Scenes - Scene Setting, more Approaching the Climax

28 February 2013, Scenes - Scene Setting, more Approaching the Climax

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

This train wreck started at the beginning of the novel.  It gained speed with each chapter:  when Aksinya took revenge, when she took Natalya as her lady-in-waiting, succumbing to the demon, traveling to Austria, etc.  Each step led closer and closer to this climax.  The reader knew the climax would occur, but not the total form.  As we move closer, the climax becomes more and more visible through the mist.

In the morning, when Natalya entered Aksinya’s bedroom, she had to immediately cover her eyes.  The room was filled with brilliance.  Aksinya sprawled naked across her bed, and a rod of light lay on her open palm.  The bedclothes all were on the floor, and a large and strange magic circle encompassed the bedroom. 

Natalya carefully crossed the circle and moved to Aksinya’s bed.  She held her hand in front of her face and squinted between her fingers at the bright light.  Natalya knelt at the edge of the bed and smiled a great and wonderful smile.  It filled her entire face and the sparkle in her eyes vied with the light of the rod.  Natalya reached out her hand and touched Aksinya’s lengthening hair.  She stroked it and gently clasped it.  Her eyes filled with tears, and she whispered, “I knew you would make something beautiful with the book.  I longed with all my heart to see it.”  She gave a great sigh, “I love you so much, mistress.  I would do anything for you.”  Her mouth trembled, “What I gave for these books was worth every moment of agony.”  She buried her face as though in prayer for a moment then raised her head.  She couldn’t take her eyes from the piece of light that lay so easily on Aksinya’s palm.

A knock came to the door.  Sister Margarethe’s voice came clearly to Natalya, “Lady Natalya, Countess, you will be late for chapel and class.”

Natalya didn’t want to take her eyes off Aksinya.  She replied without turning her head, “The Countess was up late studying.  I don’t wish to wake her yet.”

Aksinya moaned.  Her eyes snapped open.  She glanced at the rod of light in her hand then turned her face quickly from it.  She started to say a Latin phrase, Natalya touched Aksinya’s lips with her outstretched finger, “Don’t make it go away yet.  Let me look at it a little longer.  It is so beautiful.”

Aksinya yawned and stretched.  She clasped the light a little more tightly in her hand.  She pushed herself up and sat cross legged on the top of the bed then she held the light out to Natalya, “Would you like to hold it?”

“May I?”

“Take it in your hand,” Aksinya placed the rod of light in Natalya’s outstretched palm.

“It isn’t hot.  It’s cold.  It’s beautiful, mistress.  Do you have to make it go away?”

Aksinya giggled, “No, why don’t you place it in the schrank then you can take it out whenever you like.”

“May I take it to my room?”

Aksinya’s lips turned up into a smile, “You may do whatever you like with it, but you must not let anyone else see it.”

Natalya’s eyes lit up, “Thank you, mistress.”  Natalya cupped the rod in her hand and carried it to the schrank.  She placed it inside and closed the door.  When she turned around Aksinya sprawled with her legs open on the bed, “Mistress!”  Natalya colored.

Aksinya turned her face toward her.

Natalya did everything not to point, “The way you are sitting.  Everything…”

Aksinya laughed and stretched again.  She scooted to the edge of the bed and hopped off, “Draw my bath, Nata.  I didn’t sleep very much last night, but I feel very refreshed.”

What agony did Natalya face to get the books.  We know what was required to get the books, but not how they were taken.  We do know that magic was involved, the demon was involved, Ernst was involved, and somehow, Aksinya was also compelled to make these things happen.  If you are very astute, which most of my readers are, you can figure out what happened.  If you can't, that's all right too.  The writer's job is to not confuse the reader.  Everything will come out.  I would expect my readers to not be confused, but rather be enthused.  They know something of magnitude happened, they just don't know what happened--and, like I mentioned, all the evidence is in place.  The exciting part is the revelation.  That is both the release and the next tension builder.  We shall see tomorrow.
 

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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Scenes - Scene Setting, Approaching the Climax

27 February 2013, Scenes - Scene Setting, Approaching the Climax

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

Good novels should be like train wrecks in slow motion.  This is what we see in these scenes.  The return of Aksinya's books should alert us to a few possibilities.  Ernst said he would return the books when he had won Aksinya (that's the basic information).  So to have the books, Natalya would either have to steal them from him or Ernst thinks he has won Aksinya.  Either outcome seems out of place for Natalya and Ernst.  Still, Aksinya doesn't see what is going on. She doesn't process the information or she has decided not to...

