Writing Ideas - Vampire Novel, part 153, end Conversation methods of Revelation How to Develop Storyline, Rising Action

10 September 2014, Writing Ideas - Vampire Novel, part 153, end Conversation methods of Revelation How to Develop Storyline, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

The purpose of a novel is to reveal the protagonist and usually the protagonist's helper, the author needs to place them in circumstance that allows them to reveal themselves.  The means can be conversation, exploration, discovery, other's conversation, confession, accidental discovery.

Here is more of the example revelation conversation.  It is from my novel Warrior of Darkness, yet unpublished, but part of the Ancient Light novels.  Here is the third part: 

Niul gazed at her for a moment, “Very well, I’ll tell you a bit.  I was born in Armagh.  My mother and father owned a farm.  They were stanch Catholics and the troubles hit them hard.  The Brits bivouacked on our land for months.  In spite of that we were able to take in the orchard crop that year.  I think they still have the farm and live content, but I haven’t seen them in years.  In Armagh I had my first taste of a woman and of the magic.  They came in the same wrapper for me.  I was always good in school.  She, my first, wanted a young man with patience and wisdom.  Because of the studies, I went to Queen’s University and studied Gaelic History and Language.  I took a Masters and was awarded a Doctoral degree in the same.  I taught for a while, but the time required for the magic became too great, and the PIRA approached me and told me they would pay me for that alone.  I was happy to spend my time in study especially in the study of magic.  I am very good at it.”

Klava plucked at her napkin, “I know.  What about your lover?”

“When I exceeded her in ability, she stopped contacting me.  I didn’t love her.”

Scáth smiled.

Klava cocked her head, “What do you intend to do now?”

“I originally planned to begin the process of recursing a bag and the items.”

Klava smiled, “But you found this was impossible.”

“How did you know?”

“I told you not to try.  You must give it up.  Right now, you know your trust in the world is no longer as strong.  You can no longer fully trust in the world.”

“Then what am I trusting in?”

Klava laughed, “Isn’t it obvious.  You are now trusting in me.  You shouldn’t.  You are foolish to, but you cannot stop believing that I am much more than I seem.  I don’t have any stink of magic on me.  I purified your cursed items.  I confounded your most powerful spells.  I stopped the PIRA bombs.  I sit here with my servant whom you have identified as the living dead.  You can no longer go on trusting in the world because you have found a being who does not play by the rules of the world or of magic.”  She glanced at him sidelong.

Niul put his chin in his hand.

“You had sex with me, and you wonder what this means.  You know it was not like the sex you had with any other woman.  You know the event was monumental in your small world and you suspect in the larger world.  You collapsed my world and brought me to this state—I had to beg you.  Now you can no longer trust in the world alone, and you can’t make the magic work.”

Niul frowned, “What should I do then?”

“Your trust is misplaced.  The reason I am who I am.  The reason I can do what I do is because of the Dagda and His Son.”

“Ha, you would have me become a Catholic again then.”

“You have no other hope.  Just as Scáth follows the Dagda and I follow the Dagda, your only hope is to stop trusting in me and trust only in Him.”
 

Every conversation needs some means to end.  I call it, "getting off the stage."  In some cases, the end is natural: people come and people go.  One character leaves the group to go home, for example. There are unnatural ends to conversations--one character is attacked or gets sick.  There are ends between the natural and the unnatural.  In the case of the above conversation, it ends with an idea.  The last point, I wanted to leave in the mind of the reader is the problem Niul must confront.  Note that no one won or lost the argument, but Klava made her point and Niul had no repost. 

If you didn't get it yet, Niul is a magic user.  His materials and spells were ruined by Klava's actions ad power.  A magic user must put full trust in the world--a trust in anything else makes their magic impossible--this is classic magic theory according to P.E.I Bonewitz and James Frazier.  When a magic user places their trust in anything else, they can no longer make their magic.  This is Niul's problem.  The "parting shot" from Klava makes this point.

