A New Novel, Part 146 What are Your Intentions?

For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.

Ernst has invited Aksinya to go to dinner and the opera on Christmas Eve...


On Wednesday evening, Ernst’s landau drove up to Aksinya’s front door. Ernst brought another bouquet. It included a red rose in a nest of small blue flowers. Aksinya wore her mink cloak when she stepped out of her house, but Natalya hadn’t tied the collar very tightly so Aksinya’s brilliant red silk and pink lace gown showed at the opening. The dress fit her perfectly and showed off her status and limited figure to best effect.


As Aksinya stepped out of her house, Natalya touched her arm and pointed at the windows of Sacré Coeur that overlooked the street. The faces of their classmates were pressed against the tall windows. Aksinya raised her bouquet and waved. Fraulein Vogt and Fraulein Pfaff waved back. Fraulein Trauen stepped quickly away from the window and out of sight. A host of other younger girls waved back vigorously.

Ernst glanced up and laughed. He didn’t wave—he placed his finger at the side of his nose and winked at the girls. Ernst and his driver helped Aksinya and Natalya into the landau. The driver snuggly tied down the leather sides.

After the landau began to move, Ernst laughed again, “Your cheering gallery was out in force tonight. I didn’t notice them before.”

Aksinya kept her head forward, “They weren’t there before.”

Ernst stroked his chin, “Why not?”

“I told them the other time, but I don’t think they believed me. Plus, the fact I had a house was somewhat a secret at the time.”

“It isn’t a secret now?”

“It is still a secret, but such things are nearly impossible to keep quiet in a school for girls.”

He laughed again.

Aksinya frowned, “Where is my book?”

“It is safe. I promise you, Countess.”

“When will you return it to me?”

Ernst sat back and turned more toward her, “Perhaps, Countess when I have my way with you.”

Aksinya blushed but smiled behind her hand.

Natalya also colored, “I warn you Herr von Taaffe, my understanding of German is improving and your comment was most unbecoming.”

“I apologize to both of you. I did not intend my words to be taken as innuendo. I simply don’t want to give up my surety until I am certain I have achieved my goals.”

Natalya squinted through the darkness in the landau at Ernst, “I would like to know just what your intentions are toward my mistress.”

“Shouldn’t her uncle ask me that?”

“I protect her, so you must answer to me.”

“Very well. I am obviously wooing her with the intention of marriage.”

Natalya sat back, “I gathered as much, but I wanted to hear that from your lips.” Natalya had a very thoughtful look on her face, but it was mostly covered by the deep shadows in the landau.

I don't need to use many words to describe the scene.  You already know Ernst's landau.  You already know Aksinya's house and the street where the school and the house lie.  Those parts that have changed are the most important.  Those details are necessary. 

Ernst brings a bouquet with a red rose and blue flowers.  You already know about red roses and their meaning in Germanic cultures.  Now, take a look at the way Natalya has dresses Aksinya.  Aksinya has on her mink cloak (of course she does).  Natalya has left Aksinya's cloak open slightly.  That reveals Aksinya's dress and body.  Natalya is obviously framing Aksinya for Ernst.  She is like a red rose in a nest of a mink cloak.  This is a parallelism using description.  It is an advanced writing technique.  I use it extensively throughout my writing.  There are many examples, most are not as obvious as this one.  Note, the dress shows off Aksinya and her status.

The attention and status of Aksinya at Sacré Coeur are revealed in the next paragraph.  The girls are watching for Aksinya to go out on her date.  Fraulein Vogt and Pfaff are excited for Aksinya.  Fraulein Trauen not so much.  Ernst gives a romantic response to the girls in the school.  They admired him.  Now, they love him too.  Then Aksinya tells Ernst a little about the situation at the school and with the girls.  This is intended as a bit of entertainment.  Aksinya's response: secrets are hard to keep in a girl's school.  Still, she isn't taken in by Ernst, her first question: "Where is my book?"  This simple question gives Ernst an opportunity to make a statement of questionable pedigree.  It is an completely inappropriate statement, but we aren't certain how innocent it is.  Aksinya really is warming to Ernst.  She isn't offended at all.

