Writing Ideas - Writing Science Fiction, part 12 more Theme and Plot

12 August 2013, Writing Ideas - Writing Science Fiction, part 12 more Theme and Plot

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 plus one basic rules I employ when writing:

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

I'm looking at science fiction and the science fiction based theme. If you are going to write science fiction, you need a science fiction based theme.  I didn't repeat the definition, because I think I've made my point.  I am going to expand my explanations and examples to my (as of yet) unpublished science fiction novels.  This series is called The Ghost Ship Chronicles.  This is a peek at the future of the universe of The Chronicles of the Dragon and the Fox almost 2000 years later.  The Empire is gone, and in its place is the Confederation of Human Space.

I'm going to look at the theme statement for the first novel in the series.  These novels are a pentology (five novels) (I hate this type of series).  The reason it is five novels is I started writing the first and realized halfway through that it was too long for a single novel.  I broke it up into five parts.  Each novel can be read separately, and I have a synopsis and introduction (my publisher might have me dump it). 

Each of the novels is titled after a space ship.  The first novel is Athelstan Cying.  The theme statement for Athelstan Cying is this: A Family Trader ship intercepts a derelict space ship on which the spirit of an ancient leader resides; the Captian's son, a failure, is injured and the spirit tries to save him, but is trapped in the body of the Captain's son.  This is a ressurection concept theme.  That's for those who like single word themes.  I know this is a complex sounding theme, but you can see it is very strongly science fiction based.  This is also a discovery theme. 

Once we have a theme statement, we can build the characters and set the novel.  The setting must be the future when there are space ships. Through the theme statement we have the Captain's son and the spirit of the ancient leader (the protagonist) (this is a character related to the times of The Chronicles of the Dragon and the Fox).  We need to develop a protagonist's helper and an antagonist.  I mentioned that this is a discovery novel--the spirit who is now within the Captain's son must discover the new world around him.  The world of the Captain's son is already fully populated.  The reader discovers it with the spirit.  The main character is Den Protania.  His nemisis, Natana Kern becomes the protagonist's helper.  We don't discover the antagonist (the Athenian Charter) until the second novel, Twilight Lamb. 

These are really fun novels.  I know the theme sounds kind of complex and possibly clunky, but the execution of the plot and storyline is a very smooth and exciting adventure novel.  The reader discovers the world of the Family Traders and the Confederation of Human space along with the main character.  Additionally, the novel has a strong romance theme.  Need I write that the plot derives directly out of the theme, and the plot drives the storyline.  You can't read this novel, yet, but you can read more about it at www.AthelstanCying.com.

Remember, I;m trying to show you and give you examples of how to write a sceince fiction theme statement and turn it into a plot.

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 - Writing Historical Fiction, part 11 more Examples

29 July 2013, Writing Ideas - Writing Historical Fiction, part 11 more Examples

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.
5. Immerse yourself in the world of your writing.

Applicable to all writing, I offer my five basic rules again, and I will show you some examples of how to immerse your readers in your writing.

5. Immerse yourself in the world of your writing - colliery: immerse your readers in the world of your writing.
If you noticed, I added a colliery. The point here and the point of the question I answered yesterday was: how do you immerse your readers in a completely different world than their own?  I have a foot up because one of my day jobs is to teach people, and in those classes, I try to get them to experience the cultures we are talking about. Writing however is very different than technical writing or teaching. You can't immerse your readers by suddenly giving them a treatise on a culture or history. So I'll provide some examples from my writing.

The first example is description from the novel Aegypt, http://www.aegyptnovel.com/:
"Paul signaled his men to remount. His horse, l’Orage, was skittish and danced back a step as Paul hauled his aching frame into the saddle. Her muscles rippled like silk under her black coat, and Paul touched her gently to soothe her. l’Orage had been his steed for nearly three years, almost half the time he had been in Tunisia.

