Development - Rules of Writing, yet more Experimental Scene Outlines

2 September 2012, Development - Rules of Writing, yet more Experimental 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.

The experimental shared scene in my novels, The End of Honor and The Fox's Honor is a great example of the use of storylines to drive the plot. Each character in the scene has their own storyline. The predominate storyline is the basis for any plot. In The End of Honor, the predominate storyline is that of the protagonist, John-Mark. In The Fox's Honor, the predominate storyline is that of the protagonist, Devon Rathenberg. The storylines drive the plot, but the shared scene is literally a scene shared by these two men. The fact that they are both protagonists of their respective novels brings into focus everything I wrote about storyline and plot. This kind of makes this experimental scene seem to be not very experimental at all.

This is the plan from the beginning; I want my readers to read both books. Although they are a series, they are independent novel. I want them to note the shared scene, and I want them to see how this very important turning point in both novels greatly affects these two men and their futures. One goes on to strategic victory and personal defeat--the other to personal and corporate victory. The decisions of these men lead them along different and independent storylines, which leads to different and independent plots, which gives theme that are similar, but with critical differences.

I'll tie this into some of the subjects below, 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 - Extrapolated Science in Science Fiction

15 June 2012, Development - Extrapolated Science in Science Fiction

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/.

I wrote in detail about how to study history and culture to write historical fiction. That moved to how to write about culture in science fiction, and now, I am exploring how to study to write science fiction.

The science in science fiction is always extrapolated from known science today.  Even better said: the technology in science fiction is extrapolated from the known science today.  Technology is applied science, and it takes a while for science to become technology.  I taught a class in predicting technology.  Part of a science fiction author's job is to first know science.  If you don't have a clue about real science, you can't extrapolate anything.  If you imagine that vehicles in space fly using the same means as vehicles in the atmosphere, you are simply an idiot--you can't and shouldn't write science fiction.  In fact, whatever you write should be required to have a warning sticker on it so the young and ignorant won't think your works are about science.

The main point is you must know science to be able to extrapolate technology.  If you really can't imagine how to do this, I suggest you look through my classes at www.ldalford.com or www.lionelalford.com and check out the slides in the technology class.  You can see there the basics of science extrapolated to future technology.  The predictions were based in 10, 100, 1000, and 10,000 years from today.  If you intend to write science fiction, this is the basic process you must go through to understand what you are writing.  The questions still at hand is how do we learn about science and what is science fact.
I'll write more about science in science fiction tomorrow.

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

Publication - General Internet Interviews Places

12 January 2012, Publication - General Internet Interviews Places

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

Here is the list of ideas for advertising--there are more and I'll add to the list as we go along.  I'm certainly not an expert in all these, but I've dabbled in all of them.  I'll try to relate my experience and the degree of that experience to you.

1.  Have a website for your novel.
2.  Write a blog.
3.  Advertise.
4.  Literary awards.
5.  Book cards.
6.  Contests.
7.  Interviews.
8.  Blog tours.
9.  Press releases.
10.  Speaking and teaching.
11.  e-mailing.
12.  Gifts.
13.  Book signings.
14.  Book trailers
15.  ...

You can be interviewed for print media, for radio, for TV, on blogs, Internet general, character interviews, trailers just to name a few. 

There are a host of sites to post information about you and/or your books.  Here are some:
http://www.writers.net/writers/57702  This is my page on Writer's Net.  It is an author connection site--not that great.
http://www.authorsden.com/lioneldalford  This is my page on Author's Den.  This is a pretty good site for putting up your information.
http://www.filedby.com/author/l_d_alford/1406989/ This is my page on Filedby.  You can put up a host of information and sell your books.
http://edgychristianfictionlovers.ning.com/ This is a book fan site.  You can find many of these on the net.  I'm a member of this site.
http://www.scifan.com/writers/aa/AlfordDL.asp  This is my page on the scifan site.  This checks your books to ensure you have science fiction works.

These are examples of places you can put your book and author information.  There are many many more.  Check out the web and you can many permutations of these types of sites.  There value is likely limited, but they are free and require very little management.
Let's move on to character interviews, tomorrow.

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

A New Novel, Part 153 I Have Not Found Him Dour at All

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.


