Development - Seduction and Change of Voice in a Novel

27 March 2012, Development - Seduction and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction (sales)
6.  Subterfuge (politics)
4.  ...there may be more, I'll think of them as I write about the others.

Seduction and sales are about the same thing.  They are both selling something.  In the question of character voice and seduction (sales), the example is a character whose personality (or at least the way of acting and speaking) changes when they are trying to seduce or sale.  You can surely imagine a character who acts one way when speaking normally, but an entirely different way when trying to seduce or sale.  Here's a conversation:

Jack turned abruptly, "I can't imagine how stupid these women are."

Dave spoke behind his hand, "Don't be so disingenuous.  You would take any one of them home with you."

Jack snorted and headed to the closest blond.  He spoke with a very syrupy tone, "Hi.  I saw you across the room and thought you looked very intellectual."

Okay, I made this obvious for you.  The speaker's tone and way of speaking is entirely different and the words are completely opposite.  A salesman would be similar.  In the novel Aegypt Monsieur Perain speaks in French to Paul Bolang in an entirely different way that he speaks in English to the Englishmen.  This is Perain's personality, and the way he exerts his authority over the Frenchmen at Fort Saint.

An author needs to realize seduction and sales are one of those rare situations where the voice of a character might change.  In Perain's case, it isn't seduction or sales as much as it is political.  Perhaps I should add that to the list.

How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Assumption of Truth and Change of Voice in a Novel

25 March 2012, Development - Assumption of Truth and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

In my novel, Aegypt, the main character did not have a change in voice.  In fact, none of the characters had a change in voice.  The change in the main character was real, but it didn't meet any of the criteria above.  The main character, Paul Bolang, did have some development as a person, but there was no change of being that might be caused by mental illness or physical or mental effects. 

The main point in the novel Aegypt is that I never let the reader know what was really real until the very end of the novel.  In Aksinya, the reader understood, at least from the point of view of the novel, that Aksinya was sane and the demon was real.  In Aegypt, I don't let you know that Paul Bolang's impressions are correct.  The reader is in the dark as much as the main character.  As the plot unfolds in Aegypt, the reader gradually begins to believe Paul's observations but never entirely.  The climax gives the answer to the great question in Aegypt:  what is truth?

This is a great comparison between novels because in one novel (Aksinya), the reader assumes the main character is right, and in the other (Aegypt), the reader isn't certain the main character is right.  The fun part is you can read Aksinya in the previous entries in this blog, and you can buy and read Aegypt.  In this way, you can see exactly what I'm talking about.  You can also see how in a novel the reader's question of truth and assumption of truth makes the novel.
How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Personality and Mental Illness and Change of Voice in a Novel

24 March 2012, Development - Personality and Mental Illness and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  Personality
5.  Seduction
6.  Subterfuge
4.  ...there may be more, I'll think of them as I write about the others.

The revelation of the character in a novel (a change of personality) many times requires a change of voice of the character just like mental or physical effects.  I will discuss some of the details of how to portray this change.  The descent into mental illness or the ascent out of mental illness requires the writer to express the character's voice as singular and unique, but changing.  For example, a character who is not ill at the beginning of the novel may act very reasonably.  The author defines their unique voice and then over chapters and with each scene, the character begins to act in ways that gradually shows the change.  A character may have an affected attitude, mannerism, or appearance that the author begins to show as repetitive as the novel progresses.  The point is not to tell the reader that the character is going crazy, but rather to reveal the change through the voice. 

This is the entire point--in a novel about the onset of a mental illness, the author should not expressly tell the readers what is happening.  The author should show the evidences and allow the reader to gradually discover what is happening.  If you look back at Aksinya, Aksinya slowly begins to descend into what her captors think is mental illness.  She sees a demon.  She appears to attempt suicide.  She tries to get needle and thread to put crosses on her clothing and does use her own blood to mark crosses on her clothes.  These actions are mistaken by her ecclesiastical and secular judges that she is insane.  The reader realizes (or thinks they realize) she is not insane but rather making intelligent choices.  I intentionally change the voice of the character for two reasons.  The first is that Aksinya does have a true change in personality.  The second is that I want the reader to not assume she is completely sane.  As I wrote in my commentary on the novel, I want the reader to question, in their own mind, the sanity of Aksinya.  I could have been more deliberate with this (like I was in Aegypt), but I didn't.