He had bought her from a Berber’s market on the coast. She was the most beautiful horse he had ever seen. Feral and full of fire, she was uncontrollable in the hands of her merchant owners and stood blindfolded and hobbled in the market horse pen. A demon in the guise of a horse, she was black as charcoal without a trace of lighter markings. Paul knew she was stolen the minute his eyes lit upon her.

He paid in cash—francs, and few of those, because of her temperament. When he entered the pen to claim her, Berbers, Arabs, and Tunisians lined the enclosure to watch the black fiend trample the foolish Lieutenant. Paul walked quietly up to her, and when the laughing merchant stripped off the blindfold and hobbles, Paul spoke a single word. l’Orage calmed immediately and let him stroke her face.

Contemptuously, he led her on a light field-lead out of the marketsquare. The marketplace had turned into a frenzy of babbling men, women, and children. The native peoples sidled out of Paul’s way as if he were himself a demon from the pit. At the edge of the market, to the amazement of the spectators, Paul leapt upon l’Orage bareback and rode off at a gallop. He laughed all the way back to the garrison.

l’Orage was a horse trained for war. She was an Arabian, bred and drilled to the battlefield. She was trained to kill and to the tactics of combat. She was a European’s horse. Paul could tell by her carriage and by the saddle scars on her flanks. Only one type of European warrior had found his way into the wilds of Tunisia: l’Orage had to be a Frenchman’s horse. Paul guessed that, but his confirmation came when he first stood before her, wondering himself if she would strike him before he could speak. His single word was French, and with that single word, he knew she answered to only one tongue—French. Not to the Tunisian or Berber or Arabic her previous masters unsuccessfully tried, only to French. In combat after combat, she proved herself to be, by far, one of the finest horses in the Legion stables."

Right from the beginning of the novel, you have a very short description of how Lt. Bolang bought his horse l'Orage. The description itself tells you a lot about the times, place, and people. It gives you a small window into the character of Lt. Bolang and tells you about the languages and the problem of language in Tunisia. It lets you know the feeling of the people for the Foreign Legion and the fact that horses are still used in warfare at this time and in this place. This is a method of using description to immerse the reader into the times and place and to let them taste the culture and society. By the way, l'Orage means tempest or thunderstorm in French and the description takes place right after a thunderstorm in the desert and a tempest-like attack on Tunisian bandits.

Now an example of using conversation to immerse your reader in the times and place. This is from Centurion, http://www.centurionnovel.com/.

“Where are you from, youngster?” Portius asked Abenadar.
“I came from Natzeret in the Galil.”
“From Natzeret?” said Euodus. “Is the Primus now accepting trash from the provinces?” Euodus was as fancy a man as Abenadar had ever seen. His short hair was carefully shaped to form oiled ringlets in the style of a Persian warrior. His face was angular but well made. He wore a colorful tunic with pins and decorations all over it.
“No, I’m a Roman citizen,” answered Abenadar.
Euodus smiled. “Another bastard child of Rome. You are well placed in this century. We are all bastards of one type or another.”
Portius laughed out loud, but Lupus protested, “I, for one, have a family in Italia.”
“Yes, but does your family claim you?” riposted Euodus.
“They will welcome me back when I am released from service.”
“If your throat is not cut first by these rebels, you may see Italia again.”
Lupus rubbed his throat and made a face. “I wish you wouldn’t put it like that, Euobus.”
“Don’t get carried away, Lupus,” said Portius. “The people fear us.”
“Yes, they fear our blood will splatter their clothing when they slit our throats.”
“Shut up, Euobus,” said Portius. “Come, Abenadar. Don’t listen to his rambling. It is meaningless. As long as we stay together, we are in little danger, and we’re always safe while in camp.”
Without waiting for Abenadar, Portius walked out the door. Abenadar quickly followed behind him. As Portius exited the barracks, Abenadar hurried to catch up. “The camp is huge. How many legions does it hold?”
Portius chuckled. “It doesn’t hold even one.”
Abenadar was shocked.
Portius noted Abenadar’s look and laughed again. “That’s right. This camp holds only two cohorts: the I Cohort, Primus and the X Cohort, Decimus—the first and the last in the III Gallica. Admittedly, the Primus Cohort is the largest and best, but the Decimus isn’t a training cohort. It isn’t made up of inexperienced recruits.” Portius glanced at Abenadar. “You excepted. You will get along well if you can translate in the marketplace, especially if you can speak with the barmaids and whores. I predict you will be a very popular man in the Decimus Cohort.”
“How many men are in our cohort?” asked Abenadar.
“During your training, you will learn how the legion is organized, but I guess I can start your education early. The Decimus Cohort is formed of six centuries. They are called the Pilus Prior, the Pilus Posterior, the Princeps Prior, the Princeps Posterior, the Hastatus Prior, and the Hastatus Posterior. We are part of the Hastatus Posterior, the Lion Century. Each century contains about 80 men. The men are organized into 10 columns of eight each. All the other cohorts from the second to the tenth are put together the same way, but the Primus Cohort is different.”

