Writing - part xx701 Writing a Novel, Plots and My Novels, more about Essie: Enchantment and the Aos Si

 3 September 2021, Writing - part xx701 Writing a Novel, Plots and My Novels, more about Essie: Enchantment and the Aos Si

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 Essie: Enchantment and the Aos Si, here is the cover proposal:

 

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

 

Essie: Enchantment and the Aos Si came out of an idea for an initial scene.  I imagined a scene where a person found a wild, naked, abused, and hungry person raiding a kitchen.  It wasn’t just anyone, either the raider or the person making the discovery.  I developed the Aos Si.

 

The name Aos Si sounds like Ess Si in English.  I developed the character and person of the Aos Si as a being who is the ruler of the Fae and the Fae Courts.  She is an entirely different being than anything you might imagine.  She is neither fully Fae nor fully human.  She is a being of the earth who was made to rule over the Fae, but she rules by love and humility as opposed to strength and power.  There is much more to this story and character.  I’ll get into more detail tomorrow.

 

Here is some of the information on the novel:

 

Mrs. Lyons, actually, Matilda Anne Robina Acland Hastings Lyons, who happened to once be married to Colonel Bruce Lyons and held onto the Mrs. and the Lyons as mementos although the man was long dead, captured the Aos Si in her pantry.  The girl was starkers, scarfing ham, and ran directly into Mrs. Lyons’ cane.  The meeting concluded at the expense of the Aos Si who ended up cuffed to Mrs. Lyons’ guest room bed.  As Mrs. Lyons saw it, she could either: turn the girl in.  In which case, she would be incarcerated or sent to the looney bin.  Let her go—where she might be shot or worse in the next pantry she raided.  Or, Mrs. Lyons could attempt the reform and education of the girl.  Mrs. Lyons was used to the finishing of young women—she had never bore a child of her own, but over the years, she held the responsibility of many of her friends’ children.  

Mrs. Lyons decided to keep the girl and attempt her reform.  From the beginning this seemed a daunting proposal.  The girl was dirty, abused, on the run, and most likely not a human at all.  In fact, once Mrs. Lyons could communicate with her, she learned the girl called herself the sith, the Aos Si, and she was at war with the sovereign goddess of the Gaelic lands, Ceridwen.  Mrs. Lyons saw only a young person who needed help and direction.  She didn’t realize she had involved herself in a many year conflict.  Luckily a war fought in great secret, and the Aos Si had been on the losing end a long time.

Mrs. Lyons called the girl Essie, and immediately began her reformation.  The girl didn’t come with an instruction manual, but she did own a Welsh book, a cage, and a branch with a stone embedded in it.  Odd adornments for the, so called, most dangerous creature in the British Isles. 

During Essie’s education, Mrs. Lyons learned the girl was a musical genius.  Essie learned to play the organ in their local church.  Although, in Essie’s own estimation, she was slow, ugly, and unrefined, she could play anything by ear, and she played unworldly pieces of music, the music of the fae.

By the end of summer, Essie’s skills at the organ, and the nature of her memorized learning led the church’s priest to suggest Essie attend an all girl’s boarding school to increase her education and musical skills.  In his previous assignment, the Father acted as rector for the school.  The priest’s wife, who taught Essie to play the organ agreed.  Mrs. Lyons felt pressured, but for Essie’s sake, Mrs. Lyons enrolled Essie in boarding school.  What harm could that be?

The adventures and misadventures of Mrs. Lyons and her adopted daughter, the Aos Si, who may or may not be a human being, begin with a bang and potentially end with a bite of the Queen of England’s hand.  Then again, Ceridwen is a longtime friend of both the Queen and Mrs. Lyons.

 

Let’s evaluate the plots.

Overall (o)

1.     Redemption (o) – 17i, 7e, 23ei, 8 – 49%  Following the ideas in my Enchantment novels, the protagonist must require redemption.  Essie is a little different in that she requires physical redemption, and she must act to assert her place.  Mrs. Lyons really doesn’t require redemption, but she becomes a catalyst for redemption.  Leila is also a person who requires redemption of a sort.  The question of redemption in this novel is really the redemption of the Fae.              

2.     Revelation (o) –2e, 64, 1i – 60%  This is a really exciting revelation of who the Aos Si is, and about how she rules the Fae and controls the Fae.      

3.     Achievement (o) – 16e, 19ei, 4i, 43 – 73%  The achievement for Essie: Enchantment and the Aos Si is for Essie to take her place, actually to be returned to her place.  This is more consequential than you might think.  In addition, there is an achievement of Ceridwen and Britain in relation to Essie.    

Achievement (a)

1.     Detective or mystery (a) – 56, 1e – 51% The mystery of the novel is just who is the Aos Si, and what is her purpose.     

2.     Revenge or vengeance (a) –3ie, 3e, 45 – 46%  Essie is the opposite of revenge.  She will never take vengeance, that is her nature.  

3.     Zero to hero (a) – 29 – 26%  This should be a theme in every novel and to a degree, Essie goes from zero to hero.

4.     Romance (a) –1ie, 41 – 37%  Nope.  Unlike most of my novels, this doesn’t have any romance.    

5.     Coming of age (a) –1ei, 25 – 23%  Since Essie looks like she is young, this could be considered a type of coming of age, but it isn’t a classical coming of age plot.

