Scenes - Scene Setting, Crowning

21 May 2013, Scenes - Scene Setting, Crowning

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.

A scene outline is a means of writing a novel where each scene follows the other with a scene input from the previous scene and a scene output that leads to the next scene. The scenes don't necessarily have to follow directly in time and place, however they generally follow the storyline of the protagonist.

A storyline outline is a means of writing a novel where the author develops a scene outline for more than one character and bases the plot on one or more of these storyline scenes. This allows the scenes to focus on more than the protagonist. This is a very difficult means of writing. There is a strong chance of confusing your readers.

Whether you write with a scene outline or a storyline outline, you must properly develop your scenes. All novels are developed from scenes and each scene has a design similar to a novel. Every successful novel has the following basic parts:

1. The beginning
2. The rising action
3. The Climax
4. The falling action
5. The dénouement

Every scene has these parts:

1. The setting (where, what, who, when, how)
2. The connection (input)
3. The tension development
4. The release
5. The output

There are many approaches to scene setting. That means there are about a million plus ways you can set a scene. The main point is you have to clearly get across the where, when, who, what, and how.

Here is another example of scene setting from the novel, Aksinya. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

Even if you are not excited or entertained by sitting (reading) through an Orthodox wedding, I'm certain most readers will be intrigued by the crowning.  In Christian thought, Christians are crowned in glory.  This crowning is a symbol of human perfection in joining together man and woman in marriage.  This is the view that a man can't be perfect and a woman can't be perfect without their complements.  In Orthodoxy, priests must be married.  This is in direct contradiction of Catholic thought that man and woman can be perfect without their complement.  Orthodox thought comes from Jewish thought while Catholic and Roman and Greek thought are more in line.

Father Makar took the two crowns from the altar.  He lifted the silver one over Dobrushin’s head, “The servant of God, Dobrushin Sergeevich Lopuhin, takes as his crown the servant of God, Princess Aksinya Georgovna Holstein-Gottorp-Romanov the Countess of Golitsyna, in the name of the Father, and of the Son, and of the Holy Spirit. Amen.”  He lowered the crown on Dobrushin’s head while stating this three times.  Then he made the sign of the cross three times on each of them.

Father Makar took the gold crown and held it over Aksinya’s head, “The servant of God, Princess Aksinya Georgovna Holstein-Gottorp-Romanov the Countess of Golitsyna, takes as her crown the servant of God, Dobrushin Sergeevich Lopuhin, in the name of the Father, and of the Son, and of the Holy Spirit. Amen.”  He said this three times as he slowly lowered the crown to her head.  He made the sign of the cross three times on each of them again.

He chanted three times, “Lord our God, crown them with honor and glory.”

 

Notice the crowns represent the individuals--thus the crown representing Dobrushin is gold while the crown representing Aksinya is silver.  Dobrushin wears the silver crown and Aksinya the gold crown.  This also accords with Jewish thinking.  Woman is crowned as the peak of creation--she was created last and the greatest is always created last.  But man is accorded the representation of the gold--there is a wonderful balance here.

The following is a question asked by one of my readers. I'm going to address this over time: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.

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 Question #4

29 September 2012, Development - Symbolism Question #4

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?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?

Answered 27 September

3. Do you have more detailed guidelines for it's employment and effectiveness?

Answered 28 September.

4. Is symbolism considered a "text-linking" literary device, or not?

"Text-linking" means that one text turns on the context of an entirely different text.  In this regard, allusion is a "text-linking" device.  When an author makes an allusion, the allusion automatically conjures the entire context of the alluded text.  This makes the current text and the alluded text within a similar context.  Note that this is only applicable to literary texts.  An allusion to a painting would not be "text-linked."   I do not necessarily like the term "text-linked" because an allusion and other potential "text-linked" literary devices are not limited to text.  I would prefer the term "context-linked."  This would include art, architecture, places, symbols, etc. within the idea of a "text-linked" literary device. 

