PLOT BOARD FOR THE BASILEGATE – HIGHMOOT

I meant to put this up for Tuesday’s Tale, but work and other things interfered so I’m putting it up here today for Highmoot.

What you see below are the creation materials (or some of them anyway) for my four novels of the Other World, specifically the first in the series, The Basilegate.

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Actually I have 1200 to 1500 pages of research materials (mainly historical but also containing other materials) for all four novels already, most of it on CD or DVD and on computer files on my main work system. The rest is in hard files, collected notes (post it notes in the big white container that say BOOK I), in my notebooks and sketchbooks, outlines, timelines, etc.

I laid all of that out on Sunday and had my youngest daughter take pictures of it. This week I am taking all of that material, my chapter outlines for the first book (Basilegate), my notes, etc. and transferring it all to my Chapter and Plot Board. You might think of this as a Case Board by which I’ll run the plot and structure of my novels (in this case, the first in the series) as they progress. I already have about a hundred or so pages of the first novel finished, and various sections of all of the novels completed (as first drafts anyway), not counting the various scenes I have sketched out for each of them. My overall aim now is to collate and compile and arrange all of these scenes and what I already have written into a coherent and consecutive and consequential novel storyline, and thereby push on to finish the first novel while simultaneously arranging all of the other serial plots.

In this collection you will see all of my files, notes, the plot board itself (before being arranged), notebooks, research materials (on CD and DVD), some of the maps I’ve created, and the poems, songs, and music I’ve written and arranged to be included in the books/novels.

(You might ask, “Why does he have the AD&D and 5th Edition Dungeon Master’s Guides as apparent research materials?” Simple, not for the research itself, but because these two books are the best fictional writing guides I’ve ever read. Anywhere and on any fictional subject. If you are a writer and you do not have these writing guides then you really should, they are simply superb and extremely useful for all kinds of story arrangements, including plot arrangements.
You might also ask, “why the harmonica?” Well, because I often like to play the harmonica when I become stuck on some aspect of the story. It helps me think.)

Once I’ve gotten everything fully arranged and up on my Plot Board in proper Order I’ll take a new set of photographs and post those here too. I’ve been working on this novel series for years now, and as a general idea for a decade or more, but I’m finally in a position to push on and finish all four books now. I’m now satisfied that all of my major research and preparation work has been properly conducted and finished and I’m now ready to finish the novels without anymore large-scale or wholesale plot revision. Just minor tinkering at the edges left really, and then the finished writings.

Which is a big relief to me as I intend this novel series to be one of my Magnum Opae (one of my major Life Works – I literally cannot say Magnum Opera as that construction seems wholly silly and inappropriate to me in English).

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THE DAUFIN AND THE EGG?

In my Other World novels the Sidhs use a code word (or the Samarl and his allies do in any case) to describe a being they believe to have existed for a very long period of time using a most unusual method of life extension. (Or possibly it periodically dies and is reborn again.) The Samarl and his allies believe this being to be evil and an enemy.

The word used to describe this being among themselves (so no one else will understand who they are really talking about) is Daufin. The Daufin is typically also identified or represented by a code symbol, as well as a drawing of a mythical beast (which actually exists and is controlled by the code-named Daufin, though few believe it actually exists anymore), and by a code phrase.

The term Daufin is not to be confused with the French term Dauphin though I readily admit that I took the term directly from the French term. And yes, for those who know me well you must be thinking, “French?” As you know I have little interest in modern things French, but in Ancient things and Medieval things French (the Franks for instance, and Charlemagne, and the ancient Romances, and the Gauls) I have great interest.

And I have great interest in the Dauphin, both the one denoting the Medieval prince and the more ancient term I suspect it is derived from, and what that implied. The Dauphin has always fascinated me though I rarely mention it.

In any case before I insinuate the conspiracy surrounding the Samarl and the Daufin too deeply in my novel I have been trying variants on the term, as I actually very much adore the term Dauphin and think it perfect though being French, even if it is early French, it is not linguistically suited to the Sidhs and the other Eldeven peoples of the novels. With that in mind here are a number of variants upon the term Daufin which I might use. If you have a favorite variant or you wish to suggest one of your own that strikes you as particularly pleasing then please leave a comment and let me know. If you want to explain why I’ll be happy to know that as well.