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%  Essie learns about money, but money isn’t a plot.    

9.     Spoiled child (a) – 7 – 6%  One of the side characters is Claire who really is a spoiled child.  

10.  Legal (a) – 5 – 4%  Yes, to a medium degree. 

11.  Adultery (qa) – 18 – 16%  Nope. 

12.  Self-discovery (a) – 3i, 12 – 13%  There is a very strong element of self-discovery for the characters in this novel.

13.  Guilt or Crime (a) – 32 – 29%  From others and not from Essie.

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, Essie has escaped from the Fae and captivity.

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%  From a standpoint, Essie is rejected by the Fae, but she doesn’t care.

4.     Miscommunication (q) – 8 – 7%  Yes, Ceridwen is lied to by the Fae to capture and hold the Aos Si, Essie.

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

6.     Betrayal (q) – 1i, 1ie, 46 – 43%  Yes, Essie is betrayed by the Fae.

7.     Blood will out or fate (q) –1i, 1e, 26 – 25%  Yes, to a degree Essie’s position as a being is determined for ever.

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

9.     Magic (q) – 8 – 7%  Nope.

10.  Mistaken identity (q) – 18 – 16%  Yes, everyone has no idea who Essie is, and this is a plot through the novel.

11.  Illness (q) – 1e, 19 – 18%  Nope.

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%  Nope. 

17.  Insanity (q) – 8 – 7%  Nope.

18.  Mentor (q) – 12 – 11%  Yes, very strongly with Mrs. Lyons for Essie.

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%  All around Britain.

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

6.     Horror (s) – 15 – 13%  Nope.

7.     Children (s) – 24 – 21%  Yes from Essie to Claire.

8.     Historical (s) – 19 – 17%  Yes, modern era.

9.     School (s) – 11 – 10%  Yes, Essie goes to a boarding 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%  Nope.

Item (i)

1.  Article (i) – 1e, 46 – 42%  Yes, Essie’s book, stone, and branch.

 

Essie: Enchantment and the Aos Si is one of my Enchantment novels.  As I wrote, the reason for these novels was to entertain with stories about creatures whom we can’t imagine being redeemed.  Part of these novels was to look at a unique idea in literature.  I don’t think anyone has explored an anti-Faust like I did in Aksinya: Enchantment and the Daemon or the redemption of a Vampire, like I did in Valeska: Enchantment and the Vampire.  In Essie: Enchantment and the Aos Si, I look at the redemption of the Fae.

 

As I wrote, the British myth about the Fae is that they were the angels who were neutral in the conflict between God and Satan.  The angels supported God, the demons supported Satan, and the Fae were neutral.  In British lore, the demons were condemned to hell, the angels remained in heaven, and the Fae were condemned to the earth.  The question I ask is how can the Fae be redeemed.  In Essie: Enchantment and the Aos Si, I provide an answer and a parallel to the world at large.

 

The parallel is Essie.  Essie is really a corruption of Aos Si.  In English, Aos Si sounds like Essie.  Essie is the head of the Fae, but she considers herself to be ugly, earth bound, and not as intelligent as the Fae.  Essie is a creature made by God to be the redemption of the Fae.  In my reflected worldview she is a messiah-like character, but she isn’t the messiah most would expect.  The purpose of Essie is to take the pain and enmity of the Fae on her self and return only goodness, grace, and music.  Essie sings the music of the Fae.

 

This is just one of her powers.  Essie is a powerful being, but like many of the beings I create in my novels, she doesn’t use the power to harm, but rather accepts harm for others.  Essie is the being who has absolute power, but will not ever use it to harm anyone or anything.  Her purpose is to stand in place of the Almighty God for the Fae.  This is expressed exquisitely in the novel.

 

Everything is shown and nothing is told about Essie.  Essie starts as an abused child who has escaped the prison of the Fae.  The Fae convinced Ceridwen to let them keep Essie a captive—the reason, the Fae do not like the rule of a leader and sovereign they consider unsuitable to them and their ilk.  Essie is a creature of the earth.  She is a being made and not created.  She is a being who is touched and fully empowered by the earth—the Fae consider themselves to be like angels—created and not made.  Essie is made and not created.  The Fae consider themselves to be greater than Essie, but Essie is placed over them in creation.  This is the main point in the novel, but there is more.

 

Essie and the Fae provide a parallel to God and humanity.  The Fae are beings who will give to humanity, but only if an equal gift is given.  They represent spiritual redemption.  They are like God in the sense of an allegory.  Many people don’t get this, but from the beginning, the idea of the Fae was related to the idea of the Christian God in British lore. 

 

The Fae are said to trap humans by offering dance, or food, or gifts.  The trick is that no gift that a human can give can ever equal that of the Fae, thus the human is enjoined to either work off the gift or pay the price with the ages of their life.  Like Rip VanWinkle who for bowling with the Fae slept for many years.  The gift the Fae give require the lived life of the recipient.  This is the picture of salvation.  The gift of salvation requires nothing in return except one’s life for eternity.  That is the picture of salvation that the Fae show.  This has been construed as a negative, but the reality is that it is a great positive.  The Fae however, are outside of this picture.  They are the picture.  Essie fulfills this for them.  

 

Next, we’ll look at Sorcha: Enchantment and the Curse.

 

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  

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