03 March 2026, Writing - part xxxx341 The Novel, Christmas in Germany
Announcement: I
still need a new publisher. However, I’ve taken the step to republish my
previously published novels. I’m starting with Centurion, and
we’ll see from there. Since previously published novels have little
chance of publication in the market (unless they are huge best sellers), I
might as well get those older novels back out. I’m going through Amazon
Publishing, and I’ll pass the information on to you.
Introduction: I wrote the
novel Aksinya: Enchantment and the Daemon. This was my 21st novel
and through this blog, I gave you the entire novel in installments that
included commentary on the writing. In the commentary, in addition to other
general information on writing, I explained, how the novel was constructed, the
metaphors and symbols in it, the writing techniques and tricks I used, and the
way I built the scenes. You can look back through this blog and read the entire
novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.
I’m using this novel as
an example of how I produce, market, and eventually (we hope) get a novel
published. I’ll keep you informed along the way.
Today’s Blog: To see the steps in
the publication process, visit my writing websites http://www.sisteroflight.com/.
The four plus two basic
rules I employ when writing:
1. Don’t confuse your readers.
2. Entertain your readers.
3. Ground your readers in the writing.
4. Don’t show (or tell) everything.
4a. Show what can be
seen, heard, felt, smelled, and tasted on the stage of the novel.
5. Immerse yourself in the world of your writing.
6. The initial scene is the most important scene.
These are the steps I use to write a novel
including the five discrete parts of a novel:
1. Design the initial scene
2. Develop a theme statement
(initial setting, protagonist, protagonist’s helper or antagonist, action
statement)
a. Research as required
b. Develop the initial
setting
c. Develop the characters
d. Identify the telic flaw
(internal and external)
3. Write the initial scene
(identify the output: implied setting, implied characters, implied action
movement)
4. Write the next scene(s)
to the climax (rising action)
5. Write the climax scene
6. Write the falling action
scene(s)
7. Write the dénouement
scene
I finished writing my 31st novel,
working title, Cassandra, potential title Cassandra:
Enchantment and the Warriors. The theme statement is: Deirdre and
Sorcha are redirected to French finishing school where they discover difficult
mysteries, people, and events.
I finished writing my 34th novel
(actually my 32nd completed novel), Seoirse,
potential title Seoirse: Enchantment and the Assignment. The
theme statement is: Seoirse is assigned to be Rose’s protector and helper at
Monmouth while Rose deals with five goddesses and schoolwork; unfortunately,
Seoirse has fallen in love with Rose.
Here is the cover
proposal for the third edition of Centurion:
|
Cover Proposal |
The most important scene
in any novel is the initial scene, but eventually, you have to move to the
rising action. I am continuing to write on my 30th novel,
working title Red Sonja. I finished my 29th novel,
working title Detective. I finished writing number 31,
working title Cassandra: Enchantment and the Warrior. I just
finished my 32nd novel and 33rd novel: Rose:
Enchantment and the Flower, and Seoirse: Enchantment and the
Assignment.
How to begin a novel. Number one thought,
we need an entertaining idea. I usually encapsulate such an idea with a
theme statement. Since I’m writing a new novel, we need a new theme
statement. Here is an initial cut.
For novel 30: Red Sonja, a Soviet spy,
infiltrates the X-plane programs at Edwards AFB as a test pilot’s
administrative clerk, learns about freedom, and is redeemed.
For Novel 32: Shiggy Tash finds a lost girl
in the isolated Scottish safe house her organization gives her for her latest
assignment: Rose Craigie has nothing, is alone, and needs someone or something
to rescue and acknowledge her as a human being.
For novel 33, Book girl:
Siobhàn Shaw is Morven McLean’s savior—they are both attending Kilgraston
School in Scotland when Morven loses everything, her wealth, position, and
friends, and Siobhàn Shaw is the only one left to befriend and help her
discover the one thing that might save Morven’s family and existence.