How to project the character's voice is an important tool to a writer.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - more Change of Voice in a Novel

21 March 2012, Development - more Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  ...there may be more, I'll think of them as I write about the others.

When a character develops significantly, the voice of that character should change.  The change must be subtle and gradual, but at the end of the novel, the character is not the same character as at the beginning.  As Aristotle (and many others have noted) this change can only occur to the protagonist.  In any novel, only the protagonist can have a telic change.  That doesn't mean other characters can't change in some way, but they can't have a life changing turn of events--that is reserved for the protagonist.  If someone other than your protagonist has a life changing turn of events, you wrote about the wrong character.

In one of my novels, the main character grows up.  She goes from a gawky underdeveloped girl to a somewhat mature woman.  She finds love and discipline and realizes what is really worthwhile in the world.  She also learns to control herself.  This is the greatest difference in voice from the beginning to the end.  She begins as an unsure person and ends up more sure of herself.  The change and the change in voice are gradual and subtle.  At the beginning of the novel and at the end of the novel, you know who this character is--in other words, the voice of the character is strong, but it is different.  Can you see how difficult and yet important this is?  You must be able to write your character's voice such that it changes gradually and subtly through the entire novel.  The result can't lose the original character and the final character must be similar enough to the original that the voice is not lost.

How to project the character's voice is part of the problem.  I'll discuss this and the other circumstances for change of voice, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Change of Voice in a Novel

20 March 2012, Development - Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Sometimes (rarely) character voice must change.  You may and should change character voice in these circumstances:

1.  Development of the character
2.  Mental illness
3.  Physical or mental effects
4.  ...there may be more, I'll think of them as I write about the others.

When the character develops over a novel or a series of novels, the voice of the character will/must change.  For example, in my Aegypt novels (Ancient Light Series), the characters Sveta and Klava are introduced as 10 year old children.  In a later novel, they start at 14 and end up at 18.  In the final novel in the series, Klava is over 20.  The point is that the voice of a 10 year old must be different than the voice of a 20 year old (unless they are mentally disabled).  Klava and Sveta's voice changes very gradually through the novels.  In fact, in Warrior of Light, Sveta's voice as well as her maturity changes significantly.  That's the point, with a change in the maturity of the character, you should expect some change in the voice of the character.

If the character is still picking their nose after significant etiquette training, you have a character whose voice shouldn't change.  The point of true character development is that the character has a significant change in maturity, personal understanding, educational understanding, etc.  These kinds of novels are my favorite.  I really enjoy novels where the main character discovers themselves (self discovery novels), significantly improves themselves (improvement novels), or finds their special skills (self discovery novels).  I especially like novels similar to those of Andre Norton where the main character discovers their special magical, mental, physical abilities and uses them in the climax and resolution of the novel.  The change of voice in every case must be gradual--especially in a single novel.  I'll discuss that tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Strong Characters and Voice in the First Scene

18 March 2012, Development - Strong Characters and Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

You set voice in the same way that you set a scene.  You set voice on characters; however, the voice proceeds out of the developed character.  Voice is an intimate part of character revelation.  Note, that you can't really vary or change character voice.  I find it easy to keep a strong character voice throughout my novels.  This is critical for an author.  There are some times when character voice can change, but these are very rare.  I'll discuss them.

Character voice, as a rule, should not change.  Just as the history, character, and personality of your characters should not change, the voice (the projection of your character in the novel) must not change.  This is what voice is--so if you were waiting for an erudite definition, this is it:  character voice is the projection of a character's history, character, and personality within a novel.  You can see why it should not change and why it can't change much over novels.  In other words, if your character appears in a later novel, the character voice must not change much.  The readers must be able to identify your character from their voice.