Here you can see in conversation, I give you many details about the place, times, people, and the Roman Legion. In conversation, Portius goes on to give Abenadar a host of information about the Legions that the reader likely doesn't know and that Abenadar doesn't know. The character and the reader both learn from the experience and the tones and conversation tells you a lot about the fears of the Roman soldiers and their concerns.

Tomorrow, I'll conclude this series on writing Historical Fiction and move to science fiction.

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 - Writing Historical Fiction, part 6 The Voice of the Times

24 July 2013, Writing Ideas - Writing Historical Fiction, part 6 The Voice of the Times

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.

I'm not certain there is any writing that is easy. All writing is difficult, but I think historical fiction may be the most difficult. First, it requires a lot of research and especially primary and secondary source research (real research) that is if you intend to write good historical fiction. Second, you must immerse yourself in the culture and understand it from the point of a participant. Third, you have to be able to find the voice of the times and culture. The voice of the times and culture is the point of immersion and research. Fourth, you have to be able to write well. The fourth point is beyond the scope of this series, but is is a critical point. Many of us have read literature today that is crippled by the inability of the author to write well. Many popular books are missing the spark of good writing and makes you wonder why they were published to begin with. But back to the third point...if you can't capture the voice of the times and culture, your historical fiction will not be historical fiction; it will be a modern novel set in a historical period. That simple observation has been my greatest experience with writing that claims to be historical fiction today. Most is not historical at all, but rather modern fiction set in a historical period. When you find modern issues and modern ideas along with historical infidelity in a historical novel, that writer has not taken the three required steps to write about the times. So how do you find the voice of the times? That is a function of immersion and knowledge, but the precise point is that you have to subjugate your mind to the mind of the times. Now comes the difficult point. To have the voice of the times and culture means the ability to convey that time and culture to your readers in the modern world. I personally use many genre crossing techniques to allow a modern person to see the times and culture through the eyes of the modern world. The normal technique in historical fiction is the one from my novel Centurion http://www.centurionnovel.com/. Centurion uses the typical model of simply a novel from the viewpoint of the people of the times. There are no tricks and there is no ability or basis for comparison with the modern world. The novel unfolds as a normal piece of historical fiction writing. In The Second Mission http://www.thesecondmission.com/, I use time travel as a technique to move the reader into the past. This method allows the writer to make comparisons and to convey the period through the eyes of a modern person. It also allows comparisons with a future world or ideas. This is a complex method and requires the author to be strongly consistent in immersion and research. If the comparisons aren't there, then their is no purpose in using this technique. The third method I have used (by no means the last) is using a fantastic means to pull people from the past into the present. Aegypt http://www.aegyptnovel.com/ takes place in 1926 and pulls a being from the 18th Egyptian dynasty (1539 to 1295 BC) into that place and time. The comparisons here and the power in the novel is the ability to see the world in the French Foreign Legion in Tunisia in 1926, the period of great archaeological discoveries in Egypt, plus the comparison of the world from the eyes of a person from classical Egypt. And that ultimately is the power of historical fiction. It allows the author to present the past as it was and lets the reader see the differences from their times and culture. Tomorrow, I'll expand on this. 

