Development - Nothing Extraneous

9 April 2012, Development - Nothing Extraneous
Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

A novel is a cohesive whole and what makes it whole and cohesive is there should be nothing extraneous in it.  If you couple this with the characters, the novel will develop itself.

I don't view a novel as a story--never have.  A novel is the revelation of a character encompassed by a theme.  I'm not saying that the plot (or storyline) isn't important, but it is of lesser importance to the revelation of the character and the theme.  Look, most people write because they want to get out an idea (a theme).  Some people, like me, write to entertain.  You will achieve both goals if you encompass the revelation of a character encompassed by a theme. 

Remember, show don't tell?  Showing is revealing a character.  Have you ever heard of a storyteller, showing--or telling?  The name gives it away--a storyteller, tells.  A novelist shows.  That's the difference.  I am not a storyteller (although I can tell a mean story)--I am a novelist.  Are you getting it?

I'll write about classical forms in literature, and I'll write more about characters, especially about the protagonist's helper, and plot tomorrow.

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

Development - more on Protagonist's Helper

8 April 2012, Development - more on Protagonist's Helper

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

If you want to write a love story (or almost any story for that matter), you need a protagonist's helper.  The protagonist's helper can go from a sidekick to a lover to an advisor.  In fact, writing and characters is kind of like the bride and the groom at a wedding.  The bride has her supporters and the groom has his supporters and they get opposite sides of the church.  In any novel, you have the protagonist, the antagonist and all the other characters in the novel.  All of these other characters line up on one side of the church or the other.  They either support the protagonist or the antagonist.  Some are kind of in the middle.  That's not to say that all these characters are protagonist's helpers or even antagonist's helpers, but like I wrote they fall into one camp or the other.

I mentioned the other side.  It's been popular to bring in the antagonist's helper as a major character.  You can.  There are novels with a legitimately strong antagonist's helper--I just can't remember any off hand.  There is nothing wrong with bringing in as many and varied characters as necessary for the novel, the problem comes when you take too much time with side characters. 

A novel is a cohesive whole and what makes it whole and cohesive is there should be nothing extraneous in it.
I'll write about classical forms in literature, and I'll write more about characters, especially about the protagonist's helper, and plot tomorrow.

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

Development - Protagonist's Helper

7 April 2012, Development - Protagonist's Helper
Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

In spite of what you may have experienced or been told, a single character can't make any kind of great literature.  Any time you have one voice, you are telling and not showing.  To show, you need description and conversation.  The moment you have conversation, you no longer have a soliloquy--you no longer have one character.  Why a single character would even make an interesting subject is for the groupies and idolists to figure out.  For the rest of us, the characters are important, but not as important as the plot, yet the character is what drives the plot.  I hope you got that paradox.  The importance in Oliver Twist isn't Oliver Twist.  You don't read Oliver Twist to read about Oliver Twist.  Oliver Twist is a child with serious issues in a world of pain.  You don't read Oliver Twist to read about Oliver Twist, you read Oliver Twist for the plot and theme and through them to live the pain of Oliver Twist.  Some people put themselves in the place of Oliver.  Some people just live in his world vicariously, but the point isn't the characters, the point is the role and play of the characters in their roles.

Therefore, in developing the novel, it is the interplay of the characters that matter, and that interplay is what builds the plot and the theme.  So, we start with the protagonist.  I have intentionally not written much, except in general, about the protagonist.  I think enough has been written and is understood about the protagonist.  But a protagonist isn't enough.  Add the foil to the protagonist, and you have the antagonist.  I've put enough for now in the aether about the antagonist (there is much more to say).  If you add a third character, you can write a love story.  Two are not enough.  The third character is the protagonist's helper.

Now, let's not get all wrapped up with modern ideas on characterization.  In some of these ideas, instead of the protagonist's helper, you can have mutual protagonists or dual protagonists etc., etc.  I've written a little about this.  Let's put it in perspective.  If you write a novel where the character changes each chapter, you might be able to convince me you have dual protagonists.  You also have an experimental novel that is not in a classic style, and you are likely headed toward failure.  (It is also possible you have hit on something--but let's not go there for now.)  If you have a normal novel where there is consistently one character--the protagonist--as the focus (this is the classical form), the love interest must be the protagonist's helper.  The title of protagonist's helper doesn't imply this is a servant, slave, or under the control of the protagonist, it simply means the character who ends up supporting the protagonist.  You can reasonably have as many protagonist's helpers as necessary, but you will find it difficult, if not impossible, to write clearly and cohesively with more than three primary characters.

