Writing Ideas - Writing Historical Fiction, part 7 Into the Past

25 July 2013, Writing Ideas - Writing Historical Fiction, part 7 Into the Past

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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

The four 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.

All right, we are moving into the realm of esoterics. The question is what is the point of historical fiction? To answer this question we need to look at the three aspects of a novel: storyline, plot, and theme. Obviously, for any novel, the storyline has to convey some degree of adventure or mystery--entertainment, remember entertain your readers. In a historical fiction novel, the storyline must convey the entertaining aspects of the life or portion of the life of your characters in a way that is entertaining to your readers. Therefore, the storyline must be steeped in the times. This is where the true voice of the times and culture come out. This is where you must be completely true to the historical times and place. The storyline may be contrived, but not the setting and thinking of your characters. The historical view is contained within the storyline. So what about the plot? The plot is the pattern of events that make up the larger narrative. In the plot, you must also hold to the basic historical view of the times that is conveyed in the storyline, but there is a larger point in it. The storyline must be made up of real elements, elements that are not out of place in the times of your novel. The plot may not stray from historical accuracy, but the pattern of events may not be from history at all. You might follow a character little known in the history of the world or who is a complete fabrication. The events of the storyline are real in terms of the past, the plot may deviate, not in history, but in the overall pattern of events, because, ultimately, your theme will hopefully not be the same as any other novel. In fact, your theme will hopefully be unique to your time and views. That is the point of the theme and that is the point of a historical novel. You convey to your readers a theme that is wholly yours and wholly your time, but that is wrapped perfectly in a historical plot and storyline.

Let's be very clear, your theme cannot be a convenient fiction to get across your personal message. For example, historical fiction is likely not the best means to get across an anti-religious theme. To do so would compromise the storyline and plot. Historical fiction is likely not the best way to get across many modern ideas--they are too foreign to the past. Many themes have been plumbed a little too much in historical fiction, and some are just trite. For example, an anti-slavery theme would be great for the 1800s but a little overwrought today. An anti-patriarchal theme would fit in the early 1900s, but not so much in the 21st century. A closer novel to today would better convey these themes. The most powerful themes for historical fiction are comparative themes. Those that draw comparisons from the past and lure the reader into the past to then spit them back up into the real world with a piece of the golden fleece or a golden apple in their hands. The greater the differences and the greater the comparisons, the more powerfully the theme can draw and affect your readers. So, examples...

Dana-ana http://www.dana-ana.com/ is a historical fiction themed novel in a modern setting--it likely would not count as historical fiction. It pulls a character from the past into the modern world and allows the readers to see, by comparison, the strengths and weaknesses of the Anglo-Saxon culture. Especially, the religious fervor of Dana-ana becomes apparent. The direct comparison is to the view of religion in the modern world. The difference is the way Dana-ana goes about her experience of life, love, and religion. The theme is about redemption.

Aegypt http://www.aegyptnovel.com/ is a historical fiction novel in a historical setting--1926. Its theme asks ultimate questions about what might be true. It puts up four competing arguments. First, is truth only in what we believe? Second, is truth only in what we perceive? Third, is truth only in what we know? Fourth, is truth only in what we can understand? This is the theme.  The storyline and the plot are very different because it is not a philosophical treatise, it is a fiction novel. The point of the novel is to use historical comparisons to bring up and answer these questions in the mind of the reader.

Centurion http://www.centurionnovel.com/ is a historical fiction novel that follows the life of a known historical person, the Centurion who executed Christ. It posits a very historically based theme about the difference between belief and truth. The point it asks of the reader is why would the Centurion at the foot of the cross say, "Surely this was the son of God." This is the theme of the novel.

So in historical fiction, the theme may be historically based, or not. The storyline and plot must be historically based. 

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Writing Ideas - Advertising

18 July 2013, Writing Ideas - Advertising

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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

The four 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.