Aksinya, Natalya, and the Bockmanns are at Ernst father's, Graf von Taaffe's, estate for a New Years party and dance.  They have been called to dinner...
They entered a large dining room and Ernst escorted Aksinya to the seat next to the head of the table. It was the seat usually reserved for the lady of the house. Ernst sat beside her and the Graf von Taaffe at the head. Natalya was seated by the Graf next to Ernst. Across from Aksinya sat her uncle and next to him, her aunt.


As soon as the first course of wine and appetizer was served, the Graf asked her, “I understand you are attending the gymnasium at Sacré Coeur.”

Aksinya touched her lips with her napkin, “My lady-in-waiting and I.”

“Yes, you made the acquaintance of my son there?”

“Through my aunt and uncle…”

“Yes, through your aunt and uncle. Your uncle is a very good friend of mine. Do you intend to continue your studies?”

“I would like to.”

“I understand you are as fond as my son of the ballet, opera, and theater.”

Aksinya tasted a bite of the appetizer. It was a small piece of hart in a light wine sauce. She took a sip of wine before she answered, “Yes, although I am still getting used to comedy. In Russia, not so many of the stories end without tragic consequences.”

The Graf laughed, “I thought we Austrians were dour.”

“I have not found Ernst dour at all.”

“That is good. Are you pleased with him?”

“He is pleasant to me.”

“Good. I intend for him to take over the business from me. Perhaps you can encourage him in this direction. He can’t continue to spend his life in frivolity.”

“Father,” Ernst complained.

“Now, Ernst, I simply state the obvious. Although I understand very well why you might want to spend every evening entertaining the Countess, I do wish you to be as serious as she is about your future.”

A servant removed the appetizer plates and another served the soup. Aksinya’s glass was filled with a new wine that was a little sweeter than the first.

You can make all you want of this--Aksinya is seated at the place reserved for the lady of the house.  This place would usually go to the highest ranking woman in the household--it goes to Aksinya.  Like I said, make of it what you want.  The Graf honors the Bockmanns, but we could have guessed he would.  He is interested in their support for Ernst in his courting of Aksinya.  Plus they seem to be the highest ranking couple next to the Graf and Aksinya.  The Graf also allowed Ernst to escort Aksinya to dinner.  He introduced Aksinya as Ernst's suitor so it is natural that Ernst should escort her.  These little plays have their place.  They are the norm for the culture and are not random or by simple desire.

At the table, the responsibility of the man on the right of the lady is to engage the lady in conversation.  The Graf begins immediately.  His question is simple.  Aksinya's answer is not as simple as it sounds.  She tells the Graf that both she and Natalya are attending the school together.  A small detail.  The Graf's response is straight to the point--can you see, he wanted to bring up Ernst.  We learn that Freiherr Bockmann is a good friend of the Graf von Taaffe.  This shouldn't surprise us, but it does make everything become clearer about the past events.

The second point the Graf wanted to bring up is about studies.  Ernst and studies, whatever could he have in mind?  The Graf makes a statement that lets us know he is very familiar with the evening meetings of Ernst and Aksinya.  The Graf's statement is simple, but it is a statement not a question.  Aksinya answers thoughtfully.  Note she does take a long moment to think through her answer.  She acknowledges the Graf's knowledge and provides an attempt to turn the conversation.  This gives me the opportunity to bring up the joke and point about being "dour."  This was a part of Ernst and Aksinya's first event conversation.  The Graf mirrors his son in the treatment of the subject.  This shows the connectin between the two.  Aksinya makes it personal: “I have not found Ernst dour at all.”

This allows the Graf to get to one of his main points: "Are you pleased with him?"  Aksinya's answer allows the Graf to bring up his second point--this is about Ernst's life and work.  Ernst isn't happy with the direction of the conversation.  This is obviously a point of contention between Ernst and his father.  The problem here is that the Graf has made a terrible mistake about Aksinya's dedication to her studies.  Perhaps she wishes to study, but we know she doesn't.  She is not a model student at all.  She is in some ways as bad as Ernst.  To use Aksinya as an example of proper dedication is not the best idea.  Neither Ernst nor the Graf realize this.  Aksinya might not even realize this.  She is a dedicated student of sorcery and luxuria, but not of much else.  Still the dinner continues and tomorrow, we shall see where the Graf's conversation will go.

A New Novel, Part 28 The Disguise

Here we see a neat technique to describe a person through the eyes and conversation of another.  Likewise, we see a means to describe a change in appearance that isn't actually physical.

Natalya stared at Aksinya. Her hands reached up to touch her own face, but it felt no different than before.