For the reader, this is a setup.  Using scene development, the next scene should be Niul attempting to use magic or attempting to understand the circumstance of his trust issue.  This is indeed what happened in the next scene.  In this case, the revelation conversation "reveals" these characters, but also sets up the next scene and events in the novel.  The conversation also reveals something about magic and much about Klava.

More tomorrow.

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

Writing Ideas - Vampire Novel, part 152, more Conversation methods of Revelation How to Develop Storyline, Rising Action

9 September 2014, Writing Ideas - Vampire Novel, part 152, more Conversation methods of Revelation How to Develop Storyline, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

The purpose of a novel is to reveal the protagonist and usually the protagonist's helper, the author needs to place them in circumstance that allows them to reveal themselves.  The means can be conversation, exploration, discovery, other's conversation, confession, accidental discovery.

Here is more of the example revelation conversation.  It is from my novel Warrior of Darkness, yet unpublished, but part of the Ancient Light novels.  Here is the second piece: 

Klava sucked in a deep shuddering breath, “I will start.  My mother was born in America and my father in the Soviet Union.  I won’t tell you how they met, but they had me.  I was born in London.  My parents still live there.  I have a twin sister and five other bothers and sisters.  My twin and I are the oldest.  She is married to a military officer.  I went to Oxford and studied languages there.  I graduated two years ago and moved to Ireland.  I’ve lived in Belfast all that time.  Now it’s your turn, Niul.”

“You don’t sound British at all, Klava.  You sound like you have lived all your days in Ireland.  How can that be?”

Klava shrugged.

“I’d be guessing, I thought you couldn’t work for the Brits, not and do what you do, but I’m getting the distinct feeling that you do work for them.”

“I didn’t tell you about my life and family so you could attack me about it.”

Niul’s voice rose, “I didn’t think you were a traitor to the Irish cause before.”

Scáth shushed him.  Klava put he finger to her lips, “You are much too loud, Niul.  You know my job is to stop the bombs from hurting innocents.  I stop Ulster bombs.  I stop PIRA bombs.  I frankly don’t care about your cause—I just want to protect the people.”

“You’re Catholic aren’t you?”

“What of it?”

He laughed, “I took your confession.  You should be on our side because of what you believe.”

“I am on neither side—because of what I believe.  I protect life—that is my purpose.”

“But you are the one dragging around a living-dead.”

“She was the one your PIRA killed.  She was only a child, a girl of fourteen.  She was raped and left out on the streets.  I gave her back some dignity in her life.  My actions were a momentary weakness brought on as a result of your assassins.”

Niul shook his head, “You should lower your voice.”

“Sorry.  She would not be here except for you.”

“And you would not be here except for me.”

Klava raised her head, “That same night you took the life of my servant, you also robbed me of my virginity.  I didn’t ask you to steal either of them, but now I am trying to regain some of what you took from me.”

“How will you do it?”

“I have been advised to kill you.”

Niul jerked back.  Scáth snarled at him, “She could do it too.”

“Hush, Scáth.”  Klava turned to Niul, “I will not kill you.  My purpose is to protect.”

“What will you do?”

“That is just what I am determining now.  You said I should join with PIRA because of what I believe, because I am Catholic.  Yet you have put your trust entirely in the world otherwise you could not make magic.  You are not Catholic at all.  Why join yourself with those who oppose your core beliefs?”

“The actions and beliefs of PIRA are not so far from mine.”

“Then what are your beliefs?”

“You are right when you say I trust entirely in the world, that is the core of magic.  I’m surprised you know that.”  He shrugged, “The PIRA trusts in the world too or they wouldn’t believe that they could change it by taking the souls of others.”

Scáth grinned, “My Mistress knows all about magic.”

“Hush, Scáth.”

“Aye,” Niul squinted, “You must know much about magic.  You turned my spell, and you killed the other one.”

Scáth hissed, “Instead of reflecting your spell, she could have killed you just as easily.”

Niul tuned pale.  “Just who are you, Klava?”