Using my novel Centurion http://www.centurionnovel.com/, I made a test of FaceBook advertising and the Amazon associate program. I had a budget of $150 for the FaceBook ads. This meant I spent $5 per day for the ads on FaceBook. The way a FaceBook ad works is that you set a max per day expenditure and a max bid per click. Your ad appears on FaceBook pages at random based on your targeted audience and your bid. When someone clicks on your ad, you pay the bid amount. I let the system set the bid initially and adjusted it to $1 bid per click. During the month of August, I had 1,096,288 impressions (the ad showed on that many FaceBook pages) and 135 clicks (135 people clicked the ad and went to my webpage at http://www.centurionnovel.com/). The campaign cost me $107.75. I checked the visitors to my page at http://www.centurionnovel.com/ and the visits matched well with the clicks. The traffic on the site was up, but not that great. I had 4 sales through the Amazon associate program during that time and made $0.68. I did sell one book through the associate program, but not the targeted book. The targeted book was bought at least 5 times through Amazon (through observation of the author central pages). I have no measure of the number of books sold through other sellers. I won't know that until January when I get the royalty reports. There is no way to measure the effects of other marketing efforts. I turned back the amount per day to $2.00, the minimum, and will keep it there for a while. I'd like to keep the ad campaign going for at least 6 months. When my new book(s) come out, I will put one up as an ad campaign.

So, the conclusions. It hasn't hurt, but I'm not sure how much it helped. I'll keep it going at a low level, and I'll keep up with the Amazon associate program. The Amazon program doesn't cost anything and earned me almost 70 cents. If I were you, I'd try it too. Being an Amazon associate gives you some professional widgets on your site and can give you a measure of your traffic and sales. A FaceBook ad campaign will bring more traffic to your site.

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

My Writing - A Review, Centurion

18 June 2013, My Writing - A Review, Centurion

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. I'll keep you updated.

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

You've seen Aksinya a couple of times.  If you like my style of writing, you can find six of my novels in current publication with two more soon to come.  I have written twenty-one novels total, over 42 published technical articles, over 15 published short stories. Here is the publisher's blurb on my novel Centurion. Check it out at www.CenturionNovel.com. You can find it at most web booksellers.

Hauntingly compelling, Centurion gives life to Abenadar, the man who was entrusted with the controversial and potentially explosive crucifixion of Christ. A longing heart. An unlikely friendship. Love...and the bitterest of betrayals. The son of a Galilean concubine-a Jewess-and a Roman ambassador, Abenadar suffered disapproving stares in the village of Natzeret, but so did the boy Yeshua, son of Yosef and Miryam. Perhaps it wasn't unusual the two became fast friends. As Abenadar rises through the ranks of the Roman Legion to assume the rank of Centurion, he finds love with Ruth, a woman he rescues from the streets of Jerusalem. She believes the prophet Jesus is the One-the Messiah-everyone has been waiting for. Abenadar is dubious. He's seen too many messiahs.and they all died on Roman crosses. But what if Jesus is telling the truth? As advisor to Procurator Pontius Pilate and a Roman, Abenadar has a duty to uphold...but it may cause him to lose everything.

For more information, you can visit my author site www.ldalford.com/, and my individual novel websites: http://www.aegyptnovel, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Development - Rules of Writing, Characters of Centurion, more on Scene Outlines

27 August 2012, Development - Rules of Writing, Characters of Centurion, more on Scene Outlines

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

Here is the list for the use of storylines. In other words, whose storyline should you chose to follow in the plot:
1. Protagonist - presumed
2. Tension
3. Revelation
4. Antagonist or protagonist's helper


The presumption is that you will write your scenes with the protagonist's storyline as the primary intersection with the plot. At some points you might want to write a scene that does not include the protagonist's storyline. The question is then, when should you consider these different storylines.


Let's look back at how to use a scene outline. In a scene outline, each scene has an input and an output. Each scene has a setting and tension and release development. So in writing a scene, I begin with the input and write the setting. I introduce the characters and set them in motion. The characters take the input from the preceding scene and continue through the tension and release until the end of the scene. The output of the scene becomes the input for the next scene.

Since I'm using Centurion as an example, I'll show how this works in the novel. The initial scene has an assumed input. This assumed input is that Abenadar's mother, Naomi, has been deserted by her Roman ambassador husband. She is pregnant and living outside of Nazareth. The setting is the well at Nazareth. Naomi goes to the well at noon and meets another pregnant woman. I should tell you that culturally, women did not go to the well at noon. They usually went in the cooler hours of the day--morning or evening. The fact that both went at noon means they didn't want to meet other women. The tension in the scene is that Naomi is pregnant by a Roman and being shamed by the people and that Miryam is pregnant and also being shamed. The output is that Miryam offers to visit Naomi. The next scene input is a visit from Miriam to Naomi. The setting is Naomi's shack. The tension is the reason Miriam is pregnant and the coming birth of Naomi's child. The output is about birth and midwives. The input of the next scene is the birth of Naomi's child. The setting is Naomi's shack. The tension is the birth of the child and about the birth of Miryam's child...and so on. Each scene provides an input from the previous scene and an output to the next scene.

