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Monday, January 3, 2022

Writing - part xx823 Writing a Novel, Using Prison Setting Plots in Scenes, Example One

 03 January 2022, Writing - part xx823 Writing a Novel, Using Prison Setting Plots in Scenes, Example One

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 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

I finished writing my 29th 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 30th novel, working title Red Sonja.  I finished my 29th 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 becomes inevitable in the climax.  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%

So, what is it about writer’s block?  Many if not most authors and writers will complain about writer’s block.  When I was a younger author, I would get writer’s block very often, but I’ve discovered something very important about writer’s block.  Writer’s block is a function of the plot and not the protagonist.  The correction or resolution of writer’s block comes from centering our writing on the protagonist instead of the plot.  This is what I’d really like to get into as a topic.  Here is an outline of how we will approach this.

 

1.     Problems with a plot focus

2.     Correcting with a protagonist focus

3.     How to figure out a plot with a protagonist focus

4.     Writing development

5.     Fixing or blowing through problems with writing

6.     How to write to prevent writer’s block

7.     The Scene Outline

8.     Exercises

9.     Examples

10.  Conclusions

 

The novel is the revelation of the protagonist and the scenes, not the plots, are the process of that revelation.  In fact, the plots are really part of the scenes.  Now, some plots interact beyond and between one scene, but this is the real point we should address.  What really is the plot and how is the plot connected to the scene and the telic flaw.

 

I didn’t want to address the scenes yet, so let’s start with the plot(s).  In the first place, we have a telic flaw. This is the problem the protagonist must resolve.  In a comedy, the protagonist overcomes the telic flaw, while in the tragedy, the telic flaw overcomes the protagonist.  Where is the plot?  That’s a great question.

 

Almost every novel is a revelation of the protagonist.  The author uses various plots and nudges the novel toward the telic flaw resolution.  What about these plots, and how can we create, invent, and/or use them?

 

Except for the protagonist, the telic flaw is the most important point of any novel.  It’s so important that most people don’t even know what it is, yet it is the key point of every novel, and as I’ve noted over and over, the telic flaw is a characteristic of the protagonist.  The protagonist owns the telic flaw.  Just like Harry Potty and Voldermort. Voldermort happens to be the overall antagonist as well as the telic flaw of all the Harry Potty novels.  Then there are the plots.

 

Now, the plot or plots are the means of the telic flaw resolution and they are the means of tension and release development in the scenes.  They are also the means of the development of the rising action to the climax of the novel.  They are parts, but look at the other parts.

 

Mainly, we have the scenes.  The scenes are cohesive parts of a novel.  They are the building blocks of a novel.  Yes, scenes are made of paragraphs, sentences, and words, but you can’t have a novel without scenes.  As I noted in the outline of writing 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

 

So, I have a telic flaw, and I know there are scenes.  Each scene is filled with tension and release.  The tension and release are the plot(s).  In fact, the tension and release are the plots.  This is the trick, and this is where we want to go.  We need to develop tension and release in the scenes and this happens to be the plots. 

 

In the development of a scene, we start with the output of the previous scene.  The author then needs to design the output of that scene.  For example, in the Harry Potty travel scenes, the output of the previous scene is that Harry Potty must go from London to Hogwarts.  That becomes the input for the travel scene.  The output for the travel scene is that Harry arrives at Hogwarts.  Anything else is purely for tension and release.  The author then provides other plots in the scene to create tension and release. 

 

The focus of writing any novel is the scene.  The scene is all about tension and release.  The tension and release comes from the plots.  This is how we bring the plots into the scenes and into a novel.  This means that as an author, we have the scene input and output of the scene, we need to choose plots to then write and install in the scene.

 

We have five types of plots: overall, achievement, setting, quality, and item.  From these plots, we note that, in the scene, achievement, quality, and item can be set into many scenes.  Setting can be used as the setting of the scene, however, there is generally less control over these plots.  In other words, when we move into the scene, the setting is usually already set.

 

The other types of plots give us the opportunity to build tension and release in a scene.  In general, it is difficult to demonstrate this without delving deeply into examples.  Instead, let’s review the potential plots and see how we might use them. 

We choose plots based on three things.  First, is the input and output of the scene.  Second, is the telic flaw resolution.  Third, is the tension and release of the scene.  

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%

Achievement plots are easy to apply to scenes and to overall novels.  Some quality plots lend themselves very well to scenes and some do not.  Still, just like the achievement plots, we can pick and choose them based on our overall plot(s) to power the novel and our scenes.  Then, there are setting plots.

As I mentioned before, we want to pick our plots first based on the input and output of the scene, second, the telic flaw resolution, and third, the tension and release of the scene.

