoughts.  This is a real problem for art and literature.  It’s an even worse problem for society and culture with the loss of true knowledge and skill.

You can see it in the writing as well as the stories.  I wonder all the time, where is the next Frank Herbert and where is the next great movie?  Jack Vance made a great mark on the world of science fiction, but none of his novels have been turned into movies.  Instead, we get the insipid Star Trek dreck and Star Bores both written by the clueless without any idea how to entertain. 

There is still hope.  We see the movie industry turning out redo after redo.  Star Trek and Star Bores are into their multiple renditions still without much entertainment.  Plus, without much reality either—they need an experienced scientist or real astronaut to write for them.  It doesn’t help when the imaginations of the mentally crippled become the surefire fantasy worlds of the media.  It also leads the stupid and youth to think the world is much different than their experience—babes in libland.

So, you might ask—why not write exactly what the market wants?  That’s a great idea, but really more attune to the nonfiction market.  You can indeed write a book about contemporary events and have a nearly surefire work—well especially if you are already recognized and known, ouch.  You can also break into the nonfiction marketplace and establish yourself.  I have a great writer friend who is building his brand in writing about writing.  He’s also moving into other fields in the nonfiction space.  I’m watching closely. 

Unfortunately, my skills and knowledge aren’t exactly in the popular nonfiction areas.  I could move outward into some areas, but maybe not.  I work in a couple of dead languages, ancient Greek and Anglo-Saxon.  I could pull a Tolkien with a translation of some Anglo-Saxon text, but without students who are forced to buy your textbook or tome, that’s usually not very lucrative.  I could and have written essays and historical accounts of my flying experiences.  They might have some traction.  I have tried to get some movement there, but I was hoping to get reestablished with a publisher and then move out a little.  Then there is the muse.

What are you excited and inspired to write?  I get inspired every time I design a protagonist for this writing blog.  The inspiration isn’t nonfiction—the inspiration is fiction and something that is unique and new, hopefully in the world.  And, that’s that.

What I mean is this.  As fiction writers, we hope for our Harry Potty or Sparkly Vampires.  Really both the Harry Potty novels and the Sparkly Vampire novels are not the best written works in literature.  They both ended with movie adaptations that brought in buckets of cash.  Count the Throne Game among those as well.  A boring and mendicant fantasy novel that spawned a thousand copiers and mucho audiences.  That’s all we want as writers, and I can assure you—you won’t achieve these levels by writing to the market or even by following the herd.  Whatever you write must be new, exciting, entertaining, and somehow touch the market and needs of people all over the place.  That’s exactly what the novels I mentioned did.  They were real breakouts.  Harry Potty especially.  Who could imagine that those novels for kids would put magic realism on the map.  Who could imagine a kid’s novel could set the world ablaze in more than one way.

So, this is my advice, and this is what I’m going to continue to do.  Keep writing what inspires you.  Gain your experience as a writer.  You need to write eight to ten novels to really be there.  Continue to write and write what is exciting, entertaining, and interesting to you.  Especially if your day job isn’t writing.  Maybe even if your day job is writing.  You know someone out there will love your writing, other than your mother.  You know as long as you gain the skills, and you write what you love to read, you will also be writing something others will want to read.  You just have to find a publisher who also love and believes in your writing.  I did find that, and then my publisher went out of business.  Oh well.  So is life.  I’m looking for another publisher.  Until I do, I’m going to continue to write about writing and keep up my search for a publisher.  I’ll work on my other writing until I get back to novel November or earlier.  I really do need to write a fun novel.  I’ve even outlined it for you—so to speak.  Until then, I’ll see what I can do to help your and my writing.   

In any case, let us continue with entertaining ideas.  That’s what leads to entertaining writing.

I get most of my ideas from other writing, stories, and shows.  That’s not to say I borrow the plots or characters wholesale.  In fact, I usually don’t use any of the plots or the characters at all.  The ideas I get are usually the circumstances or the situations.  Sometimes the circumstances and situations of the characters.  In fact, one of the most memorable ideas I got from another’s writing was from a fellow author under my previous publisher.  I think the book was The Least of These.  The character who intrigued me was a child.  I think she was named Trish or something like that.  Trish was left, by her mother in an empty house and given a small allowance to buy food.  She subsisted on cereal and milk—that’s about it.  Trish eventually went to school where a teacher noted her poverty and issues.  I based my character Nikita an abandoned child in a science fiction environment on Trish. 

Nikita was nothing like Trish.  Nikita was a Freetrader child whose father abandoned her and whose mother died.  She lived on garbage on the planet El Reshad in my world of The Chronicles of the Dragon and the Fox in a later time with novels called The Ghostship Chronicles.