That evening at dinner in the dinning room at Sacré Coeur, the moment after Reverend Mother Kluge finished praying Anna Pfaff asked, “Well, did Herr von Taaffe take you out last night?”

Aksinya didn’t answer.

Natalya replied in very precise German, “He took her to Tristan und Isolde by Wagner.  It was a tragedy.”

Frieda Trauen scrunched her lips to the side, “I wanted to see that, but papa wouldn’t take me.”

Fraulein Pfaff took a sip of soup, “Whyever not, Frieda?”

“He said it was too German.”

Natalya laughed.

Diedre Vogt tried to catch Aksinya’s eyes, “Countess, have you considered what you might answer Herr von Taaffe?”

Aksinya turned her head away.

Fraulein Trauen grinned, “Did you have a fight with him?”

Natalya voice sounded too happy, “She was drunk last night.”

Fraulein’s Trauen’s smile widened, “Too drunk to fight.  What kind of wife will Herr von Taaffe get for himself.”

Natalya took a bite of her fish course, “Herr von Taaffe knows exactly the kind of wife he will be getting.”

Aksinya didn’t act as if she heard.  She didn’t eat.  The moment dinner was over, she stood and made her way back out of the dining room.  Natalya followed closely behind her.

They walked across the street to Aksinya’s house.  Natalya unlocked the door.  The novices came when they heard the door open.  Aksinya didn’t wait for them to take her cloak.  Sister Margarethe entered directly behind them from the street.  She was out of breath.  She started to say something and follow Aksinya, but Natalya put up her hand and waved her back.  Natalya handed her cloak to the first novice.  She took a deep breath of the collar first.  Then she followed Aksinya up the stairs.

Natalya closed and locked the door to Aksinya’s rooms.  The mink cloak lay in the sitting room floor.  Natalya picked it up and smelled it.  She took a deep breath of the lining and smiled.  She placed the cloak reluctantly down over one of the chairs and went into Aksinya’s bedroom.  Aksinya fought with the buttons on her blouse.  Her uniform short coat lay on the floor.

Natalya came over and pulled Aksinya’s hands away from the front of her blouse.  She pushed them to Aksinya’s side and began to unbutton the blouse.  She pulled it off Aksinya and lifted the camisole over her head.  She unbuttoned Aksinya’s skirt and untied her slip.  She took everything to the gross schrank and hung them inside.  She pulled out a silk nightgown and returned.  Aksinya already sat on the edge of the bed.  Natalya pulled the gown over Aksinya’s head and plucked her hands through the sleeves.  She pulled the bottom of the gown over Aksinya’s thighs.

Aksinya lay back on the bed and her head touched something hard.  She frowned and reached up behind her head.  She felt a book.  No, two large books. 

Aksinya sat up suddenly.  She half turned and mumbled, “My books.”  She glanced at Natalya, “Why are my books here?”  Without waiting for an answer, Aksinya pulled the books over to her.  One had a brown cover, she opened the book and her mouth formed an “O,” “This is the book Ernst took.”

Natalya chuckled.

Aksinya’s hands trembled.  She pushed the book aside and took up the other.  She caressed it with an overly light touch as though she really didn’t want to handle it.  She opened it and whispered, “This is not my book.  It is a Greek Book of Heka.”  She stared at Natalya, “This is Ernst’s book.”  She dropped it back on the bed, “How did these books come to be here?”

Natalya smiled.

“What did you do, Nata?”

Natalya pulled the covers down on the bed.  She carefully didn’t touch either book, “Now that man has no power over you.  You have no reason to see him anymore.  You have your book again, and you have his book.” 

Aksinya picked up The Book of Heka and held it against her breast, “I do have his book.”

Natalya smiled, “Get in bed, mistress.  I know that you wish to read tonight.  I will leave the gas lamp lit over your bed.”  She bent forward and helped Aksinya crawl under the covers.  Aksinya would not let go of the new book.

The answer to appeasing Aksinya is in the books.  Her love (lust) is sorcery.  Natalya knows this.  She uses this lust to placate Aksinya.  Aksinya knew something was amiss before.  She should be even more worried now, but she isn't.  If you have read the book, you know everything has led to this point.  We are approaching the first climax of the novel.  Notice also, it is a tragedy, Natalya said so.