So, in the purest sense symbolism could be "text-linked" if the symbol is literary.  For example, a Vampire is a literary symbol (they don't exist in real life and although they do have folklore antecedents, Bram Stoker defined the literary idea of a vampire).  This symbol could be "text-linked."  A cross is both a literary and a physical symbol.  An author must be careful to delineate which and what symbol she is writing about. 

Symbols are always "context-linked" literary devices, they are not necessarily "text-linked" literary devices.

Let's go into "context-linking" a little.  All authors should realize this--in fact all readers should realize this.  Allow me to use a very important concept called Rabbinic Context.  All the Old Testament, Apocryphal, Talmudic, and the New Testament documents are considered to be written under the idea of Rabbinic Context.  This means that when you read a reference to a statement in one document, the context is the entirety of the context of the statement.  Therefore, when you read a quote from a Psalm in the NT, the context is the entire Psalm and not just the singular verse (verses, chapters, punctuation, word separation, etc. were all added to the Hebrew and Greek much later anyway).  This is called Rabbinic Context.  This is also something that many readers of the mentioned documents miss.

Symbols in literature are all context linked.  This means that when you read about a symbol (allusion for example), the entire context of the symbol (allusion) is intended (or should be intended) by the author.  For example, if I write an allusion (symbol) to Oliver Twist, I am using the entire context of the novel.  I can also specify a specific point or aspect of Oliver Twist--Bill Sikes for example and bring into light an entirely different context.

This is the caution as well as the point of symbols.  They can clarify or they can create intentional ambiguity.  An author must realize exactly the context of the symbol and how it will and can be perceived in his writing.  

I'll continue to answer the following questions tomorrow.

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 audience 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.

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 - Symbolism Question #3

28 September 2012, Development - Symbolism Question #3

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?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?

Answered 27 September
3. Do you have more detailed guidelines for it's employment and effectiveness? 
I'm writing about figures of speech in my blog at www.novelscene.wordpress.com.  What is significant about figures of speech is that we almost always use figures of speech in our writing and speaking--we just don't realize that is what we are doing.  By the way, the last sentence was a figure of speech.  The second statement clarifies the first. 

Just as figures of speech are ubiquitous in English so are and should be symbols in both speaking and writing.  Part of the problem is education and part is cultural ignorance.  For example, the number of times I hear someone say "pun not intended" when they make a pun disgusts me.  Puns are wonderful symbols and figures of speech.  If a person isn't willing to acknowledge the intentional or unintentional use of a pun, then they certainly aren't willing to acknowledge the use of a symbol--yet, they use symbols all the time.

As I wrote, all language use is symbols--they language stands in place of the things it describes.  Further, as I wrote, without a written language, you can't think or write about non-physical things such as "love" or "wisdom" or "intellect" or "peace" or the list goes on and on and on.  Unless you have a written language, you can't imagine such things.  You can only imagine those nouns that are physically real or verbs that have obvious actions.  In this sense, all complex language use becomes symbols.  It should not be a leap for the author to use more complex symbols.

As to guidelines.  It is likely possible that someone could overdo symbols.  They must be used cautiously, subtly, and pervasively.  I put up the novel I provided on this blog, Aksinya, as an example of the use of symbols in a literary work.  If you go back through the commentary, you will see where I highlighted many of the symbols--and still you can find more and more and more.  They pervade the novel.  They infuse the writing.  They are the novel.  (another figure of speech). 

I use and I would advise you use symbols extensively through any literary fiction or essay.  They provide entertainment, and they add power to the writing.  They are also one of the singular methods to get to the theme in any complex writing--that's another answer.

I'll continue to answer the following questions tomorrow.

4. Is symbolism considered a "text-linking" literary device, or not?
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 - Symbolism Question #2

27 September 2012, Development - Symbolism Question #2

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?

Answered 26 September

2. Is symbolism more (or less) effective than allusion?
An allusion is a figure of speech.  Figures of speech are a subset of symbolism.  A figure of speech is a type of symbol.