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.

Development - Symbolism Questions

26 September 2012, Development - Symbolism Questions

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.

I'm going to answer the following reader questions in the next few days.  These questions have to do with symbols.  I've listed the entire question set in blue, and I'll answer in black.

1. Is symbolism primarily (vs only) intended to enhance theme? 

Symbolism is wholly incorporated in all writing.  There are two basic levels in all writing: plot and theme.  Symbolism works on both these levels (but realize, there can be additional levels beyond plot and theme).  Plot and theme are the basic levels of symbolism.  For example, I can write about a character:  The lady was tall and slender.  She stood with half her face enveloped in shadow.  The tattered sleeves of her red dress were visible as she raised her hands slightly--to gesture...to catch the passerby's attention.  The half of her face that was visible bore the remnants of beauty, but at the edge of the shadows, the lip of a chancre and a scar were visible.  

In this example, there is no indication of theme, but we have extensive symbolism in the description.  From the example, you can guess the lady is slender because she is malnourished.  The red dress could indicate she is a prostitute (no indications of time here).  The tattered sleeves shows she is poor and has likely one dress (this one).  She raises her hands to gain a potential customer's attention.  She is likely older, but that isn't clear--she was once beautiful.  The chancre indicates a venereal disease (likely syphilis) and the scar that she has been infected more than once.  

Here, in this example is enough symbolism to build many levels in the plot without a single touch on a theme.  To set the theme in place, we would need to connect the woman or the symbols cohesively to some overall point.  We have many choices.  We could use as a theme: poverty, squalor, ruined life, prostitution, redemption, degradation, and all.  There are many choices.

I'll continue to answer the following questions tomorrow. 
2. Is symbolism more (or less) effective than allusion?
3. Do you have more detailed guidelines for it's employment & effectiveness?
4. Is symb...olism considered a "text-linking" literary device, or not?

To elaborate: Readers vary greatly in their recognition of symbolism, allusion, etc.. So the success of using symbolism as a literary device, like an allusion, depends largely on the audience "getting" it. The more obscure, the less they will be understood. With that in mind, do you carefully consider your auidence vs yourself, or somewhere in between. .If the former, do you predominately use basic (higher level) symbols, over and over to reinforce the theme, or use a family of related symbols, each w/ finer granularity, or a bit more nuanced than earlier symbols? If the latter, I fear, it will become a private (symbolic) language of the writer and a very few, buried in the story, not enhancing the theme much. Any feedback appreciated! 
I'll move on to basic writing exercises and creativity in the near future.

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 - yet Another Teaser Example

21 April 2012, Development - yet Another Teaser Example

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/.

If you haven't guessed yet, I've left this up because I plan to use it in the future as we move through development.  The steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

I've been going over teasers, trying to show good examples with my teasers which were developed along with my publisher.  I've also tried to point out what makes a bad teaser.  Let me go ahead with today's example.  I think this is the last I'll give you.  This teaser is for A Season of Honor: 

The fragile peace of the Human Galactic Empire hangs in the balance. Book Three, The Chronicles of the Dragon and the Fox. Don't miss Book One, The End of Honor or Book Two, The Fox's Honor. By L.D. Alford, the author of the suspense-thriller, Aegypt, Centurion, and The Second Mission. Baron Shawn du Locke must choose between honor and desire. Shorn of his lands, regency, title, father, lady, and name, the only thing left to the Baron Shawn du Locke is his honor. Nothing in the past has shaken it and nothing would cause him to compromise it--until he meets the Lady Elina Acier, the last hope of the Noble Houses of the Human Galactic Empire. To protect the planet Acier from the Emperor, she must marry a Duke's son. Shawn must safely deliver Elina to the Imperial capital before the Emperor discovers and kills Elina, and before her presence drives him insane...or he falls in love.