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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Scenes - Scene Setting, Foreshadowing

26 February 2013, Scenes - Scene Setting, Foreshadowing

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

Foreshadowing is one of the most important tools an author has.  Through foreshadowing, an author can build anticipation in the mind of the reader and the characters.  Many times, the anticipation of the reader is more powerful than that of the characters.  In this scene, we have one of the important anticipatory points of the novel.  The readers should get it more than Aksinya.  Aksinya is patently ignoring all the signs she should note, but the reader can't help but see them.  The changes in Natalya that the reader can't help ignore, Aksinya disregards.  The foreshadowing is very strong in this scene.  See if you can catch all of them.

On Wednesday, Ernst escorted Aksinya to dinner and the opera.  He greeted Aksinya at her house with a bouquet of roses.  He explained the extravagance, “Because I am working for him, my father increased my remittance.”  At each place they visited, Aksinya thought she spotted Asmodeus.  She caught a glimpse of him in the mirror at the Palais Coburg Hotel Residenz, and in the grand foyer of the Wien State Opera.  A strong whiff of sulfur came to her in both places.  When the Champagne and caviar came at the intermission for Tristan und Isolde, Aksinya thought she saw Asmodeus sneaking in the corridor just outside their box seats.  Warned by his potential presence, she intended to drink less because of it, but ended up drinking more than she planned.

Before the beginning of the second act, Natalya prepared a blemis with caviar and handed it to Aksinya.  Aksinya took the flat piece of bread, “Thank you, Lady Natalya.”

Natalya smiled oddly at her, “Would you care for another glass of Champagne?”

Aksinya cocked her head and grinned back, “Please, as long as you are pouring, Lady Natalya, I won’t fear for my virtue.”

Natalya filled Aksinya’s flute and continued to hand her another blemis with caviar.  Natalya wasn’t certain how many times Natalya refilled her glass that evening, but by the end of the opera, she couldn’t stand on her own.  Natalya and Ernst had to both help her to Ernst’s landau and then back into her house.   

Ernst didn’t kiss Aksinya that evening, at least she had no recollection that he kissed her.  She wished he had.  She didn’t remember much at all.  In the morning, she woke with a splitting headache.  A strange whiff of incense and sulfur touched her nose.  Someone was opening the shutters of her windows.  Aksinya didn’t open her eyes, “Don’t let the sun in Nata.  I’ve told you so many times.”

“I’m not the Lady Natalya,” came Sister Margarethe’s voice.

Aksinya jerked to a sitting position and was overcome with dizziness.  Her head ached.  She held her head in her hands and fought down the nausea that enveloped her.  Finally, between clenched teeth, she forced, “Where’s Nata?  Where is she?”

Sister Margarethe sat on the side of the bed, “I have no idea.  I assumed you sent her on an errand last night.  She asked me to take care of you last evening, and she said I was to wake you in the morning.”

“You’ve seen her this morning?”

“No.  She last spoke to me when Herr von Taaffe brought you home drunk again.”

Aksinya’s eyes widened, “Where is she?  We must find her.”

“I’m certain she is fine.  She seemed to be off on something important.”

“She can’t be fine.  She can’t be.  Why are you speaking so nonchalantly about this?”

“Let me help you with your bath.  I’ve already drawn it for you.”

Aksinya was suddenly listless.  She allowed Sister Margarethe to pull her out of bed and remove her nightgown.  The nun helped her into the bath, “I’ll bring your morning tea and breakfast in a moment.”

Aksinya sat in the warm tub with her hands clasped together.  She heard her sitting room door open and close.  She couldn’t remember a waking moment when Nata was not at her side.  This seemed too strange to her.  Aksinya stared at her hands.  Her eyes opened wide, the faint line of new scar crossed the many others on her left hand.  She couldn’t imagine how it could have happened.  She hadn’t done that kind of magic in a while.  Finally, the sitting room door opened again.  She heard Sister Margarethe as she directed the novices.  The door shut again, and Sister Margarethe stepped into the bathroom, “Are you ready to get out, Countess?”

Aksinya nodded.

