Writing - part xx688 Writing a Novel, Plots and My Novels, more on Dana-ana: Enchantment of the Maiden

 22 August 2021, Writing - part xx688 Writing a Novel, Plots and My Novels, more on Dana-ana: Enchantment of the Maiden

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 21^st 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 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.

     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.

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

    Since I'm writing about Dana-ana: Enchantment of the Maiden, here is the proposed cover:

I finished writing my 29^th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.  

Here is the cover proposal for Blue Rose: Enchantment and the Detective. 

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 30^th novel, working title Red Sonja.  I finished my 29^th novel, working title Detective.  I’m planning to start on number 31, working title Shifter. 

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 31:  Deirdre and Sorcha are redirected to French finishing school where they discover difficult mysteries, people, and events. 

 

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.

 

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:  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. 

 

To start a novel, I picture an initial scene.  I may start from a protagonist or just launch into mental development of an initial scene.  I get the idea for an initial scene from all kinds of sources.  To help get the creative juices flowing, let’s look at the initial scene. 

 

1.      Meeting between the protagonist and the antagonist or the protagonist’s helper

2.      Action point in the plot

3.      Buildup to an exciting scene

4.      Indirect introduction of the protagonist

 

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. 

 

I’ve worked through creativity and the protagonist.  The ultimate point is that if you properly develop your protagonist, you have created your novel.  This moves us on to plots and initial scenes.  As I noted, if you have a protagonist, you have a novel.  The reason is that a protagonist comes with a telic flaw, and a telic flaw provides a plot and theme.  If you have a protagonist, that gives you a telic flaw, a plot, and a theme.  I will also argue this gives you an initial scene as well. 

 

So, we worked extensively on the protagonist.  I gave you many examples great, bad, and average.  Most of these were from classics, but I also used my own novels and protagonists as examples.  Here’s my plan.

 

1.      The protagonist comes with a telic flaw – the telic flaw isn’t necessarily a flaw in the protagonist, but rather a flaw in the world of the protagonist that only the Romantic protagonist can resolve.

2.      The telic flaw determines the plot.

3.      The telic flaw determines the theme.

4.      The telic flaw and the protagonist determines the initial scene.

5.      The protagonist and the telic flaw determines the initial setting.

6.      Plot examples from great classic plots.

7.      Plot examples from mediocre classic plots.

8.      Plot examples from my novels.

9.      Creativity and the telic flaw and plots.

10.  Writer’s block as a problem of continuing the plot.

 

Every great or good protagonist comes with their own telic flaw.  I showed how this worked with my own writing and novels.  Let’s go over it in terms of the plot.

 

This is all about the telic flaw.  Every protagonist and every novel must come with a telic flaw.  They are the same telic flaw.  That telic flaw can be external, internal or both.

 

We found that a self-discovery telic flaw or a personal success telic flaw can potentially take a generic plot.  We should be able to get an idea for the plot purely from the protagonist, telic flaw and setting.  All of these are interlaced and bring us our plot.

 

For a great plot, the resolution of the telic flaw has to be a surprise to the protagonist and to the reader.  This is both the measure and the goal.  As I noted before, for a great plot, the author needs to make the telic flaw resolution appear to be impossible, but then it happens.  There is much more to this. 

 

I evaluated the plots from the list of 112 classics and categorized them according to the following scale:

 

Overall (o) – These are the three overall plots we defined above: redemption, achievement, and revelation.

 

Achievement (a) – There are plots that fall under the idea of the achievement plot. 

 

Quality (q) – These are plots based on a personal or character quality.

 

Setting (s) – These are plots based on a setting.

 

Item (i) – These are plots based on an item.

I looked at each novel and pulled out the plot types, the telic flaw, plotline, and the theme of the novel.  I didn’t make a list of the themes, but we identified the telic flaw as internal and external and by plot type.  This generally gives the plotline. 

 Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%

2.     Revelation (o) –2e, 64, 1i – 60%

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51%

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%

3.     Zero to hero (a) – 29 – 26%

4.     Romance (a) –1ie, 41 – 37%

5.     Coming of age (a) –1ei, 25 – 23%

6.     Progress of technology (a) – 6 – 5%

7.     Discovery (a) – 3ie, 57 – 54%

8.     Money (a) – 2e, 26 – 25%

9.     Spoiled child (a) – 7 – 6%

10.  Legal (a) – 5 – 4%

11.  Adultery (qa) – 18 – 16%

12.  Self-discovery (a) – 3i, 12 – 13%

13.  Guilt or Crime (a) – 32 – 29%

14.  Proselytizing (a) – 4 – 4%

15.  Reason (a) – 10, 1ie – 10%

16.  Escape (a)  – 1ie, 23 – 21%

17.  Knowledge or Skill (a) – 26 – 23%

18.  Secrets (a) – 21 – 19%

Quality (q)

1.     Messiah (q) – 10 – 9%

2.     Adultery (qa) – 18 – 16%

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%

4.     Miscommunication (q) – 8 – 7%

5.     Love triangle (q) – 14 – 12%

6.     Betrayal (q) – 1i, 1ie, 46 – 43%

7.     Blood will out or fate (q) –1i, 1e, 26 – 25%

8.     Psychological (q) –1i, 45 – 41%

9.     Magic (q) – 8 – 7%

10.  Mistaken identity (q) – 18 – 16%

11.  Illness (q) – 1e, 19 – 18%

12.  Anti-hero (q) – 6 – 5%

13.  Immorality (q) – 3i, 8 – 10%

14.  Satire (q) – 10 – 9%

15.  Camaraderie (q) – 19 – 17%

16.  Curse (q) – 4 – 4%

17.  Insanity (q) – 8 – 7%

18.  Mentor (q) – 12 – 11%

Setting (s)

1.     End of the World (s) – 3 – 3%

2.     War (s) – 20 – 18%

3.     Anti-war (s) –2 – 2%

4.     Travel (s) –1e, 62 – 56%

5.     Totalitarian (s) – 1e, 8 – 8%

6.     Horror (s) – 15 – 13%

7.     Children (s) – 24 – 21%

8.     Historical (s) – 19 – 17%

9.     School (s) – 11 – 10%

10.  Parallel (s) – 4 – 4%

11.  Allegory (s) – 10 – 9%

12.  Fantasy world (s) – 5 – 4%

13.  Prison (s) – 2 – 2%

Item (i)

1.     Article (i) – 1e, 46 – 42%

Here is a list of my novels:

 

1*	SF	A Season of Honor (Honor III)	1986	P 08
2	1		30-Oct	Nov
2*	SF	The Fox’s Honor (Honor II)	1989	P 08
3	2		2-May	Oct
3	SF	The End of Honor (Honor I)	1995	P 08
9	3		13-Jul	Jul
4	HF	Antebellum	1991	*
4	4		7-Feb
5*	F	Aegypt	1992	P 08
5	5		16-Jun	Jan
6*	HF	Centurion	1995	P 08
8	6		1-Feb	Jan
7a*	SF	Athelstan Cying	1992	A
6	7		26-Sep
8 15	SF	Twilight Lamb	2007	A
7b*	8		8-Aug
9 16	SF	Regia Anglorum	2007	A
7c	17		23-Nov
10*	SF	The Second Mission*	1996	P 03
10	9		13-Nov	Aug
11	Fan	Illidin	1977	I
1			Sep
12	F	Sister of Light	1997	C
11	10		16-Aug
13	F	House	1994	I
7			23-Dec
14	F	Hestia: Enchantment of the Hearth	2006	*
13	11		28-Dec
15	Fan	Aramis	2006	I
12			27-Apr
16	HF	Japan		I
14
17	F	Sister of Darkness	2008	C
17	12		3-Jun
18	F	Shadow of Darkness	2008	A
18	13		14-Sep
19	F	Shadow of Light	2008	A
tt5t	14		24-Oct
20	F	Children of Light and Darkness	2008	A
20	15		1-Dec
21	F	Warrior of Light	2009	A
21	16		1-Feb
22	HF	Praetorian
22
23 23	SF	Shadowed Vale	2009	A
	18		10-May
24 24	SF	Ddraig Goch	2009	W
			25-Aug
25	F	Warrior of Darkness	2009	*
25	19		29-Oct
26	F	Dana-ana: Enchantment and the Maiden	2010	*
26	20		10-Jun
27	F	Aksinya: Enchantment and the Daemon	2010	A
27	21		1-Nov
28	F	Khione: Enchantment and the Fox	2011	*
28	22		1-Mar
29	F	Valeska: Enchantment and the Vampire	2013	*
29	23		26-Nov
30	F	Lilly: Enchantment and the Computer	2014	*
30	24		1-May
31	SF	Escape from Freedom	2014	*
31	25		2-Oct
32	F	Essie: Enchantment and the Aos Si	2015	*
32	26		1-May
33	F	Sorcha: Enchantment and the Curse	2016	*
33	27		1-Mar
34	F	Red Sonja	2016	W
34	XX		1-Mar
35	F	Deirdre: Enchantment and the School	2016	*
35	28		1-Jul
36	F	Blue Rose: Enchantment and the Detective	2018	*
36	29		1-Jul
37	F	Cassandra: Enchantment and the Warriors	2018	*
37			1-Jul
38	F	Rose: Enchantment and the Flower	2021	*
38			1-Mar