Using a scene outline, every scene is directly connected to every other scene. The progression is logical in time and events. However, there are times when scenes don't connect directly and when they might not fall into the same sequence in time and space. I'll write about that tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Scene Outlines

26 August 2012, Development - Rules of Writing, Characters of Centurion, Scene Outlines

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

Here is the list for the use of storylines. In other words, whose storyline should you chose to follow in the plot:
1. Protagonist - presumed
2. Tension
3. Revelation
4. Antagonist or protagonist's helper

The presumption is that you will write your scenes with the protagonist's storyline as the primary intersection with the plot. At some points you might want to write a scene that does not include the protagonist's storyline. The question is then, when should you consider these different storylines.

In general, I've answered this with yesterday's considerations, but it is worth going into greater detail. This is really an important question. I've mentioned over and over, that the best method to write a novel (or any fiction) is through the use of scenes and a scene outline. However, many times a scene might not appear to follow another scene directly.

Let me remind you, I wrote that when you use a scene outline, one scene follows the other. The scenes are conected to each other logically, physically, and in time. What I'll do tomorrow is show you how the scenes in a scene outline should be constructed and how they fit together. That will allow us to determine when a scene might interact with the plot in a different manner than we might expect from the use of a scene outline.
There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Storyline and Plot

25 August 2012, Development - Rules of Writing, Characters of Centurion, Storyline and Plot

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

We are putting some basic rules together concerning which storylines to show in the plot. Remember a storyline is the life and events of a specific character. Each character has a storyline, and the determination of which storylines at which time to include in the plot is a critical one.

The first determinate was the protagonist. Generally, if the protagonist's storyline intersects with the plot, you should show that storyline. There is a catch 22 here because, the storylines make up the plot. Let's put this another way. Usually, we show the storyline of the protagonist in the plot, that is, if it supports the theme and is intrinsic to the plot. There are times when we don't show the storyline of the protagonist.  Usually when the protagonist's storyline doesn't support the plot or the theme. 

The second determination was the tension. The development of the scenes in the plot should always include the element of tension and release. The inclusion of a storyline because it promotes tension and release is a fantastic reason to include a storyline.  Remember, the storyline must be intrinsic to the plot.

The third reason is revelation itself. There are times when you want to provide information to the reader that is outside the scope of the protagonist. I gave an example of this yesterday from my unpublished novel, Dana-ana. This was also an example of choosing a storyline for tension. Generally, the use of this technique to develop tension is very effective. It is a means of revelation outsdie the storyline of the protagonist.

A fourth reason is to introduce the antagonist or a protagonist's helper. The reason for this is as simple as increasing the tension by bringing in a revelation from one of these other major characters. Usually, major characters are the only ones who should have a storyline that doesn't intersect with the protagonist's shown in the plot. This was also shown in the example yesterday. Tomorrow, I'll write about when to move out of the protagonist's storyline in the plot.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Tension

24 August 2012, Development - Rules of Writing, Characters of Centurion, Tension

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

I wrote that one way to choose which storylines to show is to pick those storylines which form scenes with the highest degree of tension.  Remember, tension in a scene is the element which gives excitement and entertainment to a scene. 

In general, you chose the storylines by the interaction of the protagonist with the plot.  This isn't always true.  For example, in my unpublished novel, Dana-ana, there is an important scene where the antagonist speaks to a couple of minor characters about Dana-ana.  The tension and power of this scene is that the antagonist and minor characters are discussing how they will destroy Dana-ana.  The reason this is such a powerful scene is that the reader has a vague idea that there is some kind of conspiracy against Dana-ana, but there is no real proof until this scene.  Suddenly, the reader discovers that Dana-ana is in real trouble.  All the woes of Dana-ana come into focus in a scene that doesn't include Dana-ana at all.