Nikita was an entirely different kind of character.  She was an abandoned child like Trish, but in an entirely different environment and with very different characteristics.  She was a telepath which brought her to the attention of Den and Natana Protania, the primary characters in my Ghostship novels. 

So, here’s the point.  This is how I get ideas and incorporate them in my novels.  I found Trish in a friend’s novel.  I made Nikita a similar, but very different character.  This is how we develop ideas.  Notice, the means is through reading and study. 

I consider reading and study to be the main means of idea development.  This is how you get ideas and how you develop stories.  The ideas might come from a mundane or a very esoteric source, but the point is to make them your own. 

The development of a protagonist from Trish is a direct example of using an idea to build an entirely new concept or character.  Usually, I don’t have such a direct or specific line of development from one to the other.  Most of my characters and plots are composites of many characters and ideas not just from one.  Then much of my characters come from history.

For example, Hestia from my novel Hestia: Enchantment and the Hearth, is the goddess Hestia.  She isn’t the protagonist, but she comes directly from myth and history.  Likewise, in Aksinya: Enchantment and the Daemon, the demon Asmodeus comes from history and historical sources.  A few other characters and people come from history, and all the settings come from history and are real places.  Let’s look deeper at this and especially how we might develop and borrow characters and settings from history.

I’ve written before, “Creativity means the extrapolation of older ideas to form new ones or to present old ideas in a new form.  Literally, we are seeing the world in a new way, or actually, we are seeing some part of the world in a new way.”  This is where ideas and especially new ideas come from, and, yes, there can be completely new ideas, but we must realize that even completely new ideas are only made possible by the ideas that foreshadowed and came before them.

For example, every new aircraft comes from the design, knowledge, and experience of every previous aircraft.  Every piece of electronics comes from the design, knowledge, and experience represented by every previous electronic device.  The next great invention will come about because someone is experimenting with previous ideas and previous inventions.  Then again, there is always the possibility of an accidental discovery.

Science fiction authors were enamored with the idea that FTL (Faster than Light) travel came as an accident rather than an incremental change.  Let me tell you a secret.  The universities and the epoch of modern education and research are all about incremental and not revolutionary change.  If you have a revolutionary idea, you are better off in industry.  In industry, if it works and can make money, it’s welcome—it doesn’t matter if it’s incremental or revolutionary.  Almost every great and new idea, by the way, comes out of industry and not out of the university.  Incrementalism is the reason.  If a professor can’t fully comprehend it, it doesn’t exist.  Oh well.

In science fiction, it’s more likely that an industry or a scientist in industry will accidentally or intentionally invent something wonderful in the future—like a DVD player, an iPhone, or something else that will completely blow the world away (figuratively).  In fact, the DVD player was incrementally destined to be blown away by streaming.  Many scientists and knowledgeable leaders predicted this years ago.  It just required time and development.  The iPhone was inevitable as well.  As computers became smaller and smaller, a pocket computer is just an incremental  design.  You can interpolate and extrapolate technology pretty well if you know shat you are about.

Ideas and creativity are no different.  We as artists and writers study the ideas of the past and present to create the ideas of the future.  That’s what we are writing.  How can we do this?  That’s next.

I develop characters, plots, and settings from history and studying other art.  That’s the way all artists create their art.  It isn’t by copying or reproducing past art—it’s through the study of art in the past and reflecting it in something new in our art.  This is the way all creativity works.  Creativity, like science and engineering is built on the shoulders of the inventors of the past.  How do we accomplish this in real time, and how do we reflect this in our work.

Let’s develop a setting.  I like to research a setting for my works by finding some place and time to match my protagonist and plots.  Which comes first: protagonist, plot, or setting.  It really depends. 

I like to start with the protagonist but each of the main elements, characters, plots, and settings are connected together.  If you can’t start with anything else, begin with a setting.  (I like to start with the protagonist first, but a setting is easy).

Find some exciting, interesting, and exotic place, or perhaps just some place you have been or that interests you.  Let’s say you took a trip to Britain.  I lived in Britain and speant lots of time working with the Brits and flying in the nation.  I use Britian as a setting for many of my novels, for many reasons, but one of the main ones is that it fits my worldview in myth and history.  I’ve also used parts of the USA.

I’ve set novels in the places I went to university in the USA: Tacoma Washington and Boston.  I also set one of my earliest novels at the Whitesands Range, that is in the beginning.  It went to ancient Greece later on.  That novel was The Second Mission. 

Why these locations?  I’d been there.  I knew them intimately.  I knew some of their excitement and they were interesting.  I could make them fit my needs and they were fun.  That’s also why I use Britain and also France.  Perhaps we should look at some other aspects of developing settings, characters, and plots from what we know and understand.