 

Dana-ana: Enchantment of the Maiden is the second of my Enchantment novels.  I’ll write more about where this novel came from tomorrow, but as I noted before, I began writing the Enchantment novels to show how creatures and beings we imagine could never be redeemed might possibly achieve redemption. 

 

When I write redemption, I don’t just mean spiritual redemption, but I also include it.  I mean redemption in every sense.  For example, we imagine a vampire could never be redeemed, they are creatures without hope, or are they?  Are vampires destined to condemnation?  Of course, just like Bram Stoker, bringing up the idea of a vampire brings the supernatural and God into the picture.  This is a little truth that many modern writers don’t seem to fully understand.  As C.S. Lewis remarked, you can’t have the supernatural without God.  I’ll move that closer to the point, you can’t have a vampire without God, and what do supernatural beings think about God.

 

As an aside, the demons recognized Christ and begged him to not condemn them or cast them out.  I bring this all up because these are the kinds of things I explore in my Enchantment novels.  I find this entertaining, plus who isn’t entertained by the idea of the supernatural and especially in the real world.     

 

Here is some of the information on the novel:

Who really is Dana-ana Goewyn?

Byron Macintyre didn’t know what he was getting himself into when he rescued his high school’s most infamous lunch thief, dirt magnet, and problem child.  Dana-ana Goewyn was his rescue.  She had a strange name, lived in a tarpaper shack on the bayou, and never spoke to anyone.  Until she met Byron, Dana’s life was made up of taking paper and pencils from wastebaskets so she could do her homework and hanging around the local KFC dumpster so she could scrounge something for supper.  Then Byron rescued her. 

Byron helped Dana back to her shack after one of her regular fights because she had a concussion and the school nurse wouldn’t take care of her.  The nurse had been burned by Dana-ana before.  What happened when Dana brought Byron into her house, changed their world.  Dana greeted him by washing his feet and then spoke to him.  No one had heard her speak before.  That’s when Byron began to learn about this person—Dana-ana.  She was starving, but would only accept something as a gift or if it was discarded.  She would not speak unless directly invited to talk. She wouldn’t enter a house unless welcomed with foot washing or bread and salt. 

When Byron brought Dana home for dinner, his mother wondered what kind of rescue he had made, but after she saw the life Dana lived, the Macintyre home accepted Dana into it.  That’s when they discovered she understood a host of ancient British languages.  That’s when they discovered they had invited a girl who imagined she was an Anglo-Saxon maiden into their home. 

Byron’s father was a professor of ancient British languages.  His mother was a nurse who had been a professor of medical history.  Although Dana seemed harmless, the question for the whole family was exactly who was this young woman.  Through her professional sources, Mrs. Macintyre discovered Dana-ana was listed by the State Department as an immigrant refugee, and they informed her Dana had been banished from Great Britain to the United States. 

Is Dana-ana mentally ill, a time traveler, a spy, a banished member of the British royal family, a criminal?  In the world that spun around Dana-ana nothing made sense.

Then the family readied itself to make their usual summer trip to England, and a letter from the Queen of England allowed Dana to return to Britain for the summer, but admonished and restricted her movements.  In Great Britain, perhaps everything about Dana-ana would be made clear…

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Dana-ana: Enchantment of the Maiden has multiple redemption plots.  It is obvious at the beginning that something is wrong with Dana-ana.  I tried to convey this in the writeup for the novel.  The initial problem is physical redemption from poverty and abuse.  We find later that Dana-ana needs something else, and she isn’t telling.              

