08 January 2022, Writing - part xx828 Writing a Novel, Using Item 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.
We looked at all the setting types
of plots we identified from the classics, and low and behold, we found that
them can in most instances be used in a scene.
I think this, in itself is very interesting.
Now, about the most versatile of
all the plots, the item plot. Item plots
are all Chekov’s Guns. In fact any item
you bring up directly in a scene is a Chekov’s Gun. What does that mean? As Chekov pronounced: if you introduce a gun
in the first act, you must use it in the second. His point is one of the most important dictums
of modern writing—nothing is extraneous in a play, and by extension nothing
should be extraneous in a novel. Everything
the author brings into the setting, scene, and storyline should have some
purpose in the resolution of the telic flaw.
Items are special in this way.
For the author both caution and yet
generous use are in order. Just look at
Harry Potty. Rowling is throwing in all kinds
of item plots. A magic item here, a
magic item there, and magic item on the stair.
This use of items is a great means of entertainment. Generally, she weaves these items into the
telic flaw resolution. Sometimes we are
left hanging and most of the times, she can’t or won’t explain enough about
them, but that’s her style and the writing usually can’t handle the rigors of a
close look, especially where magic is concerned.
I use item plots all the time. They are an excellent means of entertainment,
and they can spice up or just entertain like few other plots. Although we don’t need to for this type of
plot, take a look at that scene development outline again.
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
Again, notice in step two, items
(stuff) is part of the scene setting.
Perhaps this is the best time to talk about scene setting. Scene setting doesn’t mean the author barfs
all the stuff, people, and descriptions on the stage all at once. Just as the author shouldn’t tell us anything
or everything about our protagonist or any other character all at once. We need to see what is on the stage of the novel
in the scene setting. Show the readers
what the protagonist cam see (or the characters). Definitely don’t tell us about anything on the
stage of the novel. Show us what we can
see.
An old pistol weathered beyond apparent
use sat on the table.
A 9mm parabellum Baretta pistol
with a slight sheen of gun old lay on the sideboard.
A large sharp edged Buck knife
lay on the kitchen table.
For the magical crowd:
A long ebony wand lay on the
counter.
Notice none of this tells you anything about the items. These are descriptions. They show you the items, but nothing
more. If we want anything more about
them, we need to use dialog or narrative to show more about them. Then we use them in the second act.
Okay, novels don’t have acts. The
point is that then once we introduce them we use them. Chekov was making a point. That’s why he used the example a a gun and
shooting. This is the obvious expectation
to your viewers for introducing a gun—you shoot it. What Chekov meant to express is that you use
it.
That’s the point. If the gun can’t
fire or appears to not be able to fire, perhaps you do shoot it, but a gun that
can’t fire can’t be shot. Perhaps that’s
the point of the use of the gun. The
classic comedy skit is that the gun is used as a hammer and goes off. The classical modern silliness is the character
can’t fire the gun, so he or she throws it.
Perhaps a better and less obvious use would be to build showing like this:
Fred sat as far away from the
pistol as physically possible. Shiggy
sat directly in front of it and lifted her eyes, an obvious gesture asking
permission. She punctuated her look
with, “May I examine it?”
Grant nodded.
Shiggy picked up the pistol as though it was
the most normal thing for her in the world.
She carefully kept her finger away from the trigger, checked the safety,
ejected the clip, then pulled back the slide to ensure it was unloaded. When she was certain of the safety of the
weapon, she lifted it up in a professional firing stance and aimed down the
sights at the side wall, “Very nice. The
sights are those modern iridium ones.
How accurate is it?”
Okay, that’s enough, but do you get the picture that Shiggy is very proficient
with pistols? On the other hand Fred has
no desire to get near a pistol. The
purpose of the pistol may be just to show this little truth about Fred and
Shiggy. Notice also, I didn’t tell you
anything about the pistol or the people.
Their actions and worlds told you all kinds of information.
I guess I should close out this section with some examples of the item
plot. I’ll see what I can do.
This example comes from my novel, Sorcha: Enchantment and the Curse. The item is a gun. I love this scene. I haven’t seen anything like it in any novel
before.