Let's look at the definition of a symbol:

1. Something that represents something else by association, resemblance, or convention, especially a material object used to represent something invisible. See Synonyms at sign.

The concept in art relating to symbols is symbolism. Its definition follows:

1. The practice of representing things by means of symbols or of attributing symbolic meanings or significance to objects, events, or relationships.

Lets look at language as a symbol. Authors use language as the paintbrush of their art. Language itself is a symbol and is used to form symbols. One of the chief uses of language is called figures of speech. Here is the definition of a figure of speech:

A figure of speech is the use of a word or words diverging from its usual meaning. It can also be a special repetition, arrangement or omission of words with literal meaning, or a phrase with a specialized meaning not based on the literal meaning of the words in it, as in idiom, metaphor, simile, hyperbole, or personification. Figures of speech often provide emphasis, freshness of expression, or clarity. However, clarity may also suffer from their use, as any figure of speech introduces an ambiguity between literal and figurative interpretation. A figure of speech is sometimes called a rhetorical figure or a locution.

An allusion is a figure of speech that makes a reference to, or representation of, people, places, events, literary work, myths, or works of art, either directly or by implication. M. H. Abrams defined allusion as "a brief reference, explicit or indirect, to a person, place or event, or to another literary work or passage".  It is left to the reader or hearer to make the connection (Fowler); where the connection is detailed in depth by the author, it is preferable to call it "a reference".  In the arts, a literary allusion puts the alluded text in a new context under which it assumes new meanings and denotations. It is not possible to predetermine the nature of all the new meanings and intertexual patterns that an allusion will generate. Literary allusion is closely related to parody and pastiche, which are also "text-linking" literary devices.

In a freer informal definition, allusion is a passing or casual reference, an incidental mention of something, either directly or by implication: In the stock market he met his Waterloo.
The exact answer to the question is that they are the same, but I get the point of the question.  It is this:  is a symbol more effective than a symbol that points to a symbol.  An allusion is a symbol that points to a source for that symbol.  The logical answer is that a bare symbol is more effective than a symbol of a symbol.  Logic doesn't always hold sway in art.  Many times a pure symbol can be more effective because it conjures a picture that is unmistakable.  On the other hand an allusion can produce an even more powerful picture.  For example, the symbol of the cross is an unmistakable image.  The allusion "Surely this must be the/a son of God." is a powerful image on its own.  Or, the image of the soldiers gambling for the cloak of Christ.  Or, the image of the women at the empty tomb.  Allusions are powerful because they incorporate entire stories in a single picture, statement, etc.  Naked symbols, in this sense, are powerful because they do the same.  An author chooses carefully the appropriate symbols (including allusions) to use to clarify or to produce ambiguity.

I'll continue to answer the following questions tomorrow.

3. Do you have more detailed guidelines for it's employment & effectiveness?

4. Is symbolism considered a "text-linking" literary device, or not?

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 - 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 - Rules of Writing, Themes Again

1 August 2012, Development - Rules of Writing, Themes Again

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 first step in developing a character is the picture.  I wrote about this before, but I'll try to approach it from a different perspective.  Before, I described how the picture of Aksinya came about.  I drew the picture, set the scene, and released the characters.  I'll do the same again, but I'll use a different example.  This time, I'll use Aegypt as the example.  Now is the time for you to run out and buy a copy of Aegypt.  You can either order it from your favorite Internet book seller, order it at a brick and mortar bookstore, or download it for your computer, iPad, iPhone, Kindle, or other book reader.  Okay, you don't have to buy the book.  I'll try not to give out too many spoilers.

Let's evaluate the development (creation) of the novel, Aegypt.  The first point about Aegypt is the theme.  Here is the critical point about character development.  The theme always comes first and the characters are developed out of the theme.  You might say, but you wrote before that you developed the characters and the plot and storylines came out of the characters.  That is absolutely true, but the basis for the characters came out of the theme.