Natalya is offended for Aksinya.  She calls Ernst on his statement.  Ernst apologises and shows us that he isn't as intentionally inappropriate as his words might seem.  Ernst has goals and Natalya wants to know what those goals are.  Ernst's answer is straight forward.  We could have guessed that this was Ernst's purpose.  He is wooing Aksinya with the intention of marriage.  Natalya's response seems ambivalent, but she did prepare Aksinya as a bouquet for Ernst.  Tomorrow, dinner and the opera.

A New Novel, Part 132 The Scent of Sorcery

For those who haven't been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a wondrous sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Wien, Austria.

Ernst has come to take Aksinya and Natalya to dinner and the ballet.  He made it through the first barrier, Sister Margarethe.  He made it passed the second barrier, Aksinya took his arm.  Now, to the carriage and out on the town...


The horses and driver turned their heads toward Aksinya and Ernst as then exited the house. Aksinya still held the wonderful bouquet in her free hand.


The driver immediately leapt down from the landau. He uncovered his head, bowed, and presented his arm to Aksinya. She placed her gloved fingers on his arm and stepped into the carriage. Herr Taaffe aided from the other side. Both of them handed Natalya into the carriage.

Inside, Aksinya sat facing forward and Natalya took the seat across from her. Ernst entered and sat next to Aksinya. When they were all settled, he tapped on the front of the carriage and the horses started slowly and gently increased their speed.

Almost immediately, Ernst slouched in his seat so he partially faced Aksinya. He laughed, “You have made me a very happy man, dear lady.”

Aksinya frowned, “How have I made you so happy?”

“Why, you accepted my invitation and are now accompanying me.”

Aksinya turned toward him, “I want you to return my book.”

“You aren’t in any way pleased to be escorted by me?”

Aksinya returned her head to the front. She didn’t say anything.

“Ha, I take that to mean, you are not completely displeased that I am your escort.”

“I am not entirely displeased, but I do wish my book returned.”

“If I return your book will you promise to go out with me again?”

“I will take your request under consideration.”

“Then I will take into consideration the return of your book. I want to court you. I am in love with you, and I wish to tempt you on every occasion to come with me to dinner and entertainment.”

Aksinya turned her head toward the outside of the landau. There was no window, only an opening that was covered with a leather flap. She scowled but didn’t look back at him, “I wish the return of my book. What reason could you have to love me or even want my attention?”

“My father isn’t opposed. I admit, I haven’t had much experience with women or love, but only a woman of equal rank would please him. He desires to meet you, but I’m holding that off a bit.”

Aksinya’s voice had a tinge of sarcasm in it, “Why would you do that?”

“Because I don’t think you are too keen on the idea yet.”

“Still, your father’s approval shouldn’t be enough to excite your ardor.”

“Excite my ardor,” Ernst smiled, “You have no idea. I find you dazzling…”

“Because of sorcery?”

He laughed, “Because I am ensorcelled or because you are a sorceress. Does your lady-in –waiting know?”

“Of course she knows. I wouldn’t have brought it up otherwise.”

“Have you ensorcelled me?”

Aksinya snorted, “Do I act as if I wished such a thing?”

“Honestly, no.”

“You are mistaken if you believe I have ensorcelled you.” She turned toward him and her eyes widened. She said a couple of Latin words and leaned back with a sigh.

“Am I ensorcelled?”

“No.”

“I didn’t think so.” He took a deep breath, “The scent of your enchantment is very strong. You are absolutely magnificent.”

Aksinya scooted closer to the other corner of the landau.