Setting plots are based on the setting of the novel or the scene.  Now, here we have a slight conundrum.  There are obviously some setting plots we might not be able to use in a scene.  I will try to place each of them in a scene, but I can’t guarantee we can be successful.

Let’s look at the prison setting plot.  Perhaps the most famous prison setting plot comes out of The Count of Monte Christo.  This is also a scene setting plot, because the entire novel is not set in a prison. 

I can give some examples from my writing of a prison plot setting, but I’m getting ahead of myself.

The answer to the question, can you have a prison setting plot in a scene is obviously, yes.  In fact, very few novels use an overall prison setting.  More often than not, the prison setting is a scene setting.  Of course, the prison scene setting is a great scene setting especially when you need or want to use it.  In fact, I’d suggest using it whenever you have the opportunity—what do I mean by that.

In the scene examples I will show you, the point is that my characters were accused of criminal acts or behavior and were busted.  Anytime you have the circumstance of police or the authorities involved, you can potentially use a prison scene setting.  Your characters get busted and go to a cell until they get bailed out or released.  This hasn’t happened to most of us, but it is a staple of anyone who watches television or crime dramas. 

If you aren’t familiar, just do a little reading and study.  I suspect any police officer will explain jail procedures to you.  You might be able to read about them on line.  The point is to use them when necessary to spice up your scenes and setting.

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

In this case, our input will be getting arrested by the police or some authorities.  Additionally, you have some kind of activity input based on illegal activity or the appearance of illegal activity.  It’s not like this happens all the time, but I’m certain any good author can imagine such a circumstance and write about it.  As I noted, I’ll give you some examples tomorrow. 

This is from my novel Deirdre: Enchantment and the School.  I’ve given you the part where Deirdre and Sorcha get arrested and then released.

Deirdre didn’t stop, she grabbed Ms. Rowley’s left arm and rolled her to the side so Sorcha could touch her rosary to the small bag.  They heard a crack.  A brilliant flash of light rose from the bag.  Ms. Rowley rolled out of Deirdre’s grasp.  She cursed and screamed then threw the bag away from her.  It was burning, burning with the smell of excrement and decaying flesh.  Ms. Rowley turned them both a look of absolute wrath and malice.  She scrambled to the side and rose on shaking legs next to her automobile.  That’s when floodlights and police cars suddenly burst into the clearing from the dirt track to the south. 

Ms. Rowley stood in the light from the headlights and the police floods.  Blood streamed from her nose and mouth.  Her face was covered with blood.  She laughed and whispered, “It wasn’t worth my bag, but you two are done for.”  Then she screamed again, “Help me officers.  They’re trying to kill me.”

Two policeman with raised pistols ran up from behind them.  One at Deirdre’s and another at Sorcha’s side yelled, “On the ground.  Get down, now.”

Deirdre and Sorcha slowly laid down on the raw damp earth.  The policemen behind them grabbed their arms, pulled them back, and zip tied them.  Deirdre felt his hands move over her body.  He took her torch and everything else from her pockets.  One of the officers pulled her coat down around her upper arms to immobilize them.  She heard another policeman call from inside the shack, “Here’s one of the boys.  Looks like he’s out.  We need an ambulance.” 

Another voice called, “We’ve another boy on this side.  He’s beaten quite badly.”

Ms. Rowley held out her hands, “They beat me too.  They are like animals, dangerous animals.  I tried to stop them, but they both ruthlessly attacked me.”

A policewoman handed Ms. Rowley a thick bandage from a first aid kit, “Here you are dear.  Place that on your lip and nose.  They can’t hurt you now.”

A policeman grabbed Deirdre by her arms and yanked her to her feet.

The policewoman was comforting Ms. Rowley.  Deirdre heard Ms. Rowley say, “In my automobile, I have a video of the entire encounter.  I’ve records on these girls.  I tried to stop them, but they wouldn’t listen to reason.  They would have killed me if you arrived a moment later.”

The policewoman glanced at Deirdre, “I remember that one—stolen bike and assault.  That’s a bad one all right.”

The policeman drug Deirdre and Sorcha to one of the police cars and stuffed them inside.  By then an ambulance had arrived.  Deirdre saw Chris being moved from the shack on a gurney.  Tim lay on one from the back of the building.  Then the police car turned and moved out of the clearing then onto a paved road and toward the police station near Eton and Windsor.

 

Sorcha and Deirdre sat in a holding cell in orange jumpsuits.  The police had taken all their clothing and strip searched them.  Luckily, it was policewomen.  Unluckily, it was policewoman.  They hadn’t missed any nook or cranny.  Deirdre still felt dirty from the experience.  Her knuckles were still bloody from punching Chris and Ms. Rowley, and her mind hovered in a daze.