Now to the point of why I don't have problems with character voice.  If you draw your characters strongly, you will not have a problem with character voice.  It isn't the strongly developed characters that are a problem, but rather the weakly developed characters.  Many writers draw their characters too finely.  If you do this, your characters will fade into each other.  People in the real worlds are many times milquetoast.  Milquetoast people make terrible characters.  I try to always write about characters who are bigger than life.  Bigger than life characters have a strong voice and can't fade into the background.  That's the point, isn't it?  You don't want weak characters that are obscure in your book.  You want to write strong characters that people remember.
We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - The World of Voice in the First Scene

17 March 2012, Development - The World of Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The point of voice, just as the point of character revelation, is to produce a world that immerses your reader.  I've written here and elsewhere about how not to kick your readers out of the world you create on paper.  I've also written about how to keep them in that world.  Character voice and character revelation are just means of creating that world.

The proper use of character voice allows you to identify and enhance characters to ingrain them in your readers' minds.  This also becomes an important study in how to introduce and describe characters.  For example, whatever you do, don't introduce a gaggle of main characters all at once.  This is one of the best ways to lose your readers and ruin their reading experience.  An experienced writer will introduce characters one at a time or in threes at the most.  If you introduce more than one character at a time, you must ensure they are significantly different.

I'd recommend you introduce one new character per scene.  When you must bring in more than one character in a scene, very carefully introduce each character with strong description and stronger introductions.  Here are the character introductions from Aegypt:

Mr. Audrey.” Paul clasped the Englishman’s hand as he dismounted.

Lionel Audrey was a medium-height man with thinning brown hair. He wore a heavy wool suit, but he had removed the coat. Perspiration salted his brow and made his face glisten. Audrey

looked young, but his eyes were surrounded by wrinkles. He squinted out from under his thick glasses as if the glass wasn’t the right prescription, or as if he sought to penetrate further than just the surface. In spite of this impression, Audrey’s attitude was breezy and facile. He didn’t speak; he lectured in an arrogant Oxford accent.

Paul tossed the reigns of l’Orage to Sergeant le Boehm, then turned

toward the Sergeant and spoke in French. “Take the troops, Sergeant le

Boehm. Double rations and open the commissary.”

“Oui, mon Lieutenant.” Sergeant le Boehm wheeled his horse and
 headed for the fort’s entrance.

“Mr. Audrey,” Paul said again, “it is indeed a pleasure to meet you.

I thought no one would come to investigate this thing I have found in

the desert.”

“When Sir Barot told me of your find,” Audrey said, “it was all I

could do to keep from coming immediately. Oxford had to be

convinced, however, but Sir Barot said you were good as your word.”

One of the Europeans behind Audrey cleared his throat.

“Pardon me,” Audrey apologized, “I have not completed the

introductions. This—” he pointed to a small, deeply tanned Frenchman

in a fresh white suit and a Panama hat—“is Monsieur Claude Parrain.

He is an emissary of your government representing the Academie des

Sciences department of archeology and antiquities.”

"Bonjour, Lieutenant Bolang, your reputation precedes you.” He shook Paul’s hand. “I am directly responsible to the Foreign Bureau in Tunis. My job is to represent the interests of our government in this exploration.” He wiped his neck with an already damp handkerchief.

“Whatever may be found belongs to France, and I must see all protocol

is adhered to.”

Paul knew Parrain as a career bureaucrat. The little man’s smile

was tinged with irony, and he watched Paul with a curious stare, a

blend of pity and apathy. He knew the circumstances at Fort Saint, and

his manner insinuated a level of conspiracy outside of his responsibility.

Parrain was a minor official in cultural affairs; he had no official

knowledge of the Legion’s operations and little of classical archeology.

Paul kept his features bland. Parrain still had some authority over the

use of French property. He was not a man Paul wanted to antagonize

purposelessly.