If you don't believe me, try to write a conversation with more than three characters.  Two is easy.  Three is all right.  Four or more and you have two major characters and the others just chiming in at specific moments.  You also will rightly note, all conversations are between two characters.  No matter how many characters you have in a location and participating, the characters will end up speaking within a structure that is two--one after the other.  The others become implied participants.  Anything else is really too confusing to write or read.  This goes directly back to character voice that I wrote a week or so ago.    

I'll write about classical forms in literature, and I'll write more about characters, especially about the protagonist's helper, and plot tomorrow.

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

Development - Implied Antagonist

6 April 2012, Development - Implied Antagonist

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

An implied antagonist is a kind of a new idea in literature.  I'm certain you can find examples of an implied antagonist in literature past, but in most classical literature, the writers are classically trained--they know about the basics (and the advanced concepts) of writing.  So you find Milton always has an immediate antagonist.  Shakespeare always has an immediate antagonist.  In face, these authors wouldn't really understand the idea of a distant or an implied antagonist.  They would think the idea absurd.  They also think a major work needs to rhyme, so two for three.

Before you conclude that an understanding of classical literary form isn't for you--learn all the basics and the basic rules.  Then break some of them here and there.  I already went through all the different ways you can arrange a novel in my "Zen of Scenes" blog at http://www.novelscene.wordpress.com/.  I concluded that there are neat alternative forms, but the classical form is the way to go.  I think you will find this to be true for you too.  If you do design a new novel form, I'd like to know about it.

Now, back to antagonists.  The implied antagonist is an antagonist that isn't necessarily flesh and blood.  God or Satan can act as an implied antagonist--likewise, a corporation or a government, a organization or a political body.  An implied antagonist is an antagonist that acts against the protagonist simply by existing.  A great example is in George Orwell's 1984, the antagonist could have simply been the government.  George Orwell decided not to write the novel this way, but it could have been.  Compare this to Ray Bradbury's Martian Chronicles.  In some of the stories, the planet Mars is the antagonist--an obvious implied antagonist.  The way Bradbury writes, he actually gives a degree of malevolence to the planet, so we see an implied antagonist doesn't need to be emotionless or thoughtlessly acting against the protagonist.  In Logan's Run, the antagonist is the system.  The protagonist and the protagonist's helper fight against the souless system and defeat it.

Notice all the examples I gave are science fiction.  Also, Milton's Paradise Lost is an example of a fantasy.   Science fiction (and fantasy to a degree) lends itself to an implied antagonist.  2001 appears to have an implied antagonist until we discover HAL is behind it all, but that's a strange novel and stranger movie.  I think Kubrick and Clark intended to make 2001 an implied antagonist (and may still mean for HAL to be a stand in for humanity's unwillingness to evolve).  Note, Milton made Lucifer an immediate antagonist, but he didn't have to--he could have written Paradise Lost with an implied antagonist (but that would have been sacrilegious).

Aksinya was intentionally written with an immediate antagonist (the demon) who acts in place of an implied antagonist.  I wrote about this before.  The point and theme of Aksinya is to show that everyone has their own demons, just everyone can't see them like Aksinya can.  I wrote the novel to be very personal and very classical.  I wanted my readers to smell the scent of sulfur and taste the heat of hell every time Asmodeus was present.  I wanted them to contemplate their own demons while watching Aksinya's personal demon destroy her.  Such is the power of literature. 

I'll write about classical forms in literature, and I'll write more about characters and plot tomorrow.

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

Development - Distant Antagonist

5 April 2012, Development - Distant Antagonist

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

Without much trying, as you write, you will fall into the classical form of novel writing--that's why it's a classic form.  In this case classic means that it is the basic form humans find entertaining.  There are other forms from other cultures, but none of them are quite as satisfying (or sellable) as this form.  Therefore, you will have one protagonist.  One at a time is about all any plot can handle.  I have read novels that attempt to have more than one protagonist--they fail miserably. 