Variants on the term Daufin/Dauphin:

Daughfin

Dolfign/Dalfign

Dalphin

Dahlfin

Dalphang

Dolfang

Daufang (this sounds a bit too Oreintal to me, but given the origins of the Daufin it might serve well)

 

Below is the code phrase (in verse) used to describe the Daufin, and it seems a sort of song, and it is, but it is also a set of codes by which the speaker identifies what he knows about the Daufin. As more is learned more verses are added. It is obviously translated into English from the original Eldeven:

“Arose the Daufin from the seas, as deep and dark as Tântalos
Whose ruin ran the riven world three times round the sunken hosts,
What is this thing, whence did it rise, who sired it or set it loose?
How many times to be reborn, how many mortals yet seduce?
A secret thing crawls in the Egg, the Sun has never seen its face  
When will it hatch next in the world, all other things to then erase?”   

 

The seeming symbol for the Daufin is a mythical beast,  but the symbol for the real Daufin is of a multi-headed sea-serpent hatching from a giant egg along the flooded beach of a sinking island.

 

EĻDEVÅLAËRAŅE – ĦLO’SĶIEŊL

Tome and Tomb

III. Being a Small Section of the Lay of the Myth of the Eldevens – Below is to be found a small section of one of the most ancient versions of the Lay of the Eldeven.

EĻDEVÅLAËRAŅE
THE LAY OF THE ELDEVEN

ĦLO’SĶIEŊL
Before All

Being the Account of the Arrival and of the Old World

Before all there was another Iÿarlðma (another world, another Ghanae). In those days many ancient and wondrous things visited Iÿarlðma from elsewhere, wandering this world and inhabiting it for brief seasons, yet never long lingering. The world in those days was broad, and deep, and untamed, filled with many archaic and dangerous creatures full of strange life. Many things did creep and crawl and did seek out the untrodden secrets of hidden recess which are now long buried beneath the deep mounds of great age. But none with mind and soul, as we think…

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THE CONDEMNATION OF HOMOSTYLUS and THE TYRANNY OF BASELESS LOVE

Taking a hot bath after working out I had an interesting idea. Or set of them. I am thinking of writing two lengthy but sub-epical poems, one to be called The Condemnation of Homostylus (the condemnation of the Self-Styled Man), and the other to be called The Tyranny of Baseless Love, about the misguided modern form of supposedly Christian love that eschews all judgments in favor of the toleration of all things no matter the Real Nature of those things.

The Condemnation of Homostylus will be in an ancient form and technique and will describe the story of a young man who is self-reliant and self-styled (that is he does not desire to be what his society wishes him to be) but his society and culture will not tolerate his individuality and uniqueness, eventually driving him to exile, where his ingenuity assists other cultures. Then learning of his brilliance his original culture seeks him out again and convinces him to return to work for them. Upon returning his society tolerates his individuality for a while to profit from his work, then seeks to oppress him again and eventually he is driven to his death by them. But not before he unleashes his ultimate vengeance, The Condemnation of Homostylus.

The Tyranny of Baseless Love will describe the destructions and damnations wrought by the misguided modern theological idea that Jesus implored everyone to judge nothing and to tolerate everything (an obvious and evident misreading of Jesus and what he plainly said in scripture). That Grace and Love are licentious licenses rather than responsibilities and obligations we owe to God, ourselves, and others. It will involve a young man (maybe a priest, maybe not) who travels from town to town (each town name will give a clue to the wrong at play and tolerated) in an imaginary Europe witnessing firsthand the corrupting influence of such a concept of Love, because in each town will be evident examples of how unfettered and irresponsible and pretentious and deceptive forms of love and tolerance breed decadence, decay, damnation, sin, and death. It will be written in a Gothic style since to me that is the literary form that most closely resembles this Gnostic and cobbled together theological miasma of supposedly Christian Love. I will try to touch upon toleration of all of the crimes and vices, as well as the mortal and diseased sins like rape and murder and abortion and terrorism.

But first and for this month (November) I must return to and finish my novel the Viking Cats.

So for now I am just sketching out the ideas for these poems and possibly developing a few fragments and plotlines. Until then this will have to go into my files for future development.