Excitement, excitement, excitement!  If there is anything that I can write about teasers and blurbs is to keep the excitement level high.  Look at the beginning of this teaser (and all the teasers I've shown you for my books).  The first sentence is crafted to intrigue and excite.  There is a portion that mentions my other novels.  Then, wham, right into the plot and the characters.  In every teaser I've shown you, first there is the opening sentence--it is filled with excitement.  Then there is the intro to the plot.  Finally, we get the characters.  Everything in the teaser is meant to get the reader excited about the novel and interested in checking it out.  There is nothing extraneous.  There are no explanations.  There is little detail--short, sweet, plot, and characters.

Let me give a little detail on what not to do.  I'll do this generically.  I'll use one of my novels--so don't quote this as a real teaser.  Here is a terrible trailer I just made up from one I saw today:

***This is not a real teaser for my novel.  This is an intentional bad example***The date is 10,000 AD.  The times are unknown.  This is a great science fiction novel in the style of Frank Herbert.  Baron Shawn du Locke is a man whose brother, the Emperor banished him for ten years.  Now the Baron must take a lady from the planet Acier to the Imperial Capital to wed.  Acier is a planet under Imperial ban, but it's a wealthy planet.  Acier is kind of like the planet Dune except it has radioactives instead of spice.  Because of Acier's wealth, the Emperor wants to take control of the planet.  He intends to murder the woman, Elina Acier, whom Shawn is taking to the Imperial Capital...***This is not a real teaser for my novel. This is an intentional bad example***

I could go one and on, but I think you get the picture.  I took my novel and wrote a terrible teaser.  No excitement, little on the plot, you can't care much about the characters, too much detail, messy comparisons, comparisons with other novels, statements about how good the novel is.  I didn't put in all the bad stuff I could have.  This is not the way to write a trailer
 
The ultimate point is so you will have advertising that will drive people to your novel. Then the novel has to catch their attention. I'm going to move in that direction tomorrow.

I'll get back to introducing the theme in the first scene.

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 - and even Another Teaser Example

20 April 2012, Development - and even Another Teaser Example

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 steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

I made a list yesterday of what not to do with a teaser.  I think the best I can do now, is give you examples of good teasers and see how that works out.  Here is the teaser for The End of Honor:

The fragile peace of the Human Galactic Empire hangs in the balance. Book One The Chronicles of the Dragon and the Fox An intragalactic war threatens to tear apart his heart. and the entire Empire. The death-knell of the Human Galactic Empire has sounded-it is the crash of an axe against the virgin white marble of the Hall of Accords. It is the bitten-off cry of the Lady Lyral Neuterra, whose head lies sundered from her smooth shoulders. It is the death of the Emperor at the hand of his own son. It is the whirlwind of a thousand ships sent to enforce the new Emperor's will. And only Prince John-Mark, the Emperor's youngest son, can bring the Empire back from the edge-back to peace and honor. Don't miss... Book Two: The Fox's Honor Book Three: A Season of Honor Or L.D. Alford's suspense-thriller: Aegypt

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Just like the other teasers I've shown you, this one drives directly into the plot and the characters.  Immediately, I want you to be interested in the Lady Lyral and Prince John-Mark.  You already feel some of the excitement in the novel through the words of the teaser.  My desire is that the reader will feel compelled to check out the novel.  That's the only point of a teaser.  If your teasers miss the point, you are never going to sell a novel.

Notice, at the end we get some adds for my other books.  This gives the reader some connections to these other works.  If they don't like science fiction, they might be interested in suspense.
The ultimate point is so you will have advertising that will drive people to your novel. Then the novel has to catch their attention. I'm going to move in that direction tomorrow.

I've been seeing some horrible teasers and blurbs in the indie scene. I'll discuss that tomorrow and get back to introducing the theme in the first scene later.