Likewise, you will have one antagonist at a time.  Note, for protagonist and antagonist I mentioned "at a time."  I don't suggest you do this, but it is possible to have more than one protagonist at different times in a novel.  These kinds of plots are generally experimental, and they don't usually work well.  An example is a novel where the protagonist varies by each chapter.  That is you have two protagonists, a man and a woman for instance, and you present the plot from each view point varying by chapter.  Trying to attempt this type of writing with two antagonists is more difficult.

I wrote about the immediate antagonist, but you can also have a distant antagonist.  In my Aegypt novels, I present an antagonist who is not seen at all in Sister of Light, and who finally shows up (in the flesh, so to speak) in Sister of Darkness (both of these novels are on contract with my publisher).  The antagonist isn't immediate in the first novel, but her presence is felt throughout.  She is the bugaboo that motivates the novel, and the actions against the protagonist.  This is a great example of a distant antagonist.

You do well to keep such details as the protagonist and antagonist very simple.  That doesn't mean the plot, theme, or characters need to be simple, but that you have one each and that's all.  When you find more than one protagonist or antagonist in your writing, it's time to think about writing another novel.  You literally have begun a new plot when your protagonist or antagonist change.

I'll write about an implied antagonist, and I'll write more about characters and plot tomorrow.

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

Development - more on Antagonist

4 April 2012, Development - more on Antagonist

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

My point in writing this way is to show you how I develop a novel--thus the primary title "Development." If you wish to write a novel (using my technique to develop a plot, theme, and story), start with the three characters: protagonist, antagonist, and protagonist's helper. Once you have these three characters, follow the outline above to develop and reveal them. I've also mentioned how the character development falls into scene development. I've only given examples. I'm still trying to work out how to convey the method of this development. The best I can give at this moment is that the scenes come directly out of the character design (development).

I mentioned the three basic types of antagonists yesterday. You can have an antagonist that is an immediate person (character) within the plot. You can have an antagonist that acts at a distance. You can have an antagonist that is not a character in the plot.

A classical novel form is to have a character that opposes or works against the protagonist. In the most classical form, the protagonist is the good guy and the antagonist is the bad guy. The interaction and competition between the protagonist and the antagonist creates the tension in the novel and builds the plot to the climax. In a classical plot there are a few more components than this: the protagonist's tellic flaw and the overcoming (or not) of the tellic flaw. Generally, classical comedy is when the protagonist overcomes the tellic flaw and classical tragedy is when he does not.

I'll get more into the protagonist's helper in future blogs, but the addition of the protagonist's helper allows you to write a love plot. If you note in Aksinya, the protagonist's helper starts as Natalya and becomes Father Dobrushin. This isn't exactly a classical development in a novel, but I never said I wrote Aksinya to be a classical plot. You will find that using classical forms will help you properly design and understand your writing, but in the modern age, it is not the novels that follow the classic forms that are appealing, it is those that do not.

Let me put it a different way. Although the classic form is a great beginning and a great guide for plot and character development, this form has been used since the Greeks (and probably before). I'll not say it is overused, but it is, that's what makes it classical. If you want to make a sellable novel, start with an understanding of the classical form. Build characters based on the classic model. Then go for it--that is with your understanding of the forms, blast out of them to make something that fits the obvious novel form, but that is new and fresh.

I'll try to explain in more detail what I mean about this, and I'll write more about characters and plot tomorrow.

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

Development - Antagonist

3 April 2012, Development - Antagonist

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper.  If you develop these three characters for a novel, the plot will naturally fall out of the development of the characters.  For example, in Aksinya we have a protagonist, Aksinya, an antagonist, Asmodeus, and the protagonist's helper, Natalya.  In previous writings, I showed the development of the characters.  As I mentioned, the scenes fell out of this development:

1.  Initial, conjuring the demon
2.  Trying to save Aksinya's family
3.  The revenge on those who murdered Aksinya's family
4.  Beginning of the temptations of the demon
5.  Plans to save Aksinya from the Bolsheviks, travel to Austria
6.  Travel, to Minsk
7.  Aquiring a lady-in-waiting for Aksinya, Natalya
8.  Travel, to Hungry
9.  etc.