For novel 34: Seoirse is assigned to
be Rose’s protector and helper at Monmouth while Rose deals with five goddesses
and schoolwork; unfortunately, Seoirse has fallen in love with Rose.
For novel 35: Eoghan, a Scottish National
Park Authority Ranger, while handing a supernatural problem in Loch Lomond and
The Trossachs National Park discovers the crypt of Aine and accidentally
releases her into the world; Eoghan wants more from the world and Aine desires
a new life and perhaps love.
Here
is the scene development outline:
1.
Scene input (comes from the previous scene output or is an initial scene)
2.
Write the scene setting (place, time, stuff, and characters)
3.
Imagine the output, creative elements, plot, telic flaw resolution (climax) and
develop the tension and release.
4.
Write the scene using the output and creative elements to build the tension.
5.
Write the release
6.
Write the kicker
Today: Let me tell you a little about writing. Writing
isn’t so much a hobby, a career, or a pastime. Writing is a habit and an
obsession. We who love to write love to write.
I want to start with these definitions as
a premise for writing.
1. Write to entertain
2. Write using the
common outline for a novel
3. Develop a telic flaw,
a protagonist, an antagonist, and plan to resolve the telic flaw.
4. Start with an initial
scene.
5. Develop and define a
modern protagonist: you get a telic flaw, a potential protagonist’s helper, and
a potential initial scene from the development.
6. Write to reveal the
protagonist.
And here is the scene:
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
I haven’t come to the end of Bookgirl yet,
but I’m close. That means some very
detailed proofing and editing. Yes, I’m
still on this topic. I thought that as I
move to finishing a novel, the editing and proofing I do with it might be
helpful. As it is, I need to finish the
novel.
In the first place, I need to mention that
my proofing and editing goes on from the first page and beginning to end of
writing. What does that mean?
The way I keep up with the writing and move
the writing is through continual review and editing. I do proofing as I edit as well. I’m looking for the big stuff and the little
stuff, and I make notes all the time to help me keep the novel moving and to
remind me what to add in in the past parts and to add in in the parts not
written yet. Let’s say that every time I
complete a chapter and move to the next (I write in chapters), I review the
previous chapter, close that out, kill the notes (the ones I keep moving along
with the chapters), review them in the new chapter, and then start with the
next chapter text. I know where I’m
going, and I know who’s going with me.
The point is to constantly review the
chapters for both proofing and editing and review the notes to keep updating
the text to improve the storyline and the plots. There is even more to this, but the constant
review of the text I’ve written along with the notes about what needs to be
added to the previous text is what lends wings to the writing. It deepens the storylines and adds to the
entertainment. I’m pretty hyped about
Bookgirl although it is not likely the best novel I’ve ever written. It’s a fun novel, and that’s what
counts. The most entertaining thing
about the novel is the way I’m fitting it into my other novels from the same
time and the future.
Bookgirl unexpectedly became a transition
novel moving from my other novels around 2016 and earlier in time to my later
novels clustered around 2028. Yes, they
are not really science fiction, but the timing of the characters and the novels
fit into that time logically, and so I went along with it. I suspect, if I get a publisher or if I
independently publish them, the date will be close to or past 2028—then they
will be perfect for the market.
The point of the editing is that I have
made amazing connections between my older novels and this novel. It’s filling little and big holes that I
never fully explained in the other novels.
These holes are common and great to have in a novel. They are also fun to work into another
novel. That’s something I should explain,
and I’ll do that, next.
We don’t really need to fill in every hole
and explain every backstory in our novels.
If you are writing Manga or a comic book, you might think about multiple
story-arches where every nuance of the story and plot is explained in
excruciating detail. That’s what mangas
do because otherwise the writers would quickly run out of the story and
plotlines required to keep it going for years and years and years. Novels are different.
