John Fenzel: Author's Notes and Tips for Writing Your Novel

You say much of the book is based on your own experiences in the Balkans. How much is fiction and how much is fact?
The Lazarus Covenant is a novel. It fits in the suspense and psychological fiction genres. While the setting is real, the characters and events are entirely fictitious. And yet, I would argue that the events described in the novel are nonetheless plausible. We are often quick to point to other religions as "fundamentalist" or "extreme," when the truth is, all religions and faiths can be misused and misinterpreted for dangerous, even lethal goals.

I have seen the terrible dehumanizing result of political and religious extremism (both Islamic and Christian) in person, around the world, on the battlefield and off. Many of those experiences and scenes came flooding back to me as I wrote this novel. Take a look at the LINKS page (Why is The Lazarus Covenant Relevant?) to gauge for yourself what is fact and what is fiction.

A virtual tour of the novel is offered on your website. How do you take that tour?
The Lazarus Covenant Tour on my website is designed to further bring to life what you will read in the novel. It will lead you through the path of Mark Lyons, chapter by chapter.

I deployed to the Balkans on several occasions with my Special Forces Company and I visited again recently to do some additional fact-checking. The novel's story is a chase across the Balkans and Europe, through cathedrals, mosques, palaces, mass grave sites, minefields, an aircraft carrier, and even a special operations tactical headquarters. The Photo Tour illustrates the setting locations described in the book.

I thought Bosnia was on the mend, but your novel assumes another crisis there. Is that realistic?
I think it's entirely realistic. On the surface, I would agree that things appear to be improving in Bosnia. New construction, such as a new airport terminal in Sarajevo, reconstructed homes and neighborhoods, displaced refugee returns, and rebuilt governing institutions have made for a stronger infrastructure, but my impression from a very recent visit there is that significant challenges remain. Organized crime, massive unemployment (roughly 40% and increasing), scant foreign investment, and high foreign debt diminish the country's prospects for any rapid progress, at least in the short term. My observation has been that to improve any war-ravaged state, it is the economic ties that are most successful at binding people together. Montenegro's referendum for independence has also sparked the same movement for independence in Kosovo and in the Bosnian Republika Srpska. A lot depends on the progression of events now underway after the recent general elections: if the Republika Srpska votes to secede from Bosnia-Herzegovina, Bosnian Croats could quickly follow suit and make their bid to unify with Croatia. Kosovo remains a flashpoint, as does the Vojvodina region in northern Serbia. In short, the political situation is far from stable.

The spread of the radical version of Islam practiced in Saudi Arabia; Wahabism, is another big concern. Tremendous infusions of Saudi money have contributed to rebuilding large mosques and homes throughout the country. But during my latest visit to Bosnia, I noticed a dramatic increase in the number of young men with long beards and head scarves than there were a decade ago. These are only indicators, but when you also consider the same issues raised by Roman Polko's character in the novel: the subterranean hatreds that linger between Bosnian "ethnicities:" the Serbs, Croats and Muslims the picture is more worrisome. These emotions still exist, in spades. Addressing that undercurrent of hatred is a long-term project that we have to undertake if we want to see a permanent culture of peace in the Balkans. For any who might contest that these hatreds are deeply entrenched, I'd recommend they read Rebecca West's Black Lamb and Grey Falcon. Written during the early part of the 20th Century, between World War I and World War II, it's really superb--and just as cogent today as it was when she wrote it.

The Lazarus Covenant also describes a deadly terrorist threat against the Vatican. That scenario, too, is grounded in reality. I would encourage you to review some of the news articles provided in the Current Events page to get an idea of the ongoing security challenges that the Vatican faces. As you read these articles, keep in mind that the Vatican, in addition to being the central governing capitol of the Catholic church, is also a sovereign state. 109 acres in size, it is a European Microstate, much like Liechtenstein and Monoco. Like any other nation-state, wouldn't you expect the Vatican to have the ability to covertly detect and counter threats targeted against it and its head-of-state (in this case, the Bishop of Rome--the Pope)? Or, would you say that the Swiss Guard could handle that by itself....?

I am a member of a book group. Is there a reader's guide for The Lazarus Covenant?
Yes. There's a Reader's Guide on my website! Go to The Lazarus Covenant Photo Tour on mywebsite!

How do you balance writing and being an active duty Army officer? Where do you find the time?
And, don't forget being a Dad!!! I have two young daughters and a baby on the way, so it's not easy! Juggling work, writing and home is a challenge, but I truly enjoy doing it all and wouldn't trade it for the world.

Fortunately, writing is a flexible profession, so I can schedule it whenever I'm free. Usually that's early in the morning or at night after the kids are in bed. The great thing about writing is that it doesn't only involve sitting down at a desk: you can think about it when you're driving, or when you're out on the jogging trail, or when you're overseas on a research trip. But to get the novel done you must write, and that's where the early morning and late evening hours are crucial for me.

Are any of the characters in The Lazarus Covenant real or autobiographical?
The characters in The Lazarus Covenant are based loosely on people (often a composite of people) who I have either known or encountered around the world--usually in crisis spots and war zones, or here in Washington (lots of grist for any writing mill there!). And yet, by design and necessity, the characters in this novel are still entirely fictitious.

My writing reveals my interest in people-people who have complex, intriguing, animated lives who must sort out their own pasts if they are to resolve their present and future challenges. By design, my characters change and evolve and they propel the story forward. Often, the plotlines are consistent with situations that I've actually witnessed or participated in. I care deeply about my characters, and so my goal is to make them as realistic and believable as possible.

What kind of research did you do for The Lazarus Covenant?
Much of The Lazarus Covenant is based on my own experiences over the past two decades-the result of personal observations of ordinary people from around the world, in times of extraordinary crises. Once the novel was completed, I traveled to the Balkans to walk the ground again, where the story takes place, just to ensure accuracy and realism (take a look at the Photo Tour!) Some aspects of a place do change, and so it often calls for an adjustment here and there to the setting. Usually those revisions are pretty minor, but sometimes major revisions are in order. That, ultimately, is the novelist's challenge! My belief is that if realism is your goal in writing, you just can't achieve that in a library or behind a desk conducting Google searches-to achieve realism and accuracy, you have to go there and see it for yourself!

The authenticity of the intelligence reports and other information in The Lazarus Covenant seems to be TOO realistic! Are you revealing any classified information?
I haven't revealed any state secrets in this book. However, I did write it with the intent of giving readers a level of detail and operational fidelity difficult to find elsewhere. The novel has also been cleared for publication in a comprehensive Department of Defense Security Review. Even the DoD reviewer, who said she has reviewed some of Ken Follet's books, went out of her way to say how much she enjoyed The Lazarus Covenant!

I'm interested in learning more about the Balkans. Where should I start?

I would recommend you start by exploring the links on this website and then get your hands on the books mentioned in the Reading List and in the Store.

Is it realistic to assume that Christian religions could become as violent as Islamic extremists?

A new brand of mystical, conservative Christianity has already spread across Africa, Latin America and Asia, and Christian extremism has followed this explosive trend (for example, the Lumpa Church in Zambia, Lord's Resistance Army (LRA) in Uganda). Any religion or church that promotes communal orthodoxy, mysticism, puritanism, obedience to spiritual and prophetic authority--those that are messianic and apocolyptic in their approach--risk the kind of violence depicted in The Lazarus Covenant. As Islamic migration spreads throughout Europe, I believe we'll see a corresponding emergence of Christian fanaticism...even among traditional "Western" religions that teach non-violence.

 

As we prepare to release my first novel, The Lazarus Covenant, in several weeks, my thoughts have returned to the days and weeks I first began work on it. I recently found some notes that I typed up as I drove through Bosnia's hinterlands. I found that it was a good construct to help me get my thoughts together and ensure good flow as I continued to write. The Lazarus Covenant isn't a simple story, so keeping the details straight was crucial throughout. After you read the summary/outline for the Prologue below, you can go to my website to read an entire excerpt and even see some photos of the setting described. The outline doesn't exactly follow the final version of the prologue, but ultimately, that's what writing is all about--maintaining the flow (and keeping up the momentum!).

Prologue Sequence and Summary:

Quote from Rebecca West:

"Indeed, it is true that in these acts of revenge on others, men take it upon themselves to begin the process of repealing those general laws of humanity which are there to give a hope of salvation to all who are in distress, instead of leaving those laws in existence, remembering that there may come a time when they, too, will be in danger and will need their protection."