This plot isn't exactly as straight forward as many of my novels, but in my opinion, all of it flows from the developed characters.  The only point that isn't perfectly obvious is the travel of the characters.  Within the novel, I explain why travel was necessary, but the history of the time really required them to travel (Russian Revolution, WWI, etc.).  The antagonist is actual and direct within the novel--Asmodeus.  Compare this with Centurion where the antagonist is implied.  In Aegypt, the antagonist starts distant, but becomes actual. 

The actual antagonist is an antagonist who exists within the novel as a character and who directly interacts with the main character.

The distant antagonist is an antagonist who works against the protagonist from afar.  They don't need to act directly against the antagonist, for example, a distant antagonist can be a malevolent person who works against every one's interests.

An implied antagonist is an entity, a government, a system, an organization, and all, that acts against the protagonist.  In Centurion, the antagonist is implied.  It is variously the world of the Centurion.  In this case, Abenadar, the Centurion, is contending against his world and his place in it.

I'll write more about characters and plot tomorrow.

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

Development - How Characters Drive the Plot

2 April 2012, Development - How Characters Drive the Plot

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

The main characters in a novel define the plot of the novel.  Centurion is an odd novel.  It is written in a biographical style.  It has a single protagonist, no specific antagonist, and various characters who play the part of the "protagonist's helper."

In a classical plot (and in most of my novels) you have a protagonist, an antagonist, and a protagonist's helper.  In a love novel, the protagonist's helper is many times the protagonist's love interest.  Most of my novels have three distinctly drawn characters.  For example, in Aegypt, there is Paul Bolang, the protagonist, the Goddess of Darkness, the antagonist, and the Goddess of Light, the protagonist's helper and love interest.

These three types of characters, protagonist, antagonist, and protagonist's helper form the basis of most modern novels.  Aksinya follows this outline.  Aksinya is the protagonist, Asmodeus is the antagonist, and Natalya is the protagonist's helper.  Take these three characters (well defined) and you have a novel.  As you see, take a single protagonist and you can have a great novel--Centurion.  Within novels like Centurion you actually have characters who stand in the place of the antagonist and protagonist's helper, but they may be less identifiable because of the construction of the novel.  The antagonist might be especially difficult to determine. 

This is because the antagonist can be one of three types: actual, implied, and distant.  I'll write more about this tomorrow.

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

Development - Characters Drive the Plot

1 April 2012, Development - Characters Drive the Plot

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

1. Development of the character
2. Revelation of the character
a. Description of the character - introduction
b. Voice of the character

In one of my published novels, Centurion, the main character is the Centurion Abenadar. This novel is about his life from birth to the moment when he proclaims about Jesus Christ "This man was surely the son of God."

This novel about Adenadar develops itself from the character (and the history of the times). That history of the times is the history of Abenadar. Much of the development of the character, Abenadar was put together backwards based on history. So, Abenadar had to be a Roman citizen. He was reportedly not fully Roman. I made him half Jewish. His mother was a Jewish concubine for a Roman ambassador. Abenadar had to be a Roman citizen to become a member of a Roman Legion. His father conferred the privilege of Roman citizen on him.

You can see the necessary scenes already:
1. His birth
2. His mother takes him to Roman officials to procure the right of Roman citizen
3. He joins the Legion
4. He trains in the Legion
5. He moves up in rank
6. He becomes a Centurion
7. and so on.

These are not all the scenes or the full development of the scenes in Centurion, but it is the basic beginning outline. The developed character, Abenadar, determines the scenes even more strongly than Aksinya. There is much leeway in Aksinya, but not much at all in Centurion. The reason for this is the characters. I noted that in Aksinya there are three ways the story can go and only two of those were viable because of the main character. This is my point about any novel, the main character(s) determines the plot.

I'll introduce you to some more examples, tomorrow.

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

Development - What's Next

31 March 2012, Development - What's Next

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

1. Development of the character
2. Revelation of the character
a. Description of the character - introduction
b. Voice of the character

If you've been following along, you know I started this dive into creative process with the two main characters.  These characters were well developed before I started the novel.  To me the main characters are the novel.  Okay, okay, there is this thing called the plot, but in reality, the characters are what make the novel.  The plot's important too, but it flows out of the characters.  What do I mean by that?