Aksinya smiled, “You may speak now. The enchantment is finished.” She turned away a little, “Put away my things, demon. I did as you wished.”

Natalya stuck out her hand, “Countess, you look so different. Like an old grandmother. Your beautiful dress is now rags.”

“Look at yourself in the next dark window glass we pass. You are an ancient granny yourself. You will find you smell like one, look like one, are dressed as one, and sound like one. In time, our appearance and clothing will turn back to what it should be. That is, unless I make a second enchantment. Unfortunately, we can’t change our clothing until then.”

“You will not be able to bathe.”

Aksinya muttered under her breath, “It is simply another torment from my personal demon.”

Natalya might not have heard her, “I’m sorry, countess.”

Aksinya didn’t turn toward the demon, “Asmodeus, I did as you wished. We are ready to go.”

“You performed well, countess. Are you certain you don’t want to wait for the young, drunken Bolsheviks?”

Aksinya half turned her head and scowled.

The demon continued, “I know you are feeling that desire.”

Aksinya bit her lip then she began to pray. She had made a rosary as part of the costume of the old women they had become. She couldn’t truly touch the rosary at her fingertips, but by every appearance, she touched it. She began to pray it, and her desire decreased. Asmodeus frowned. He lifted his lips so his fangs showed clearly.

Natalya laughed, “Certainly, old women would pray. They pray continually.” She began to tick off the prayers by counting her rosary. She was completely caught up in the amazement of having something that appeared to move in her hand, but that had no real substance. Even so, the rosary reacted as though she touched it.

Aksinya took Natalya’s arm and together, both praying in almost synchronicity, they walked toward the train station. Glumly, Asmodeus followed behind them with the heavy chest on his shoulders.

We also get to see another small act of rebellion by Aksinya.  We will see that her rebellion comes with repercussions.  The demon is not obvious with his attacks, but we will see the results--remember they are tied directly and indirectly to her actions.

A New Novel, Part 9 Comments on Temptation plus the Reason

I have included some comments from a reader.  I will address the questions and some of the comments in italics.

From a reader:

You're novel, fascinating & original. Though, was wondering, did you get the idea of demon/human dialogue, from the CS Lewis's Screwtape Letters? Regardless, brilliant, and engaging. Betcha, when completed, and polished, it will become a best seller.  Thanks.  I do like the Screwtape letters.


Have several Q's; unfortunately, will be a few days before I can much detail ('cause, I'm swamped at work).

Though, will quickly make a few points:

1. Really like the way you're weaved the story theme, plot & character development together; especially revealing, with the dialogue between demon & the girl. Thanks!

2. Particularly liked the bath scene; like the (authentic) setting, the description (sets mood), and way the girl (mentally) assessed herself; gives the reader a a good (subtle) sense of her locus of identity, her vulnerability, etc. Precise point and this is something that will potentially be fleshed out more in the final.

3. Very interesting/clever how you discuss her sense of loss of identify, with loss of her hair...the only redeeming characteristic that (she thinks) defined her beauty, given to the demon, as surety for contract. Clear, she's mis-guided, by focusing on the external (hair), whilst the demon is focusing on the internal (acquisition of the soul). The maturity/immaturity of Aksinya is a continuing theme.

4. BTW, I also, like the way you used the 'mirror' to allow her to catch image of herself, and characterize herself. Thanks, excellent observation.

5. Brilliant how you turned the demon into a temporary domesticated helper...getting food, drawing bathwater for her. Almost lulls you into a 'false' sense of sympathy for him, domestically caring for her...though, he makes it clear, what his agenda is, etc.  That's exactly the point--we shall see how this plays out.

Must say, I was very surprised, you (the writer) were so straight forward, in having the demon directly suggest she study sorcery. I understand his motive, why, etc.
But, personally, I thought, it was a waste of a great opportunity, to further highlight the demon's cunning, and plumb the depths of the girl's character, and highlight her 1st futile (misguided, toxic) attempt to regain control her destiny, after death of her family; and horrible contract with the demon.
Kindly suggest, you consider unfolding in a more subtle extended manner; gives you a sense of the demons's cunning; perhaps, a dialogue between the girl & demon...
Say, he at the bedroom side of the door, she in the bathroom. She initiates, and engages, in dialogue with him, while concurrently pondering over her current situation, looking at her physical condition, maybe, in the mirror or bath, seeing her physical vulnerability & bruised condition again, & maybe, have a few fleeting thoughts pass through her head...highlighting her state of mind,and emotional vulnerability...maybe, have the conversation trail off....die down...than resume, different cadence, different length of dialogue,e tc.
This is an excellent observation.  I thought about doing exactly this, and in the next cut, I may put this more into play.  The reason I had the demon suggest sorcery to her is to tempt her to sorcery directly.  This will become clear somewhat in this piece, and definitely in the next.  It could perhaps be more subtle and I agree with the comments.  There is a reason for the demon's suggestion...