This is the important point here.  In Dana-ana, this specific scene does not include Dana-ana at all.  The scene is all about Dana-ana, but there is no Dana-ana in the scene.  The tension is that Dana-ana and her friends have no idea that she is in this level of danger.  The reader knows Dana-ana is in grave danger--they don't know the exact type of danger, but they know it is terrible.  This is the tension I am talking about.  By writing a scene that includes the antagonist and two minor characters and not the protagonist, the tension of the novel increases significantly, and information is shown to the reader that is not available to Dana-ana or her friends. There is more to choosing which storylines to show.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, and What to Show

23 August 2012, Development - Rules of Writing, Characters of Centurion, and What to Show

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

The primary means of writing a good novel is the use of scenes and a scene outline. Scenes and a scene outline can be enhanced through the use of storylines to reveal characters.

Ruth is the protagonist's helper (a major character) in my published novel, Centurion.  I am writing about how I decided when to include her storyline in the novel.  Note that the plots of all novels are an interweaving of the characters storylines.

Since the focus of the novel, Centurion, is the protagonist Abenadar, the general choice of what scenes to show is relatively easy--in general, almost every scene included Abenadar.  His storyline is prevailent in the plot.  However, as I've written before, there are times you want to give your readers insight into events, actions, and conversations outside of the storyline of the protagonist.  There are many methods to do this.  One of the chief methods I used in Centurion was Ruth's reports to Abenadar.  Ruth was intrigued by the prophet, Jesus.  She listened to him in the marketplace and the Temple.  I never show you these interactions, but I have Ruth relate them to Abenadar.  Even then, her reports are simple.  The point here is both the focus of the novel and a dramatic means to build tension in the novel.  There is a third purpose, that is to reveal Ruth's thinking about Jesus without telling.

The focus of Centurion  is Abenadar and not Ruth or Jesus.  By centering on Abenadar and the knowledge he has about the world, I keep the focus of the plot and theme.  Beyond that, the dramatic tension (tension) in both the plot and the scenes is kept high because of Ruth's reports.  Abenadar uses Ruth as a spy on Jesus.  When Ruth speaks to Abenadar, there is always the tension that Abenadar might decide to arrest Jesus.  Ruth realizes she is a spy and yet she still reports to Abenadar.  The tension developed by the scenes where Ruth and Abenadar speak about Jesus are much more powerful (in terms of tension) than if I showed Ruth's interaction with Jesus.

And there is the main point of any writing.  When you choose which scenes (which storylines) to show, chose those with the most tension.  Look for the most powerful tension possible.  Tension is the means (the only means) to develop excitement and entertainment in a scene.  If you are interested in the elements of tension in a scene, I covered them in detail in my blog at www.novelscene.wordpress.com.  More on what storylines to show, tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, and even more on Storylines

22 August 2012, Development - Rules of Writing, Characters of Centurion, and even more on Storylines

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

The primary means of writing a good novel is the use of scenes and a scene outline. Scenes and a scene outline can be enhanced through the use of storylines to reveal characters.

A novel can't show any character's entire storyline--not even the protagonist.  You don't care to read about the protagonist's every action...or at least, you shouldn't care about their every action.  The only parts that should be in the novel are the parts specific to the theme and the plot.  So, even though every character has a storyline from womb to tomb, you will never see the entire storyline of any character.

What an author must do is determine which parts of each character's storyline must be shown.  This is easier than it sounds.  For example, in Centurion, the protagonist is Abenadar.  He is the focus of the plot and the theme.  Ruth becomes the protagonist's helper.  Her job is to support the plot and the theme.  When Ruth and Abenadar are together, that might be a scene that should be shown in the novel.  Not every time where their storylines come together, only those time where their storylines support the plot and the theme. 

How to determine those points is really easy if you use the scene outline method I wrote about before.  If you write in scenes and each scene follows the other, then those scenes that should e included will be included and the storylines that should be show will generally be shown.

I also wrote that storylines can be used to manage the complexity of character revelation in a novel.  This is true too.  For example, a part of a storyline that is important in the life of a character might become the focus of the plot of support the theme.  This happens at various times in the novel Centurion.  At times where Ruth and Abenadar's storylines intersect with Jesus, these are scenes that might possibly be included if they support the plot and the theme.  If they don't, they should be excluded and they were.  I did not show all the possible scenes where Jesus and Ruth interacted, but I did show every scene where Abenadar, Ruth, and Jesus interacted.  Those times when Ruth and Jesus' storylines intersected were alluded to in the novel, but they weren't important to show.  I'll discuss more about how to choose what to show tomorrow.
There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, more on Storylines

20 August 2012, Development - Rules of Writing, Characters of Centurion, more on Storylines

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

One of the ways authors keep complex plots and complex themes together is through the use of storylines to determine the plot and interweaving of the characters' lives. This is also a means to determine what to show and what not to show.