Klava wrinkled her nose, “I already told you about me.  It is time for you to tell me about you—that’s only fair.”

Niul gazed at her for a moment, “Very well, I’ll tell you a bit.  I was born in Armagh.  My mother and father owned a farm.  They were stanch Catholics and the troubles hit them hard.  The Brits bivouacked on our land for months.  In spite of that we were able to take in the orchard crop that year.  I think they still have the farm and live content, but I haven’t seen them in years.  In Armagh I had my first taste of a woman and of the magic.  They came in the same wrapper for me.  I was always good in school.  She, my first, wanted a young man with patience and wisdom.  Because of the studies, I went to Queen’s University and studied Gaelic History and Language.  I took a Masters and was awarded a Doctoral degree in the same.  I taught for a while, but the time required for the magic became too great, and the PIRA approached me and told me they would pay me for that alone.  I was happy to spend my time in study especially in the study of magic.  I am very good at it.”

 

Here is the second part of a revelation conversation.  The conversation is between Niul, the antagonist, Klava, the protagonist, and Scáth, the protagonist's helper.  There is much more going on in this conversation than meets the eye.  I would like to draw your attention to the repetition of the events that already occurred in the novel.  There are some very strong reasons for repeating this in conversation.  The first is the entertainment value.  Niul doesn't know what really happened the night Scáth was made--this allows the reader to see his reaction and to also get a heading on the truth.  It is a measure of truth because the reader already experienced it.  In this case the reader can relive that experience with the characters.  More than that, it is entertaining from the standpoint of the telling.  The jokes on Niul.  He didn't know what he was getting into by his actions.  The second point is the repetition itself.  In some cases, it is reasonable for the writer to write: she told him all about that night.  On the other hand, it is really fun to relive or rehear that night through the conversation of the characters.  I have found this to be the best way to handle this kind of repetition.  Finally, this builds the tension in the scene.  Niul entered this scene cocky and entirely sure of himself.  He is a man who has met few men or women who were better, stronger, wiser, more intelligent, and more powerful than him--Klava is all of these things.  The tension is seeing this point gradually forced into his brain.  This is exactly what Klava and Scáth envisioned.  This is what the reader gets to see.  Niul doesn't give in, but the reader realizes that Klava is making points.  This is the power of revelation in conversation--plus you get to see the revelation of the characters.  That is entertainment in any novel.

More tomorrow.

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

Writing Ideas - Vampire Novel, part 151, Conversation methods of Revelation How to Develop Storyline, Rising Action

8 September 2014, Writing Ideas - Vampire Novel, part 151, Conversation methods of Revelation How to Develop Storyline, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

The purpose of a novel is to reveal the protagonist and usually the protagonist's helper, the author needs to place them in circumstance that allows them to reveal themselves.  The means can be conversation, exploration, discovery, other's conversation, confession, accidental discovery.

Here is an example of a revelation conversation.  It is from my novel Warrior of Darkness, yet unpublished, but part of the Ancient Light novels.  I think I'll give it to you in pieces.  Here is the first piece. 

They studied the menus and Scáth went through the wine list.  Niul ordered a steak, Klava broiled char, Scáth asked for a salad.  Scáth recommended a white German wine.  Klava vetoed it and ordered a Guinness.  Niul did too.  Scáth pouted for a while in her seat.  “The gentleman usually orders…”

Klava beetled her brows, “You promised, Scáth.”  Scáth pouted some more. 

They didn’t speak together at all.  They didn’t say anything after their meals were served.  They ate in silence.  Scáth pushed around her salad.  She didn’t eat or drink a thing.

Finally Scáth rolled her eyes, “I will not instruct, Mr. O’Dwyer.  Mistress it is time for you to introduce yourself.  If you don’t, I shall.”

Klava brushed her lips with her napkin, “Don’t, Scáth.  I will.”  She glanced up at him, “Mr. O’Dwyer, my name is Klavdiya Aleksandrovna Diakonov.  And you are…”

Niul glanced up from his plate, “You already know who I am.”