A reminder of the times, the driver and the horses.  Notice that Aksinya clings to her bouquet--it is likely the only one she has ever received from a man before.  The driver acts with perfect decorum.  Herr von Taaffe acts like a gentleman.  They settle in their seats and the carriage takes off at Ernst's signal.  You might not notice, but if you compare the way the Bockmann's coupe started and the way Ernst's landau began to move, Ernst was slow and the speed gently increased.  This shows Ernst's driver is an expert and the horses are well trained.  All of this indicates how disciplined and well bred Ernst is.

Ernst feels comfortable enough to slouch.  This is really the easiest way to face someone in a carriage or an automobile.  Ernst can't hide his happiness.  He is so happy to finally be able to escort Aksinya; Aksinya just wants her book.  Aksinya is melting a little.  She doesn't like the fact that Ernst has one up on her, but she enjoys his attention.  They are already making arrangements for their next meeting. 

Note, Aksinya wants to move her attention away from Ernst.  She can't.  There is no window in the landau.  Because of her irritation, the conversation turns personal.  She really wants to know what Ernst sees in her.  Ernst is coy and tells her about himself and his father.  Already, both Ernst and his father are interested in Aksinya.  Aksinya doesn't like herself and sorcery is what she is.  Because Ernst professes to admire her because of her sorcery, she sees that as completely negative.  Because Ernst is so interested in Aksinya, she comes to the conclusion he might have a spell cast on him--when she checks; she finds he does not.  She had worried that the demon cast a spell on Ernst.  She should know better than that, demons can't do sorcery.   Aksinya moves away from him because he again associates something good with her sorcery.  Tomorrow, their conversation continues.

A New Novel, Part 130 A Bouquet in Winter

We get a picture of the period as Ernst's landau drives up to Aksinya's house.  A landau is a type of carriage.  Ernst's carriage is a convertible landau with a two in hand team.  This means he is very wealthy and very chic.  A landau is considered a prestigious vehicle for the time.  Having two horses and a driver make it very much a rich man's carriage.  It is closed up for the winter weather.

On Thursday, a landau carriage drove up to the front door of Aksinya’s house. The convertible roof was up and the side flaps were tied tightly shut against the cold. The two dark horses blew out great puffs of frosty breath when the driver brought them to a halt. The driver jumped to the street and opened the flap on the house side. Ernst von Taaffe stepped out the landau and walked to the door. He held a small bouquet of flowers in one hand. He knocked on the carved cedar door himself.


Sister Margarethe opened the door to him, “Good evening.”

Ernst pushed past her into the house. He pulled off his top hat, “Good evening, Sister.” He glanced at her for only a moment, “I’m here to pick up that wonderful Lady, the Countess of Golitsyna.” He juggled the top hat and the small bouquet for a moment then handed her his card, “Will you please tell her that Ernst von Taaffe is here to attend her.”

Sister Margarethe took the card then her hand stole to her cheek, “You are here to pick up the Countess?”

“Yes, I am expected. I have an appointment.” He smiled.

Sister Margarethe backed toward the end of the room. As an afterthought, she called back to Ernst, “Please make yourself… comfortable. I shall return presently.”

Aksinya and Natalya almost ran into Sister Margarethe on the stairs. Sister Margarethe pressed her lips together, “A man is here.” She could barely get out the words. Then her eyes finally focused on Aksinya and Sister Margarethe let out a tiny squeak, “You were expecting him?”

“Of course,” Aksinya pushed past the Sister.

Natalya paused a moment beside Sister Margarethe. She smiled and nodded then she continued after her mistress.

Aksinya stepped into the parlor, and Ernst dropped both his hat and the flowers. Aksinya wore a dark blue dress made entirely of satin. The fabric shown brilliantly. Each twinkle of the gaslights reflected in it and blazed. It was an older noble cut, but certainly not out of style for visiting a tsar. The top was covered with brocade—a blue on blue whose design was so intricate, Ernst’s eyes could not discern its entirety in the dim light of the room. A mist of lace floated upward from the brocade to cover Aksinya’s shoulders. That was matched by the lace of the small veiled cap that covered her short hair.