--Thucydides, The Peloponnesian War: 431-404 BC, II 81-85.

SCENE AND SETTING

TIME: 1630-1930, June 28, 1971 (St Vitus Day)

PLACE: Dulici and Brinica Dam, Bosnia-Herzegovina province of Yugoslavia

SEASON: Summer

TEMPERATURE: Hot, Humid

OBJECTS IN THE SETTING: Ceramic Dam, Burnt Car in middle of the road, approaching the Dam. Bull-Dozer, Sentries, Fire

LANDSCAPE DETAIL: Dramatic Hills, high ground overlooking Zvornik, red lake created by dam from Bauxite and Aluminum plant in Zvornik.

LIGHTING: Darkening conditions as afternoon turns to evening.

WEATHER: Clear...rain clouds approaching and then evening downpour.

ARRIVAL: 1730

WARDROBE AND MAKEUP: Mustached and blue-uniformed Yugoslav Special Policemen

SENSE PERCEPTION:

-Sight: Heavily wooded in parts. Dam hidden from the road (2 Km's away)

 

PROLOGUE SEQUENCE AND DESCRIPTION:

28 June 1971, Brnisi, Bosnia-Herzegovina (night time):

Maja and Milan Mescic (Mom and Dad) are introduced. Father is a Serb professor. During dinner, Maja tells her boys to be home and to stay close to home... They manage to sneak out their father's rifle and Makarov pistol. both Celo and Marko are hunting atop some ancient Roman ruins, are tracking a boar and hear shots being fired...the same shots Maja had heard across the creek in the Direction of Brinisi Dam the previous day. ... At the urging of Cello (and despite Marko's reluctance), the boys decide to go there since the boar tracks go in that direction.

SCENE CONTINUED

Executions of Bosnian Dissidents at Brinica Dam by Tito's Special Police:

-Taste: Both boys are thirsty...stopping at a remote stream they see the trucks and a Police Van. Prisoners are off-loaded from the trucks.

-Touch/feeling: Sweat in eyes from humidity of the day. Oppressive heat.

-Smell: Decomposing bodies in the heat. Human excrement and urine from bodies. Smells like a farm.

CORPSES: 150-- 15 delivered to site and executed at a time.

EVIDENCE: Shell-casings, bone fragments, clothing, unearthed dirt

STRUGGLE: Prisoners do not resist, because they are tied up and their mouths bound with cloth. Sentries killed by boys, and Chief Executioner hit when they are discovered.

DEATH INSTRUMENTS: Machine Guns and pistols used by executioners (Makarov, AKM, AK-47s, MG-3).

WOUNDS: Mostly fatal.

PROLOGUE SUMMARY OF EVENTS

Executions of Bosnian Dissidents at Brinica Dam by Tito's Special Police. The Chief Executioner stands out. Younger Marko (13) and Celo (15) (Both mixed Bosnian Serb-Croats fromSapna) witness the executions and recognize a neighbor of theirs that disappeared a week ago. They dare not move for risk of being discovered. Cello is deeply disturbed. After what appears to be the last of a series of executions, it is turning dark. The executioners depart. Marko sees one of the bodies in the mass grave moving and tells his brother that they should help him. Celo tells him it is too dangerous and points to the sentry along the gravel road and to the guard house on top of the dam site. Marko tells his brother to cover him with thier father's rifle--while he goes down. Marko goes down to the grave and sees the bodies, the personal effects, ID's, photographs, etc.. All goes well until another truck arrives, shines light on the mass grave. Marko and the wounded man are silhouetted by the headlights. When Marko slides down the dam causing rocks to fall below, they are detected by both sentries who pursue he and the wounded man. Shots are fired in their direction. Marko fires at and hits the guard on top and below. The Chief Executioner is young but distinctive in his appearance of authority. He is approaching Marko deliberately, looking straight in his direction and intimidates Marko with his steady, fearless approach--seemingly dodging Marko's shots until Marko runs out of ammunition. The Chief Executioner sees Marko, who freezes where he lays. As he takes final aim at Marko, he is shot from the side by Celo with the Makarov, hitting him in the shoulder, and giving the two boys and the wounded man an opportunity to escape. The wounded men tell the boys to run, not to worry about him-that he is "already dead."

They run home, narrowly escape being captured and shot themselves.

DEPARTURE: 1930

Marko is sent out of the country with his mother who is a Croat. Cello stays with their father (a Serb) because they will be looking for two boys, and because they don't have enough money. They last see each other atop some ancient Roman ruins, where they are met by the mafia/underground. Maja and Marko are taken out of the country.

Dad is a Serb university teacher, and a leading reformist intellectual in Yugoslavia and is teaching a class in Bijeljina. Simultaneously, the police find the rifle hidden. They meet him at his home when he returns. Celo escapes from his transporters and arrives just in time to see his father's execution by the young 25 year old executioner/special policeman...after he tells the Special Police that his family went to Dubrovnik several days ago.

Appreciations:

A very young Marko and Cello witness Tito's mass executions at Brinica Dam, causing them to lose their innocence. The Special Police find and identify Mescic's hunting rifle and see that it was recently fired. Vojo Saric is killed outside his home, and is witnessed by Celo.

Marko and Cello playing in the Roman Ruins as children.

Objective Story: Signpost 1 -- Learning

Character and Plot Dynamics: Driver -- Action

SUMMARY: The distant bookend in the beginning of the story is the mass execution at Brinica Dam by Tito's Special Police that is witnessed by the two brothers Marko and Celo. Cello's rash action at the site, after being discovered by the executioners leads to their family's split. Both Cello and Marko see the face of the chief executioner. The chief executioner pursues the boys...only finds their father and kills him in front of Cello after telling him "thou shalt not kill." Celo does not forget, and always regrets not having intervened when he felt he could have.

PLANNING:

Count the steps to the killing place.

RESEARCH/HISTORICAL PERSPECTIVE:

1971: End of "Croatian Spring" Many students and intellectuals are jailed and Party in Croatia is purged of "rotten liberalism." Executions are not widespread, but occur nonetheless-execution orders were not personally signed by Tito (so he could think that possibly they didn't happen, or if discovered he wouldn't be found responsible). In 1967, a series of amendments to the constitution were adopted. The most important one was the division of matters of state security between the federal government and the republics. The army was slowly shrinking from 500,000 in 1952 to about 200,000 in 1968. Territorieal defense forces, under republican control, also were created at this time. These TDF forces were not incorporated into JNA command structures. The period of 1971-1974 was one of intense constitutional reform. Amendments in 1971 radically reduced the authority of the federal government. Day-to-day running of the country basically fell to the republics (Burg, 204-207). In the fall of 1968 riots broke out among the Albanian population in Kosovo and Macedonia. The Albanians were demanding self-determination and secession from Yugoslavia. In response, the government elevated Kosovo and Vojvodina to the status of Autonomous Provinces. Minority language rights were also guaranteed. Riots again broke out in Kosovo in March 1981. There are reports that between 10 and 20,000 people took part in demonstrations and that as many as 1,000 were killed and another 1,000 injured in clashes with the police. The federal government sent in tanks, armored personnel carriers, cut off telephone service, imposed a curfew and set up roadblocks.

 

After devising the rough outline of a plot for The Lazarus Covenant, I began to think of who the characters would be to populate and drive the story forward. At first, such a process can be random brainstorming, but eventually I found that the characters come to life in much the same way as they do in our own day-to-day world. You meet them. Over time, you get to know them. You may be surprised by their backgrounds. They frustrate you. Anger you. Make you laugh, and make you cry.

The only difference? You invented them.

How you go about creating characters and developing them is a rather intense and personal process.

Below, I've included my notes that I used to create Mark Lyons, the main character in The Lazarus Covenant. When I uncovered them, I was surprised to find that they are still descriptive of the same Mark Lyons you will meet in TLC.

Lyons is as realistic a fictional character as you will meet in any global conflict zone--whether it's Bosnia, Iraq, Afghanistan or elsewhere. Lyons is a composite of many people I've encountered in the crises areas I've deployed to over the years. In some ways, he's exceptional. But mostly, Mark Lyons is a normal guy who's had some extraordinary experiences that have shaped him... and haunt him. In TLC, my goal is to allow you to experience the story through Lyons as if you are directly participating in it. So, meet Mark Lyons....

(BTW, I've censored some of the plot spoilers...and pardon the typos and varying typography-- they're just my notes!).