I’ve discussed before that in writing a
novel, we take many plots and storylines to drive a single telic flaw
resolution that means there are many leftovers that the author never needs to
address or explain. For example, in my
novel Sorcha: Enchantment and the Curse, I introduce Derfin, a dragon, Dark
Ash, an Unseelie Fae, and the Sherwood Puck, another Unseelie Fae. I don’t explain how they got there or why
they are even guardians for Oaken House in Sherwood Forest. I didn’t need to, and I didn’t want to. As I wrote, you don’t have to close up every
storyline or idea in the novel. I am
using Bookgirl to close up some of the holes.
In Bookgirl, I’m showing the whys and hows of Derfin, Dark Ash, and the
Puck. It really does take an entire
novel to even touch on their reasons, other than protecting Robor’s Oaken House
in Sherwood. In fact, Sherwood House
didn’t exist in Bookgirl, we shall find out why it is there, and why Derfin,
Dark Ash, and the Puck protect the house.
We also discover all about Derfin’s hoard.
These are storylines touched on in Sorcha:
Enchantment and the Curse that are not explained or shown, only mentioned
in that novel. I didn’t see any need to explain
for that novel, not necessary because I planned to address them in the future,
but because they were not important to the telic flaw resolution of the
novel.
I’ve written about this over and over
before. If it isn’t important to the
telic flaw resolution, there is no need to address the issue even complex
storylines or plots. You don’t have to
wrap up every question your novel brings up—of you do, you will never complete
a complex novel, or you certainly won’t be able to write a sellable novel. Why is this?
The main reason is in a complex novel,
many plots and storylines might be driving the telic flaw resolution. I’m not writing about key ideas in the novel
or even side stories of note. I’m
writing about the reasons for something to exist in the novel. I’ll try to explain this and get to this,
next.
If it isn’t part of the telic flaw
resolution, you don’t need it—this is an absolute fact, but many times we bring
in characters, places, and events without fully describing and bringing in
their history. This is just a normal
part of writing. Let me explain.
In my novel Sorcha: Enchantment and the
Curse, I bring in the three protectors, the guardians of Sherwood
House. These are Derfin, the dragon,
Dark Ash, the Unseelie Fae, and the Sherwood Puck, also an Unseelie Fae. I don’t give their background just introduce
and describe them and bring them into the story. There is no need to tell how they came there,
and what they do other than interacting in the story and plots.
I bring up information about Derfin’s
hoard and about dragon’s hoards in general.
I make a big deal about all of this.
Dark Ash, Ashly and the Puck are lovers, but I don’t give much
information about why they are guardians of Sherwood Forest and Sherwood House. I don’t give much about the building of
Sherwood House except that Robor of the Oak built it.
In Bookgirl, I explain about these
subjects—mostly because I need to for the telic flaw resolution. In Bookgirl, the origin of Derfin’s hoard and
what he is guarding comes into play.
Derfin is a dragon, and his purpose is to guard the hoard. His hoard is Beowulf’s Barrow and the Capital
of Fingal’s Kingdom, the Palace of Anu. We
discover that Dark Ash, the Sherwood Puck, and Derfin are all citizens of
Fingal’s Kingdom and under the Queen of the Wild, the goddess Anu. There is more, but I’m still in the process of
developing this. In the end, Robor, who
isn’t very bright, will have to build Sherwood House for Sorcha, and Dark Ash
and the Puck will become the guardians of Sherwood House. Sherwood House is just part of Fingal’s
Kingdom and therefore under the Queen of the Wild and Derfin will guard it as
part of his normal work. This is all to
resolve the telic flaw in Bookgirl. The
information was unnecessary in Sorcha, but necessary in Bookgirl. Thus, we move the story forward and reveal
knowledge required for the plot.
I still need to get to the point of this
in self-editing. I’ll go there, next.
What I was trying to get at is the most difficult
part of editing for some authors. As I
understand ti, this is the most difficult part of editing for an author. Get rid of the deadwood.
