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.
Here are my rules of writing:
1. Entertain your readers.
2. Don't confuse your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.
A scene outline is a means of writing a novel where each scene follows the other with a scene input from the previous scene and a scene output that leads to the next scene. The scenes don't necessarily have to follow directly in time and place, however they generally follow the storyline of the protagonist.
A storyline outline is a means of writing a novel where the author develops a scene outline for more than one character and bases the plot on one or more of these storyline scenes. This allows the scenes to focus on more than the protagonist. This is a very difficult means of writing. There is a strong chance of confusing your readers.
Whether you write with a scene outline or a storyline outline, you must properly develop your scenes. All novels are developed from scenes and each scene has a design similar to a novel. Every successful novel has the following basic parts:
1. The beginning
2. The rising action
3. The Climax
4. The falling action
5. The dénouement
Every scene has these parts:
1. The setting (where, what, who, when, how)
2. The connection (input)
3. The tension development
4. The release
5. The output
There are lots of approaches to scene setting. That means there are about a million plus ways you can set a scene. The main point is you have to clearly get across the where, when, who, what, and how.
Here is another example of scene setting from the novel, Aksinya. This is the continuation of the previous scene. The place is already set in the dining room, but that is properly set again and the place they go--Aksinya's house. The time is a simple continuation from the previous scene. There is also a touch of time setting in the scene. There is very strong place setting and character setting. Note the descriptions of the people and the house. The point is to create a feeling of homeyness. In this environment, the author (and Aksinya) will approach a problem with Natalya.
Natalya
and Aksinya returned to their house across the street. When they left the dining room, Sister Margarethe joined them at the
door. Aksinya didn’t acknowledge the
nun, but Natalya gave her a greeting in German.
They
went across the street and Natalya unlocked the door. The house was warm—much warmer than the
school or dormitory. A coal fire burned
in the fireplace. Two novice nuns,
dressed in black and white, came to the foyer to greet them. They removed Aksinya, Natalya, and Sister Margarethe’s cloaks and saw
them up to their rooms. They made sure
the coal fires and the gaslights were lit, then curtsied and returned to the
lower floor. At her door, Aksinya took
Natalya’s arm, “Sister Margarethe,
would you please bring us tea?”
“Yes,
Countess.”
Aksinya
glanced at the nun then pulled Natalya into her room and closed the door. Aksinya placed Natalya in front of an
overstuffed chair in the sitting room.
She moved hurriedly to the other chair before Natalya could move and
pulled it close. She sat quickly knowing
Natalya would only sit after her.
Natalya sat almost as quickly and leaned expectantly toward Aksinya. Aksinya sucked on her lower lip, “Nata, I do
apologize that you were not the first to know about Ernst von Taaffe.”
Natalya
smiled, “I realize you did not purposefully keep the information from me.”
Aksinya
held the sides of her head, “I was in no condition last night to explain
anything to anyone.”
“Tell
me about him.” Natalya reached out her
hands.
Aksinya
grasped them, “He was an interesting man.”
Her brow creased, “And he has my book.”
Natalya’s
eyes widened, “He has your book.”
Natalya sat up a little, “Does he…does he…?”
“Yes,
he knows it all. He was the one who
tried to help at the Golden Adler.”
“Then
he was the gentleman who carried you back to the house?”
“The
same.”
“Did
he see you…you know, did he see you…?”
“He
saw me make the great enchantment.”
Natalya
hung her head, “I didn’t get to see it—I wish I had.”
“Hush,
don’t say such things. It always
embarrasses me. It is not something I am
proud of.”
“I
am proud of you, Countess…Aksinya.”
Aksinya
glanced down, “No one else would be.”
“What
about this young man?”
Aksinya
made a face, “He praised me for it.”
Natalya
tried to hide her smile, “Then, like me, he would be proud of you too.”
“He
did, but I don’t want that. He wants to
court me. He said he was infatuated with
me.”
“For
a man to appreciate you for who and what you are seems a very great thing to
me. Will you allow him to court you?”
“He
won’t give me back my book until I do.”
Natalya
laughed, “Then you will only allow him to court you because he has your book?”
Aksinya
glanced down, “He promised me another book too.”
Natalya
was incredulous, “The only reason you will court him is for a couple of books?”
Aksinya
turned her a foul look.
“Aksinya,
what about the man. He said he is
infatuated with you. He likes you for
who you are. What does a moldy book have
to do with anything?”
“You
are cruel, Nata. Why would I want a
man? What would I do with him? I can do something with a book.”
“A
book of sorcery. The thing you seem to
hate the most.”
“I
do hate it.”
“But
you are so wonderful at it.”
“It
is a wasted skill.”
“But
you are so skilled at it. In any case,
this young man likes you. He is the son
of an aristocrat. You need to determine
if he will become the Graf. If so he
will be equal to you in rank and therefore a balanced union.”
“What
if I don’t seek any union?”
Natalya’s
mouth opened and closed, finally she squeaked out, “Of course you want a
union. You must find a man to marry—a
man who is close to your rank. That will
bring honor to your family and to the nobility.”
Aksinya
shook her head, “Nata, my family is dead.
In Russia Austria
“But,
Aksinya, there is still a purpose in marrying a good man.”
Aksinya
mumbled, “He isn’t a good man. He is a
man who desires sorcery.”
“Then
he is just like you. What is wrong with
that? I desire sorcery. You…you…”
“Say
it Nata. Go ahead. I know what you are going to say.”
“Very
well, Aksinya. Though I desire it, you
will not properly teach me.”
A
knock came from the door. Aksinya
jumped. Natalya turned toward the sound,
“You may enter, sister.”
Sister Margarethe opened the door and
brought in the tea service. Natalya
pointed to the tea table. Sister Margarethe placed it on the
top. Natalya pointed again, “Sister, you
may pour.”
Sister Margarethe poured the tea.
Aksinya
sat quietly in her chair.
Natalya
picked up her cup, “Thank you, Sister Margarethe,
we have everything we need. I’ll put the
Countess to bed.”
Sister Margarethe curtsied and
stepped back to the door.
Natalya
called at her back, “I’ll prepare the Countess for school tomorrow. If you could please see to our breakfast?”
“Yes,
Lady, I shall tell the novice sisters.”
“Thank
you.”
Sister Margarethe closed the door.
This scene and setting is how an author sets up a scene to accommodate the conversation and topic of the scene itself. When you plan out a scene, the purpose is to get across the plot, topic, and theme. Therefore, in this scene, we set up domestic tranquility so Aksinya and Natalya can converse quietly and about very important subjects. The subject is Aksinya's temptation--sorcery. The point is made simply. She wants the books, but she hates what they allow her to do--sorcery. Natalya wants to learn sorcery. Ernst wants sorcery too, but he also wants Aksinya. The point of the conversation is to bring out these points. The domestic tranquility of the scene is punctuated by Aksinya's degradation of the Sister. Aksinya is very subtle about it, but you can't miss it even if you don't understand Victorian era mores.
My notes: once you have a theme, you need to begin to visualize your plot, focus your theme, and define your characters. More tomorrow. I'll move on to basic writing exercises and creativity in the near future.
The following is a question asked by one of my readers. I'm going to address this over time: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.
I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, http://www.aseasonofhonor.
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