 

Mark "Marko" Lyons

Protagonist: UN International Police Task Force (IPTF) Deputy Commissioner (Former Irish Police Chief-- Irish, 47 years old, international military/police type)

Born May 19-24, Taurus-Gemini Cusp. The Cusp of Energy (for Evenson's information).

Retired Policeman and SAS operative

An Introvert, Internalizes his emotions.

Embraces non-violence after being exposed to it extensively in Northern Ireland, but is forced to revert to it again to survive, protect Sandy Evenson, and stop Voyo.

Motivation: Conscience, Control, Consider, Logic, Truth, Justice, Stability, Normality

Methodology: Deduction, Proaction, Protection, Reluctance

Evaluation: Ending, Reconciliation (with the past)

Purpose: Order, Actuality, Ability, Equity, Aware, Survive, Expose (injustice), Idealism

Has recurrent nightmares and flashbacks.

Initially resists romantic involvement with Sandy Evenson

Wants to prevent widening of hostilities. Believes this conflict to be the work of only a few men. One of them is his older brother (Cello).

He really wants to "feel again" is numb after being in the Balkans and after his experiences in Northern Ireland. Recognizes this. Evenson does not.

Philosophical. Action-oriented, Break-glass-in-case-of-emergency kind of guy you normally only read about. Takes over where the rules stop. Adrian is trying to transcend this reputation (but now he's in Bosnia in circumstances that won't allow him to).

Internal conflicts: not proud of what he's done in the past. Not at peace with himself.

Socially oriented but competitive.
Helpful (trusting)
Reserved.

Avoidant Personality: Artistic, sensitive, in touch with feelings, true to self, prone to moods, socially and emotionally withdrawn, feels emotionally overloaded and different from others. Feels deeply. Intelligent, logical, loves being alone and learning, original thinker, becomes absorbed in abstract trivia, proving his own theory, counter attacking criticism. Avoids being empty of knowledge and understanding of the world, empty of answers when asked a difficult question, and empty of opportunities to learn more. Absorbing knowledge is his addiction, not using knowledge.

In the end: healthy, handles external stresses and internal conflicts. Draws on the skills and rationality he has acquired. Has the maturity to cope well with others, with love, with work, and with the conflicts within.

Learned English from watching American movies. Powerful character with sensitive feelings. Autonomous and daring, he can achieve much if he develops faith in your abiities and do not lose heart. Being creative and imaginative, he posesses an ability to communicate your vision, especially thorugh wisdom and spriituality. With determination and perseverance, he can accomplish something unique and original. Possesses the power to overcome obstacles and reemerge unperturbed. Although he may at times appear vulnerable, his tenacity and dynamic power suggest that as long as he can keep his emotions in check, he can maintain a balanced perspective. Although he can accomplish much by himself, he can benefit greatly from collaborating or interacting with others. As a humanitarian, he has strong personal morals and aspirations but he needs to avoid the tendency to impose his beliefs on others. Although he is willing to make sacrifices for those he loves, he should avoid plaing the martyr. He may need to learn how to compromise by remaining compassionate, yet detached.

1. Achievement, productiveness, and performance. Goals, tasks, and results.
2. Competition and efficiency. Avoiding failure.
3. Poor acces to emotional life. Heart is in work.
4. Convergent thinking. A multitrack mind focused on a single product or goal.
5. "I am what I do." Confusion between the real self and one's job or role.
6. Learning to "do" feelings. Doing the look and learning the lines.
7. Chameleon. Changing roles and changing image.
8. this way of paying attention can maximize success. It also leads to self-deception. Beginning to believe the public image.

BACKSTORY:

Detective Chief Inspector of the RUC (Special Branch)

In charge of top secret surveillance

Felt like outsiders in their own land%u2026

Mother: gentle, self-deprecating sense of humor.

3 ways to improve your life in Northern Ireland: University, Emigration to Englandor the US, the Armed Forces.

Joined the Parachute Regiment at Aldershot, home of the P.R., then the 22 SAS in Hereford.

Superintendent, Tasking and Coordination Group (South). Responsible for running all covert operations in the Armagh and Tyrone area. Coordinated all SAS, MI5 and police operations.

Authorities out of touch with the reality of political violence. "Who is in control" and need to share information was his predominant concern.

November 1982: Promoted to Chief Inspector in charge of E4A operations in Belfast.

Wife going to night school to get her degree.

Hobbies: Gardening, milking the goats, cheese and wine making, bike riding, auctions, hunting.

Conflict with the RUC Hierarchy: who claimed credit for operations, he was frustrated with the RUC's indecisiveness. The SAS was not being deployed properly when potentially more effective than the police. The RUC had to make their lives there, the SAS didn't.

His wife (later killed by the IRA) felt the violence closing in on them.

Take on terrorists head to head.

Wife and mother became best friends.

Peterborough: RUC Training Course.

Apple Cakes, grill-baked soda bread

Rose was the Commander, Land Forces in Northern Ireland (1982)

Marko "Mark" Lyons's Characteristics:
* Motivation:
Reconsider
Uncontrolled

Mark Lyons represents the extremely capable person all of us either admire or would like to be; but also has a wide range of experiences that have left him deeply scarred, conflicted and disillusioned. He tries desperately to redefine himself in a different light as an unarmed UN peacekeeper who uses his head, rather than guns-- he almost succeeds, but is eventually forced to reassume his old identity when he must protect his new friend Sandy Evenson. In so doing, Lyons demonstrates his capacity to deal with the good, the bad and the ugly to achieve his ends. The question that emerges, though, is whether Lyons compromises himself by doing that?

He remembers what his cousin has told him about the Ends Justifying the Means....

He is seduced by Celo's logic, but Sandy Evenson challenges Mark...makes him come to the realization that there are thresholds within all of us. Discussion about the external enemy and the enemy within: the internal enemy is most formidable. She makes him realize that to be truly human we have to understand humanity and serve society constructively. He resists her, but eventually does change and achieves peace of mind (the ultimate end) through peaceful means.

Mark's Story Activities:

Mark Lyons' expertise is primarily as that of an investigator...he is involves himself in the investigation of the "accident" and is quickly told to withdraw his involvement by US officials and by General Warner. He makes his case, but Warner holds fast, receiving his directions directly from the British PM and WH.

Mark is driven by his quest for the "truth"

Often, the supporting character of a novel is also what is known as the "obstacle character"--who ultimately helps the protagonist change. The energetic, acerbic and extremely vocal Sandy Evenson is the supporting character for The Lazarus Covenant. She is also the novel's obstacle character. Her role is crucial, because if Mark Lyons does not change, if he's not challenged, there isn't much of a story left to tell (that isn't purely kinetic). In The Lazarus Covenant, slow personal change is what predominates--with dramatic and quickly changing circumstances.  Sandy Evenson is instrumental to effecting an evolution of belief systems and perceptions for Lyons. It's that progressive realignment of beliefs and attitudes that define the kind of change most of us want and have come to expect in a novel.  Sandy Evenson is a composite of itinerant personalities who I've encountered at the United Nations, the War Crimes Tribunal and State Department who travel from crisis to crisis, serving selflessly and courageously.  Here are the notes I used to frame Sandy Evenson's character.



SANDRA (SANDY) LEE EVENSON:

Protagonist 2/Obstacle Character: ICTY Investigator (spent time conducting dangerous humanitarian work during war.) Formerly a member of "Doctors without Borders" and signed on to the ICTY. Conducted mass grave exhumations in Cambodia's killing fields and in Guatemala prior to coming to Bosnia.

Histrionic Personality: Artistic, Sensitive, in touch with feelings, true to self, moody, easily hurt, feeling emotionally overloaded and different from others. Avoids being ordinary or defective. Wants to be special and unique. Feels deeply. Enthusiastic, practical, playful, accomplished, enjoying life, knows and wants the best of everything. May become materialistic, hyperactive, easily frustrated, and compelled to buy new toys and find new ways to have fun. Fear is deprivation and boredom. Compulsions are to avoid personal pain. Puts off anything unpleasant. Wants more of everything. Life should be fun. Avoids responsibility. Wants decisions to be made for her. Depends on her friends. Nervousness, sociable, independent (flexible), helpful (trusting), conscientious.

Extrovert: 32 years old.

Moves easily, self-confidently, profane, worn by experience, controversy follows her.

Originally from New York City. No accent except when she's upset.