Sister Margarethe helped her out of the tub and dried her.  She put a dressing gown around Aksinya’s shoulders, and led her into the sitting room.  Sister Margarethe poured the tea and served Aksinya breakfast.  That’s when Aksinya finally caught a whiff of it.  Aksinya lifted her head and enunciated a couple of Latin words.  She hadn’t practiced any sorcery in a while.  The crucifix between her breasts heated immediately, but Aksinya knew it then.  Sister Margarethe had been touched with sorcery.  Her room had a definite scent of incense and under that, the sink of sulfur.  Aksinya understood there could only be one source for it—it had to be that cursed demon, Asmodeus.

She didn’t know what to do.  She had no idea where Natalya had gone.  She wasn’t certain she could get anyone to help her.  Sister Margarethe was convinced that Natalya had just gone out on an errand.  Aksinya couldn’t appeal to her or to anyone in this world except…  She began to pray.  She wasn’t certain it would do any good, but she reasoned prayer couldn’t hurt.  If Natalya didn’t return soon, Aksinya would call the demon that evening and demand that he come to her—explain everything to her.

After breakfast, Sister Margarethe dressed Aksinya and brushed her hair.  She didn’t notice the strange expression on Aksinya’s face.  She didn’t see how pale she was or how wide and frightened her eyes were.  Or, if she did, perhaps she attributed it to the alcohol and lack of sleep.

Aksinya was ill during chapel and vomited before Sister Margarethe could rush her into the hallway outside.  Sister Margarethe tried to comfort her and brought her tea before class, but the tea was not made to Aksinya’s taste, and Aksinya was in no mood to be comforted.  By the time, she arrived at her first class, her hair was loose around her face and her clothing had spots from her accident and from the tea she spilled.  She put her head down on her desk and tried to sleep.  She couldn’t do anything else, Sister Margarethe had forgotten Aksinya’s bag.  It was the bag Nata always carried for her.  The bag had all her school books and papers inside.

Finally, in the late morning, Natalya opened the classroom door.  Someone touched Aksinya’s arm, and she raised her head.  Aksinya’s eyes widened.  She stood at her desk and nearly fell.  She started toward Natalya and did fall.  She tripped on the desk and dropped to one knee.  Natalya was instantly beside her.  She took Aksinya’s arms and lifted her up.  Aksinya put her arms around Natalya and held her close.  Her eyes widened again—there was that smell plus another.  There was the scent of sorcery and a strange musky smell Aksinya couldn’t place.  Aksinya pulled back slightly from Natalya and stared at her.  Natalya lowered her eyes.  She led Aksinya back to their desks.  Natalya straightened Aksinya’s hair and brushed off her clothing.

Natalya didn’t say anything to her, and Aksinya was afraid to ask anything.

Natalya gets Aksinya drunk.  This is obviously purposeful.  That, in itself, is not foreshadowing, but the actions and appearance of Natalya are.  Likewise, where ever they go, the demon is present.  Aksinya note him when they are out that night.  In the morning, she notes incense and sulphur in her room.  She notes a new scar on her hand.  She notes the sorcery on Sister Margarethe.  Each of these and the disappearance of Natalya foreshadow what will happen next in the novel.  I use foreshadowing all the time.  It doesn't have to be that obvious.  It can be as subtle as a new scar from an incantation.  It can be as simple as a smell.  Note the smell on Natalya when she returns.  She won't look Aksinya in the eyes.
 

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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Scenes - Scene Setting, No Revelation

25 February 2013, Scenes - Scene Setting, No Revelation

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

Someone caught wind of the hot news in Wien--Ernst asked Aksinya to marry him.  Note the scene setting in the first sentence for time and place.  The characters come next and are also set.  We have a moving scene with added characters, but ones we have been introduced to before.  The tension and release comes from the response of Aksinya, Nataya, the Sister, and the girls.  Each has a role to play here.

When Aksinya and Natalya entered Sacré Coeur on Monday morning, every eye in the school followed her.  At chapel, the girls and every sister watched her carefully.  Aksinya ignored them all.  She had to leave before communion, but the tea Natalya made for her between chapel and the first class settled her stomach. 

The moment Aksinya and Natalya entered their German classroom, Anna Pfaff followed by the rest of the girls in the class surrounded her, “Countess, we heard that Herr von Taaffe has asked your hand in marriage, is it true?”

Behind them, Sister Margarethe’s face fell.  She mumbled, “I didn’t know.”