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 - and Another Teaser Example

19 April 2012, Development - and Another Teaser Example

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 steps in making and using a character in a novel are as follows:

1. Development of the character (history, description, personality, etc.)
2. Revelation of the character (within the novel, show don't tell)
      a. Description of the character - introduction
      b. Voice of the character
      c. Continuing revelation by showing

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper. If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.

I'd like to show you an example of a bad teaser, unfortunately someone might recognize the teaser, and I really don't want to directly and publicly embarrass a fellow writer.  I'll show you good examples and try to indicate where many seem to miss the point.  First, the positive example for the day.  This is for my novel, Centurion.  This teaser was developed with my publisher.  It fulfills the criteria I've given you before.  It is short, exciting, introduces the main characters, introduces the plot, and generally generates interest from potential readers.  Here is the teaser:

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.

Notice that this teaser for Centurion jumps directly into the plot.  It introduces the main character, Abenadar and then a secondary, but important character, Ruth.  The reason for this is to appeal to men and women.  Ruth is a very important character in the plot and it is important to bring her into the teaser, but the main reason for bringing her up is to tie into the romance in the novel.  You can see how this teaser appeals on many levels.  A historian, an adventure lover, a romantic, a military person--all will be interested in this novel based on the teaser.  I said before, the point of a teaser is to generate interest for your novel in a potential reader.

What should you not do?  Don't tell us how great the novel is.  Don't tell us why you wrote the novel.  Don't make it long.  Don't dwell on anything outside the plot or main characters.  You can and should bring up any topics, but only if they add excitement and interest.  Don't tell us how great a novelist your are.  In fact, don't tell us anything about you.  You may mention other books or writing.  Focus on excitement, the plot, and the characters.  And remember, you need to interest the potential reader in the characters and the plot.

The ultimate point is so you will have advertising that will drive people to your novel. Then the novel has to catch their attention. I'm going to move in that direction tomorrow.

I've been seeing some horrible teasers and blurbs in the indie scene. I'll discuss that tomorrow and get back to introducing the theme in the first scene later.

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/.

Marketing Materials - A Marketing Website, Button Two

28 September 2011, Marketing Materials - A Marketing Website, Button Two

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.  At this moment, I'm showing you the marketing material I put together for a novel.

Today's Blog:  For unpublished novels, there are two other buttons you will want to include, and for published novels four other buttons.  Button two is the secrets button.  I've gone through the secrets page information, but I'll repeat some of it and add some information.  You can start a secrets page by populating it with information concerning the writing of the novel.  You can include your notes, pictures (ones you might put in a novel, and ones you definitely wouldn't), cover information, ideas on the writing, ideas on the theme, et al.  The point is to provide your readers and potential readers with more information on your novel and the writing of it.

Having a button to go to the secrets page doesn't make it any less interesting to your visitors and readers, but it makes the secrets easier to find and those Google searches will discover it more easily.
This is all the buttons I provide for my unpublished novels.  You might discover more you can give your readers.  Check out http://www.aksinyanovel.com/ for an example.

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/. 

I'll write about button three link tomorrow.