The deadwood in this case is the
extraneous. The extraneous is what is
not necessary for your novel and most specifically what is not necessary for
your plotline and storyline to resolve the telic flaw. If it isn’t about resolving the telic flaw,
kill it. I think this is easy, but for
many this is very hard. If you can’t
stand dumping part of your writing, just copy and paste the excess into your notes
file. If you don’t have a notes file,
you need to start now. Best time ever to
write about the notes file.
I determined a notes file was necessary
for a novel when I first started. The notes files contained the notes about the
major characters so I could keep them and their appearance and personalities
straight. The easiest thing to lose
track of is the characters in a complex novel.
At first, I was mostly concerned about
their names and especially how they were spelt.
As time wore on, I decided I needed to keep track of main and major
ideas about the characters—mainly the tags for the characters. Tags are the ideas and markers for
identifying a speaker as a character.
As time and writing progressed, I noted
that I needed descriptions of the things, places, and people. I started making notes about many subjects as
well as the characters, places, and things.
Most important between novels, I found copying the main description or
the description of each important character was very important to cohesive and consistent
description of the characters. It saved
time too.
The other important points I recorded in
the notes file was needed changes in the novel, and reasons or research into
key points or ideas in the novel. There
are other important things I discovered I needed at different points of the
writing. For example, the characters and
descriptions were important at the beginning while the editing notes and
changes were more important at the end.
One thing I’ll mention that is very
important for this discussion is about the telic flaw and the resolution of the
telic flaw. If you write down the telic
flaw and the resolution of the telic flaw, you have a means of knowing what to
get rid of in the novel. I’ll go there,
next.
I find it interesting that when I edit my
writing, the writing almost always increases in word count. The reason is that I think I write in a
relatively terse style that I find needs more description and more details. I certainly don’t want to be misread or
misunderstood. I’m very conscious of
these in the writing. I also think the
focus of my writing toward the resolution of the telic flaw keeps me out of the
usual problem of extraneous plots and storylines. This does seem to be a problem of many inexperienced
writers. There is another problem that I
like to think doesn’t plague me—that is wordiness.
In fact, I’d say one of the biggest
problems for the modern writer is lack of descriptive detail. Lack of description is one of my biggest pet
peeves with modern writers and writing. Arlo
Guthrie, Jr. also saw this as a problem—so much so, he remarked about it in his
Field Guide to Writing Fiction. Arlo
Guthrie recommends using 300 words for primary descriptions and 100 words for
less major descriptions. To be specific,
he recommends at least 300 words for major persons, places, and things, and 100
words for minor persons, places, and things.
Why writers can’t give us this, I have no
idea. This would make you imagine that
most writer’s writing should increase in word count as they edit and improve
their writing. I’m not sure how writing
can be so wordy—perhaps it has to do with passive voice. Whatever it is, I recommend writing in direct
voice and in very straightforward English.
This should prevent poor and wordy writing.
I’d like to think that as a child, my
teachers beat much of the wordiness out of me.
I’d also like to think the USAF’s technical writing training killed much
of the passive voice and other indirect writing out of me. In any case, I recommend editing as you
write—that’s what I do. It also helps
with cohesiveness and building great plots and storylines.
Perhaps the I should move to the first
stage of editing after finishing the writing.
I’ll be there soon with Bookgirl.
I’ll look at this, next.
As I wrote, I edit as I’m writing, and I’m
making notes the entire time to define fixes I’ve identified especially earlier
and complex ones, but also small and easy ones.
For example, I’ll make a note to mention something in an earlier chapter
to make a foreshadowing for a later chapter or idea. This works great as a way of picking up
problems or necessary connections in the earlier parts of the novel. I continue this process as I edit.