Before Audrey could introduce him, the third European stepped

forward and engulfed Paul’s hand in his own. His accent was a thick

Scottish brogue, which Paul had trouble deciphering, but he made out,

“Aye, Lieutenant, glad to meet you. Now we can get to work. I’m James

Williams, Engineer on this project.” Williams had a radiant, almost

burnished, scarlet complexion. Later, Paul would discover that the

sunburn was perpetual and never turned into a tan. Williams had

worked in Africa for years—right out of the mines of Scotland, and he

could curse in more tongues than Paul could speak. His confident

demeanor advertised his competence, and to Paul that reduced the

coarseness of his voice and features.

In this scene, I introduce three primary characters in the published novel, Aegypt. Notice that each man gets his own description, introduction, and has specific markers, mannerisms, and characteristic that are unique to him. I'll posit this as a proper example of how to introduce multiple characters in a novel. To introduce a single character, simply do the same once. There isn't much difference except you must ensure with multiple characters, they are separately identified.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Using Voice in the First Scene

16 March 2012, Development - Using Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Voice is the words and actions of the character that you use to reveal the character in your novel.  The voice of the character(s) is a critical piece of creating a character.  It is so important, that you must give a voice to every character--this includes the secondary and tertiary characters.  My measure is that all characters must have some voice.  Voice means that the characters are unique enough that you can determine them through their actions, name, and speech.  You might think that a name makes it easy to determine differences.  This isn't true at all.  A name is simply one handle (a tag) used to identify a character.  In perfect character voice, the reader should be able to determine the character simply by their actions and their way of speaking.

Using voice like this is a goal, but almost impossible to achieve.  In some scenes, you can do this.  In other scenes, it is not possible.  What you should strive to do is to make the characters come alive so well, they pop out of the page.  In a perfect situation, the reader should be able to determine the character simply by the words and actions of the character.  The tags are simply redundant.  In reality, the author should use the name tags, actions, and words to differentiate and identify the characters the best they can.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Setting up Voice in the First Scene

15 March 2012, Development - Setting up Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Character voice is the last stage of character revelation.  Many people call this character development.  I'll make the point again.  The characters must be developed prior to their revelation in the novel.  In a novel, you don't develop the characters, you reveal them.  There is a step of true character development, but this is very particular and usually reserved for the main character.

So the point is to reveal the character that you have already developed.  The revelation is letting the reader know the character of the character.  When you do this, you can't tell the reader anything.  You can use description.  For example from Aksinya:

The woman was dressed in a black gown that was much too large for her.  Beautiful handmade lace cascaded down the front of the dress and decorated the sleeves.  Thick velvet competed with black satin to form a perfect attire to greet a Tsar, but certainly not a commissar.  The gown fell loosely away from the woman’s thin chest and small breasts.  It looked odd draped on her body, like a girl playing dress-up from her mother’s closet.  But this gown obviously came from the closet of a princess.

Aksinya, the woman within the pentagram, squinted across the dark cellar.  She was barely eighteen and much too thin for her age.  She was petite; that was a polite way of saying small.  And underdeveloped, that was a polite way of saying she didn’t yet appear much like a woman.  Aksinya’s hair was dark brown and silky and beautiful, bound up in a long braid, but her face was plain and Russian, so Russian.  Her voice was soft and sometimes too shrill.  When she was excited it rose in strength and pitch, so she never sounded very mature or well mannered.

From this description of Aksinya, you know a lot about her.  You see more than once that she is small, thin, and underdeveloped.  You know she is Russian.  You can see her features in your mind, if you know anything about Russian women.  You know her hair is long and brown and braided.  You know her voice is soft, but shrill when she is excited.  You don't know anything about her character, but you might be picking up a little about her personality.  The description just begins the process of revelation.  The true revelation happens through the character's words and actions.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - more Voice in the First Scene

14 March 2012, Development - more Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

This is where the character description and history (development) is critical.  But development isn't enough.  That is, it isn't enough to design a character, you have to give that character life.  First, you create a character.  You build them like an object with a framework of being.  You give them a history and a brain.  You give them a place in the world.  You describe a body, features, and face for them.  You clothe them.  Finally, you set them loose.