The point of storylines is this. In any novel, you don't show everything that happens to a major character or any character for that matter. Storylines are the entire life of a character. The part of a character's storyline you show in a novel is the plot.

If you are wise, you use the scene outline technique I wrote about before to design your scenes. The point is to have nothing extraneous in a novel. Everything must support the plot and theme and nothing can be out of place or extra. Using a scene outline and developing your novel by scenes is one of the cleanest methods to ensure excitement in every scene and to keep out extraneous writing. However, the scene method doesn't work for everyone. One of the reasons the scene outline doesn't work for everyone is that some people have problems keeping complex portions of characters other than the protagonist in balance and focused to the plot. Additionally, the scene outline method can produce great writing, but the writing tends to be ordered chronologically. Many times an author wants to vary the chronology of a novel scene development. Using storylines can be an effective method of plot and scene development. More, tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Storylines

19 August 2012, Development - Rules of Writing, Characters of Centurion, Storylines

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

Characters in a novel define and create storylines.  These storylines weave together to form the plot.  The storylines and the plot support and form the theme.  Major characters (protagonist, antagonist, and protagonist's helper) are necessary to the theme and to the plot.  They also form storylines.  All the other characters form storylines to one degree or another.  In general, major characters (primary characters) always have a storyline.  Secondary characters always have a story line.  Tertiary characters may have a storyline. 

This is how I try to define primary, secondary, and tertiary characters.  The primary characters are the protagonist, antagonist, and the protagonist helper.  The secondary characters always have a storyline.  So, what's a storyline?  And what's the point?

A storyline is the portion of the story (on screen or off screen) that concerns a certain character.  Every primary and secondary character has a storyline--that storyline just isn't always completely visible within the novel.  This is true of all your primary and your secondary characters.  The weaving of the storylines makes the plot.

Storylines can help you determine what to reveal and how much to reveal about a character.  I'll describe more about storylines tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Types of Characters

18 August 2012, Development - Rules of Writing, Characters of Centurion, Types of Characters

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

I defined three types of characters within a novel for you in yesterday's post.  The first type of character is a major character (protagonist, antagonist, and protagonist's helper).  These characters are necessary to the theme and to the plot.  They are the primary characters that spring out of the theme and that define the entire novel.  They must be carefully and fully developed.  They are the focus of most of your research and writing activity.

The second type of character are those that support the theme and are necessary to the plot, but from the beginning of writing the novel, you realized and developed the character.  Or you planned for the character while outlining the plot and developed the character when you arrived at that point in the writing.  I did this with Ernst in Aksinya, and with numerous characters in other novels.  Many times you realize what the character should be like, but you really don't want to fully develop them until you reach that point in the novel.  The reason is that if you develop these characters too early, you might end up with a character that doesn't fit as well as she should--or you might end up having to rewrite much of the character.  I'll try to give detailed examples.

The third type of character is the kind that suddenly becomes a need in the plot.  Most novels end up this way.  You work against an outline, but an active plot in writing is a really malleable thing.  The theme is the critical part and the plot (and storylines) develop and interweave as you write the novel.  You will reach points where you suddenly need a new character.  I mentioned the Centurion Fabius  as one of these characters.  When I wrote Centurion, I wanted to build a situation in the plot where Abenadar was dependent on Ruth.  I also wanted to build a situation where Ruth disobeyed Abenadar and went to the Legion Camp.  I additionally wanted to have Ruth and Abenadar exposed in their relationship to the Legion and the Legion leaders.   The addition of the Centurion Fabius allowed me to have a Centurion for Abenadar to rescue who would retaliate against Abenadar for the rescue.  That resulted in an attack on Abenadar which led to Ruth seeking him out in the camp.  More, tomorrow.
There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Design in Plot

17 August 2012, Development - Rules of Writing, Characters of Centurion, Design in Plot

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

Back to Centurion with this idea that the characters support the theme but are necessary to the plot.  The protagonist of Centurion, Abenadar is both necessary to the theme and to the plot.  He, as the protagonist, is literally the glue that holds the novel together.  Likewise, in the example I used yesterday, Dana-ana, Dana-ana is the glue that holds the novel together--she is necessary to the plot and the theme.  In both of these novels, the other characters are only necessary to the plot, but support the theme. 