The first step in the editing process, for
me, is to make a compete read through the novel as written. I might make small fixes at this time. The important part is to take a good look at
the plots and storyline especially as we move toward the telic flaw
resolution. This is where you might note
the biggest issues and changes. As you
read through the novel, you should always look for points where the writing is
unclear or could be misread. You can’t
ever forget this little problem.
You should also always be looking for
basic grammar issues—that’s proofing.
The proofing never stops. I’ve
found, since I touch type, that it is easy to put in a wrong word that looks
right enough to fool your eyes as you read.
That means you need to read each and every word carefully. You will still continue to find these
issues. I have ways to help you fix
them, and we will get to that eventually.
It’s one of the last read throughs.
As I wrote, the first read through the
novel is mainly for gross corrections and to check for the logic and fixing the
telic flaw resolution. Usually, you are
looking for and developing improvements and reasoning as you build toward the
resolution. With this you usually have
two different problems.
The first problem is not enough
connections. In other words, you might
understand the buildup to the resolution, but your readers might not. You need to add more hints and clues as well
as give your characters more discussion and bigger pieces to the
resolution. As I wrote before, you need
to make the resolution look impossible until it is inevitable.
On the other hand, if you give too much
information or you tell too much (I’m not sure you can show too much, but it
might be possible), you will make the resolution look too simplistic or it will
look inevitable before you get to it. In
this case, the climax might still work, but the power of the work and the
climax will be diminished. You need to
clear out some of the connections and telling that leads to the climax. This is usually an unusual problem, but
depends on the writer. If you have a
tendency to tell too much, you might be in this situation. Tell less about the approach to the climax
and perhaps more about the orbiting concepts and ideas.
What’s next. I’ll look at that.
I wrote that the first run through after
completing the novel is for the plots and storylines as well as the telic flaw
resolution. These are the most important
parts of the novel, beyond the initial scene.
At the same time, we proof the novel as well as look at the major parts
of it. The proofing is important, but
even more important is the logic and reasoning like time, characters, places,
and stuff in the novel. Each of these
should have been researched and checked as we moved forward in the writing, but
now is the time to check it all again if necessary. I’m not suggesting redoing your basic
research or conclusions, but rather to clean up the parts you might have
missed. If you do notice problems this
is the time to fix them. I still
recommend the note method I mentioned before.
Just keep your forward and aft notes going.
What I mean by forward and aft notes is
this. Forward notes mean changes I need
to make to later parts of the novel. Aft
notes are those that need to be integrated into the earlier parts of the
novel. Just keep your running notes and
refer to them as you write. I suggest
placing them at the end of the chapter and copying them to the next
chapter. Otherwise, place them in a
notes file and keep that open as you write.
The next stage is the deep clean of the novel.
In the deep clear, we look for the
following words. I recommend going by
chapter, but here are the words:
-ing
had
-ly
were
was
gotten
even
said
got
utilize
There was/were
Obviously, I need to go through these
words and explain what we are looking for to fix in the novel. I’ll get to that, next.
We are looking at the -ing form of your
verbs—what’s that?
-ing is added to a verb for three reasons:
1. Present participle
2. Adjectives
3. Gerunds (nouns)
There is really no problem at all with
using a verb as an adjective or a gerund by adding -ing when appropriate. The problem or important point is to
recognize when you are creating an adjective or a gerund and when you are using
the present participle.
The adjective use or the verb looks like
this: I read an exciting story. Or I had a thrilling adventure. The use of exciting or thrilling both from
excite and thrill (verbs) just is good use of the word, as long as it fits. Where the problem lies is in the present
participle use of the verb.
Present participle is used to indicate
motion or to designate parallel actions.
For example, I was opening the window while talking on the phone. Or He was walking while chewing gum. These are parallel actions. Where I get unhappy and I want to fix the
-ing verb form is in showing motion.
We usually write novels in the past tense,
third person, implying the past or present.
This is the form I recommend although many modern novels are written in
the past tense, first person, implying the past or present. I do recommend using the past tense, third
person, implying the past or present. In
any case, when we write: He was walking.