Scáth frowned and leaned toward Niul, “This is your chance to start fresh.  Tell her your name.  It is fitting.”

Niul rolled his eyes he threw his napkin on the table, “I am Niul Ríoghbhardán O'Dwyer.”

Scáth clapped her hands, “The champion bard-king of the dark.  That is so very appropriate, My Lady.”

Niul ignored her, “You may call me, Niul.  No one uses the rest of my name.”

“Yes, Niul, champion.”  Scáth nodded.

Niul pointed with his thumb at Scáth.  He leaned toward Klava, “Now about her…”

Scáth sat bolt upright, “You may say it Niul Ríoghbhardán O'Dwyer.”

Niul frowned at her.  He spoke directly to Klava, “Klavdiya…” He didn’t say it too poorly.

Klava smiled, “You may address me as Klava.”

“Very well, Klava.  I know Scáth is not a living being.”

“And how do you know that, Mr. O’Dwy… Niul?”

“You already know I wield it.  The training of it requires a knowledge of death and dying.  I can smell death on her.  She is not alive.”

Klava frowned, “You have not been using it?”

“You know all my things were spoiled, and you did it.”

“I did it.  I will warn you, Niul.  The use of it may not be possible for you again.  If you try, you may put yourself at great risk.”

“I’ll take that risk.  It seems odd to me, that you would tell me to give up magic, when right next to me, your servant is an undead thing.”

“She is not just a thing.  She is Scáth.  She is my servant.  You knew, before you took me to your flat, that I was not entirely what I seem.”

“Yes, you are not.  Right now, I can feel the power all around you.  That Scáth stinks of your power.”

“It is no stink Niul, not like the stink of magic.  It is purifying and perfect.”

He chuckled, “Purifying and perfect.  The next thing you will claim is that you are an old earth goddess.”

Scáth started to speak.  Klava cut her off, “This is our date.  I wish to gradually let you learn about me and me about you.  That is the way of such things.”

Niul laughed, “That is the way—usually to get the girl in bed.  I’ve had you.  You are pleasant.  I’d like to bed you again.  If your fantasy will lead us there once more, I’m happy to play along.  You have to admit though, you aren’t exactly the blushing maiden when you dress entirely in black all the time, come out normally only at night, and have a familiar-like dead creature at your beck and call.”

Klava trembled.

“If this weren’t the twentieth century I’d think you were a vampire or a goddess of the dead.  You have to acknowledge it’s all very odd.”

Scáth cocked her head, “Then why aren’t you afraid, Mr. O’Dwyer.  If I am dead that means she is a goddess of the dead.”

Klava put out her hand, “Shut up, Scáth.”

Niul’s brow rose.  “Perhaps I am too jaded or foolish.  Perhaps I should be afraid.  I’ve risked my life many times, but I have never feared a girl I bedded.”

Klava sucked in a deep shuddering breath, “I will start.  My mother was born in America and my father in the Soviet Union.  I won’t tell you how they met, but they had me.  I was born in London.  My parents still live there.  I have a twin sister and five other bothers and sisters.  My twin and I are the oldest.  She is married to a military officer.  I went to Oxford and studied languages there.  I graduated two years ago and moved to Ireland.  I’ve lived in Belfast all that time.  Now it’s your turn, Niul.”

Here is the first part of a revelation conversation.  The conversation is between Niul, the antagonist, Klava, the protagonist, and Scáth, the protagonist's helper.  The point of this example is to let you see how a conversation can result in revelation.  In this case, it is much, much more than the simple revelation of the last paragraph.  This paragraph is one of the points we are working toward in the conversation, but there is much more revealed than this simple statement. 

There is also the question of truth.  I will tell you now, if you didn't already figure it out, the final paragraph is all true, but it is not the complete truth.  It is not even close to the complete truth.  The reader should take the information and process it.  The reader should process it in the same way they might process the information they could get from a new acquaintance at dinner.  As I said, the statement is not a lie, it is just not the whole truth.  The reader should get that from the rest of the conversation.  Young women, like Klava don't usually hang around with undead girls--this is a big giveaway in the conversation.  Additionally, most conversations are not about magic, the undead, and horrible deeds done in the name of a terrorist organization.  The point of Warrior of Darkness, the novel, is to reveal Klava, Niul, and Scáth.  This provides the entertainment in the novel.