Sorcha sat quietly on the bunk.  They hadn’t said much to one another.  They knew they were under surveillance.  After what seemed like hours, two policewomen finally came to the cell.  The first, a sergeant by the appearance of her rank, held a baton.  She motioned toward Sorcha and Deirdre, “Stand up and step back from the door.”

Sorcha and Deirdre complied.

“Drop your suits.”

Sorcha and Deirdre unzipped them and let them fall to their knees.

“Turn around, and bend over.”

They did.

“Pull up, zip up, put out your hands, and don’t move.”

Deirdre heard the cell door open.  One policewoman came to her and pulled her hands behind her back and lashed her wrists together with a zip tie.  The woman turned her around, “Move slowly and carefully.  I saw your video.  Quite the fighter you are.  Beat a boy and a grown woman--dangerous in the extreme.”

The policewomen marched them through the cell door and down an open corridor through another locked door.  They took them to the side and into a stark room with a metal table in the middle.  The table and the chairs were bolted to the floor.  Two chairs sat on the other side.  A single chair sat on the side near the door.  The woman sat Deirdre and Sorcha in the two chairs on the other side.  The first one raised her baton, “Don’t move from this chair.  We are watching everything you do in here.  It’s all on the record, and everything will be used against you.”

One of the policewomen stepped out, and Luna came in.

The remaining policewoman moved to the door, “Are you certain you don’t want us to stay with you?  These two are very dangerous.”

Luna drawled, “I know they are.  I saw the video.”

The policewoman laughed, “Likely everyone in Britain has seen it.  How it got into the hands of the media, I have no idea.”

Luna motioned to the woman, “I’ll be all right alone with them.  You are recording everything here, aren’t you?”

“Yes, ma’am.”

Luna sighed.  She frowned, “Good.”  She sat in the chair, “Inform me immediately when they are released to my custody.”

“Yes, ma’am.”

The policewoman exited the door and closed it.

Luna discretely touched her lips, “Now Ms. Calloway and Ms. Weir, I need to inform you about some things.  I’ll get the entire story later, but I’d like you to know exactly where we stand.  The first is that your entire altercation was recorded on video.  In addition, Ms. Weir and Ms. Calloway’s records have been made available to the press.  The video is very interesting.  It shows Ms. Calloway exiting a building in the woods while pulling her underwear and pants up.  She is seen attacking a teacher with her fists and feet.  Ms. Weir joins the fun and appears to be beating the fallen teacher.  That’s exactly what the video shows.  It’s very detailed.  Detailed enough that the news had to pixilate Ms. Calloway’s more delicate parts.”

Deirdre didn’t say anything.  She blushed a brilliant shade of crimson.

Sorcha didn’t speak.

Luna touched her lips, “We’ll discuss this at our leisure, and we should have plenty of time for leisure.  You will not be returning to Wycombe.”

Deirdre almost said something.  She leaned forward then back.  Hot tears filled her eyes.

Sorcha asked, “How are Tim and Chris?”

“Not much worse for wear.  You both did quite a job on them.  I assume it was you.  They were released from hospital.  They weren’t happy.  They were very confused.”

Deirdre kept her head down, “I’ll not say it was us.”

Luna tapped her lips again.

The door to the room opened.  The sergeant policewoman looked in, “The judge released them to your custody.  Not sure why you would want them, but that’s that.”

Luna stood, “Yes, that’s that.”

The policewomen led Sorcha and Deirdre to a room where they could retrieve their clothing.  They released the zip ties and stood over them while they put back on their knickers, vests, sweaters, slacks, and coats. 

The sergeant remarked, “There isn’t much to you girls.  Surprised you could do that much damage to a couple of strong boys and a fully grown woman, but wild ones are like that.”

Deirdre and Sorcha followed Luna out of the police station and to her Triumph.  She put them in the back, like usual, and headed into London.

Deirdre asked, “Are we going to see mother?”

“Yes.  Mother and father.”

“You might as well kill me now.  This is the end.”

Luna laughed, “It isn’t quite the end, but I’m certain you may not appreciate the results.”

Instead of heading to Rosewood House, Luna turned into the brownstone at Kensington Palace Gardens.

Deirdre stated, “Where is this?”

“Work, dear.  This is where they work.”

“Oh.”

As I wrote, the output can be being released from prison, escaping from prison, or staying in prison.  Lots of options here. 

In this case, Deirdre and Sorcha were setup and framed.  Luna knows this.  Their framer did get what she wanted—the girls kicked out of school and compromised.  Sad, but true. 

In this case, the ending wasn’t as happy as we would like, but in the end, they did succeed to a large degree.        

We’ll look at the next setting plot tomorrow.   

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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