Aksinya began to push her way past Fraulein Pfaff to her seat, but she suddenly thought better of that, “Where did you hear such a thing?”

“The rumor is all over the school.  Please tell us.  It is so exciting…”

Aksinya glared, and the girls took a step back.

Anna continued with a trembling stutter, “We are all so happy for you—that is if it is true.”

“I don’t like my personal business shared about, but I will tell you, it is true.  At Graf von Taaffe’s New Year’s party, his son, Ernst, proposed to me.”

Anna put her hands together, “What is your answer to him?”

Aksinya growled, “That is definitely my own business.  I have not made my decision.”

Natalya grimaced, “She is to give her answer to him next Monday.”

Aksinya turned Natalya an angry look, “Lady Natalya, please don’t share such personal information without my approval.”

Natalya cringed, and dropped her eyes.

Anna turned toward Natalya, “Then Lady Natalya, has the Countess shared her decision with you?”

Natalya shook her head.

Sister Margarethe moved a step toward the girls, and stated in a distraught tone, “It is past time to start class.  Please find your seats—immediately.”

The girls slowly broke up and went reluctantly to their desks.

Aksinya stomped to her seat and flopped into it.  She wouldn’t speak to Natalya or to Sister Margarethe the entire class.  

If you look closely, you can see Natalya's change.  She is rebelling against Aksinya.  The reason is Ernst.  Natalya doesn't want Ernst to influence or take Aksinya.  We know to some degree why Natalya has a problem with sex and marriage.  We know she has a problem with Ernst.  The reaction of Sister Margarethe is also interesting.  You note that she doesn't want to loose her Aksinya either.

 

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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Scenes - Scene Setting, Transitions and Change

24 February 2013, Scenes - Scene Setting, Transitions and Change

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

This is a short transitional scene.  It moves us from Ernst's father's estate back to Wien and then through time as well as space.  This example also shows how to change a location in a novel through conversation.

They stepped into the coupe and the driver started out toward Wien and Grossbock.

During the entire return trip, Aunt Brunhilda tried to get Aksinya to talk about Ernst and his proposal, but Aksinya would not say a word.  She slouched in the corner of the coupe and read her German novel.  As they neared the city, Aksinya sat up, “Aunt Brunhilda, Uncle, I would like to return to my house tonight.  Please, take us there.”

“Tonight,” Aunt Brunhilda complained, “But we have dinner waiting.”

“I’ve eaten and drunk too much as it is these last few days.  I would like to return to my house.  I shall take my dinner at Sacré Coeur, that is, if I feel dinner is necessary.”

“Really, Countess.”

“I would like time to privately contemplate Herr von Taaffe’s proposal.”

“Oh, I see,” Aunt Brunhilda raised her head and gave a thoughtful look.  “I certainly think that is a good idea.  Would you like you to discuss your decision with us…?”

Aksinya turned her head toward the door.  She would not respond to a single question her aunt asked after that.  Eventually, Aunt Brunhilda gave up.

The Freiherr and Freifrau let Aksinya and Natalya off in front of the house across from Sacré Coeur.  Sister Margarethe and the two novice sisters greeted them at the door.  Aksinya and Natalya ate a light supper in Aksinya’s sitting room and had a late tea.  They both studied until it was time for bed.

Saturday and Sunday went well.  Ernst came on Sunday to escort Aksinya and Natalya to the Orthodox Ecclesia that was close to Sacré Coeur.  The crucifix at Aksinya’s breast burned the entire time.  Father Dobrushin watched her with an odd look in his eyes.  Aksinya became ill at communion, but she didn’t lose her breakfast.  Natalya helped her back to her seat and wouldn’t let Ernst near her the entire time. 

A very important change is happening in Natalya.  The author's duty is to show this change throughout and slowly.  The reader should understand the character is changing, but the change should be gradual enough that there is no abruptness.  Or, if there is some great change, it is preceded by an important decision or conversation that makes the change obvious.  This is what is indicated by the end portion of this scene example.

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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Scenes - Scene Setting, Instead of a Kiss

23 February 2013, Scenes - Scene Setting, Instead of a Kiss

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

This is the beginning of a chapter with the appropriate scene setting.  It also relies on the previous scene for the full setting.  I might correct this later.  The time setting is more direct.  The character setting is very strong.  Not that we bring the party together piecemeal, but all come together at the proper time and place.  There is tension and release in this approach.  There is also a very strong tie to the last chapter.