More tomorrow.

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

Writing Ideas - Vampire Novel, part 150, methods Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

7 September 2014, Writing Ideas - Vampire Novel, part 150, methods Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

The purpose of a novel is to reveal the protagonist and usually the protagonist's helper, the author needs to place them in circumstance that allows them to reveal themselves.  The means can be conversation, exploration, discovery, other's conversation, confession, accidental discovery.

Let's look at the means of revelation and start with conversation.  I've mentioned this before, but this will give a basis for the other means of character revelation.  Conversation is the dialog between two or more characters in a novel.  I recommend using a two person conversation.  I have used three and more very effectively, but conversations generally devolve into two no matter the number of starting participants.  For general revelation, two is the best.  I have used three pretty effectively (maybe I should give examples).  In any case, to be most effective, the conversation should be controlled and paced.  Controlled means it should be constrained either forcibly or by some other means to allow the characters scope to communicate.  Arguments are no good--little truth comes out in an argument of any kind.  Confrontations are no good because there is always motivation for one character or the other to lie.  A constrained conversation is one where the readers know their are limits on the character's truth and know there are reasons for the characters to reveal something of the truth (about themselves).  It is important to note, a character can only reveal truth about themselves and not anything or anyone else. 

When setting up the "conversations" of your characters for the purpose of revelation, give them a reason to truly reveal themselves.  A confessional setting is good.  An introduction setting even better.  If there is no reason to hide the truth (for one reason or another) all the better.  For example, in Valeska, I have a very fun introductory session between the protagonist and another character.  I can really reveal a lot in this session about the other character.  The protagonist has lots to hide, the other character does too, but wants to impress the protagonist.  Because the scene is an introduction, information can flow despite the reticence of either character.  This would be a good example to share as well.  

More tomorrow.

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

Writing Ideas - Vampire Novel, part 149, more real Truth Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

6 September 2014, Writing Ideas - Vampire Novel, part 149, more real Truth Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

I'll mention the showing method of character development and revelation again just to get the point across.  First, you develop the character.  I start with a physical description, and give the character a name that fits the theme and plot of the novel.  Then I develop the history of the character.  Once these steps are complete, I can begin to reveal the character in the novel. 

Second, when the character is introduced, I give a sufficient description based on the total description of the character.  You only describe what can be "seen" by other characters in a scene.  Therefore, the fact a character has a mole on their chest is immaterial unless they are shirtless.  You only show what can be seen on the "stage" of your novel.  Whatever the involvement of your characters, you only reveal what is reasonable and knowable.  For example, when people meet there is a natural exchange of information.  The author guides these exchanges.

Third, the author controls the intimacy and depth of the revelation in the novel.  Since the purpose of a novel is to reveal the protagonist and usually the protagonist's helper, the author needs to place them in circumstance that allows them to reveal themselves.  The means can be conversation, exploration, discovery, other's conversation, confession, accidental discovery.  I think it would be a good idea to discuss each of these revelation methods.  The revelation of the characters is never wholly or completely known.  The author never reveals omnisciently, but rather through the eyes, ears, mouths, etc. of the novel's characters.

Fourth,  the novel progresses with revelation as an integral part of the development (revelation) of the plot.  The character revelation follows and integrates with the plot.  The revelation of the character details their telic flaw and the plot provides a path of crisis that can only end with the character overcoming or being defeated by their telic flaw.

Fifth, the crisis of the climax leads to the near final revelation as the protagonist confronts her/his telic flaw and either succeeds or fails gloriously.

Sixth, we learn in the falling action and dénouement what the climax's importance was within the context of the novel and the author ties up the loose ends..

More tomorrow.