The theme for Aksinya was that a person called and bound herself to a demon to protect her family, but her family died and left her bound to a demon.  That is the theme and from that theme, the characters, plot, and storylines developed.  So what is the theme of Aegypt?  I'll get to 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.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

Development - Rules of Writing, The Character as a Symbol

31 July 2012, Development - Rules of Writing, The Character as a Symbol

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.

It may be possible to start a character with just a name, but it is almost impossible to name a character without a context.  You must develop the character first, and the character, if you like, is your first symbol.

The example is the development of Aksinya.  I wrote already extensively about developing the character of Aksinya.  She was fully developed before I named her, the naming placed the final seal on who she was.  It placed her in time, her culture, and her being.  That is the point--you develop a character and then you place a name on the character that represents the character. 

Even before you learn about Aksinya, doesn't the name begin to conjure an image in your mind.  The author develops a character, places a name on the character that represents the character then gives the character life in revealing the character. 

This goes back to developing the character.  I will spend a little time on this subject in regard to the questions posed below.
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, Themes and Symbols

29 July 2012, Development - Rules of Writing, Themes and Symbols

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.

With the power of symbols, we are back to the concept of levels in writing.  I also slipped in the idea of understanding and beauty.  I'm sure we could engage in many discussions on this topic.  In my view, art must add to beauty.  If it doesn't, it can't entertain.  My definition of beauty in art is very broad.  I can accept some measure greater than the common understanding of beauty, but certainly, art can't repel--if so, it can't be art.  To define something a human shuns because of ugliness, vulgarity, or cultural unacceptability as art is silly.  I gave an example of cultural unacceptability a couple of days ago. 

Back to symbols and levels.  The two basic levels in art and writing are theme and plot.  Storylines are also there--the form the plot.  Each storyline has the potential to provide a level in the writing and the theme and plot obviously provide a level in the writing.  Symbols additionally can provide levels within storyline, plot, and theme.  Warning: it is technically possible to build a cohesive secondary theme or subtheme through symbols, but don't dilute or confuse the theme of your novel.  I wish everyone had this problem.  Most writers seem oblivious to their themes--the idea of subthemes or secondary themes are even more foreign to them.  The important point is that you shouldn't use symbols in a way that they confuse the main theme.  Subthemes or secondary themes based on the same symbols are aokay.  An example of a subtheme is love in marriage.  I've written about this before.  Although not a theme in my novels, I have often written love in marriage as a subtheme.  Most novels handle love as a major theme, and they are usually, guy gets the girl or girl gets the guy.  In classical literature, it is commonly couple meets, couple falls in love, couple faces hardship for love, couple weds (or some variant).  Love in marriage is a pretty unused theme or subtheme in most AmerEnglish literature--so I like to use it.  You can probably think of other themes that could make good subthemes.  Make sure all your symbols point toward the proper theme, level, or plot (storyline).
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, Power of Symbols

28 July 2012, Development - Rules of Writing, Power of Symbols

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 number one purpose for any art including writing is to entertain.  This is where many modern artists have been misled by misunderstanding the purpose for their field.  Many writers have missed the point too--generally, those writers are not published.  The artists can sometimes get the government to support their uncreative and naive scribbles.  This is generally not so with authors.  If you have a message to tell, don't write--rather don't write fiction (go for essay)--or become a preacher.  However, if your writing doesn't entertain, neither will your sermons.

The purpose of art is to make the world more understandable and beautiful.  It is possible for dark and ugly images to achieve both illumination and beauty.  How can that be?  My latest topic in symbols is opposing symbols--that is symbols that are the opposite of what they literally convey.  I mentioned that this is evident in the novel, Aksinya.  In Aksinya, we see a young woman who has committed the grossest crimes, yet the image produced is that of innocence.  In her name much evil has been done by the demon, but we also see how she isn't fully responsible for those crimes.  Aksinya is coerced into taking Natalya as her lady-in-waiting, but Natalya assumes and credits her status as the beneficent act of Aksinya.  To save a sorceress' virtue (Aksinya), Natalya is willing to seduce Aksinya's probable fiance'.  Natalya, whose every action lead us to believe she is innocent has been sexually and physically abused.  All these are dark and in some cases ugly images--but the revelation of them in the context of the novel brings understanding and becomes beautiful.