2.     Revelation (o) –2e, 64, 1i – 60%  Dana-ana: Enchantment of the Maiden may be one of the most mysterious revelation type novels I have written.  At the beginning, we know nothing about Dana-ana.  Her secrets get slowly revealed to us as we move forward.     

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  The achievement for the protagonist and the characters is largely unknown until the end of the novel.  We find that Dana-ana requires a greater redemption than we can imagine.  This is all part of the revelation. 

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% Who or what is Dana-ana?  This is the ultimate question of the novel.  I’d like to think that this little entertainment is held strongly through the novel, but in the end the reader will proclaim, I knew it.    

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  The revenge of certain people and forces against Dana-ana are the primary drivers of this novel.  They are largely unknow until the end.

3.     Zero to hero (a) – 29 – 26%  Dana-ana moves from total zero to great hero.

4.     Romance (a) –1ie, 41 – 37%  There is a strong and important romance between Byron and Dana-ana.  This isn’t as clean as I’d like it to be, but I think it resolves properly.    

5.     Coming of age (a) –1ei, 25 – 23%  Some.

6.     Progress of technology (a) – 6 – 5%  Nope.

7.     Discovery (a) – 3ie, 57 – 54%  This entire novel is about discovery from cover to cover.

8.     Money (a) – 2e, 26 – 25%  Things rather than money.  This is a theme and plot in the novel about what and how Dana-ana can accept anything.  I tried to play off knowledge of the Anglo-Saxon culture to define this.   

9.     Spoiled child (a) – 7 – 6%  Byron’s sister comes off a little like a spoiled child, but turns into a great advocate and friend to Dana-ana.

10.  Legal (a) – 5 – 4%  Yes, this is a strong theme in this novel.  It has more to do with the Courts than pure law. 

11.  Adultery (qa) – 18 – 16%  Nope.

12.  Self-discovery (a) – 3i, 12 – 13%  Yes, self-discovery for everyone.  From Dana-ana, Byron about love and trust, Gwen about supporting your friends, Mr. and Mrs. Macintyre about their children and faith.

13.  Guilt or Crime (a) – 32 – 29%  Yes, this is a major driver in the novel.

14.  Proselytizing (a) – 4 – 4%  Nope.

15.  Reason (a) – 10, 1ie – 10%  Yes, the resolution all comes through reason.

16.  Escape (a)  – 1ie, 23 – 21%  Yes, Dana-ana must escape the punishment her enemies have placed on her.

17.  Knowledge or Skill (a) – 26 – 23%  Knowledge and skills are the tools that are used and that they are learning.

18.  Secrets (a) – 21 – 19%  This novel is filled with secrets and revealed secrets.

Quality (q)

1.     Messiah (q) – 10 – 9%  Nope.

2.     Adultery (qa) – 18 – 16%  Nope.

3.     Rejected love (rejection) (q) – 1ei, 21 – 20%  Yes, to a degree.  Byron rejects Dana-ana for a while.

4.     Miscommunication (q) – 8 – 7%  Nope.

5.     Love triangle (q) – 14 – 12%  Nope.

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, this is very strong in this novel.

7.     Blood will out or fate (q) –1i, 1e, 26 – 25%  Nope.

8.     Psychological (q) –1i, 45 – 41%  This is a psychological novel on many levels. 

9.     Magic (q) – 8 – 7%  I don’t call it magic, but Dana-ana has lost her powers of a spiritual and supernatural variety.

10.  Mistaken identity (q) – 18 – 16%  Nope.

11.  Illness (q) – 1e, 19 – 18%  Yes, Dana-ana is injured more than once.

12.  Anti-hero (q) – 6 – 5%  Nope.

13.  Immorality (q) – 3i, 8 – 10%  Nope.

14.  Satire (q) – 10 – 9%  Not really.

15.  Camaraderie (q) – 19 – 17%  Yes, there is a large degree of moving camaraderie based on associations and groups.

16.  Curse (q) – 4 – 4%  Yes, Dana-ana is cursed to be like an Anglo-Saxon person in the modern world. 

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, to a degree.