Writing Science Fiction, part 5 Showing

Last time, I established that the choice of the use of science fiction to put forward a theme is a cognizant choice by an author--or it should be.  This is similar to the choice of the use of first, second, or third person in writing.  Because I think this is an important topic, and I haven't written about it before, I'll mention it before I transition to my main subject.  An author should choose the point of view of the novel based on the main character of the novel.  Usually, the third person (he, she) is appropriate for characters and novels about normal people or where the focus of the novel is not about a certain person's eyewitness view of events.  On the other hand, if the focus of a novel is a special person or a special person's specific eyewitness view, then a first person (I) point of view  is appropriate.  I begin with a first person point of view in my novel The End of Honor, http://www.theendofhonor.com/.  The main character is Lyral Neuterra, she dies in the first page of the book, and the rest of the first half of the novel is a recollected view of the events that led to her death.  At that point the novel switches to third person and concludes sans Lyral (she's dead).  The reason I wrote the novel like this is that I was trying some advanced techniques with my series The Chronicles of the Dragon and the Fox, http://www.dragonandfox.com/.  I chose to make Lyral and her story the main focus of the novel.  This worked well because she was a critically important character and the entire work revolved around her and the the revenge her dead caused.  She was the telic (beginning and end) cause of the plot.  She was one of the most important persons in the universe and the created world of the Dragon and the Fox.  This made the use of the first person until her ultimate death very appropriate.  You saw the world revealed through the eyes of Lyral and this gave you the ability to understand both the horror of her death (a loss of honor) and the horror of the revenge (a loss of honor) made in her name.  Thus, in The End of Honor, I used the first person as an intentional means to draw your eye to Lyral and keep it there.  Your world was her world, and so you saw her view.  This is where the use of showing in revealing the scientific background of the novel becomes the subject point.  Her view was your view; therefore, when she says this:

"I was the Duke of Neuterra’s eldest daughter, his only daughter, his only child. He and his dame, my mother, could not bear another child. Though they tried, their vitality was gone, and the Codes of the Noble Accords forbade them from any artificial means of increasing their fertility.
They were stuck with me, and the only hope for our House was an alliance marriage. With this in mind, my father groomed me to attract the attention of another great House, one that would willingly accept the Duchy and the name. With the approval of the Landsritters, the Emperor would be forced to accept the new House Neuterra descended through me.
I was well prepared to fill this position. I was made to be a Princess. I was educated to be a scientist of political solutions and ventures—an advisor, steward, mother, ruler, lover, and I was all of these and more. My heritage and intelligence allowed me to excel in these studies as if I was truly born to them, which I was. But I was not the Princess my Father hoped I would be."

We begin to understand the focus of her world.  You had no idea about The Codes.  Now you know a little.  You didn't know about Lyral's problem, now you begin to see it.  The undergirding of the issues and the science of this world become clear.  Later, in one of my favorite scenes, she reveals:

"He was kind to the last. “My lady, I’m at your service. Until you decide, I am obliged to you.”
In spite of my tears, I turned. “Obliged?”
He looked directly at me. “Yes, obliged.” He took off the sash that marked his rank as an Imperial Prince and thrust it at me.
Unconsciously, I put my hands behind my back. “You wouldn’t dare.”
“I dare, and I have.” He thrust the sash toward me again.
“No, I can’t accept that. You put yourself under my complete authority. How can you justify placing your very self under my control? Already, you intend to reveal your plans in their entirety to me.”
“I pray they would become your plans also, and you would safeguard them and my honor just as I would.”
“You know I can’t make that commitment.”
“...but you will protect my interests. Don’t shame me, Lady Lyral, take my oblige. I will protect you and your House. I will be yours until you decide my honor and my arms no longer defend you.”
I know he could see the tears that glistened on my cheeks, but he took no notice of them. I didn’t want to soften to his proposal. I wasn’t sure where I stood, but I could not lightly dismiss the offer of oblige, especially from the son of the Emperor. I reached gingerly for the sash, and he relinquished it with a look of relief. I curtsied to him and backed away."

The concept of "oblige" might have been foreign to you before, but now through Lyral's eyes you should have some understanding.  This "oblige" isn't a science fiction concept.  It is an Anglo-Saxon concept that later we recognize as the chivalric idea of a woman or man carrying a token of honor for their knight or lady.  In this exchange we see the deeper overtones of what "oblige" means to the inhabitants of the universe of the Dragon and the Fox.

So, I gave you examples.  Perhaps not the best examples, but ones I thought might begin to show how to bring the evidence of culture and scientific background into your science fiction writing.  Plus I wove into it an explaination on how to choose the point of view of your novel (tricky, tricky).  I'll try to put some more examples together next time.