The great betrayal of Aksinya by Natalya leads to the redemption of Aksinya, Ernst, and Aksinya (just to mention three).  The power that makes these opposing symbols come right is subtlety and presentation.  As I mentioned, the primary purpose in writing fiction is to entertain.  The theme, plot, and storylines are all part of that entertainment--they are also their own message on (hopefully) many levels.

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, more Opposing Symbols

27 July 2012, Development - Rules of Writing, more Opposing Symbols

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.

Just producing something shocking or vulgar is not irony, sarcasm, satire, or anything else--it's just vulgar.  The tools we mentioned (irony, sarcasm, and satire) are best yielded purposefully, gently, and subtly.  The point is to get your message across.  No one will accept a vulgar message.  For example, placing a cross into a vial of urine is just vile and vulgar.  It didn't change any one's opinion--it just polarized every one's opinion.  Further, such a vile act is both intolerant and prejudiced.  The person who did such an act is neither an artist or an intelligent person.  Likewise, using nudity as a means to shock or produce a vulgar show is not art and is not effective as a means to influence.  If you say the artists who did such things were not trying to influence, you are really fooling yourself.  Remember my rules of writing--they are also good rules for art.  I put them above (and in the correct order this time).

My first rule is to entertain.  A cross in urine is only entertaining to a scatologist.  It is ugly and dirty to the mentally not ill.  A vulgar show of nudity might entertain the perverse, a pornographer, or a pedophile--it certainly is not entertaining to those more adapted to society and culture. 

So, if you intend to write using irony, sarcasm, or satire, do not assume that the shocking or the vulgar are what you want.  The intent is subtlety.  If you want an example of how to write using these tools take a look at Aksinya.  In this novel, you will ind sufficient examples of all three to engender full understanding.  In Aksinya, the Catholic Church is prosecuting Aksinya for the sorcery of conjuring a demon, yet none of those doing the prosecuting believe in sorcery or demons.  Those that are close to Aksinya know she can do sorcery, yet they are all willing to defend her to the point of lying about her actions.  These are great ironies.  These are handled delicately in the novel...and that is the point.  Based on the novel, I desire that even those who might disagree with my points will agree with the irony.  I want those who might disagree to be entertained.  I might not convince them, but I wish to entertain them.  And is there anything I really want to convince them of?  Not really...or not that I will say.  The point is the novel and the entertainment, if the theme has any kind of punch or tracks that is due to the fact that someone read and was entertained by the novel. ...And that's the ultimate point of art and writing.
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, Opposing Symbols

26 July 2012, Development - Rules of Writing, Opposing Symbols

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. Don't confuse your readers.
2. Entertain 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.

Sarcasm and satire are very powerful writing tools.  They are driven by symbols and generally, those symbols are opposite to their literal meanings.  We recognize this in sarcasm and irony.  The writer makes a statement that is literally the opposite of the intended meaning.  Satire and irony are evident in great essays.  Johnathan Swift was considered a master of this form of writing.  His essay A Modest Proposal suggested the Irish eat their own children to survive the great Irish famine.  It is quite clear from his writing, that the modest proposal is irony and satire.  The symbols of the writing mean precisely the opposite of their literal words.

Authors many times miss the ability to properly use irony, sarcasm, and satire.  They are not the usual tools of the modern writer.  They are the tools used in Aksinya.  Aksinya is a novel about a girl who calls a demon to save her family.  The irony is that the demon can't save her family--they die anyway.  A further irony is that we discover near the end of the novel, that the demon himself delayed his arrival so that Aksinya's family would be murdered.