I usually develop a setting from a protagonist.  Starting with the protagonist is the easiest, for me, method of developing ideas.  From my standpoint, the protagonist is the most important element of any novel, and indeed, the novel itself is the revelation of the protagonist.  I mean this in every sense.

Every protagonist comes with all the elements necessary to make a great novel.  Or, I should write that theoretically, every protagonist comes with enough baggage (information) to produce a great novel.  In fact, as I noted, I like to start with the protagonist because they give a setting as well as all the other information required for a novel. 

You might ask: where does the setting come from?  The answer is directly from the protagonist.  In the background and development of the protagonist, the question is always, what is their history?  Where do they come from?  Who are they?  These questions answer exactly the setting.  Where is the protagonist and what part of their life and experience are they?  In the case of Aine, the protagonist still lives at home with his father, mother, and sister.  That means the setting is where he lives.  This makes setting development and setting design easy.  We just take the real world setting I the time period defined and produce a setting.  I won’t go into the details here—I already have gone into great detail on this specific subject.  The importance is that you see how I can take a protagonist and develop a setting.  The same is true of the plots and all.

Now, then, the question becomes how do we develop a protagonist, and especially a protagonist who will fill, fulfill, and create a novel?  This is the real question, everything else falls into place from this.

I have answered the question, more than once on how to develop a protagonist, but I’m not certain I’ve covered enough, how to get a basic idea for a protagonist.  Perhaps the easiest way would be to describe how I came about my protagonists from my novels.  Here’s a list:

The Second Mission (399 to 400 BC) – This is a published novel.  I wanted to write a novel about Socrate’s writing.  The reason is there is a continuing conflict in historical thinking and historians about the accuracy of the observations and recorded accounts of witnesses to history.  I wanted to address this in my novel.  I posed it as a problem, but my answer was that the records were completely accurate, so I went about putting together a novel that showed that from the standpoint of a modern person.  The way I got a modern person back into the time of Socrates was with time travel.  My protagonist was an accidental time traveler.  He was in the wrong place at the right time and accidentally was pulled back with the actual time traveler.  My protagonist happened to be a nuclear physicist who would eventually invent theory that led to the invention of time travel.  He’s a totally made up character.  I named him Alan Fisher, and chose the name using my normal naming methods.  The setting was easy as was the character development.  Where else would you find a nuclear scientist in a remote place where future people might be making time travel experiments—White Sands of course.  My character, Alan Fisher, happened to be on the monument that marks the first nuclear blast.  The future scientists chose this as isolated and unpopulous enough that they shouldn’t have the problem they did of an accidental time traveler.  That’s just what happened to Alan.

The initial setting is White Sands and the nuclear monument.  The next scene is in ancient Greece 400 BC.  The setting is specifically north and east of Athens with the actual time traveler.  So the novel moves on.  Alan Fisher is very important in the overall scheme of the novel, and he came out of the idea for the novel itself.  I noted already how and why I came about the idea.  By the way, the first mission in time was to observe the life and resurrection of Christ Jesus.    

Centurion (6 BC to 33 AD) – as I wrote on my secrets pages for Centurion, I was intrigued by the words of the Centurion who crucified Christ and his words, “Surely, this was a son of God.”  I wondered what would make a Centurion say such a thing, so I wrote a novel about that Centurion.  I used Greek and Roman sources as well as the New Testament documents to write the novel.  I learned to translate ancient Greek to write The Second Mission, and this really helped me in the translation and understanding of the Roman Legion during the First Century. 

Just like The Second Mission, a historical novel defines the setting and to a degree the characters.  This made the development of the protagonist easy as well as the plots and of course the history is set. 

I officially used just great history and my knowledge of the military to wrote the story (novel) about the Centurion Abenadar (the traditional name of the Centurion).  The end result was a great novel and story.  The end result was very positive and my most popular published novel. 

Aksinya: Enchantment and the Daemon 1917 – 1918 (1920) – I wrote this novel as a really fun challenge to Goethe and Fauste.  My Enchantment novels are about characters who would never be considered capable to redemption.  The redemption isn’t necessarily about salvation, but Aksinya is both physical and spiritual redemption.  I designed Aksinya as a character who needed redemption because she was a sorceress and she called a demon. 

The basis for the plot of Aksinya came from Fauste.  In Fauste, a man, Dr. Fauste called the devil (or a demon) to grant his every wish for his soul.  Fauste is a tragedy and the end is tragic, but expected for a person who calls a demon.  Aksinya is different.