Don't Show (or Tell) Us Everything, How I Start part 8

I gave three of my dictums yesterday in one post.  Don't confuse your readers.  Entertain your readers.  Ground your readers in the writing.  Today, I want to give you another one: don't show your readers everything.  People ask me all the time from my books, "What really happened to x." or "Did x do this to y." I try to not let my readers know anything more than the characters understand themselves. I don't like to explain anything. I want the interaction of the characters to show everything. I don't want my readers to predict what will happen in the story. I want them guessing all the time. Guessing as much as the characters are themselves. In the real world, people's motivations are ultimately unknown. People's thoughts are unknown. There are always mysteries. Most of which we simply ignore. You can always leave your readers hanging, but don't leave them confused. Make sure your writing is clear and you are getting across what you want. This is where good editing and lots of it can help you. Find as many readers as possible and beg them for feedback. Once the novel is published, it's just too late to fix it.  So what does it look like to not reveal everything?  Let me show you.  In Children of Light and Darkness http://www.childrenoflightanddarkness.com/, it is quite obvious from the beginning that Kathrin and James have a romantic and sexual relationship. At the beginning of the novel their relationship is estranged. We know this by the way they interact and speak to one another. Here is an example from the novel:

James stepped out on the veranda, “Heat still bothering you, Kathrin?”

Kathrin didn’t say a word. She pursed her lips and clenched her jaw.

James turned around at the rail and leaned against it. He was tall and handsome, clean shaven. His hair was slightly tousled—always slightly tousled. It was brown and nondescript. His face, though handsome was still nondescript. MI, Military Intelligence, liked their agents and operatives to look good, but not to draw too much attention. It was easier that way. James was strong and well trained. He always treated her like a lady, even when he didn’t have to and when she didn’t deserve it.

Kathrin knew she was pretty—perhaps bordering on beautiful. Her face was freckled and sported blazing green eyes. She had heart shaped lips in a heart shaped face. Her hair was red, and she was thin, perhaps too thin. She wasn’t very tall either. None of those characteristics ever seemed to affect her negatively. She spoke with a thick, but improving Scottish brogue that made her a little difficult to understand at times. She knew she always showed a slightly harried look, and that was backed by an overly brisk personality. She did have a raging temper. It was a prideful secret that she kept it in check almost all of the time. When she let it out, it scared her. She didn’t let it out often, not at all since she had been working for the organization.

James checked his sidearm, “You still mad at me about last night?”

Kathrin’s eyes flashed at him. James tucked away his weapon and raised his hands.

All the fight drained out of her. She looked out on the jungle, “It was my fault.”

“Then come on. It will only get hotter the longer we delay.”

... After dinner, they took a nightcap with them to their room. James made a short foray to the veranda and smoked a cigar. Kathrin rearranged the fresh flowers in an old silver pot on her nightstand. For a while, through their window, she watched James as he scouted out the edge of the jungle. Kathrin undressed in the small bathroom. She wore as little as possible to bed. If she were by herself, she would have gone to bed naked. She hadn’t done that with James for weeks—well, except last night. He wore his briefs. That wasn’t an accommodation for her, it was service policy. Funny, the rules that governed spies. She hadn’t let him touch her for a long time. He hadn’t tried for a long time. She was a little ashamed at herself for getting involved with him that way. They weren’t married, and she almost felt like an old married woman.

Here, in this example, the characters show no outward affection for one another. You don't know anything directly about their relationship, but you know quite a lot. You know they are sharing a room, you guess that something happened the night before. I never tell you what happened--I leave it to your imagination, but you know something happened. I could have described everything in its gory glory. I could tell you what they think about each other--I never do. I show you what is going on and leave the rest to your imagination. This is the power of showing and not telling. It is also the power of not letting your readers know everything. The characters and their descriptions build themselves within the context of the novel.  So in building your scenes--aim to entertain, but plan not to let your readers know everything.  That keeps them looking for more.