Don’t we really mean, He walked?
When I have parallel actions going on in a sentence, the present
participle might be appropriate, I’d fix it anyway back to past tense because
the present participle is wordy.
Have you ever heard or were you critiqued
by your grammar teacher at any level about being wordy? Wordy is the process or using more words than
necessary in your writing and the present participle is an easy kill. It also can indicate the passive voice.
Passive voice is not the same as the
present participle, but I try to kill both forms with equal fervor. We will get to the passive voice eventually.
So, first we look for the -ing forms of
verbs. Just do a word search through
your entire document. I do this by
chapters for the first edits because I’m not ready to put the documents
together yet, but you can just take your entire novel and check the entire
like. Look for -ing. Keep the gerunds and the adjectives, but I
recommend killing the present participle—except when the use of the present
participle is necessary. The only time
the present participle is really necessary is when actions are occurring at the
same time. You don’t need the present
participle to show movement because the action narration in a modern novel
should be in the past tense and not in the present or present participle tense. Now, here is a little secret.
Usually, the dialog in a novel is written
in the present tense—dun duh. Even when
the entire narration and action is in the past tense, the dialog is in the
present tense. This can really trip up
writers, and provides some need for the use of the present participle in
writing—dialog.
Yes, it is entirely appropriate to write
using the present participle to show motion in dialog, but be careful. Let me show you:
Jane groused, “Why are you running?” –
shows current movement.
“Stop running.” – indicates current
movement.
“Did you run?” – indicates past movement.
“I ran.” – indicates past movement.
Note how the present participle indicates
movement in the present tense of the dialog.
Now for the narrative example:
He worked.
He was working.
He ran.
He was running.
From a narrative standpoint, there is
absolutely no difference between the present participle and the past
tense—except the present participle is more wordy. It adds to the words in the narrative and
reduces the vibrancy of the text. If you
need to slow down the text, you can use the present participle. If this is true, you might have another
problem with your writing. The entire
topic of pacing is another concept entirely.
It is a very advanced idea that usually is unnecessary to address until
later. I just advise killing the present
participle. Kill it dead and then, if
you feel like you need to add it back in for pacing, you can do it easily. I will tell you now that the present
participle is such an annoying tense, you will be happy to kill it.
I can’t tell you the number of modern
novels I have read with way too much present participle. It really tends to fill the narrative of the
inexperienced especially in the early chapters where they are telling us
everything to build the story. Did you
remember what I wrote to you? Don’t
tell, show. If you are telling (present
participle), you aren’t showing (also present participle). That’s only to show you when the use is
really appropriate. I’ll try to express
with words just how annoying the present participle can be:
She was preoccupied with the sacrificing
her tribe had done against their enemies.
How about this example:
He had been running for ages and that
built his strength and stamina.
These examples are starting to press
against the other bad writing stuff we can also look for in the editing.
To conclude about the present
participle. I recommend killing it
unless you absolutely need it for pacing or if you are absolutely showing
concurrent motion especially in dialog.
Dialog is supposed to be in present tense anyway. Don’t be wordy—unless you are intentionally
using to affect pacing. As I wrote,
pacing is an entirely different topic. I
might get to it in the editing eventually, but for now don’t sweat it—you can
get to pacing as an advance topic and part of the editing process. We will get there—I’m going for the execution
of “had,” next.
I just returned from spending Christmas in
Germany and I had to update you on the status of the country. You might not like this, but Germany is basically
becoming a fascist third world nation.
Under the national socialists they were at least modern and first world,
but Germany has become national socialist all over again but without any of the
goodness of the first world.