Assertive and Conflicted

Computer expert.

Acerbic Wit.

Very close to her mother

Tough exterior. Resists intimacy. Running away from a divorce she didn't want.

Unpredictable.

Extremely intelligent. Insightful.

Idealist, but not a Pacifist.

Independent. (Independence will be challenged by growing connection to Lyons). Headstrong.

Intense and vocal. Not afraid of confrontation (Blockade-Runner at road blocks).

Suspicious-doesn't like what she's become.

Ran away from a previous relationship. Now single again, but not happy.

Motivation: Faith, Help

Methodology: Deduction, Acceptance

Evaluation: Accurate, Result

Purpose: Equity, Projection

Messy, unconcerned, careless, disorganized, and when pushed, stubbornly rebellious and defiant.

Charming, quick at assessing situations, and never lacking in inspiration, she is a sociable person with a flair for people and diplomacy. With an appreciation of beauty, color, and sound, she possesses creative talents that she ma;y wish to develop thorugh artisitic self-expression (can't sing). Clever and shrewd, with good mental potential, she is likely to keep herself active and be constantly upgrading her knowledge. Skeptical, yet with a certain childlike innocence, she gradually comes to learn the benefits of listening to her intuition. This helps her to act spontaneously and seize the opportunities of the moment. Although generally easygoing and wishing to keep life harmonious, on occasion she may have to guard against becoming irritable, obstinate, or suffering from nervous tension.

1. Procrastinating. Thinking replaces doing. Avoiding Action.

2. High goals, often with history of incompletion.

3. Anxiety peaks with success. Success equals exposure to hostile forces.

4. Amnesia about success and pleasure.

5. Authority problems. Either submitting to or rebelling against authority.

6. Suspecting other people's motives, especially authorities.

7. Identifying with underdog causes. Leading the opposition party.

8. Afraid to recognize own anger. Afraid of other people's anger.

9. Skepticism and doubt. Buddhist "doubting" mind.

10. A mental "yes, but..." or "this may not work."

11. Scanning the environment for clues to explain the inner sense of threat.

12. This way of paying attention will confirm that the world is a threatening place, but also leads to recognizing the motives and hidden agendas that influence relating.

Evenson is initially an unsuspecting and reluctant participant in Lyons' investigation of the ambush, but she comes along at Lyons' intense urging. She is constantly challenging Lyons-- his methods and his outlook. When she begins to understand who he is, what his background is, she challenges him further. Simultaneously, however, they reinforce one another in a kind of unintended way. She is more direct than Lyons and while Lyons' ultimate goal is the truth, Evenson's objective is justice. While seemingly compatible, the two approaches do conflict. At one point, Evenson XXXXXXXXX and arrive at the justice she so desperately wants.

She focuses more on the human aspect of justice: the victims, the families, the innocent. Does not believe the ends justify the means. More of an idealist, but tempered with experience.

Goal: To fall in love ; get away from war; live a healthy life; to leave the Balkans, but kept there by Lyons and deaths close to those around her. Still has a feeling of responsibility to improve the world around her.

 

The overall story goal represents one of the central priorities--and challenges--for any writer in planning a novel.  It's crucial to establish the overall story goal at the outset, because it will have wide-ranging consequences for the characters and the outcome of the novel.  Plot points support the story goal--forewarnings, consequences, problems, solutions--they all support the goal.  A key distinction in establishing a story goal is to understand that in any good novel, characters drive the story forward (my opinion), stands to reason that the characters must chase the story goal.  Along the way, there will be consequences...first, second and third order effects...that "chase" the characters.  In writing The Lazarus Covenant, the characters are driven at the outset by a need to gather information.  The consequences of that quest for information uncover complex layers of problems and circumstances that make solutions not only more problematic, but also more critical to Mark Lyons (protagonist), the United States, and the world.  Here are my early notes that helped me create the story goal for The Lazarus Covenant (plot spoilers are censored! :-):

To learn what Cello's intentions are in the wake of the ambush on the US Special Delegation and  to learn what led to Cello's ostensible motivations for the attack(s).

Lyons informs General Warner that the accident was not an accident at all, but a deliberate ambush on the US delegation.  Warner informs Lyons that the evidence he has obtained to support his conclusion is not for public dissemination.  Also tells Lyons that SFOR and the FBI are taking over the investigation.  Lyons rejects Warner's directive, and tells Warner he doesn't know what he's up against...suggests this is part of something much more dangerous and deceptive.

By doing so, all of the players hope to preempt what is deemed to be a potentially catastrophic attack on US and UN targets

Lyons goes back to Warner and Rose once he's confirmed the existence of WMD...Warner acknowledges Lyons' conclusion, but tells him he's way out of his lane.  Warner calmly replies that he doesn't work for SFOR, but for the United Nations...he was hoping they could cooperate, but Lyons refuses to see the something like this covered up and shoved under the rug as if it never happened.  Tells Warner and Rose that there is much more to this than meets the eye...he's seen situations like this before, but never with the potential consequence.  When you think you are just caught in the middle, ultimately you discover that you are the target, or vice-versa.  Many moving parts that they are failing to consider.  Lots of linkages and history that you are unaware of.  Warner dismisses Lyons' advice and concerns.  Tells him not to get in their way.  Lyons replies that he is distressed that he feels that way.

Mark Lyons must reconcile his own past...to understand his cousin...the fate of his uncle and what has led up to the current crisis that he now finds himself in the middle of.  Lyons' ultimate challenge is to learn from his past, to become the person he wants to be.

Evenson asks Lyons:  "and why are you here....?"  He gives her a somewhat canned answer, and she tells him she suspects there's more to it than he's telling her.  Lyons tells her that Cello is his cousin.  She discovers that he has never made the effort to see him or vice versa.  She wonders why.

Lyons takes Evenson back to the town where he grew up...and to Brnisi Dam...there he tells her of the executions that occured there and why he left.

She challenges him to visit with Celo...forcing the issue for Lyons to see Celo again.  That meeting is interrupted by XXXXXX.  Celo tells Lyons to XXXXXX...Mark tells him he can't.

 

Everything has consequences.  In writing a novel, consequences transcend the immediate results of an event, character statement or action.  Second and third order effects provide the requisite story drivers that keep a reader interested and keep them turning the pages.  After you establish the story goal--where you conceive the idea for your novel--conceiving the plan comes next, and this is where you can begin thinking about the consequences that will result from a character's actions.   Most suspense novels you will read, are essentially stories of overt consequence.   But my goal in writing The Lazarus Covenant was to go further, and explore the hidden consequences of what could happen if the protagonist (Mark Lyons) would be unable to achieve his goals.  By design, as The Lazarus Covenant progresses, the reader quickly learns that the consequences would be catastrophic...individually, locally and globally.

Here are the notes I made to myself in planning the story consequences for TLC.  Plot spoilers are censored!

Ostensible Consequence:  If the actors fail to determine XXXX target and preempt his attack, thousands will die, ultimately forcing SFOR and the international community out of Bosnia,  or reopening a political and military vacuum that will drag the international community into a second even more violent, unrestrained world war.

The White House and SFOR come to the conclusion that Celo is responsible for the ambush on the U.S. peace delegation.  This discussion takes place during a Principles Meeting with the White House Situation Room.  Thorpe urges restraint.  Other administration officials advocate an immediate raid, and the President chooses the latter.  Thorpe warns against such a way ahead, but it falls on deaf ears.

Real Consequence:  If the actors fail to determine who is actually responsible, the same consequence will emerge, XXXXXXXXX.

From Celo and Thorpe, Lyons confirms that there is an imminent WMD threat that exists in Bosnia.

If Lyons fails to reconcile his past experiences and stop blaming himself for the tragedies that have affected his family from Bosnia to Ireland,  he will lose any chance he had to regain his equilibrium in life...and he will also lose Sandy Evenson who has shown him the opportunities before him.

Evenson relates her experiences in wartime Bosnia.  She gradually became disconnected from the rest of society-- noone could possibly understand.  She explains how she overcame that feeling of self-imposed isolation (by facing it directly...returning where these things happened).  She suggests Lyons is in the same situation.

Lyons realizes that he was conceived into an environment of violence-- an environment he can adapt to and excel in.

