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, a Drunken Dance

21 February 2013, Scenes - Scene Setting, a Drunken Dance

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.

There is an aftermath to everything.  The confession leads to a kiss.  The kiss leads to Natalya's anger.  They all result in Aksinya getting drunk.  This has been her response to tension.  It is certainly not an appropriate response, but it is typical.  Aksinya is both happy and sad and her response is based on this.  Her words to the Graf express this.

They both returned to the ballroom.  Until they entered the rooms Graf von Taaffe’s servants provided them, Natalya did not speak to Aksinya again that evening.  She stuck close to Aksinya for the rest of the event.  After Ernst rejoined the party, he did not let Aksinya out of his sight.  Natalya watched Ernst with frosty eyes. 

Aksinya sat beside the large fireplace closest to the dining room and outside the draft that blew constantly through the long room.  She drank and stewed.  She would not engage anyone in conversation for very long, but that didn’t matter, the party was winding down and the couples were primarily interested in dancing. 

Near midnight, Graf von Taaffe stepped to Aksinya’s side, “Countess, would you honor me with this dance?”

“Why not?” Aksinya’s words were only a little slurred.  Her Russian accent cut through the German.  Aksinya had feigned weariness to fend off the other invitations she received that evening.  She wished Ernst would ask her to dance again.  She knew she could not beg off this offer from her host.  She stood a little shakily.

The Graf took her hand in his and placed his arm around her back.  He led her into the waltz, “I didn’t notice your Russian accent before, Countess.”

Aksinya tried unsuccessfully to pronounce her German words as she usually did, “I was not drunk before.”

“Drunk?  You seem very steady on your feet for being drunk.”

“I’m used to it.  I’m sorry, I should have said, I had drunk too much wine before and not that I was drunk.”

The Graf smiled, “I have happy news for you.  I hoped you had as happy news for me.”

“I’m drunk.”

His smile slipped a little, “Yes, I understand.  I didn’t see the ring on your finger.  Then your answer to my son was not an affirmative?”

“I have not given him my answer yet.”

Graf von Taaffe’s smile widened again, “He told me he would begin to train to take over the business.  I think he is completely serious about you.”

“He said as much.  He said he loves me.”

“Indeed, he has never, to my knowledge, told a woman that before.”

“That makes me happy.  I would have liked to have kissed him a little longer.”

“Why didn’t you?”

Aksinya made a face and an unmistakable gesture of her head toward Natalya.

“Your chaperone.  I understand.  I would very much like you to accept my son as your husband.  You would be very good for him.”

Aksinya raised her eyes to the Graf’s and cocked her head.

“We don’t have many young women, even in the aristocracy, whose presence brightens a room like yours.  You are an absolute treasure to the nobility.”

Aksinya smirked.

“You may laugh at me, but you move and act like a princess, and I have seen many princesses.  Most of them couldn’t hold a candle to you.”

Aksinya snickered.

“You laugh again?”

“Sir, my face is plain and my body is boyish.  I indulge too much, and I…” She continued in a mumble, “I have other faults not so visible.”

“Yet, by walking into a room you captivate it.  By simply existing, you capture the attention of everyone around you.”

“If I were not a Countess, I would be nothing.”

The Graf raised her hand to his lips, “If you were a washerwoman, I believe you might have captivated my Ernst.  Whatever you did, it ensorcelled his heart, and I can easily see why he is fascinated by you.”

Aksinya pushed back from him, “Temptation.  I am a temptation.”

“Yes, you are, and I’m glad your eyes are at least on my Ernst.”  The Graf let go of her hand and stepped back.  The music ended, “Thank you for the dance, Countess.  Even drunk, you are a wonderful partner.”  He bowed.

Aksinya gave a slight curtsy, “Now, Franz, you may not leave me here.”

“Why not, Countess?”

“I will be unable to make it back to my seat without your help.”

The Graf von Taaffe turned a trifle to the side and signaled Ernst.  Ernst rushed to them.  The Graf took Aksinya’s hand and put it in Ernst’s, “Please Ernst, escort the Countess and her lady-in-waiting to their rooms.  The Countess might stumble.”  He winked at his son.

This scene is filled with Victorian power.  If you understand the times, you will get much of what is going on.  You can still understand the basics even if you don't know much about the culture.  There are significant cultural markers in the text so a complete understanding isn't necessary.  I show you the culture and allow you to understand it from within.  That's the point of any good historical fiction.