The setting loose is the voice.  A character can be as stiff as a board or as fluid and real as the author can write them.  For example:

Jack said, "I don't like you, Mike."
Mike said, "I don't like you either."

Instead, giving the characters' voice, we could write:

Jack shook his head, "Mike, you are an absolute pain."
Mike punched Jack's shoulder playfully, "Yeah, you're a pain yourself."

Or a totally different voice:

Jack scowled, "So help me, Mike."
"I'll help you," Mike smacked the side of Jack's face.
Or even different:

Jack's fingers twitched.  The sides of his face twitched, "So help me, Mike."
Mike raised his hands, "Don't do it, Jack."

In each of these examples, the characters Jack and Mike have been given different voices.  In the first example, they are like boards.  There is little meaning or intensity in their interaction.  In the second example, the voice and the interchange is playful.  In the third example, they are both contentious.  In the fourth, Jack is aggressive and Mike the opposite.  Yet, in each example, they said almost the same thing.  In each example, they were the same people with the same description, same history, name, etc. (I didn't tell you any different).  The point in each example is the voice of the characters.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Voice in the First Scene

13 March 2012, Development - Voice in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The other piece necessary to build the first scene is character voice.  I told you I would get into character revelation (development) so, here we go. 

One question you might ask: is character voice different than character development.  I think the answer is yes.  I have read many novels with really neat characters whose presence in the novel was nearly zilch.  This is true of main characters as well as minor characters.  A character can be perfectly conceived and perfectly developed, but imperfectly revealed.  The revelation is the voice and the voice is the particular feel of the character in a novel that allows the reader to immediately know that is the person being described or speaking.  This doesn't mean you can get rid of all those special markers or indicators of who is speaking, what it means is that the indicators and markers are uniquely those of the character and the feel of the speak and mannerisms reveals the character.

To develop character voice, the writer needs to think like an actress or actor.  They need to portray the character with individual and unique characteristics just like an actor or actress on a stage.

We'll look more at voice in the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - more Tension and Release in the First Scene

12 March 2012, Development - more Tension and Release in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The picture developed for the novel is turned into action within the first scene through the use of tension and release.  An important question is this: can a novel have action without tension and and release?  Yes it can, but it shouldn't.  For example, I could have built up the picture of Aksinya and Asmodeus and then simply had them walk around and talk to each other.  Is there any tension (that perhaps depends on what they do and talk about), but theoretically, they could just speak of banalities and just "walk around."  This would be neither entertaining or exciting, but it isn't far from what many writers do.  It isn't enough to have good characters in a great setting with fantastic potential; you must set them in motion with tension and release in every scene.

Simply put, the tension is what makes the novel entertaining and exciting--what makes it worth reading.  The release is what naturally occurs in proper development of a scene.  If there is no tension, you need to add it.  If there is no release, you have improperly handled the tension.  Look, it is really difficult for me to imagine a scene without tension, but I have read examples (I've probably written examples in the past--far past, I hope).  Likewise, it is difficult for me to imagine tension without release, but I'm certain someone has done it. 

What is more important is this--if you recognise the pattern of tension and release in the scenes, you can properly address them in your writing.
We'll look more at the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Tension and Release in the First Scene

11 March 2012, Development - Tension and Release in the First Scene

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

The picture that began the creative process for the novel Aksinya is complete, but to write the first scene requires the tension development and the characters' voice.  The obvious tension device is the conjuring (calling) of the demon.  This is the action in the first scene and the main tension device.  Within the first scene, I use many other means to develop tension.  We can make a short list of them.

1.  The room is in darkness--darkness is a means of building tension.
2.  Aksinya's clothing doesn't fit her well and she is over exposing herself--this is a means of creating embarrassment and sexual tension.  It also becomes a means of release as a joke in the text.
3.  Sorcery that is making magic can be considered a tension builder.  We will see how the elements of this play out.
4.  Threat of injury--the sorcery is couched in terms of injury if it fails or if it is done incorrectly.
5.  The threat of the demon--this is also a multifaceted tension builder.
6.  The confusion of the demon--he can't believe Aksinya called him.
7.  The sealing of the agreement--Aksinya must give a part of her body as a surety.
8.  The threat of death and hell--the demon threatens and promises her.
9.  The threat of injury when Aksinya takes up the dagger to cut off a body part.
10.  The threat of the death of Aksinya's family.
11.  The beginning of the demon's temptations--this concludes the chapter.