Again irony, the demon who was supposed to obey Aksinya instead temps, controls, and commands her.  And where Aksinya is supposed to be a novel about a demon and a girl, it is instead a novel about how a girl is redeemed from the power of her own sin and temptation.  The use of symbols through irony, sarcasm, and satire allow such an opposite theme.  That is the point I made yesterday: nudity, nakedness, sensuality, and sexuality can become incredibly powerful symbols that through the adept use of irony, sarcasm, and satire can be used to present a redemptive or even a theme opposite to nudity, nakedness, sensuality, and sexuality.  In fact, the contrast itself can be instructive and useful.  Don't be afraid to use these tools in your writing and especially the symbols.

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, more Nudity as a Symbol

25 July 2012, Development - Rules of Writing, more Nudity as a Symbol

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. Don't confuse your readers.
2. Entertain 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.

Nudity and nakedness are both very powerful symbols--as long as they are not overused.  Sensuality is best accomplished by what to can't see as much as what you can see.  This is why the most sexually charged scene isn't one of description but one of conversation--think about it.  On the other hand, a wise author who intends to turn nudity into a passe' image can do that too.  Most of the time, the incompetent try to titillate and end up boring their readers.  That is the problem with nudity, nakedness, sensuality, and sexuality.  A little bit can go a long way--too much turns into pornography or is silly. 

Many might imagine there is no place in certain types of literature for those four concepts.  The lessons of the past tell us that isn't so.  Some of the most sensual poetry and literature from the 18th and 19th centuries is religious but chock full of sensuality.  Burke, Pope, and Shakespeare are great examples of this kind of writing.  Although Shakespeare might not be thought of as a religious writer, many of his themes are classically redemptive--and they are entertaining. 

Let's put it this way.  Let's say you are an author who wants to present a powerful redemptive theme that communicates a religious thought or message.  Would you choose to write an allegory, a powerful multilevel novel, or a straight forward two-by-four type sermon.  Which would be read and which would have more effect on the world.  Simply, the more a novel is read, the more effect.  The allegory or the multilevel novel would have much more appeal to most than the sermon. 

Aksinya is this type of novel--that is it is a powerful multilevel novel that uses sensuality, sexuality, nudity, and nakedness as symbols to make important points in the theme.  The novel isn't about sensuality, sexuality, nudity, or nakedness, but it uses those ideas as symbols to communicate.  Additionally, anyone who reads the novel can't miss the point of each symbol.  This is the most powerful nature of symbols.  It is possible for a symbol to relate a concept nearly opposite to its literal meaning.  I'll write about this 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, Cultural Symbols

21 July 2012, Development - Rules of Writing, Cultural Symbols

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. Don't confuse your readers.
2. Entertain 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 been writing as though cultural and historical symbols can be separated.  They really can't be.  History and culture are innerwoven tightly and can't be easily separated.  It is good for our study here to imagine otherwise because history and culture, although tied together, are the same concepts viewed from a different angle.  For example, I wrote about how the history of the bathroom directly affects the novel, Aksinya.  The history is the facilities, their use and introduction in time.  The culture is how the society viewed and used them.  The viewed and used significantly overlaps facilities, use, and introduction, but there is a slight difference.  Even though a facility ( a bathroom or water closet) exists, there is no guarantee a person in the society will use that facility.  History drives the existence of a capability.  Culture drives the use of a capability.

For bathrooms and water closets, I didn't play the cultural angle the way I could have in Aksinya.  I made the assumption that bathrooms were common in the strata of the culture and understood and used.  This isn't true about science, religion, and sorcery. 

Aksinya assumes sorcery exists--it does not assume society (or culture) accepts it as true.  Within the sphere that is the novel, Aksinya, the characters act and react in a world that is historically and culturally accurate for the times.  The people believe in science, religion, and sorcery.  This is not to say that everyone believes in these things, but rather that they are culturally, socially, and class dependent.  The modern world isn't so different.  The point is that in Aksinya the protagonist must contend with varying degrees of misunderstanding, knowledge, and belief throughout.  For example, although Aksinya is being tried for sorcery, it is evident that the prosecutor and the church don't really believe in the sorcery she is being prosecuted for.  Likewise, the civil government doesn't believe in sorcery at all, but in every case, they must contend at some degree or level with the evidence of sorcery and Aksinya's strange actions.  Most people of the time think she is insane--yet the reader knows she is not insane.  There is more to culture and symbols.