 

What do I need to achieve my goals?   It's a question we frequently ask ourselves, consciously or sub-consciously as we go about our lives.  But if you're writing a novel, the means through which story goals are achieved are as important as your word processor, pen and paper-- because they too are instruments to paving the way ahead for your characters.  Your characters simply can't "live" without goals or the means to realize them.  In The Lazarus Covenant, the concept of understanding is the primary story requirement.  Understanding threats, personal histories, tragedies, triumphs, strengths, and weaknesses.  I approached Mark Lyons'  quest for self-awareness principally through his role as a natural investigator who gathers information for a living.  It was a good nexus in the search for meaning--a theme that defines the story requirements for The Lazarus Covenant.  A key guideline in thinking about "understanding" as a story requirement is that "Reason describes the function and Emotion defines the purpose."  So, there are those two dominant masculine and feminine thought-processes to consider in creating your characters and your story.

Below are my notes in establishing the "understanding" requirements for the major characters in TLC.  My point of departure was my belief that in order for the story to progress, the characters had to acquire meaning in their own lives.  And by coming to an understanding of their past, they would be better equipped to deal in the present crisis that unfolds in The Lazarus Covenant.

It's important to note that these are "stream of consciousness" notes that helped guide me, but not everything you'll see below happened in the novel as described.  Every author writes differently--there are no "silver bullets"--but I found that putting some thoughts on paper provided a good handrail to keep me on track as I wrote.  As always, plot spoilers are censored!



Understanding as the Story Requirement to Achieve the Story Goal

Mark needs to understand how his life experiences in Bosnia as a child and in Ireland as an adult have shaped his perceptions before he and Celo can reconcile after more than three decades of separation.  To achieve his own peace of mind, Mark must understand that XXXXX's death is not his fault.

Mark is reluctant to meet with Celo, now that he knows he's somehow involved...says that he would rather not involve himself...believes that his intervention at this point would be too disruptive for both of them-- that his lack of objectivity would only get in the way.  Evenson disputes his assessment, asking him why he came back to Bosnia to begin with, and that running away from what happened here or in Ireland certainly won't help.

Evenson must understand what events in Lyons' life contributed to conflicted outlooks before she can help him, and eliminate his resistance to her.

Evenson decides to visit Celo herself, despite the fact that he has been pursuing her since the ambush.  Cello is surprised to see her...just as he was at the ambush site.  He tells her that he wasn't responsible for the ambush of the US delegation, but knows who was.  She tells him that many people believe he was responsible nonetheless.  He doesn't comment, then asks about his brother.  Now she is surprised--"You know he's here?"  Celo tells her that it was he that he who he expected to visit, not her.  Evenson explains Lyons' concerns over conflict of interest and Celo tells her that they're probably both avoiding one another.  It's been thirty years-- maybe it's time they both saw one another again.  He passes a message to Lyons through Evenson, and she leaves.

Celo must understand that the concept of blood vengeance is fatally flawed, despite what he learned as a child.  He must understand that he still has a family who cares about him-- and that he risks his own self-destruction if he carries out his plan-- a plan that is very different from what Lyons, the White House and EUFOR leaders believe.  He understands that his brother may prove to be the adversary he has been pursuing...and is understandably not anxious for that to happen. 

Celo engineers a meeting with Lyons at the ancient Roman ruins they both played at as children...they talk about the incident at the Dam, and their father's death.  Lyons tries to make Celo understand that XXXXX's death was not Celo's fault...by using XXXXXX as an illustration-- Simultaneously reshaping Lyons' outlook too.

Is the past prologue?  In a suspense novel, events of the past can be used effectively to forewarn consequences that may occur in the future.  Those consequences are often impending failures or near-failures--but they don't have to be.  Often forewarnings are just glimpses into the future.  They provide depth, texture and subtle purpose to your writing.  Forewarnings are a tremendous tool show how a character is approaching his or her limits -- conveying a wariness that their goals may not be realized.  So, forewarnings are a great tool to show the "Story Consequences" of what could happen if the "Story Goal" is not realized.  The Lazarus Covenant employs forewarnings from the very beginning--and throughout, the past is indeed prologue!

Here are my "brainstorming notes" that I used to incorporate some of the forewarnings in TLC (plot spoilers censored!)....

Elements of Forewarning for The Lazarus Covenant

Mention of XXXXXX is a foreshadowing at the end.   XXXXXX has played a key role in insulating Lyons  from Bosnia, ironically XXXXXX presence at the end of the story helps both men, bringing them together by making them realize how irrelevent their differences are.

Ends and means discussion of both cousins as kids, relating to something innocuous:  forewarning of the Celo issue between Lyons and Evenson, deliberate countermanding of Warner's directive.

Evenson's belief in astrology...talks about the Sagitarius...rather go to XXXXX:  At the end, that's where they go when they depart Bosnia.

Mass executions and reaction of Celo, separate less extreme reaction of Marko, Celo acts against the Serb executioners in self-defense:  Both boys get a clear picture of the chief executioner at Brinisi Dam.  Celo tells Marko they should get out of the area, but Marko moves closer with the hunting rifle...when they are discovered, Celo opens fire, killing one of the soldiers to protect Marko.  The same chief executioner kills XXXXXX as XXXXX watches from a hide site.

Lyons and Celo playing in the Roman Ruins as children:  Where Celo meets with Lyons, and where Rose attempts to capture Celo.  Becomes a tragic, final place for Lyons.

Lyons's confrontation with Rose as his wife is killed, is a foreshadowing of his final confrontation with Rose:  when XXXXXX is killed by Celo it represents some closure for Lyons.

 

How can you drive your story forward?  This is one of the core questions to consider in thinking about your novel's plot dynamics.  In most cases, the story driver for a thriller will be events that ratchet up the reader's suspense.  In writing The Lazarus Covenant, I used a series of tight action sequences that, bound together, would convey a compelling plot.  By holding some details (plot points) back, my goal was to create even more suspense and intrigue.  Another way to drive a story forward is through dialogue and expounding on the decisions a given character makes as he or she progresses through the story.  Here are my notes in creating the story drivers for The Lazarus Covenant (plot spoilers are censored!)

The distant bookend in the beginning of the story is the mass execution at Brinisi Dam by Tito's Special Police (Voyo as Commander) that is witnessed by the two cousins Lyons and Cello. Marko's rash action at the site, after being discovered by the executioners leads to their family's split. Both Celo and Lyons see the face of the chief executioner. The chief executioner pursues the boys...only finds their father and kills him in front of Celo. Celo does not forget. In the more contemporary sense, it is the ambush of the US Special Delegation witnessed by Evenson and attempted to be covered up by the USG that drives all of the actors. Celo is blamed for the attack because he is on site, but that is a part of an elaborate Serb deception. As EUFOR pursues Celo, only Lyons can prove the truth-- Celo shows Lyons what the real threat is...proves to him that he did not conduct the ambush...but says he will defend himself against those who attack him and his men. In the end, the real threat is the Chief Executioner (Voyo) from Brinisi Dam, 30+ years ago, who has obtained a nuclear weapon for use against the Muslims, Croats, US and UN targets. Lyons tries to overrule Warner and Rose's preoccupation with Celo--Celo even offers to talk to Warner or Rose, but they refuse on the basis that he is a PIFWC--so they don't listen. Informs Thorpe who follows through on the correct threat.

   

What options do I have?  It's a question we often ask ourselves.  Eventually we whittle our options down to a manageable, coherent level. There may be some momentary indecision... choosing between bad and worse perhaps, or even involve a "deal with the devil."  If we don't make a decision, circumstances may force the decision on us.    The same tenet applies for our characters as we plan and write a novel.  Authors often achieve the story limit through what is called an "option-lock."  An option-lock is created through a series of events that help drive the plot--not by adding more possibilities for a main character, but by systematically taking available courses of action away from them.  I found it helpful to give the concept of option-lock some thought before finalizing how TLC story unfolded.  Here are my rough notes as I considered the story limit for The Lazarus Covenant .  (Plot spoilers are censored!)

 

Options to prevent a perceived imminent attack by Celo run out after Celo successfully defends against one of Rose's attacks that is ill-planned and ill-advised in a full-scale Mogadishu style-- except that it turns out to be a tactical failure as well as a strategic one. Thorpe tells Lyons that he will give him the chance before he mobilizes his own special mission unit to handle the situation. That is the catalyst that forces Lyons to face Celo and face his past. Rose and Warner have personalized the crisis-- with Cell as the primary problem...the result of the poor analysis and hidden agendas of both men. Medjugorje: Islamic Fundamentalists are taking retribution against the Croats for the massacre by Voyo's Gabriel Team. They are attempting to kill the Pope.