Each of these tension builders also have their own release (the resolution).  The darkness is resolved by movement to another location.  The sorcery is resolved by the completion of the spell (the surety).  The sexual tension caused by Aksinya's clothing is not resolved in this chapter--it continues for quite a while in the text.  The threat of injury in every case is resolved when the contract is concluded with the demon.  The confusion of the demon is fully resolved by the contract.  The threat of death for Aksinya's family is resolved in their death.  Finally, we don't see the resolution of the demon's temptations.  This carries over into the second chapter.  This is the major theme of the novel--that is, the temptation of Aksinya.

We'll look more at the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - The First Scene in the Creative Process

10 March 2012, Development - The First Scene in the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

I have a picture to begin the novel.  All that picture needs is to be turned on--that is, the scene needs to start.  All the research is not complete, the novel isn't written yet, but all the necessary elements are in place to begin.  My creative process has started.  My next step is to write the first scene.

The first scene of any novel is the most important.  If you grasp your readers with the first scene, you will most likely hold them through the entire novel.  To turn the picture into the first scene, I need a couple of things. 

First, I need the entertaining and exciting part that will make up the scene.  Every scene must be exciting and entertaining.  If your scenes are not entertaining or exciting, rewrite them.  If you can't write an entertaining or exciting scene, give it up.  Your primary purpose as a writer is to write things people will read and that entertains them. 

To make an entertaining scene, you must develop the tension and the release in the scene.  Tension and release is the means to make a scene exciting and entertaining.  A scene is exciting because it has strong tension and release.  This is the only means to make a scene.  The tension and release is how you write a worthwhile scene.  I've been discussing this topic in depth on my Zen of Scenes blog at www.novelscene.wordpress.com.  I'll extend some of that discussion here in the future.

Second, I need the voice of the characters.  The history and description of the characters is not enough.  An author gives a voice to his characters.  The voice of the character includes their history, description, personality, et al, but it is the individual feel and writing that brings that character alive.  You will understand what I mean if you think back to characters in books who had little voice--you had no idea when that character was acting or speaking.  The author failed to bring that unique character alive.  This is akin to character revelation (development).  However, you can have a perfectly developed or revealed character who has little or no voice.
We'll look more at the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - The Completed Picture in the Creative Process

9 March 2012, Development - The Completed Picture in the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

You might have noticed, the creative process takes a lot of effort.  If you can imagine the way I developed this first picture--the picture of Aksinya, the demon, and the setting--you can see how the creative process works in my mind.  With this single picture, the novel is not written, and the novel doesn't write itself; however, with this single picture, the novel begins.  From this single picture, the first scene explodes.  This picture is the beginning of the creative process.  This picture defines even the beginning details such as the theme.

Out of this picture is born the entire novel, but more specifically, from this picture comes the first scene.

We'll look more at the first scene in the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - The Scene in the Creative Process

8 March 2012, Development - The Scene in the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

Now we have a picture.  In the picture there is Aksinya with all her baggage, Asmodeus with his history, and the initial scene.  This picture forms the basis for the first scene in the novel.  In my development of a novel, I build this first scene as the focus of the entire novel.  Of course there are many things a single picture can't convey.  For example, the theme of the novel.  You might guess that the theme is a logical expansion of this initial picture.

With the picture of a demon and a sorceress, the theme could go many ways.  You could have a theme like Faust, a man who was willing to give his soul to a demon for wealth and power.  You could have the theme of a sorceress who called a demon to accomplish evil.  These themes were already used or seemed too trite to me.  Instead, I wanted a theme based on temptation and a main character who called a demon for moral reasons.  Aksinya called Asmodeus to protect her family from the Red Russians, the Bolsheviks.  Instead, she was too late and her family was murdered. 