In the novel Aksinya, the plot flows out of the fact that Aksinya conjured up a demon.  If you call a demon and contract yourself to it, you really have only three choices:

1.  Go along with the demon
2.  Try to control the demon
3.  Try to get out of the contract

Based on Aksinya's personality, you know she will not choose number one.  She tries number two, but doesn't get anywhere.  So, the novel eventually turns to number three.  Add in the details of Aksinya's history and the motivations of the demon and the novel almost writes itself.  That's not to say another author with the same material might not write something completely different.  It means that the plot springs from the characters.

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

Development - Importance of Character Voice in a Novel

30 March 2012, Development - Importance of Character Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

1.  Development of the character
2.  Revelation of the character
      a.  Description of the character - introduction 
      b.  Voice of the character

I've been writing about character voice and revelation of a character in a novel.  I've tried to show you how important character voice is.  I made the list above to illustrate the basic steps in developing and revealing a character.  Remember, I made the point that a character doesn't really develop in a novel.  What we call development is really revelation.  The character was already developed (we hope) by the author.  What we call development is where the author shows us the character--the entire novel is really about this revelation.  The success or failure of the author begins and ends with character revelation.  This is how important the concept is. 

In the discussion, I showed some ways to develop and use character voice.  I also showed when the voice should change, and I gave examples of how to change character voice properly.  The point is to change the voice without making the character become something so different they can't be properly recognized in the framework of the plot. 

I also discussed how the main character might and should change within the framework of a novel.  I don't like to use the term character development here either, but this idea is more akin to what a writer means when they talk about character development. 

I'll write more about character voice in terms of scenes in a novel.  We'll start tomorrow.

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

Development - Importance of Change of Voice in a Novel

29 March 2012, Development - Importance of Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

So, how important is character voice?  I think character voice is the most important expression of a character within a novel.  I already implied this, but let's make it official.  First, you develop a character.  This is likely what you learned in a creative writing class.  Character development is a very indepth topic.  You basically give the character a name and you design a life and personality for that character.  The life and personality are the aspects that interact within the novel.  Second, you reveal the character within the plot.  Third, one of the primary means you use to reveal the character is the character voice.

Remember, our goal as writers is to show and not to tell. You must discern what this means in terms of revealing a developed character.  I can tell you what it isn't.  It certainly isn't the author telling us in an omniscient voice all about the character.  You might wonder then, how do you reveal a character.  That's what I've been trying to show you for the last few weeks.  The means is not exclusively, but it is almost exclusively through character voice.  The other (reasonable) means are from physical description, other characters, and from the character telling us about themselves.

For example, the main character sits on a bar stool and has had a little too much to drink.

"You know, Angela.  I really don't like myself."

"How can you say that, Celest.  You have every thing you could want.  You have a great family."

Celest took a sip of her Martini, "That doesn't matter, I want more.  I know I'm capable of much more than that."

Angela took a deep breath, "But you've already succeeded where so many have failed."

Celest leaned across the bar, "Who will remember me when I'm gone--no one."

Okay, this is a short character revelation example, but it is very revealing.  First, it reveals a lot about the character Celest.  It is short, but we get a lot from it.  I haven't even brought in description, but you can almost see her in your mind's eye.   You can also see her friend Angela.  You begin to see into Celest's mind.  Revealing a character like this can be a lot of work, but it's worth it.  Just for grins, lets use the omniscient voice to reveal Celest.

Celest was a woman who really didn't like herself.  She was tired for her family and her work.  Although she was successful, she wasn't happy.  Her best friend Angela was her confident and conscience.

Pretty bad.  It sounds like a middle schooler wrote it--yuck.

I'll write about how to project the character's voice, tomorrow.

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

Development - Subterfuge and Change of Voice in a Novel

28 March 2012, Development - Subterfuge and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

Are politics and seduction the same?  I guess they can be.  We might expect a successful cheat of any ilk to have a change of voice when he or she begins to convince.  I showed you yesterday an example of this kind of change.  In a current novel I am writing, the main character plays very successfully at subterfuge until she is caught.  I give her an entirely different voice before and after.

In the beginning, she acts like she can't speak English very well, she was injured and acts as though the injury still affects her, she acts like she is ignorant, there is much more.  After she is caught, her character's voice changes in that she speaks English well, she is not as ignorant as she acted (she is still kind of ignorant), her injury had healed a while ago.  The voice of the character changed because she was acting in a different manner than before.  However, you can still tell who she is, that is, her character did not change at all.  The way she portrayed herself to the world did change significantly.  So, the voice changed, but it didn't change so much that you you couldn't tell who the character was.