The point is, through the dialogue, you (the reader) gets the sense that the demon clearly senses her vulnerability, her desire to control or influence her future...so he begins embarks on a elaborate or scheming dialogue with her which culminates in him (obliquely) suggesting sorcery...not directly upfront...but, rather gets her to crave after it herself....the temptation is planted by him, but, she goes after it....so, it seems like her idea, when really it's an infection from him.. Betcha it would add an interesting dimension, to the character development, and story plot.

6. Liked the way, you had the girl say a prayer, for the food brought....some subtle hint of hope, for redemption of her soul. Yes, maybe the prayer was just an unconscious habit, but, it most certainly was picked up by the demon, irritated him, and he tried to invalidate & smother it with condemnation..gives you a great clue, on the condition of her soul...though not innocent, most certainly redeemable... Again a great observation.

Well, that's a few points of feedback on your latest chapter..

But big picture, probably the two most fascinating themes, I've seen woven into your story, aside from the original 'contract with the demon', was your unfolding of the concept of the 'bounding of the demon', and, your unfolding of the idea of 'choice & consequence' that plays out, with the girl making a deliberate choice of the injury she will gets, through her interaction with the demon....but, she doesn't fully realize the ramifications, of either choice, until afterwards.  We will see the demon has more bounds.

The following dialogue was particularly noteworthy:
"You trusted your body and soul to me—you have aligned yourself to a demon. Your soul was harmed, but not your body. I can protect your body, but I can’t protect your soul. You will heal—that is the way with humans.”

As well as the following:
"It already has marked your soul. Such things become like the lustful desires you already know, they are difficult to purge from your heart and mind once they are experienced.”

Alot of truth, to both; especially the second. Ah, the delights of sin are good for a season, but the consequences, can be fore a lifetime, or eternity.
Reminds me of that verse:
"What does it profit a man, if he gains the whole world, but looses his soul." This in some measure is the theme of the novel.

Here is the next installment.  It doesn't get to the full endpoint of the temptation, but it moves toward it and gets to the next point--the purpose of the demon and the purpose he wishes for her.  Additionally, this tells you why he mentioned sorcery while she was in the bath.
“Now, countess, let us plan what you should do. The first is that you cannot stay here.”