The theme is then the actions of the demon through temptation.  Aksinya isn't necessarily a good person, but she never intended to use the demon for evil.  In spite of this, the demon's purpose is temptation and evil.  Already, we see the tension that will begin with the first scene in the novel.
We'll look more at the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Scene Setting in the Picture of the Creative Process

7 March 2012, Development - Scene Setting in the Picture of the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

We have an initial description of Aksinya, the main character, and of Asmodeus, the demon.  We know about their backgrounds and history.  We have the setting in time and space.  The final element is the setting for the first scene.  With that last piece, we will have enough of the creative process complete to set the entire novel in motion.  Remember, I keep advising you as a writer to physically describe your characters and physically describe the scene setting.  I showed you examples for Aksinya and the demon.  Here is the initial scene setting from the novel Aksinya:

     The dank stone room was filled with shadows.  Every corner oozed darkness.  Within a pentagram that was encompassed by a circle stood a slight young woman.  Fat yellow beef-tallow candles marked the points of the pentagram and weakly illuminated only the area around her.  A brazier of incense filled the room with the scent of myrrh along with an underlying smell that was indeterminate, but left a taste of blood in the mouth...
      Aksinya stood in the middle of the pentagram.  She held a book in one hand, and the bodice of the dress in the other.  It kept falling away from her chest and although there was no one to see, she felt uncomfortable and underdressed when it did.  She squinted across the cellar again and focused back on the book.  She knew the words and the pictures in the book by heart.  She had memorized them long ago, but still she sought them like an anchor against the storm she was about to release.  In the dark—she hadn’t thought about how dark it would be, she could barely read the text.  Finally, she took up an extra taper from the floor and lit it from the closest candle.  She had to hold the taper in one hand and the book in the other, which almost completely revealed her chest, but that couldn’t be helped now.

Aksinya read from the book.  The words weren’t Russian, her mother tongue, and they weren’t the French of the

Russian Court

.  They weren’t the Greek their priest pounded daily into her head.  The language was Latin.  She had studied it secretly for years.  She had memorized all the Latin books she had found hidden in the unused guesthouse at the back of the estate.  With nothing else to do, she had spent every free moment teasing out the secrets of these books for just this moment.  Aksinya was tired of being nothing and being helpless.  She intended from this moment forward to never be helpless again.

     She read the ponderous Latin from her book.  The cover was black, and a pentagram was worked into the ancient leather.  The book was old, ancient.  The pages were yellowed with age.  In spite of that, the pictures and words were perfectly preserved as if time inside it had been slowed to a stop.  The words of the book were dark and evil.  Aksinya knew them well.  She knew their meanings.  She forced her lips to form them, but this wasn’t the first time she had forced her lips to make these dark words.  For years and years she spoke them.  She manipulated the world through them.  She made the world obey her with these ancient words.  She let her mind flow to the word—sorcery.  Aksinya made magic.  She had taught herself from the dark books she found, and here and now, she made the most horrible of magic.

There is more than simple description in this description.  Part of it is about Aksinya and part of it is about the times and the place (all scene setting).  This is a style and a technique for description.  This is an especially good way to integrate description in an action scene.  You get a revelation of the scene along with the action in the scene.  This is also a method to build tension.

We'll look more at the creative process in Aksinya tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Description in Character Revelation

5 March 2012, Development - Description in Character Revelation

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

I'll say it again and again, you can't tell us what the character of a person is, you must show us their character.  The best place to start is description.  Always describe your primary and secondary characters.  I know some authors who might not describe a primary character for certain reasons--that might be okay.  Beyond that, there is no reason to not describe every primary and secondary character with at least 100 to 300 words.  Here is the description of the demon from the novel, Aksinya:

A great roar filled the cellar, and she almost fell.  She didn’t.  Her voice rang out more clearly.  A hot sulfurous wind rushed through the place and Aksinya smiled.  Then she forced her face back to blandness.  There was a dark flash, a scream like the sound of metal cutting metal, and across the cellar, in the corner suddenly was a shape.