Ernst could only beam when he saw her. He recovered the flowers and dropped to his left knee, “Countess, you are ravishing.” He held out the bouquet, “Please accept this small gift.”

Aksinya took the flowers. She knew it was no small gift. In the middle of winter such a bouquet of fresh flowers was very dear. It was made of a single red rose surrounded by lilacs and edelweiss. She brought them close to her nose. They smelled very pleasant. She smiled behind the bouquet, “Aren’t you being a little presumptive in presenting me with a red rose?”

“Not at all, you accepted it, didn’t you?”

“So I did, Herr von Taaffe.”

We see many indications of wealth here: the carriage, a driver, the clothing, the flowers, a calling card.  Ernst had his driver rush--the horses are winded while pulling an almost empty carriage.  He has a small bouquet, obviously for Aksinya.  Such a bouquet in post WWI Austria would be especially expensive and hard to find.  Ernst wants to impress and express his love. 
 
The moment the door opens, Ernst pushes his way into the house.  Ernst obviously knows something about Aksinya's house.  It should be evident that Ernst has information from another source--how about the demon?  He pushes into the house passed Sister Margarethe.  He is very polite, but he gets in the door. You always hand your calling card when visiting in this culture and level of society.  Note that Ernst is a little nervous and uncomfortable, but tries not to show it.
 
The moment Sister Margarethe leaves to get Aksinya, she meets Aksinya and Natalya coming down the stairs.  The Sister reads Aksinya's face.  She knows something is up.  Aksinya is back in control of herself and to a degree, her world.  Natalya is following and keeping up again.
 
The moment Ernst sees Aksinya, he drops his hat and the flowers.  We understand from this that she appears truly ravishing.  I try to show you how ravishing she is, but the reaction of Ernst is better than a thousand words.  I also continue the running descriptive joke about the style for visiting a tsar.  This reminds you that Aksinya is Russian and that she is nobility.  I also remind you that her hair is short--we can't ever forget the hair, since it represents the reason she is here and in her predicament.
 
Ernst is somewhat romantic.  Although his letter wasn't a girl's dream, he brings flowers in winter (a very big deal in 1918 Austria).  The bouquet is simple.  It is a single red rose with purple and light blue flowers around it.  In German and Austrian culture a red rose signifies love.  By accepting such a gift, a person has accepted the feelings of the giver.  You don't bring red roses unless you mean it, and you don't accept them unless you mean it.  Thus, we start the evening with Ernst von Taaffe.  We shall see how he and Aksinya fair tomorrow.
 
I said I would mention markers a little.  In writing historically based novels, like this one, a key point is to use markers to set the time and place.  These markers are significantly different than the usual makers in setting a scene.  The reason is that in a real historical novel, time moves.  In a nonhistorically based novel, or a novel in a historical setting, time doesn't matter much.  You tell your readers once that you are in 1920 and there you are.  The time and the novel don't depend on the movement of time.  It is as if the world stopped for that novel.  In a historically based novel, the world moves around the novel and time in the novel is critical.  This is why I am careful to the point of exactly determining the precise days of the calendar for the years, months, and days I am writing about.  When I tell you it is Monday the xth, it was really Monday the xth.  You can use tricks to make certain you don't trip yourself up, and you can work the days, weeks, and months to make the times work out.  In addition, the events of the world should occur within and without the story--that is if they drive the story, plot, or theme.  Usually, I like to put letters (dated and with an address), seasonal references (winter, spring, etc.), church season references (Advent, Epiphany, Lent, etc.), historical markers (end of WWI, famous treaty, famous person, etc.) to mark important time events.  In my Aegypt novels, the time was so important to the writing, my publisher asked me to put a month, year, and place at the beginning of each chapter.  It think that was a great idea.  I might add it to this novel, although, I think here the time markers are strong and the movement of the times is both obvious and well marked.