“I have nowhere else to go.”
“Foolish lady, we will soon run out of food to feed you and heat to sustain your puny body.”
“You can provide me all these things…”
“At the expense of your soul.”
“I thought you desired that.”
“And at the expense of my reputation. I told you, I do not wish to become your domestic.”
Aksinya laughed, “You already are.”
“I have pride, that is one of the seven deadly sins, you know.”
“So, if you are my domestic it hurts your pride?” Aksinya continued to chuckle.
“This is not funny. I am Asmodeus. I will not continue this way.”
“What can you do to stop it?”
“I will protect you and I will fulfill our contract, but I can make it exquisitely painful for you to continue in this manner.”
Aksinya’s brow rose, “How could you do that. What suffering could you bring me that I haven’t already experienced?”
“Your people and friends will be pursued by the Bolsheviks. I can bring great suffering to them—that is my purpose.”
Aksinya let her cup fall to the saucer, “You wouldn’t dare. I would simply order you to…”
“I told you. I can’t stop this revolution, and I don’t want to stop it. The lives of your friends and your people are nothing to me. You can order all you wish, but I will protect only you. My purpose, otherwise, is evil. You know this.”
“I understand this,” Aksinya ran her fingers through her short hair. She regretted that as soon as she did it. It reminded her of everything she had done already. Meekly, she whispered, “Then what do you wish me to do.”
“First, I must find you a servant.”
“If so, it must be someone you will not harm.”
Asmodeus grinned, “I have the perfect servant in mind.”
“Then what?”
“I told you, you must continue to study sorcery. To do that, you need a safe place to live and work.”
Aksinya mumbled into her teacup, “Where is such a place?”
“There are many such places. I know your mind so I know you have relatives beyond the boarders of this country. They will be willing to take you in and give you leave to live as you wish.”
“You want me to travel?”
“I wish to travel too. There are many places in the world that need more evil. Let us seek such a place.”
“So you can make it like this one?”
“That would not be so safe for you. I’ll settle for a balance of evil as long as you participate in it.”
“I will not do such a thing.”
“You can’t help yourself.”
“Where do you want to take me?”
“In Austria, you have family and acquaintances who will even accept an ugly countess. They hold the aristocracy in honor there and that can become a place for great evil. There is also Germany, but you don’t have any direct relations, and they don’t speak French.”
“What has that got to do with anything?”
“You speak French very well, countess. I must train you up to be an appropriate vessel for evil. You must be able to speak and interact with the people to gain their trust.”
“So you can enact your evil?”
“And you yours. You can improve your German in Austria. I see great things ahead for you there.”
“When do you plan to take this trip, and how do expect to travel with revolution all around us.”
“I could simply carry you.”
“At the expense of my soul.”
“That hasn’t bothered you much in the past, but I intend you to travel by normal means. There is the problem of the servant and of these domestic, human considerations. I don’t want to bother with all your female issues either. I have only had male masters before. They were never such a trial to me.”
Aksinya sputtered, “What if I refuse to go?”
“I told you. I will cause you suffering beyond that which you can bring to me.”
“I cause you to suffer?”
“Your human issues are painful to me. Plus your simple goodness nauseates me.”
“Do I have simple goodness? Do I have any virtue left?”
“Yes, but I will seek to expunge that from you. In time, I shall.”
“By threats and coercion?”
“You will seek evil on your own. I will simply focus your actions so they may provide the most evil. That is my purpose. Now, you will be able to travel tomorrow.”
“How do you know that?”
“You will attempt some healing sorcery tonight. Since I put the thought in your mind, you have thought continually about it. You are already eyeing your books and wondering how you can accomplish it without my knowing. When the desire and the pain becomes uncontrollable in you, you will do it.”
“I am not in pain right now.”
“You are lying.”
“I am lying.”
“You are holding it back well, but since you are clean and fed and have emptied your bladder, the pain has been growing in your legs and thighs. You wish there were something to take care of that pain. You wish me to bring you wine and drugs.”
“I could order you.”
“I would not help you. It would only deaden the pain. I wish you to suffer. That will bring you to compromise yourself. I protect you, I don’t cater to your every whim. Not if they don’t lead to evil. That’s the point, after all.”
“I’ve heard enough. Leave me.”
“Very well. I shall wait outside your room. If you require my help, just call my name. I can aid your sorcery.”
“Get out.”
The demon bowed. He backed to the door and stepped out.
Aksinya stared to throw her cup at him, then thought better of that and pitched an empty dish at him. It broke against the door with a satisfactory crash.

There is indeed more that can be done with subtlety.  We will find out the demon is both subtle and direct.  This is the point of temptation--it is always subtle and direct.

Centurion is featured on another blog

This week Lynnette Bonner is featuring my novel Centurion http://www.centurionnovel.com/ on her blog at http://www.lynnettebonner.blogspot.com/. The account on her blog tells about how I got the idea for the novel, wrote it, and eventually found a publisher.

I am planning to write a sequel to Centurion. I already have a name and plot in mind. The name is Praetorian, and the plot will be set in Rome during the period after the crucifixion until around AD 56 or so. This allows the integration of Paul into the plot and the theme. I'm not certain how I will work that history into the novel. There has been a question about the time of the death of Paul. Many historians think he died in Rome in AD 55, but the writing of the pastorals "Timothy and Titus" plus the trip to Spain would have required at least a decade later. This historical anomaly requires some explanation and would be a perfect topic for Praetorian. I spent a lot of time in Rome and environs, so I'm familiar with the territory. I haven't started the writing yet because I just finished Dana-ana www.GoddessNovel.com (current working title). I usually have to wait a while for inspiration (at least a couple of months to get the previous book out of my mind). In addition, I have a couple of other novels in the writing list ahead of Praetorian. I've even gone so far as to outline Ddraig Goch. This science fiction novel is planned to complete the Ghostship Chronicles http://www.ghostshipchronicles.com/.

Right now, I'm writing from deep in corn country and my granddaughter is sitting on my lap and telling me to draw Sam the pony for her. That means you should expect a new addition to the aviation blog http://www.ldalford.com/ when I fly back to the Air Capitol on Wednesday.