Setting (s)

1.     End of the World (s) – 3 – 3%  Nope.

2.     War (s) – 20 – 18%  Nope.

3.     Anti-war (s) –2 – 2%  Nope.

4.     Travel (s) –1e, 62 – 56%  Yes, travel to Britain.

5.     Totalitarian (s) – 1e, 8 – 8%  Nope.

6.     Horror (s) – 15 – 13%  Yes, to a degree this is a strong suspense novel.

7.     Children (s) – 24 – 21%  Not really.

8.     Historical (s) – 19 – 17%  Yes, very strongly with historical events and people all around.

9.     School (s) – 11 – 10%  Yes, this shows a modern American High School.

10.  Parallel (s) – 4 – 4%  Nope.

11.  Allegory (s) – 10 – 9%  Nope.

12.  Fantasy world (s) – 5 – 4%  Nope.

13.  Prison (s) – 2 – 2%  Yes, Dana-ana is banished from her natural land.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Not so much, but certain items and articles become important in the focus of the novel.

 

Spoiler alert—well, the novel hasn’t been published yet, so what.  I had this really fun idea for an initial scene.  It collided with another idea that I had about a girl who lived like an Anglo-Saxon.  The initial scene was a boy rescuing a girl from the typical high school mob and finding that the girl would not speak, defend herself, and seemed to be at odds with everyone in the school.  This came out of the girl’s belief/acceptance that she was an Anglo-Saxon through and through.  By the way, the lowest level person of Anglo-Saxon culture is the theowa.  This person isn’t a slave, but rather the lowest member of the household.  The word thane comes from theowa. 

 

Dana-ana begins as a theowa.  She has no rights and cannot even speak nor take anything that is not a gift.  I have all the rules of the Anglo-Saxon household that I used for her.  The theowa can’t even defend herself, only others. 

 

In some ways, Dana-ana is cursed.  In fact, she is cursed to live the life I described.  We also know that Dana-ana was banished from Britain to America.  I don’t say exactly where in the USA, but it is basically the middle of Louisiana.  As I noted, the initial scene is when the students are beating her because they think she took some lunches.  The reality is a bit more complex than that.

 

Dana-ana is a banished and punished goddess.  I write about her in another novel, Blue Rose: Enchantment and the Detective.  There her sin is made clear.  Basically, her actions indirectly led to the deaths of many.  She was punished by being locked into mortality and having most of her powers removed.  Additionally, she must live as an Anglo-Saxon in the modern world. 

 

Once Dana-ana’s adopted family figure our the problem, they can promote her to levels where she can have power and protection over herself.  You might guess it is difficult for them to finally figure this out.  Luckily, the family is related through time to Dana-ana.  This isn’t a deus ex, but rather either intentional or an accident of fate.  We see that the curse placed on Dana-ana activated certain things in the world.  To be reunited with the one family in the world who could understand Dana-ana is important. 

 

Additionally, in this novel, I bring in many of the people and beings from Ancient Light.  This is fun for the novel and for readers.  Further, as I wrote before, Dana-ana investigates the possibility that a goddess who caused great harm could be redeemed.  I wrote before, I think using the idea of a being as opposed to a person makes this more approachable and touchable.  Dana-ana was the cause, but she also wished to make amends.  The question in the novel is this enough.  How can a person act and be who has caused others such pain and suffering. 

 

The redemption of Dana-ana is the point of the novel, but many others are touched by this redemption and I bring in many other characters whom I use in other Enchantment novels.  Dr. Mariread May Rowley is just one, but also many of the main magic users are those who pop up through these novels.

 

I should also mention about enchantments.  The point of using the word enchantment is to show that something supernatural or extraordinary is affecting the protagonist.  In the case of Hestia and Angela from Hestia: Enchantment of the Hearth it is the enchantment that seals Hestia in the real world.  In the case of Dana-ana, it is the enchantment that forces her to act like an Anglo-Saxon maiden in the modern world.  These are critical actions that set the stories in motion for either and both novels.

 

Next, we’ll look at Aksinya: Enchantment and the Daemon.

 

In the end, we can figure out what makes a work have a great plot and theme, and apply this to our writing.     

      

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.    

    

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