Let's look at Centurion.  The protagonist's helper, Ruth, is an important character through the last half of the novel.  She is the woman that Abenadar rescues from the streets of Jerusalem.  She is the woman he longed for in his life.  She becomes a necessary part of the plot, but she is not necessary to the theme.  The novel could progress within the theme without her, but not the plot.  Ruth additionally becomes a symbol in the writing of Adenadar's dependency on others.  This idea supports the theme and is necessary to the plot. 

An author develops the plot and the characters within the plot to support the theme.  To write, then, you must first have a theme, you develop the characters, and you then weave them into the plot.  The last step is sometimes coincident.  For example, when I was writing Centurion, I knew there would be a Ruth character from the beginning.  I designed the plot to introduce her and build her relationship with Abenadar.  The scenes are both touching and fit well with the theme.

On the other hand, another Centurion who causes Abenadar problems was not in my list of characters or plot design.  I built him into the plot to provide a reason for Abenadar to rescue another Roman patrol.  This kind of character development on the fly is necessary to some degree for all novels.  Most of the time, this kind of character is secondary or tertiary.  I developed this Centurion who causes Adenadar problems to build on the theme of Abenadar's skill and the trust his leaders placed in him.  In this way, this centurion supports the theme and became necessary to the plot.  The plot is based in Abenadar saving this other centurion's life and century.  Later, this centurion tries to have Abenadar murdered.  This event precipitates many theme points and plot events which move the novel toward its ultimate conclusion.

As another example of character development as necessary, in the novel, Aksinya, the four senior girls at Akinsya and Natalya's table were planned and designed into the plot.  I didn't know who they were, their names, descriptions, etc. until I arrived at their introduction in the plot.  At that moment of their conception, they became necessary to the plot and they were supporting of the theme.  Another character, the witness of Akisnya's sorcery when she saved Natalya and Sister Margarete from rape, was a character developed on the fly for the plot.  The plot was designed with such a character in mind, but not until necessary did I develop him.

Thus, keep this in mind, the characters must support the theme and be necessary to the plot.  I'll go into more detail in the character development, tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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.thefoxshonorhttp://www.aseasonofhonor.com/.

Development - Rules of Writing, Characters of Centurion, Plot and Theme

16 August 2012, Development - Rules of Writing, Characters of Centurion, Plot and Theme

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

The development of a character comes directly out of the theme.  That is, the development of all the characters in your novel comes directly out of the theme.  In a novel, there should be nothing extraneous.  Every character has a reason.  Every character must support the theme.  Every characters must be necessary to the plot.  Did you get the difference here?  Not every character is necessary to the theme, but every character is necessary to the plot.  In a perfect world, and in your novels, you should attempt to have every character necessary to the theme as well.  Let me show you the difference.

My unpublished novel, Dana-ana, is about a girl who thinks she is an Anglo-Saxon maiden in the modern world.  She will not speak to people unless properly approached, but she is in a modern high school.  The theme is about an Anglo-Saxon maiden in the modern world--there is much more to the theme, but that is sufficient for now.  In the initial scene, Dana-ana is being attacked by students because of her strangeness and because they accuse her of stealing lunches.  In this scene I have four tertiary characters--two boys and two girls.  The boys are attacking Dana-ana on the behalf of the girls. 

In this scene, I could have had one boy and one girl or one boy and two girls or two boys and one girl.  I could have had the main contention be that Dana-ana stole something other than lunches or stole some food other than their lunches.  We find that the theme requires Dana-ana to have some power over the natural world--I chose food as part of her power.  The plot develops this idea.  The characters all support the theme, but I made them necessary to the plot because of my choices from the plot.  In this case, you can see, the characters support the theme, but are necessary to the plot.

What this means is that in a cohesive plot, you can't change the details once they are established.  This is a critical difference between the plot and the theme.  Many plots can support the same theme.  Or said another way, you can develop many different plots from a theme.  Once you write, your plot and theme must be cohesive and the characters are the glue that binds it all together.  More, tomorrow.
There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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 - Rules of Writing, Characters of Centurion

13 August 2012, Development - Rules of Writing, Characters of Centurion, Comparison

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

I've written before about developing characters, and I've told you the types of characters I usually like to write and develop.  I've been writing recently about the protagonist, Abenadar, from my published novel, Centruion.  I've contrasted Abenadar as a "normal" character with Aksinya (the protagonist of my blog published novel, Aksinya).