Captain
Cross led the couple to where the others stood.
He presented the woman, “This is my mother Donna Cross and my father
Bill Cross. Mother and father, this is
Ms. Sorcha Davis and Mr. Dustin Easom.”
He took Shiggy’s hand, “And this is my good friend, Shiggy Tash.”
They
shook hands all around.
Shiggy
bubbled, “I’m William’s girlfriend.”
Mrs.
Cross took Shiggy’s hand, “You seem a very delicate girl to be hanging about
our William.”
Shiggy
seemed puzzled, “He’s always acted a gentleman around me.”
Mr.
Cross smiled his pensive smile, “She means, William’s always been rough and
tumble. You look like a perfect
lady. I’m not sure I have a shotgun that
will match you.”
Sorcha
remarked, “Shiggy can handle whatever you wish to loan her.”
Mr.
Cross seemed confused for only a moment, “Well, let’s go into the Shooting
Club. I’ve reserved it just for us today. We can practice today and then out on a hunt
tomorrow.”
They
headed into the building.
Sorcha
held back with Shiggy, “Shiggy, I can’t control the safety on these
weapons. Watch yourself and the
muzzle. We don’t need to blow off
anyone’s kneecaps or any other parts.”
“Yes,
ma’am.”
Sorcha
addressed Angel, “Angel, do you hear. If
Shiggy is pointing her weapon anywhere she shouldn’t, give her a warning. You may be stupid, but whatever you do, be
useful.”
Angel
peeped, “Yes, ma’am.”
Inside,
Mr. Cross unlocked the gun locker and examined the shotguns. He handed a light twenty gauge to
Shiggy. Sorcha accepted a similar
weapon, as did Mrs. Cross. He handed
twelve gauge weapons to William and the Major.
He took a very well used shotgun for himself. It sported some extremely elaborate etching.
The
first thing Shiggy did was begin dismantling her shotgun. Sorcha quickly stopped her, “Shiggy!”
“Yes,
ma’am.”
Sorcha
whispered, “Call me Sorcha or so help me.”
“Yes,
Sorcha.”
“Put
it back together.”
“But
I always…”
Sorcha
smacked the back of her head.
Mr.
Cross came around, “Is there anything wrong?”
Sorcha
stood in front of Shiggy while Shiggy frantically put the shotgun completely
back together, “Nothing at all. We were
just examining the… shotguns.”
Mr.
Cross gave his lipless smile, “That’s good.
Not many women appreciate the finer parts of shooting.”
Sorcha
let out a slight frown that she turned quickly into a smile.
Shiggy
held up her shotgun, “Ready to go.”
Mr.
Cross led them out to the range. William
stuck close to Shiggy. Mrs. Cross moved
to the first station. Major Easom stayed
near Sorcha. Mr. Cross took Shiggy to
the center station, “Have you used a firearm before?”
Shiggy
was about to answer, but Sorcha interrupted, “Shiggy has a little experience. I’m not sure she’s fired a shotgun.”
Shiggy
complained, “But, Sorcha.”
When
Mr. Cross turned away for a moment, Sorcha popped her on the back of the head
again. She whispered, “Just play
along. You haven’t fired much. Just dial it back.”
Shiggy
rubbed the back of her head, “Yes, Sorcha.”
Mr.
Cross turned back, “Well, we’ll not expect much of you. Girls sometimes can’t quite get the grasp of
shooting. It seems like a man’s
expertise. Just do your best.”
Sorcha’s
eyes blazed, “Shiggy. Forget everything
I said. Do your best. That’s an order.”
Shiggy
let out a brilliant smile.
Sorcha
whispered, “If you want to take out one of his kneecaps—have at it.”
Shiggy
stepped to the line. Mr. Cross pulled a
couple of shells out of his belt. He
took the shotgun, loaded it, and handed it back to Shiggy. Shiggy held it. While Mr. Cross explained the safety and the
trigger. He showed her how to sight the
weapon, “Now, for these targets, you’ll have to lead them a little. It can be tricky. Would you like to try a shot without a clay
first to get the feel of it? The kick
might surprise you.”