What message are you trying to send?  It's a fundamental question for anyone who is trying to communicate--whether it's through a directive, a personal intention, a policy or a story.  As an author, the message in a novel or story is conveyed primarily through the story outcome--articulated  in terms of success or failure.  And yet, the best stories don't ever have "zero sum" outcomes.  Success and failure aren't absolute--there's plenty of grey space.  It's also important to remember that your characters will rarely share all of the same goals.  Many of their goals conflict, intersect, diverge or run parallel to one another--so it stands to reason that no outcome is likely to be either an absolute success or failure in the eyes of the protagonist.  Nonetheless, when you're done writing your first draft, it's helpful to look back and ask whether your characters actually achieved what they had intended at the beginning of the story.  How have they changed in the process?  Success or failure should not be a value judgement, but an objective answer to a question.  Once answered, it will help you substantively in the revision process in order to achieve your goal of ensuring your readers are fulfilled.  And better yet, think about your intended story outcome before you actually begin your novel.  In writing The Lazarus Covenant, I wrote some preliminary notes down regarding the story outcome at the outset.  They're rough, but here they are (plot spoilers are censored!)....

All of the players proceed through the story reacting to events early on, with different motivations each, to continue on to their respective objectives using their own chosen means. She tells Lyons: "Do you honestly think that the side with the most noble cause wins?" In the end, it will be the side with the more coordinated, well thought-out approach that prevails. Evenson is the most responsible for ensuring that occurs when she tells Lyons that he is just as bad as Rose and Warner.... Learning that ultimate success requires collaboration with others, and transcending selfish agendas. Lyons believes that you have to know what the hidden agendas are to succeed. Combatting Warner's information-based, coercive approach can only be done through a hybrid Lyons-Evenson brand of comprehensive "predictive" analysis and then devising a plan based on situational awareness that the "good guys" can act on. In the end, it turns out that Celo--although an admittedly unsavory character--was not responsible for the ambush, and had no intent to use WMD. Addressing Celo ultimately has to be accomplished on a very personal level, that only Lyons can do. In the end, Lyons' methods proved successful in terms of the crisis they are dealing with, and with his personal conflicts. With Evenson's help, Lyons progesses on his own road to recovery and reconciliation with his past.

As an author, you must pass judgment. Those who say they don't may sound altruistic enough, but the truth is, they're not effectively conveying a meaningful plot or story. Establishing judgment in this context requires that you ask a simple question that relates directly to the Story Outcome: Has your protagonist resolved his issues or not? In other words, has he changed? Whether or not your main character has achieved the Story Goal you set out for him, and regardless of his success or failure, this judgment is crucial in guiding the story to its compelling conclusion. 

While the question may be simple, the answer seldom is, because the Story Judgment is a very personal call for any author to make. In The Lazarus Covenant, the main character (or protagonist) is Mark Lyons.  He's had a difficult road throughout his life.  He's experienced unprecedented tragedy, been separated from his family, seen life through the starkest lens imaginable, and he blames himself for it all. As a result, he's closed himself off to intensely personal relationships because they just don't work out.  He's had tremendous successes along the way, and he's a recognized counterterror and criminal expert. But he lives and operates at extremes and fringes--mainstream society is not only foreign to him, it's an anethema. He wonders whether he attracts adversity and violence because it seems to seek him out. Are his perspectives hardwired into him...can he ever have a life that isn't defined by death, violence and broken relationships? He discounts the possibility because he doesn't know where to begin. What he doesn't count on, though, are the people he meets from the very first chapter in The Lazarus Covenant.

 

Writing a plot point synopsis of your book is not something all authors subscribe to, but if you are writing a story with a plot that is more intricate than not, I'd recommend doing one at the very outset.  Using all of the work you've accomplished so far--setting out the story goal, consequences, forewarnings, outcomes and judgements--you have everything you need to begin preliminary work on illustrating your story in an organized, mapped out way.  A plot point synopsis connects the dots of the story details together to create a coherent, compelling plot.  It provides absolute direction to your story and progresses chapter by chapter from prologue to epilogue.  Do it in simple, easy-to-understand language, and do it quickly--it's not a final draft, but a guiderail for you to use as you write your novel.  Here are my notes that I drafted for a plot point synopsis for The Lazarus Covenant.  I've only included three chapters of notes to convey what it might look like...some plot spoilers are censored!

PROLOGUE:

28 June 1976, Bosnia-Herzegovina: Executions of Bosnian Muslim Dissidents from Srebrenica at Brinisi Dam by Tito's Special Police.  The Chief Executioner stands out.  Marko  (12) and Celo  (15)  (Both Bosnian Muslims from Sapna) witness the executions.  Antagonist is deeply disturbed...they both run across and are surprised by a survivor of the executions who is in hiding.  They are detected by one of the executioners who pursue them.  Antagonist saves Protagonist by shooting their pursuer with his own gun.  They run, narrowly escape and Lyons is sent out of the country with his mother.  Celo stays with their father because they will be looking for two boys.  The last time they see one another is atop some ancient Roman ruins.

CHAPTER 1:  January

Evenson witnesses wholesale executions/ambush of U.S. negotiating team, which includes U.S. Special Envoy and the U.S. Deputy Secretary of State.  She takes photos of the ambush in which the entire US team is killed and one of the terrorists is killed.  A Muslim Paramilitary Unit is identified as conducting the ambush.  It is covered up at the urging of the DCI, National Security Advisor and by the direction of the U.S. President-- for fear that full exposure would pull the U.S. into another Balkan War.  The facts are manipulated and skewed to fit the circumstances as a mine accident.  Evenson  sees Cello and manages to escape.  In her rush, she drops her notebook that is found by an investigator. Lyons arrives on the scene as the EUFOR Commander, and is handed the notebook and a 35mm Camera with no film loaded in it.  Evenson's ICTY card is taped to the front cover of the notebook.  Lyons asks if there was anything else found, and he is told the Serb Police found the bag the notebook fell out of.  Lyons:  "You never found this...."  Celo knows he's been ID'd and pursues Evenson.  Lyons knows that Evenson is in danger, even though he's never met her.  Through his trained eye, Lyons knows what happened here-- it was anything but an accident....

CHAPTER 2:

Evenson is attempting to fly out of Sarajevo via military transport...is given a hard time because she doesn't have her papers.  P2's departure to The Hague.  P1 manages to intercept P2 just as she boards the airplane (via helicopter).  P2 is very upset.  P1 convinces her that her presence is required if the truth is ever to be discovered and justice is to be served.  She reluctantly agrees after her shock upon discovering he knows what transpired was a deliberate ambush...not an accident.  "How do I know I can trust you?" she asks.  Because I am Irish, he tells her.  To her surprise she sees that he also speaks fluent Serbo-Croatian.  P2 reveals to P1 that she photographed the incident and has the film.  When asked whom she's told%u2026she says only her boss.  Very soon they realize that a reporter and the CIA are pursuing her...and he.  The President is briefed using TS satellite footage and from that coverage he is also briefed that a UN employee probably witnessed the ambush (from the UN car parked nearby).  He is concerned the story may reach the press and directs that she be intercepted (for her own protection). 

Devising the themes for a novel are one of the first, best steps an author can take to provide depth to a story.  Themes are seldom linear in the way they are integrated, nor are they objective.  Themes flow from the human condition and are conveyed as either a premise or through exploration.  Themes run the gamut of emotions, issues and arguments that we see in our everyday lives or on exceptional occasions.  No matter what the theme, it's the author's job to identify the novel's themes and to fully develop them.  Here are my own (rough) notes that I used in identifying the themes for my novel, The Lazarus Covenant.

THEMES

1. Emerging danger of terrorist use of Weapons of Mass Destruction.

2. Clash of Civilizations.

3. How environment shapes individual perceptions.

4. Loyalty.

5. Blood Vengeance.

6. Linkages:  Time, Space, Family, History

7. Family Ties that bind

8. Recovery from Trauma

9.   Need:  Both P1 and A1 need each other, although they don't  realize it.  P2 shows them both.  P2 finally does leave at P1's urging (ostensibly).  Comes back with their mother.  At the dam.