When Aksinya awoke in the late morning, her first thought was the kiss that still excited her imagination and seemed to tingle on her lips.  It tempted her and excited her.  In spite of a headache, her body was much more responsive now, and she felt less frustrated afterward.  She slowly fell back to sleep.  Natalya finally woke her near noon.

Natalya had her hands full dressing and preparing the sleepy Aksinya for their departure.  The two maids from the evening helped, and together, they assisted the Countess down to the dining room for breakfast.  Everyone else had already eaten breakfast and luncheon, and Aksinya took her time.  She insisted Natalya eat with her.  Ernst was conspicuously absent.

When Aksinya finished her third cup of tea, Natalya was able to bundle her off to the front of the house where the Bockmanns and their coupe awaited them.  All their small trunks had been loaded on the coupe and the driver stood ready to assist them into the cab.

Aksinya met the Bockmanns in the great foyer.  Freiherr Bockmann bowed to Aksinya, and Freifrau Bockmann curtsied.  She took Aksinya’s hand, “Good morning, Countess.”

Aksinya gave a slight nod.  That made her head ache.

Just as they were about to pass through the main doors, the Graf von Taaffe came out of a side opening.  He was followed closely by Ernst.  The Graf tilted his head toward Aksinya, “Good morning, Countess.  I pray you slept well.”

Aksinya cleared her throat, “As well as I could after drinking so much.”

The Graf smiled, “Do you have an answer for me and Ernst this morning?”

“I have not had the opportunity to put my mind fully to the question, yet.  I will to give an answer in one week, on the Monday following this next.”

The Graf rubbed his chin, “Very good and very well said.  I do like the way you plan, Countess.  I still wish you would accept the ring.”

“Ring!” squawked Freifrau Bockmann.”

Aksinya raised her eyes to her aunt’s, “Ernst von Taaffe has made me an offer of matrimony.  I am contemplating his proposal.”

Ernst stepped forward, “I have met my father’s requirements, and I hope I meet yours as well, Aksinya.”

Aksinya gave him a look that could melt any man’s heart.

Natalya scowled.

Ernst continued, “I’ll pick you up at our regular time for dinner on Wednesday evening.”

Aksinya asked, “What shall we see?”

“The opera is Tristan und Isolde by Wagner.  It is a tragedy.”

Graf von Taaffe laughed, “You may kiss Ernst good bye if you wish.”

Aunt Brunhilda put up her hand, “She shall not.  A handshake at this juncture is more than appropriate.”

Aksinya pursed her lips.  Natalya smiled.

Ernst took Aksinya’s hand and bowed over it.

Aunt Brunhilda commented, “Yes, very nice, Herr von Taaffe.”

When she passed her aunt, Aksinya snarled, “I would have rather had a kiss.”

They stepped into the coupe and the driver started out toward Wien and Grossbock.

There is some strong comedy in this scene.  It has to do with Aksinya's desires and her Aunt's decorum.  We see, she gets a hand bow rather than a kiss--poor Aksinya.  She wished for much more and imagined much more, but her aunt and Natalya seem to conspire at every point to prevent her from getting what she wants.  This, we know, is good for Aksinya and bad for the demon.


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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.

Scenes - Scene Setting, Revelations

22 February 2013, Scenes - Scene Setting, Revelations

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

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

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

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. I'm giving you examples from the book so you can see different ways of introducing and writing a scene. In each snippet, you get the scene setting, the tension and release, and the input and output. This isn't true of every example, but the pieces should be there, and I've been trying to identify for you when all the pieces aren't evident. You can use these ideas to guide your own writing. Make sure you set the scene properly, then make everything come to life through the narration and conversation.

This is a transitional scene with scene setting throughout.  The set up is for the conversation between Aksinya and Natalya.  This is a very important scene and one where we finally learns something about Natalya.  If you paid close attention to Natalya and her words, this won't be too surprising, however, one of the ways an author both builds anticipation and tension in a novel is to present a character in such a way that the truth about them is constantly rejected by the readers.  The reader knows Natalya was abused, but most would prefer not to fully comprehend what that possibly entails.  Further, the fact that Natalya would sell her body for the hope of rescue is both abhorrent yet easily understood.  Within the Victorian context of the times, this is more than abhorrent, it is a social death sentence.  It is a secret that would never be shared... except.