Immediately, Aksinya’s words changed.  They words of enticing and cajoling became those of welcoming and greeting.  They leapt automatically from her lips.  As she spoke, she carefully watched the shape across the room.  It began to move.  At first it slowly rose and fell as though it was just beginning to breathe, and then it began to grow.  It unfolded like a flower, but this flower was like nothing beautiful the earth had ever seen.  It was man-shaped and black.  Its skin and muscles clung to it as though it was only bone and muscle without any fat at all.  When it had unfolded completely, it touched the top of the ceiling, at least seven feet tall.  More than two meters.  Its limbs were long and at the end of its fingers were talons and of its feet were claws.  They were black too.  It’s face was black and handsome.  Fangs jutted out of its lips on the top and the bottom, but the face was aristocratic and fine.  At its head were ears that lifted up points like an animal and horns at either side. 

The creature was naked, and Aksinya’s eyes moved almost without her control downward.  There was nothing there.  It was like an expurgated statue.  There was nothing but a pubic bulge.  Aksinya wasn’t certain whether to be disappointed.  She raised her hands in the final greeting and let them fall.

This is the initial description of the demon, Asmodeus.  This is the picture that was the beginning of the demon in Aksinya.  I didn't build the description until after I designed the character.  In this description, we already see the demon in action.  The character is yet unrevealed, but it is developed and complete.  You, as a reader, just don't know what it is.  I, as the writer, know exactly what and who this demon is.  This is what I revealed in the novel to you.

Asmodeus has the character of a demon--we'll look at that tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Character Development in the Picture of the Creative Process

4 March 2012, Development - Character Development in the Picture of the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

As you might have surmised from my description of the development of Aksinya as a character, the demon also must have a developed character before the novel starts.  A novel is not really a place to develop a character but rather to reveal a character.  The main character might show a change in character--that is true character development, but there always exists at the beginning a character that the author reveals.  I am using the language very specifically here--if it sounds strange to you, think about it.  A character already has a developed character before the novel begins.  Within the novel, the author reveals the character of the characters.  The main character might have a change in character.  We usually call the revelation of the character character development.  As I pointed out, this is sloppy use of language.

I showed you parts of the character of Aksinya.  Within the novel, I reveal the depth of Aksinya's character to you.  I also do this with the demon.  I don't wish to say the demon is a simpler character, but the reality is that he is more simple than a human.  That doesn't mean his actions as less complex--the demon always acts in a singular fashion.  A great deal of the novel is to reveal this to Aksinya.  As it is revealed to Aksinya, it is also revealed to the reader.

Asmodeus has the character of a demon--we'll look at that tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - more of the Demon in the Picture of the Creative Process

2 March 2012, Development - more of the Demon in the Picture of the Creative Process

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, 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.

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 website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

There is a lot of information about the demon Asmodeus.  The concept of Asmodeus may have started well before he appears in literature.  When he does appear it is in the ancient document Tobit.  Tobit is a non-historical document found in the Apocrypha.  Asmodeus is a demon who murdered the seven bridegrooms of Sarah.  He murders Sarah's husbands before the marriage can be consummated.  From this information, the mythus of Asmodeus built and made him the demon of luxuria.  I mentioned yesterday that luxuria is an inordinate desire for the good things in life.  The demon Asmodeus is especially concerned with sensuality.  His power is the temptation toward sensuality.

Using a demon in this fashion allows me to explore temptation.  I already told you the picture of Aksinya is a young woman who desires sensuality.  She wants power, clothing, love, good food and drink and the demon Asmodeus can give her all of these things.

Asmodeus shows up in a few other ancient and less than ancient documents.  He is in the Testament of Solomon, a pseudographia from the first to third century.  Milton also mentions Asmodeus in Paradise Lost.  You can already see the personality of the demon developing.

We'll continue to explore the concept of the demon, Asmodeus, for the novel Aksinya, tomorrow.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.