10.  Enduring Love:  Family

11.  Cognitive baggage and the way it affects an individual's outlooks/perceptions.

12.  A complex morality tale anchored in uncomfortable fact.

13.  Comfort Zone behavior.

14.  When things aren't as they would seem.       

In Bosnia, the past is prologue for one man who must come to terms with a violent and tragic childhood in order to prevent a renewed Balkan war%u2026and a nuclear holocaust.

In the latter years of Tito's Yugoslavia, two young boys, cousins Marko and Celo come upon a mass execution in progress. As they witness the executions and try to help a near-dead survivor to safety, they are discovered by a Yugoslav Army Officer who attempts to kill them. In a desperate struggle for survival, they fight their way home. Because of his injuries, Celo remains with his father while Marko flees with his aunt to the United States. Both boys remain separated into adulthood%u2026.

Thirty years later, as war threatens to ravage the Balkans again, Marko reluctantly returns to Bosnia as Mark Lyons, the FBI's Special Agent in Charge of the Balkan Region. On the day he arrives in Sarajevo, an American peace envoy is brutally assassinated, and the United Nations High Commissioner asks Mark to investigate.

Sandy Evenson, beautiful, gregarious war crimes prosecutor for The Hague witnesses the assassination. As it unfolds in front of her, she frantically takes photos of the carnage. Mark investigates the scene and soon suspects a cover-up is underway. Ghosts of Mark's Balkan childhood return when Sandy's photos are developed%u2026.

News of the assassination quickly arrives at a White House desperate to avoid another Balkan War. In the Situation Room, the Commander of the U.S. Joint Special Operations Command, Lieutenant General John Thorpe is informed that stolen plutonium is in the hands of an Islamic Jihadist group in Bosnia, and he is sent to Bosnia to determine if the two incidents are connected.

At its foundation, The Lazarus Covenant is a story of profound personal transformation. In their own unique ways, war crimes prosecutor Sandy Evenson, Serb war criminal Celo, and General John Thorpe each force Lyons to confront his own demons, his own humanity, and a deadly religious sect assigned the mission of protecting the Vatican from catastrophic threats.

An explosive international thriller in the tradition of Gerald Seymore and John LeCarre, The Lazarus Covenant explores the scourge of extremism, terrorism and war in a haunting tale of friendship, faith and forgiveness. Writing from his own experiences, John Fenzel relates this story authentically in dramatic settings that extend from the Oval Office to the Balkans, all in a time of extreme crisis.

What types of characters do you need to populate your story?   Characters populate and give life to your novel--all perform different dramatic functions and archetypes. As a rule of thumb, plan on about 8  characters to fill one of the eith archetypical roles.  At the beginning thing about your character's names, roles and genders--they all matter because they will affect how your reader perceives them and how you will treat them as you begin to write and integrate them into your story.  Here are the notes I made for one of the supporting characters in my novel, The Lazarus Covenant.   They're rough, quickly created and all over the map...but very helpful nonetheless!



Celo Mescic


Bosnian Serb former Banja Luka Opstina Police Chief.  (Mark Lyons' brother).

Something atypical about his face.  Bold eye.  Slightly sardonic mouth/expression; Prominent jaw.

At ease among men.  A leader who commanded a Serb Special Police Brigade during the Bosnian War and rose to national prominence; Helped set up the Concentration Camp in Omarska.

Steadfast, Savage, In Control, Completely self-assured

Dwells on the past and seeks revenge.  Sees several cousins/uncles killed during the Brinisi Dam executions

Sadistic Personality; High self-esteem, Ambitious, Inspiring Achiever, Overly Competitive, Compulsion to Avoid Failure and Rejection; Believes that personal worth is defined by achievements.  Natural leader; Champion of Causes, Strong, Assertive, Must-Do Attitude, Intimidating, Must get his way, "Having it out with others", Fear of being dominated and avoidance of weakness; Favors radical change by him.  Independent and inflexible.  Hard-hearted; (from revenge).

Intolerant.

Anal Retentive; orderly, persevering, compulsively clean, and reluctant to give things away.

Anxious, conscientious, and dependent on authorities (Parents); Neglected as an infant.  Hard-hearted.  Nervousness.

Loves weapons

Croats killed Cello's father (Lyons' father).

Motivation:  Consider, Pursuit, Hinder, Unending, Past.
Methodology:  Certainty, Proaction, Rationalizing
Evaluation:  Proven, Effect
Purpose: Thought, Perception, Chaos

Cello is a man of action: His reputation as an effective warrior and leader earns him a command against the Serbs in the Balkan War  and subsequently earns him the position as Minister of the Interior...a front-runner of a Bosnian Muslim State (as he sees it)

The youngest Brigade commander during the war in Bosnia.

A PIFWC on the "Black List"

Has many mistresses.

Shot in the heart, and survived.

Tall.

Spent 7 years in a German prison for murder-- escaped with the help of his "soldiers"

The quest for knowledge and the development of his deeper understanding is vital to his emotional fulfillment.  Education, whether self-directed or through more formal channels, can be a key to stimulating his desire for information and wisdom.

1984-86: Belgrade intellectuals were arrested for counter revolutionary activity. Cello retaliated, and built a reputation for himself, ultimately becoming the Serb Police Chief in the Opstina.

War Criminal

Schizoid Personality: Artistic, sensitive, in touch with feelings, true to self. May become moody, easily hurt, and socially or emotionally withdrawn, feeling emotionally overloaded and different from others.  Striving to avoid being ordinary or defective, wants to be special and unique, sometimes feels deeply but more often "on stage." Intelligent, logical, loves being alone and learning, original thinker. May become absorbed in abstract trivia, proving his own theory, counterattacking criticism.  Attempting to avoid being empty-empty of knowledge and understanding of the world, empty of answers when asked a difficult question, and empty of opportunities to learn more. Absorbing knowledge is his addiction, not using knowledge. Strong, assertive, "can-do" attitude, loves challenges, natural leader, and champion of causes. May become a risk taking entrepreneur or a righter of wrongs, intimidating or "having it out" with others and feeling he must get his way. The driving force underlying his personality is fear of being dominated or the avoidance of weakness. Favors radical change by himself.  Phallic Character: strident, proud, dominant and arrogant. Self-centered, macho Don Juan obsessed with proving his sexual attractiveness

Determined and pragmatic, he is a dynamic personality with a straightforward style. Independent and success-oriented, he needs change and adventure to keep his interest and to stop him from becoing restless or impatient. Confident, he usually works best when he thinks optimistically about large projects.  These can motivate him to action, and once focused ona goal he will work hard to achieve his grand plans.

Possesses a fast mind, quick responses, and an ability to evaluate situations rapidly.  Good concentration and common sense suggest that he can be thorough and capable of deep thought.  With his high standards and competent approach to work, he can become too demanding of himself or others.

Naturally business minded, he is good a commerciallizing his abilities and seeing opportunities when they arise.  Ambitious, he aims high and enjoys power and influence.  With an ability to project positive enthusiasm or excite other people, he makes a good organizer and natural leader.

His generosity and assurance attract others and increase his general good fortune.  sometimes emotional moods may cause him to suffer from nervous tension, so it is necessary to lead a well-balanced lilfe and stay healthy.  Dreams and ideals reflect his emotional sensitivity and a strong inner life.  At the age of 38, there is a turning point as he is forced to take the initiative and be brave and direct in his relationships with others.

Enthusiastic and adventurous, with an intense personality that lies beneath what is ostensibly an easy-going one-- his eyes reflect the capability for cold calculation.  Dynamic and bright.  Highly intuitive and aware.  He combines his cerebral power with his premonitions and trusts his feelings.  Dynamic mental energy, enthusiasm, and ability to think on a large scale.  High strung.  Has an inclination to take charge.  Versatile. His own doubts and paranoia may undermine his sense of purpose and confuse him as to what his objectives truly are.

Firing at Tito's Executioners at Brnisi Dam; Ambush of US delegation seeking to annex Muslim territory for the benefit of the Serbs in an arbitration decision; Intercepting Muslim's use of WMD (too late), Pursuit of Lyons and Evenson;

Engaged in building a solid foundation for himself.  unofficial leader of the RS, but is apolitical and motivated to a large extent, by money. He has an extensive organized crime network that is under the cover of a large construction company that is involved in legal contracts.  His intelligence network is as extensive as that of EUFOR; however, because he understands the environment, it is far more effective.

Revenge for what happened to him, to avenge his father's death; money; power; recognition and attention (Lyons: "He wants to be the bride at every wedding and the corpse at every funeral.")

Antagonist: helps Lyons reconcile distant past.