As Aksinya and Ernst started toward the stone stairs that climbed to the third floor, Natalya joined them.  She scowled a little at Ernst.  Ernst signaled and two women servants took their places.  One led them at the front and the other followed.  They went up the stairs and entered a long hallway.  At the first room on the right, the leading servant opened the door.  The two maids went inside and lit the gas lamps and the candles.  They checked and refreshed the coal fires.  Aksinya held to Ernst at the door until they were finished.  When everything in the room was ready, they both curtsied to Aksinya, Ernst, and Natalya.

Ernst gave Aksinya’s hand to Natalya, “Lady Natalya, I give the charge of the Countess to you.”

“She has always been my charge, Herr von Taaffe.”

Ernst ignored her, “Good evening and sleep well, Aksinya.  I will speak to you in the morning that is before you depart with your uncle and aunt.”

Aksinya smiled at Ernst.  As Natalya dragged her through the door, Aksinya replied, “I shall sleep late and awake with a terrible headache, but I will speak to you by and by.”

Natalya shut the door.

The two maids came to them and immediately began to remove Aksinya’s clothing.  Aksinya required the help of all three.  They put her into a hot bath.  Natalya stood half undressed in the center of the sitting room and directed them.  The maids readied the nightclothes Natalya instructed them to get out of the small trunk they had brought on the coupe.  The footmen had delivered it to the room earlier.  While Aksinya bathed—with the door open, so Natalya could keep an eye on her, Natalya had the maids set out Aksinya’s and her clothing for the morrow.  The maids pressed their gowns and hung them.  By then, it was time to wrestle Aksinya out of the bath and put her nightgown on her.  While Aksinya lay on her bed, the maids helped Natalya out of her clothing and into her nightgown.  They had already warmed the beds and checked the coals again.

At the end, Natalya had them lay Aksinya under the covers, but they propped her up on the pillows so Natalya could brush her hair.  Natalya finally closed the door on the two of them.  Natalya took her brush and sat on the side of the bed.  She began to brush Aksinya’s hair.  Aksinya’s eyes were closed, but Natalya knew she wasn’t sleeping.  Aksinya didn’t open her eyes, she stretched her hands out in front of her.  Her voice was only slurred a little, but her accent wasn’t evident because she spoke Russian, “Nata, no man has ever told me that he loves me.”

Natalya gave a fierce tug on Aksinya’s hair.

“What was that for?  Be more gentle, Nata.”

“You have a lot to learn mistress.”

“Aksinya.  I am Aksinya.”

“Yes, Aksinya.  You still have a lot to learn.”

“About what?”

“About men.  The first thing they tell is that they love you before…before…”

Aksinya’s head lolled, “Before what?”

“Before they take you to bed—then all their love is forgotten.”

“How do you know?”

“The number of times…”

“Number of times.  You haven’t?”

Natalya tugged a little harder against Aksinya’s hair.

“Nata, please be more gentle.  I’m listening to you.  You are only fifteen.”

Natalya’s voice was very hard, “I hate them.  They promised to take me away.  They promised to rescue me.  All they wanted was my body.”

“And you gave it to them?”

Natalya took a deep breath, “To be free from the beatings and hatred, I would give away anything.”  She began to brush Aksinya’s hair again, this time much more gently, “You were the only one who would rescue me, Cou…Aksinya.  You gave me new life.  You don’t know how important that was to me.  I would have done anything to be free from what that household did to me.  But only you really did anything.  The others took me and gave me nothing back.”

“Ernst isn’t like that…”

“They all are like that.  He will tire of you, just as they tired of me.”

“They?  I am so sorry, Natalya.”

“I am not sorry.  I am only sorry that you did not come sooner.  I would die for you.  I will protect you from this man.”

“But, I’m not sure I want to be protected.  I think I might like him.  I am tempted by his love.”  Aksinya giggled, “And I left the party before midnight.”  Her voice trailed off, “Will the new year even come if I’m not there...?”

The power of tension and release in writing scenes is the tension and release isn't just about the current scene, but about every scene before.  In this scene, many of the tensions developed through the novel are released--at the same time, new tensions are introduced.  You can view these tensions as storylines with the realization that the storylines are tension developers with intended release.

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.

ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, aseasonofhonor.