What is the evidence you might ask? Well for starters in the third world nations
I’m used to traveling to, they can’t afford jetways or modern aircraft handling—that’s
because they are third world, so they can’t afford nice stuff. The Germans parked our United 787 out on the
tarmac and sent a bus to pick us up. No
jetway only a third world jetstair for all the people to climb up and down with
their aged and children. Talk about
sloppy and third world. I’ve seen better
in many other places. You might think
its an overflow—nope, the aircraft are stacked three deep in the boondocks
because the Germans can’t afford to build and update their facilities—typical of
a socialist economy with no hope of recovery.
Then you eventually get outside. I write eventually, because you must walk up
and down stairs all over to get to your luggage and passport control. The only place you might ever see police is
at passport control or the borders. That’s
good, but the low level and high level crime saturates the place. The amount of graffiti covering Germany is
about the same as Italy. It looks like
the Jets and the Sharks won this fight.
The Germans don’t care anymore.
Their nation is going to hell and no one cleans the streets
anymore. When I lived in Germany in the
1980s people were proud and their nation was clean. Today, not so much.
Can you judge a nation just be it’s
airports and streets—you betcha. German
will look like Mogadishu if it continues this way. I didn’t even touch on the illegal immigrant and
anti-Semitic issues, but Germany has a real problem there. If you wonder about their foreign policy and
activities as a nation, let’s just say, the national socialists are in charge, and
they aren’t going to let anyone take it back.
This isn’t a right wing problem this it purely a socialist problem. They can’t pay for their illegals and the
looters in their society, and the average person has become a looter because
the government owns the deathcare. They
want the people to die because it eases the surplus population and makes more
food, energy, housing, and healthcare (deathcare) for all those still
alive. Talk about a society headed
toward the trash piles of history.
I’ll remind you that the last great
invention that came out of Germany and Europe was the Magnavox Laser Disk, and
how many Laser Disks are sold today? Someone
pointed out to me that Ozempic was invented in Denmark or the northern nations
in Europe. I’d point out that it doesn’t
seem to be doing as well once people started using it, and it’s all about getting
skinny after getting fat. Not a health problem
but an appetite and control issue. Safe
to say, Europe won’t be winning any fights against the USA or other modern
nations—they don’t have the capacity, will, or education to do it.
So, I wasn’t impressed with Germany. The food is good. The people are nice, but not as pleasant as
they were in the 1980s. They aren’t as
happy either. They smell like national
socialist Germany in 1935 or so, but leaderless and unable to break free from
their socialism.
The perfect example of their intake of the
socialist creed is passport control. They
man stations for control at the minimum with a line as long as the terminal. All they do is stamp the passport and wave
you through—after taking your picture, fingerprints, and checking your
data. That’s great in a surveillance state. You’d think going out would be easier than
going in, but no—they have to subject especially the foreigners because their
own people from the EU socialist empire get the total digital treatment. Foreigners do too, but they receive special
slowness because the Germans outsourced all the passport control to the Eastern
Germany communists just to make certain no one forgets. It’s like going through checkpoint Charlie,
which I did in the 1980s before the wall came down. When I say just like, I mean just like—except
the communists didn’t have the technology to be nearly as oppressive as modern
Germany.
I will note that I bought a beer stein with
a chunk of the Berlin Wall on top. It’s
a great stein and a warning of what Germany will become again if they can’t
shake the socialist monster that controls it.
I will mention that Mr. Trump should make
the Germans move into the first world for transportation by requiring them to put
the US aircraft on the jetways instead of out on the tarmac. We did beat them in three wars, or did they
forget. They need USA help and
management, but so does the rest of Europe.
Look for more problems and less freedom in the land of the national socialist
EU. I don’t look forward to it, but I’ll
keep you updated.
Back to “had,” next.
There’s more.
I want to write another book based on Rose
and Seoirse, and the topic will be the raising of Ceridwen—at least that’s my
plan. Before I get to that, I want to write another novel about
dependency as a theme. We shall see.
More
tomorrow.
For
more information, you can visit my author site http://www.ldalford.com/, and my individual novel
websites:
http://www.ancientlight.com/
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com
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