Distant past (Celo) XXXXXX

Stories emanate from a problem that must be resolved.  Issues emanate from the story's core problem.  The problem an associated issues that the story is set against is called the "Overall Story Throughline."  Using the Dramatica Pro construct, the problem can be broadly categorized as Situational, Activity-Based, Attitudinal or Manipulative.  If the problem grow out of a situation, then is is Situational.  If the problem emanates from a certain activity, then it is Activity-based. If the problem evolves from fixed attitudes and states of mind, it is Attitudinal.  And if the story problem result from the characters' manipulations and ways of thinking, then the Overall Story Throughline is Manipulative.  As a suspense thriller, The Lazarus Covenant is Activity-Based.  I defined the Overall Story as "Stopping Celo's ostensible attack on the international community."  My challenge in determining the Overall Story Throughline was defining how the Overall Story was Activity Based.  Here are my early notes in devising the Overall Story Throughline (the details of which changed pretty dramatically when I began writing).  





Evenson attempts to escape from Bosnia after witnessing Celo's ambush; Lyons quickly understands that his cousin Celo may have had a role in the ambush; a child's unique illness reveals the existence of chemical agents that have been weaponized (interpreted initially as Celo's intent and leads to the pursuit of Celo by both Lyons and EUFOR; US administration and EUFOR focus their effort on stopping what they see as a certain attack by Celo on their own forces; Lyons sees the futility of personalizing the crisis and pursues a more holistic solution aimed at producing minimal casualties. Celo does not agree with Lyons-- believes that the war demonstrated the need to defend yourself with like means, and to escalate the stakes when required.

The relationships that characters have in a novel are as important as the relationships you have with your family, friends, coworkers and peers.  You love them, hug them, argue with them, celebrate with them, mourne with them.  And yet in a novel, relationships are accentuated in dialogue and through your narrative.  Your character relationships are also abbreviated in length and description (by necessity, or your story would be very long indeed!).  Conflict, support, codependence and any other types of relationship dynamics in a novel are illustrated almost exclusively through your characters.  Keep in mind, as you write and formulate your characters, that all of your characters are individuals who will see things and each other differently.  Each has a point of view and observes their world through a different lens.  You'll likely focus heavily on the relationship between your protagonist and antagonist--the crucial relationship that gives color and dramatic structure to your story.  But a good drill for any author is to create notes about how even your minor or supporting characters interact with one another.   Here are my early notes in defining the relationship between the Protagonist (Mark Lyons) and Impact Character (Sandy Evenson) for The Lazarus Covenant.

 

Visionary, Idealistic, Romantic, Deluded, Disillusioned, Disappointed.  Revelatory, Freeing, Analytical, Potentially Crippling.  Fated, Deep, Committed, Repressive, Agonizing, Mistrustful.  Serious, pragmatic, conflicting, proselytizing, coercive.  Sharing, souldful, risk-taking, wary, painful, foolhardy, sensitive, empathic, understanding, moody, selfish, impatient.

Relationship is established with Evenson's eyewitness account of the ambush and Lyons' persistence in persuading her to stay in Bosnia.

It is Lyons' persistence that initially impresses her, when her overwhelming urge is to reject him.

Lyons is gradually impressed with her own wartime experiences and her demeanor during crises.  She makes it clear to him that she has her own set of baggage she's carrying around and is also wary of the "war goggles syndrome."  He discovers she is actually someone he can relate to...but resists a closer relationship...even tries to sabotage it...but ultimately cannot deny it-- due largely to her own persistence.

Their relationship develops primarily through their own completely conflicting styles and approaches...the dynamic vocal exchanges between the two...resulting in them actually being supporters and grudging Admirers of one another.

Although their styles do conflict, they compliment one another in the investigation.  Both have large egos that tend to get in the way of their mutual potential...but is overcome after Lyons extracts Moore from Rose's detention.

Need one another, although neither realizes it at first.

Demanding Supporter Vs. Reluctant Witness

Reluctant (Resistant)  Lover Vs Willing Lover (and facilitator)

Differing methods, and agendas but are aligned nonetheless with their ends (not means).

Evenson takes Lyons out of his comfort zone so he can change/grow.  Realizes that Lyons' mother is an unconventional, yet decisive tool in bringing the two brothers together, neutralizing Celo's threat and helping Lyons grow/resolve his internal conflicts.

She is a believer is horoscopes...tells him of the Triple FireGoat profile...and Lyons XXXXXXXXXXXXXX   as the destination.

What drives your protagonist through your story?  Environment, challenges, crises, problems...they may be a major part of your novel, but they're not enough to propel your main character from beginning to end.  Defining how your protagonist will evolve and change from his environment is called the "Main Character Throughline."  Ultimately, it's your choice as the author to determine the lens through which you want your characters to be perceived by your readers--through his situation, his attitude, his way of thinking or his activities.  In The Lazarus Covenant,  I defined the protagonist (Mark Lyons) as someone who is primarily caught in a situation.  Therefore the story revolves around Lyons, and how he perceives the past, how he sees the future and the present, and how he responds to an environment where the ground seems to be shifting under his feet.  Here are my early notes that I jotted down in defining those dynamics.

As a Bosnian Serb, Mark has grown up with the ethnic prejudices endemic to the Balkans, and witnesses the mass execution-- prejudices which are hidden after Mark is evacuated from Bosnia by his aunt to Ireland when Adrian and his brother witness a mass execution of Muslim men by Tito's Special Police.   Lyons returns to Bosnia as a representative of Ireland, but quickly finds that he must face his past as a Bosnian, face his cousin, and face EUFOR/US officials in a deadly game of chess that will affect the politics and security of all Europe and the world.

Lyons believes his perspective to be impartial and neutral in Bosnia, given his extensive absence and time in Ireland. Lyons finds himself balancing the seemingly irreconcilable roles of EUPM investigator, with his past in Bosnia and in Ireland, with the personalities who he again faces (Celo and Rose).  It is overwhelming, and not something he anticipated. When he tells Evenson that he may recuse himself from the situation because he is "too close to it all," Evenson makes him realize that he really is the only one who can effectively confront Celo precisely because he is that close--and that subjectivity isn't necessarily a bad thing...how impartiality doesn't necessarily mean neutrality.  Initially he rejects her suggestion, but then realizes it to be true when he learns of Rose's failed raid on Celo's compound.

The surest way to achieve a comprehensive exploration of all of the dimensions of your story is through your characters.  Assigning a deliberate dramatic function to each of your characters is the best method to provide depth to your story and help illustrate the story problem and solution.  While archetypes imply simplicity, they can be refined over time to be more complex and nuanced.  Here are the initial notes I made for the Kate Kamrath character in my novel, The Lazarus Covenant.  As a reporter, her character archetype can best be defined as "The Skeptic."



Kate Kamrath:  Skeptic

Print Reporter

INTJ Personality: Original thinker, has a vision of how to do something better and she perseveres in trying to persuade others that she is right.  Has good organizational abilities., but she thinks he can improve everything.  Risk that she will be absolutely convinced she is right, even when wrong.  Difficult problems fascinate her, routine jobs are considered a waste of time.  Not easily directed but will consider new facts and other opinions when carefully presented.  Tends to be skeptical and critical, frequently not considering other peoples' feelings as much as she should.

Speed is so central to the reporter's task--getting to the story first and then getting the story to the public.

Practical skills, productivity, and a need for security. Sensitive and imaginative, with a forceful and determined personality. Receptive and attuned to form and structure, she can combine her practical skills with her artistic talents.  With her ability to establish a workable system, she can often develop natural investigative skills. Sensible and practical.  Must learn to trust her strong instincts or first impressions and recognize her hrerat inner strength. Her efficient and down-to-earth approach also implies that she is outspoken and direct; nevertheless, she may have to guard against a tendency to be impatient or stubborn.  Strong sense of duty. Takes pride in her work as a perfectionist.  Need to exercise self-control. At times a sense of duty dominates the inclinations of her heart.  Usually highly charged and enjoy vitality, ut she must avoid becoming overanxious or impractical. A blend of modesty and self-assurance challenges her to work toward finding a balance both materially and spiritually.  Although she is reserved, she can be determined and ambitious, with an active mind.  Needs to develop understanding , tolerance and patience as well as learn to become impersonal.

Highly social. Fascinated by many aspects of the world.  usually has a ready comment to offer on practically any subject, she prides herself on being in the know.