Both characters come directly out of the themes of the novels--that is, the themes were developed first, and the characters came directly out of the themes.  They likewise drive the plot.  To develop any character, you must start with the theme.  The character fits within the theme.  Once you have the concept of the protagonist, you can begin to develop the character. 

I already went into great detail concerning the development of Abenadar.  I also wrote extensively about the development of Aksinya.  Everything about the main character comes out of the theme development of the protagonist.  The physical description of Aksinya comes out of the idea that she is not beautiful.  She thinks she is plain and ugly.  Is she or is she not?  I don't tell you.  I let you know what she thinks about herself through self reflective means (I don't ever tell you), but you don't really get a good independent description.  The fact that no one notes that she is ugly should be an indication to the reader.  However, the physical description of Aksinya comes directly out of the concept of her within the theme.  We do know from multiple sources that she is small, not very mature looking, acerbic, smart, antagonizing, intense, and much more.  Most of this description isn't direct in the novel--only her features, body shape, and clothing are directly described.  The rest is provided through various techniques of showing.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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 - Rules of Writing, Characters of Centurion, the Normal

11 August 2012, Development - Rules of Writing, Characters of Centurion, the Normal

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

So what does it mean to develop a "normal" character like Abenadar?  I mentioned, first comes the theme--then comes the characters.  Abenadar is defined by the theme.  He is a romantic character therefore he represents an ideal.  The ideal he represents is a military leader.  He is not necessarily a political leader, but rather a man who leads others directly to achieve great results.  He has a telic flaw and by overcoming the telic flaw, he achieves the end goal of the plot and theme.

Together in the above paragraph, we have all the elements required to develop a protagonist and begin to write a novel.  There is more to developing the character--this is the point about writing about a "normal" character. 

A "normal" character is...well...normal.  The description can be somewhat nondescript.  She doesn't have any really annoying habits that might draw attention from the singular person.  She doesn't have any real personality ticks.  She might have major issues or make major mistakes, but these will be personal and not professional.  The foibles of the "normal" character are simple common flaws and not character flaws.  The point in developing such a character is to not draw too much attention to the character but rather to the plot and theme.  This is not to say Abenadar isn't a great character--it is to say that the character of Abenadar doesn't get in the way of the theme and plot of the novel. 

In fact, you can tell the difference immediately by comparing Abenadar to Aksinya.  The titles of the novels give this away.  The title of Centurion is a single appellation and not a name.  On the other hand, the title of Aksinya includes the name Aksinya.  The point of Centurion is not to draw attention to the Centurion Abenadar, but rather to the theme and plot and then to the person of Abenadar.  The point of Aksinya is entirely to draw attention to the character Aksinya and through her the theme and plot.  I'll write more about developing characters, tomorrow.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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 - Rules of Writing, Characters of Centurion, Design

10 August 2012, Development - Rules of Writing, Characters of Centurion, Design

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

Here are my rules of writing:

1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

Abenadar, the protagonist in my published novel, Centurion, is not the usual type of character I develop.  He comes entirely out of the theme and is integrated into the plot--like all my characters, but the chief abiding difference is that he is mainly a normal and yet very powerful romantic character.  This means that he represents a human ideal.  I also write with classically developed characters, so Abenadar has a telic flaw.  That is, he has a flaw in his character that is basic to his character which causes his failure, and by overcoming that telic flaw, his success.

The real difference between Abenadar and most of my characters is his normalcy.  I don't usually write about normal characters--they are usually romantic characters (not romance characters).  I like to develop odd main characters.  Abenadar is normal in the sense that he is like many who strive in the modern or ancient world.  His life experience might be different, but his life, mind, and aspirations are the same as most.  Although, he is not a universal character, he can appeal as a universal character to most people.

In other words, I wrote Abenadar to be like the common man set in an uncommon set of circumstances.  He does not have any oddball skills or characteristics.  He is not eccentric.  He is normal in almost every sense--the real skills that set him apart as a man are those he hones on the battlefield.  And the sense we get from the book is that he really develops those skills--his abilities are not because he is super human, but because he works hard and observes well.

The concept of a character who is main-stream is very common in literature.  This isn't the usual method I teach for character development, but it worked well for Abenadar.  I'll explain more tomorrow.
There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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/.