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

Writing Ideas - Vampire Novel, part 148, real Truth Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

5 September 2014, Writing Ideas - Vampire Novel, part 148, real Truth Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

Here is a great question--how do you make character seem like they are real?  Sometimes we refer to this as a well developed character.  A well developed character appears to be real, but we know can't be real.  Real and the concept of fiction have very little to do with one another.  A character only appears to be real--they are like conversations in writing.  None are real, they only appear to be real.  So, what makes a character seem like they are truly developed and "real?"  I can rightly say that theoretically, I think I know, but in some of my early novels, I've been accused of not having deep characters.  This may be from the reader's lack of understanding of how characters can be developed, or it may be a failing in my own writing techniques.  I think I am maturing as an author, but I do think some readers don't understand how characters should and can be developed.  For example, I can take a Dickens or Bronte approach and tell you all about how a character thinks and is--then capture the narrative from that point forward.  This is the Victorian means of character definition.  On the other hand, the "showing" method--the modern method--of character development is to reveal the character over time and through conversation and narrative.  The writer only shows what can be seen and only reveals what can be heard.  This is the way we reveal characters without telling.

Which is better and which leads to a more "real" character?  I think the showing method is the way to go. This is the method I use and teach.  I think it results in a better and more powerful character.  It is the method used by most successful authors today.  I can see how the subtlety is lost on some readers who are used to Victorian methods where the writer uses the omniscient voice to tell you everything about the character.  In my opinion, a much more powerful character can be developed though showing and not telling.

More tomorrow.

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

Writing Ideas - Vampire Novel, part 147, Truth Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

4 September 2014, Writing Ideas - Vampire Novel, part 147, Truth Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

What is truth?  I don't know what writers in the past (Victorian era) would have thought about this question and their characters.  Characters were revealed in a much different manner.  The authors provided a narrative and omniscient view that gave an unconcealed and god's eye view of the characters.  This is not the way of writing today.  If you want an unconcealed and god's eye view of the characters, write juvenile or young adult fiction.  In the world of adults, the point is to determine, what is truth.

Characters have secrets like real people have secrets and for children, it might be appropriate to hang everything out, but for adults, there are secrets.  Everyone has secrets--this is a rule of reality.  The great author lets us understand and wonder about their character's secrets.  There are unresolved issues and unresolved problems and nothing ends in a clean solution.  One of my favorite authors is Jack Vance.  In Vance, no one wins an argument.  This is an observation I've made more than once in real life--no one really ever wins an argument.  We want to think you can, and when you are young, you imagine you could win an argument, but the reality is very different than fiction.  This is something every new and less experienced author needs to understand very well.  We, as authors, are in the business of entertainment.  Everything else is not as important as that simple fact.  Entertainment means that sometimes people win arguments--not often, but sometimes.  If, in your world, your character always wins arguments, you might have juvenile novel or a novel for young adults--or you might have a novel with a unique character.  This is something you need to understand about your characters.  A unique character might win every argument, but you better write this so well that it wows your readers.  Such a character must impress everyone who reads the dialog with the idea that that character might really win every argument in real life.  This is a very difficult thing for most authors to accomplish.  I would advise against it--unless you really do have that skill.  Since most young authors think they are beyond amazing, I suggest you not even try.  Beyond amazing is proven by publication.  This is one way you know you can write--a little.

More tomorrow.

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

Writing Ideas - Vampire Novel, part 146, yet more Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

3 September 2014, Writing Ideas - Vampire Novel, part 146, yet more Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

What is truth?  I've written about this before.  The modern character is identified by a question of truth.  In the past, the revelation came from the narrator--the omniscient voice.  Today, the good writer uses the words of the characters or others to reveal the characters.  The question then is one of truth.  When god tells you something, the assumption is that that is true.  The narrator or the omniscient voice is god for a novel.  What god says should be true.  On the other hand, if a character says it, there is always the question in the mind of the reader (or there should be a question in the mind of the reader)--what is true.