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, Historical Symbols

20 July 2012, Development - Rules of Writing, Historical Symbols

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. Don't confuse your readers.
2. Entertain 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.

Yesterday, I wrote about the details of historical writing.  I didn't mention levels and symbols, but I should before we move on to the details of culture.  I wrote that bathrooms and other household facilities were a focus of the history in my novel, Aksinya.  Of course, bathrooms and household facilities was not the only focus of the history in the writing.  I used primary historical sources and information for all the history in the novel and followed my own recommendations for study and writing, but bathrooms and household facilities were a large difference between the historical world in the time of Aksinya and today. 

The bathroom and other household details became the baseline for levels in the writing and for the contrast of today's culture and Aksinya's culture.  How, you might ask?  If you go back a look at Aksinya, one of the key scenes is when she needs to go to the bathroom, which is outside.  She decided not to use the chamber pot because there would be no one to empty it (her family and all the servants were murdered by the Bolsheviks), and she didn't want to have the demon empty her chamber pot--that was too embarrassing a thought for a person from that age.  She has to go to the outhouse for her family's mansion.  If that doesn't show a huge cultural and historical difference, I don't know what does.  Aksinya has an accident (outhouse type) while going to the outhouse building--an accident that the demon becomes directly involved in.  The demon has to take her to the "bathroom" attached to her room and prepare a bath for her.  He has to take care of her soiled clothing etc.  Like her own sexuality, this incident reveals a pattern of actions by the demon that embarrass then help Aksinya.  These actions become part of the process of tempting her. 

Additionally, the outhouse, bathroom, and the bath provide symbols that relate directly to Aksinya's issues and the demon's infiltration into her life.  In the bath provided by the demon, Aksinya sees her reflection in the mirror and recognises the loss of her hair (given as a surety to the demon).  She sees her own ugliness (she thinks she is ugly).  The bath becomes a symbol for her inferiority and insecurity.  There is a bath scene with Natalya and there we see Natalya hiding the evidence of her abuse.  The bath itself becomes a symbol throughout the novel for secrets and the hidden issues of Aksinya, Natalya, and the demon.  It is no accident that Aksinya and Natalya reveal their inmost thoughts in the bedroom and in a bed rather than in the bathroom.  In the bathroom is solitude of sorts and privacy, in the bedroom there is revelation and honesty.  Which we discover later is the unseen turning point of the novel--the bedroom secret tryst between Ernst and Natalya that drives Aksinya over the edge.  The power of symbols that drive levels of storyline, plot, and theme in a historical novel should be the historical points.  Tomorrow, culture. 

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, Motivations

18 July 2012, Development - Rules of Writing, Motivations

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. Don't confuse your readers.
2. Entertain 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 idea of levels beginning with storylines that form the plot relates directly to what and what not to show.  In general, when the overlap of storylines relates directly to the protagonist you should consider showing it.  This still doesn't mean you should show everything about the protagonist.  The point is that a worthwhile measure of what to show is where the storylines coincide with the protagonist.

This assumes you understand the storylines of the other characters.  Every character and many things and incidents in a plot have their own storylines.  You don't have to know every detail in those storylines, but you need to know enough to understand them and the motivations of your characters. 

The motivations is the critical part.  It doesn't matter if you know every detail about a character, what you need to know to develop a storyline is the reason a character acts as they do.  The reasons can be varied and not even told.  In fact, don't give motivations.  One way to know you are telling is when you explain motivations.  Motivations are largely unknown--these are things you must show and not tell.  For example, in Aksinya, Natalya was sexually and physically abused.  We don't discover this until late in the novel.  We see slow Revelations that lead to this conclusion, and finally, she makes a confession to Aksinya.  We realise at that point (and later) that Natalya's motivations were because she was abused.  I never tell you her motivations--I do reveal over time that she was abused.

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/.