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, A Kiss

19 February 2013, Scenes - Scene Setting, 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.

Now the anticipation developed through the last couple of chapters of the novel has a release, and we start a new buildup of tension.  Actually, tension and release are not simple and singular.  There should be levels of tension and release and overlapping tension and release in any complex novel.  There are many tension builders in these scenes, but at this point, we focus primarily on this one--the love interest of Ernst.

Ernst glanced at her.  He hesitated a moment, “Very well.”  He led Aksinya to where Natalya sat.  Aksinya made a sign to Natalya.  Ernst held to Aksinya’s fingers on his arm and took her back toward the parlor.  He led her through the room and to the entrance to a smaller sunroom on the other side.  The music from the ballroom still sifted to them.  He touched the back of a chair and glanced at Natalya, “I wish to speak privately with the Countess.  Would you sit here by the door?  You can still observe us though the opening.”

Natalya glanced at Aksinya.  Aksinya nodded to her.  Natalya sat in the chair, and Ernst led Aksinya to the end of the sunroom.  The small room was like an enclosed balcony.  The outer wall was glass and overlooked a courtyard within the interior of the building.  A low stone wall stood at the end as though the balcony had once been open, but the glass had been added later.  He rested against the edge and held Aksinya’s hands.  She pulled her hands from his and leaned on the top of the wall.  The top was unfinished stone with some crumbling mortar in between.  She picked at the loose pieces of it, “What did you wish to say to me that you couldn’t say in the ballroom?”

“The reason I am so interested in you.”

Aksinya toyed with the mortar, “I was about to tell you… you are interested only because of the sorcery.  I understand that.”

He stared out at the darkened courtyard, “It isn’t the sorcery.”

Aksinya picked at the mortar a little more fiercely, “It has always been about the sorcery.”

“Why are you trying to tell me how I feel about you?”

“It is obvious.  It is because of the sorcery.  Isn’t that what you told me before?”

Ernst grabbed her hands and made her look at him, “It is obvious that I love you.”

Aksinya tried to pull her hands out of his and turned her face away, “It is obvious because of the sorcery.  Don’t bring in such ideas as love.”

“I’m telling you, Aksinya.  It isn’t the sorcery.  I love you.”

“You…you used my name.”

“Sorry, I’m telling you, it isn’t the sorcery.  It never was the sorcery.  That was just an excuse I used to get close to you.”

“You said you were trying to accomplish sorcery, and you wanted me to teach you.”

“I lied.”

“You said my courtier told you about me.”

“I heard about you from your uncle.  He pointed me to your courtier.  I don’t know why the subject of sorcery came up with him.  I have been studying it.  I have been completely unsuccessful.  I know I can’t really do it.  It requires a faith in the world I don’t have.”

“So you took my book just to get me to go to the ballet with you.”

“Your courtier said there was no other way to convince you.  I wanted to get to know you.  You are an astonishing person.  In my mind, you are a perfect woman.”

Aksinya mumbled, “Ha, you know nothing about me.”

“But I do know a lot about you now.  Everything I know, I love.”  Ernst pulled Aksinya closer to him, “Listen to me Aksinya.  I want you to be mine.”

She trembled and tried to pull away, “What do you mean by that?”

“I want you to marry me.”  He pulled her close again and put his lips on hers.  Aksinya allowed him to kiss her.  She sunk into his embrace.  They stood there for what seemed like to Aksinya for a long time.  Slowly he let her go, and she settled back with her feet solidly on the ground.
 

There we have a release.  First a love confession followed by a kiss.  This is a release of tension in the novel.  The anticipation was that the reader expected something like this.  Part of the excitement and entertainment was that perhaps the reader didn't expect exactly this reaction or action from Ernst.  The point is to have a character act true to form, but in ways the reader anticipates but doesn't fully expect.  This is a complex balance in writing.

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, aseasonofhonor.

A New Novel, Part 316 We Will Go to America

16 August 2011, A New Novel, Part 316 We Will Go to America

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.

Dobrushin and Aksinya married.  They consummated their marriage and are speaking together... 

When she caught her breath, she brushed the hair away from his forehead, “You gave up your position as priest for me.”

“At this moment that is what you are thinking…?” He smiled at her, “But the answer is yes.”

“You would have given your life for me.”

“But in the end, you saved me.  I don’t think Raphael would have been able to cancel any harm the demon would have done to my body.”

She stroked his face, “Did the demon injure you?”

His voice cracked, “No, but the demon almost stole my beloved, my wife.”

She smiled and kissed him, “Truly your wife now.”  She nestled in his arms, “What will we do in the future?  Where will we go and what will we do?”

“We will leave Wien.  I have been working in immigration law.  The Americas are a place where many of our Russian compatriots are escaping…”

She snuggled closer to him, “We will go to America?”