Shiggy
chewed on her lip, “Why don’t we just launch a clay and see. I do much better when I have a goal.”
Mr.
Cross laughed, “A goal? Then let’s do
this. Since you’re William’s girlfriend,
if you can shoot a single clay, I’ll spot you and William dinner for each one.”
Shiggy’s
shoulders raised. She grinned, “I’ll
take that bet.”
Mr.
Cross stepped back, “When you say pull. I’ll launch the clay. The first will come from the left.”
Shiggy
raised the gun and pressed it tightly into her shoulder, “Pull”
A
clay flew from the left. Shiggy followed
it and fired. It burst. Shiggy laughed, “That’s one dinner.”
Mr.
Cross sat his hat on the back of his head, “Well, I’ll be…beginner’s luck? Why don’t you try another one?”
He
handed a round to Shiggy who loaded it without a fumble. She raised the gun, “Pull.”
A
clay flew from the right. Shiggy fired
and it burst.
Mr.
Cross stared at Shiggy for a long time, “You’ve done this before.”
Shiggy
laughed, “Never. Not quite like
this.” Shiggy looked at him slyly, “Mr.
Cross, I’m a girl who isn’t very good at these things, but would you like to
play a round with me?”
Mr.
Cross let out his breath, “I will definitely play you a round. Double or nothing?”
Shiggy
grinned, “I’ll let you out of your original agreement if you can beat me.”
Mrs.
Cross handed Shiggy a score card, “You are full of surprises, Ms. Tash.”
“Call
me Shiggy. That’s what I am.”
They
moved to the first station. Shiggy shot
two perfect rounds and missed on a double on the third. She had the best score of their squad. Sorcha was second, Mr. Cross third, Captain
Cross tied third, Mrs. Cross forth, and Major Eason fifth.
Shiggy
didn’t snag any kneecaps. Angel trembled
in Shiggy’s hair the entire time—loud noises upset her.
At
the end, Mr. Cross tossed his scorecard away, “Are you absolutely certain, Ms.
Tash, you haven’t shot clays before?”
Shiggy
was about to respond, but Sorcha stepped in front of her, “Shiggy may not say
what she has and has not done, but I can assure you this is her first clay
shoot. You should understand that Mr.
Cross.”
Mr.
Cross glanced at his son, “I very much understand Ms. Davis.”
Shiggy
glanced around Sorcha, “By my accounting, you owe me about one hundred thirty
dinners, Mr. Cross.”
Mr.
Cross let out an extraordinarily real smile, “That I do. As long as you’re his girlfriend, I’m happy
to supply the two of you dinners. He
hasn’t met a girl as lively…or skilled as you before. I do have a question, however.”
Shiggy
and Sorcha nodded.
“William
has a hand mark of extreme proportions on his face. Which of you placed it there?”
Shiggy
trembled. Sorcha turned to Captain
Cross, “William, this one’s yours. You
father wants to know how you achieved the shiner.”
Sorcha
started to step away. Mr. Cross put up
his hand, “It looks to me like a classic hand to hand open hand Teisho strike
with a follow-through to reduce the impact and the damage to the target.”
Sorcha
slitted her eyes, “I’d appreciate it if you didn’t ask such questions. Let’s just say, everything isn’t always what
it appears.”
Captain
Cross stepped up, “Dad, you should understand these things without saying.”
“I
think I do, William. I’ve never been
this impressed by anyone before, and I worked with the best of them.”
The
Captain shook his father’s arm, “I had an accident. I fell this morning.”
“I’ve
heard that one too,” he grinned. “Let’s
go for dinner. I believe it’s on me.”
Mr.
Cross took them to a pub on the west end.
Mrs. Cross plied Shiggy and Sorcha for information, but didn’t get
anything worthwhile. Mr. Cross and the
guys yacked about very general subjects like politics and sports—they weren’t
disappointed.
You don’t know everything about
this circumstance or these people.
Williams mother and father were both in the intelligence business. They know about it and these things. Shiggy, Sorcha, and William are also in the
business. They can’t let on, but they
all know a lot. This makes this scene so
fun and interesting. As I noted, the
item is a gun, and we shoot it. Ha ha.
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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