Not often should a character's voice change in a novel.  When it does change, the readers must still be able to tell who the character is and to discern that character from the others.  Character voice is a critical part of a novel and reveals the developed character.
I'll write about how to project the character's voice, tomorrow.

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

Development - Seduction and Change of Voice in a Novel

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

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

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

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

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

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

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

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

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

Development - Personality and Change of Voice in a Novel

26 March 2012, Development - Personality and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

If you haven't gathered, I think characters voice is one of the most important jobs/tools/skills of a writer.  A writer develops a character (before the novel is written) and the writer reveals the developed character, plus any change in that character, through the novel.  The writer must not tell, he must show.  The means of revealing the character is mainly through the character voice.  When I write "voice," I hope you have been following along and know I am not writing just about the way a character sounds, but the way the character sounds, acts, speaks, gestures, etc.  That is, every word and action goes into defining the character voice.  Further, every character in a novel should be discernible simply by the character voice.

Another circumstance where you might see a character's voice change is through personality.  I mentioned before, some characters show one personality to certain people and another personality to another group.  For example, Aksinya shows one personality to Natalya and the demon and quite a different personality to others.  Her voice, however, isn't that much different, it is the words she speaks.  On the other hand, in one of my unpublished novels, Dana-ana, Dr. Mariread May Rowley shows a delightful change in personality and voice when she speaks privately about Dana-ana.  Mariread is a unique character, but remember, I wrote that those are the best to write about.  She isn't a main character in Dana-ana, but she has an important role and a delicious personality--one that changes.

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

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

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

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

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

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

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

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

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

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

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

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

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

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

Development - Characters and Change of Voice in a Novel

23 March 2012, Development - Characters and Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

Any physical and mental effects need to be portrayed properly through voice--this includes mental illness.  In most of my novels, I try to portray characters that are real.  I also want to portray the unique.  I've written about this before.  Characters that are too real, that is like normal people, are really not worth reading about.  Characters that are unique and interesting in their own right are the ones that make great characters and produce great scenes.

All great characters have a telic flaw and are unusual.  They all are (or should be) at the edges of human normalcy.  This means the mental and/or physical aspects are somehow different than the norm.  In many great novels, the characters have personalities, features, mental characteristics, situations, abilities, training, etc. that makes them unique or very special in human existence.  The trick is to take these types of characters and make them real and acceptable to your readers.  I intentionally didn't use the words likable or lovable.  Some characters are likable or lovable, many are not.

If you think back to your favorite novels, you will find that the characters are very human and very enjoyable, but they are not normal.  They either have characteristics or abilities that make them very different or special of they develop characteristics that make them different or special.  The trick in writing is to give them a real voice that expresses these characteristics yet that sets them apart.  

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

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

Development - Reasons for Change of Voice in a Novel

22 March 2012, Development - Reasons for Change of Voice in a Novel

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

When you have a character with mental illness, the voice of the character might change through the novel--or it might change from scene to scene.  This also applies to a character who has a radically different public and private personality.  In some characters, the voice might change when addressing other characters of a specific type.  For example, a man or a woman who is attempting to seduce a member of the opposite (or same sex) might have an entirely different voice than when they are speaking to a friend or acquaintance.  Some writers understand the feel of voice in a character and portray these variances well--many do not.

I mentioned before, a writer does well to imagine their characters are like players in a play.  The players take on the roles they are given and the author makes they act out the story and plot within the scenes.  An author sees these scenes and writes the characters each with their own voice.  When the voice changes (due to mental illness, public vs. private personality, etc.) the author is making slight controlled changes in the actions of the character such that the reader picks up on that character's changes and perceives the character properly.  That is the whole point of voice, after all.  The writer is using the voice of the character to reveal and identify the character in the novel. 

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

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

Development - more Change of Voice in a Novel

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

Introduction: I realized that I need to introduce this blog a little. I wrote the novel Aksinya: Enchantment and the Daemon. The working title was Daemon, and this was my 21st novel. Over the last year, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel.

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website http://www.ldalford.com/ and select "production schedule," you will be sent to http://www.sisteroflight.com/.

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

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

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

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

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

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