Aksinya is a Romantic plot with a Romantic protagonist.  Her skills happen to be sorcery and evil.  The climax resolution is impossible until it is inevitable.  The end of Aksinya is both unexpected, but still inevitable and wondrous.  That’s the kind of novel I wanted to write, and as I noted, it came from the basis of Fauste.  It’s a great example of how an author through study develops an entirely new idea and creativity.

I should mention that Centurion was developed form the basis of Ben Hur and The Robe.  These were older novels that excited my interest in writing Centurion.

Aegypt 1926 – this is the novel that launched a thousand ships, so to speak.  I got the idea for Aegypt from two main sources.  The first was the protagonist, Paul Bolang.  Paul Bolang was my Foreign Legion character from the great war (WWI).  I developed a character who was a language and hieroglyphic scholar who learned to love warfare during World War One.  He became an initial officer cadre into the French Foreign Legion in Tunisia.  In addition, I propelled the idea of Egyptian hieroglyphics plus the idea of a person coming from the far past into the modern world.  That was the real power of this novel.

I was in a phase of my writing (one I haven’t grown out of) where I was trying to figure out ways for my characters to meet and interact with people from the past.  In The Second Mission, they went back in time.  In Centurion, I presented a standard historical novel.  In Aegypt, the characters had been preserved alive as mummies so they could be brought back to life through some thaumaturgic process.  The Goddess of Darkness made the spell and The Goddess of Light was caught up in it.  Paul Bolang discovered the strange hieroglyphics on the remains of the tomb near Fort Saint, a legion stronghold. 

I think the screen writers for the Mummy borrowed my ideas from Aegypt when I was shopping it around in the late 1980s.  The Mummy movie copied many of the ideas from Aegypt.  They missed some of the most important and best.  The Goddess of Light was revived whole into the world while the Goddess of Darkness was revived only as a ka, spirit.  Paul Bolang married Leroa, the Goddess of Light.  This step up a circumstance for future novels and ideas related to the Bolang family and the Goddess of Darkness.        

Sister of Light 1926 – 1934 – from the end of Aegypt, I intended to write another novel about the continuing saga of the Bolang family, Paul and Leora (the Goddess of Light), and the Goddess of Darkness.  Sister of Light was the first. 

In this novel, I continued the story of Paul and Leora.  He sought a place of sunshine for Leroa—a continuing theme is that Leroa, as the Goddess of Light must have a lot of light.  She had plenty in Egypt and then Tunisia, but France and Europe isn’t as blessed with sunshine.  In addition, Leora learned how the world had changed since her time in the tomb, plus she and Paul overcame the obstacles of Paul’s parents and family.  This was all part of the beginning of the novel.  Then they travel to America and have children.

In the middle of the novel Paul is recalled to France for a special mission, and Leora must handle the problems there.  A lot goes on, but it was a novel on contract and a really fun read. 

In any case, the idea for the novel came directly out of Aegypt the characters grew from there.  We see new and old characters from the original novel plus the children and Paul’s family.  The novel filled the inner war years between 1926 to 1934. 

I should mention that through the novel, the Goddess of Darkness is trying to destroy Paul and Leora Bolang.  That’s the real story, plus Leora fighting back against the darkness. 

Sister of Darkness 1939 – 1945

Shadow of Darkness 1945 – 1953

Shadow of Light 1953 – 1956

Antebellum 1965 (1860 to 1865)

Children of Light and Darkness 1970 – 1971

Warrior of Light 1974 – 1976

Warrior of Darkness 1980 – 1981

Deirdre: Enchantment and the School 1992 - 1993

Cassandra: Enchantment and the Warriors 1993 - 1994

Hestia: Enchantment of the Hearth 2000 - 2001

Essie: Enchantment and the Aos Si 2002 - 2005

Khione: Enchantment and the Fox 2003 - 2004

Blue Rose: Enchantment and the Detective 2008 - 2009

Dana-ana: Enchantment and the Maiden 2009 - 2010

Valeska: Enchantment and the Vampire 2014 - 2015

Lilly: Enchantment and the Computer 2014 - 2015

September 2022 – death of Elizabeth

Sorcha: Enchantment and the Curse 2025 - 2026

2026 death of Mrs. Calloway

Rose: Enchantment and the Flower January to April 2028

Seoirse: Enchantment and the Assignment August to November 2028

science fiction

The End of Honor

The Fox’s Honor

A Season of Honor

Athelstan Cying

Twilight Lamb

Regia Anglorum

Shadowed Vale

Ddraig Goch – not completed

I’ll look at the origin of the protagonists and the ideas for these novels, next.  

I want to write another book based on Rose and Seoirse, and the topic will be the raising of Ceridwen—at least that’s my plan.  Before I get to that, I want to write another novel about dependency as a theme.  We shall see.

 

More tomorrow.

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

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

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