I find this problem the reader caught between truth and not truth to be real and exhilarating.  In most of my novels, I want the reader to wonder "what is true?"  This entire question in the revelation of characters gives mystery and mystery is entertainment.  Additionally, it allows the writer more control over the characters. For example, once Dickens told you in the omniscient voice who Oliver Twist was, there could be no variation--none at all.  On the other hand, if Dickens had revealed Oliver Twist through the words of Oliver, there was always the opportunity to tell us that Oliver lied.  What if some of those things and ideas were not true?  One of the great powers of an author is the question of truth. 

More tomorrow.

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

Writing Ideas - Vampire Novel, part 145, more Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

2 September 2014, Writing Ideas - Vampire Novel, part 145, more Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

In the past, novel writing was all about the revelation of the characters too, it was just handled in a slightly different way.  The writers had not developed the concept of show and don't tell as well as today.  Just look at novels like Oliver Twist.  There is a strong character revelation novel.  If you note, when I write character revelation, it is both the past of the character and the now of the character.  Oliver Twist is a great example of the means writers in the past used revelation.  Oliver Twist is a novel about the life of that guy, Oliver Twist.  Because Dickens didn't have the same toolset and his readers were not used to our modern means of revelation, he used action narrative through the writing to get the life and history of Oliver to the reader. 

In a modern novel, writers use generally conversation to show the past.  In some cases modern writers use flashbacks.  I think these are less worthwhile, but they are an intermediate step between the "show all" of Dickens to the "revel" of the present.  In modern revelation, the character tells another character or characters about him/herself.  The revelation usually isn't a single event, but rather a novel-length experience.  The revelation of the past is tied to the reality of the now, and the action and conversation interacts with the character from the experience of her/his past.

In a modern novel, we have gone from the certainty of the showing of history to the uncertainty of the self revelation of the character.  This is a very important step in the development of the novel.   

More tomorrow.

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

Writing Ideas - Vampire Novel, part 144, Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

1 September 2014, Writing Ideas - Vampire Novel, part 144, Revelation Writing skills how to develop Storyline, Entertaining, Rising Action

Announcement: We are in the countdown phase for the publication of my new novels.  The date on the internet is 1 September.  We will see how close we come, or if the publishers meet the deadline.  My Aegypt novels will be titled Ancient Light, and the next two books will be called Sister of Light  and  Sister of Darkness.  These were the original titles.  They will be released individually and as a 3 in 1 volume.  The proposed cover and info can be found at www.ancientlight.com.  I'll keep you updated.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with http://www.pilotlion.blogspot.com/2010/10/new-novel-part-3-girl-and-demon.html.

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

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

The four plus one basic rules I employ when writing:

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

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of my newest novel, Valeska, is this: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed.

Here is my proposed cover for Valeska:

I decided on a white cover style.  You can see more at www.GoddessofDarkness.com.

In modern writing, we set the scene and then we use the conversation and narrative to reveal details about the characters and the place.  The point is first to set the scene.  Your readers can't stare at a blank stage for very long before they dup your book.  Set the stage immediately for every scene.  Start with the place (that is the stage).  Add in the details.  Give the time (time, date, year, etc.).  As the characters come on the stage, describe them.  Like I have written before, a novel is like a play.  Imagine a play presented while you are wearing a blindfold.  That is a novel without sufficient description.  At least give your readers as much as they would see--that is showing.  I always worry about writers who do not give sufficient description.  What then is their writing about?

Set the stage in time, place, and character description.  You don't need Victorian levels of detail, because if you are writing well, you can use the conversation and narration to give us more details.  For example, if I describe a park with a path, I can further describe the path as pebbled through either a character's remark, a narrative description that adds to the path description, or an action narrative.  Here are some examples:
 
     A fine path meandered through the low trees and short grass.

    Jane stumbled as she stepped onto the path, "I hate pebbles."

    Jane lit her cigarette.  The path was pebbled and tugged at her light shoes.

    Jane stepped onto the pebbled path.

If you want to add to the description to enhance and expand the scene setting, these are some ways to do it.

More tomorrow.

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