“To Boston in the United States.  I already made connections.  They are looking for lawyers who can speak Russian.”

Aksinya pouted, “They speak a kind of English there.  How will we communicate?”

“We shall learn English.”

“Yes, I guess.  You’ve thought this through for a long time.”

“I realized early that Father Makar would oppose any help I gave you, and I knew that you would require much help.”

Her pout deepened, “Am I such a problem?”

“Yes, Aksinya, you are a very great problem.  Plus, I don’t think there is a diminutive for Aksinya.”  He rolled to face her, “What will I call you, wife?”

Aksinya wasn’t certain she should frown or smile.  She harrumphed and plucked at her lip, “My father called me Aksyusha, but I would like you to call me, Aksenyushka or perhaps Princess.”

“Very well, I shall call you Princess Akenyushka.  May I kiss you?”

“Yes, you may kiss me all you wish.”  Their lips touched. 

“You were much more passionate before.”

“Shall I be passionate again?”

There is an old joke I will not repeat--it isn't very dirty, but it speaks to the thoughts of women during intimate moments.  Men perhaps are too one tracked--women want to know what is going on.  Aksinya is all woman.  She is thinking about how much Dobrushin loves her.  So much that he would give up his position and his money and his life.  The joke here is that Dobrushin isn't certain why she is thinking these things, his thoughts are somewhere else completely.  Then, we see, he does understand her thoughts.

Then Aksinya wants to know his plans.  Can you see the wheels going around in her head?  If he doesn't have a job or any prospects, how can he take care of her.  Although Aksinya has learned to live with very little, she doesn't wish to starve and this is post WWI Austria. 

You shouldn't be surprised that Dobrushin has everything planned out.  He planned everything from the beginning.  He is a planning type of person.  He knows exactly what he will do--just as he planned out everything in working with Aksinya. 

Aksinya isn't so sure about America.  She will have to learn English!  Listen to Dobrushin's response: "I knew that you would require much help.”  Aksinya is a great problem.  She was a great problem for the demon, for Natalya, for Ernst, for Sister Margarethe.  Aksinya is a person who can't help being a problem.  It is good that Dobrushin understands this.  He uses humor to distract her.  Aksinya can't go any further with this because she knows she is a problem.  The joke is that all the diminutives for Aksinya sound more proper than Aksinya (I picked this name for this reason).

Dobrushin extends this joke and so does Aksinya.  She certainly doesn't want her lover and husband  to call her by her father's pet name for her, but Aksenyushka is just silly.  Dobrushin is just as silly.  He shall call her Princess Aksenyushka.  You can guess that he calls her princess.  Then, a gentleman, he asks if he can kiss her.  This is what Aksinya wants.  She has not been allowed physical love all her life, and she wants to be loved.  We get a little joke here too.  Tomorrow, details of sleeping together.

A New Novel, Part 309 Kiss Me, I Want You to Kiss Me

9 August 2011, A New Novel, Part 309 Kiss Me, I Want You to Kiss Me 
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.

Dobrushin and Aksinya married--this is part of the plan Dobrushin believes will rid Aksinya of the demon.  For better or worse, they are bound together in this.  We are not sure of the outcome.  They have come to the room Dobrushin took in the hotel near the center of Wien... 

Dobrushin pointed to the door on the left in the room, “There is the bath.  It has a toilet.”

Aksinya nodded.

At the last, Dobrushin took an open container of incense and placed it before the fireplace.  He lit it with the taper then fished in his vest pocket for Aksinya’s surety.  He glanced at her and then placed the necklace and locket on the smoking incense.  Aksinya could already smell the gentle bite of frankincense.  Dobrushin returned to the door.  He returned the taper to its holder.

Dobrushin took her hand and blushed, “I’m sorry.  I forgot to get you any nightclothes.”

Aksinya trembled, “I won’t need any.”  She raised her face to his, “Kiss me.  I want you to kiss me.”

Dobrushin took her in his arms and put his lips on hers.  Aksinya threw her arms around his neck, “I don’t understand what this kind of love is, but I want to know it with you tonight.”  She pressed her lips to his and wouldn’t stop kissing him.

Finally Dobrushin finally disentangled her arms from his neck.  His face was red, “Come, my love, we need to ask God to show us mercy and keep us in safety.”

Aksinya’s breath released in gentle pants.  She nodded.

They knelt at the side of the bed, he took her hand, and Dobrushin prayed, “We praise you God of our fathers.  We praise your name forever and ever.  Let the heavens and all your creation praise you forever.  You made Adam and also Eve his wife, who was to be his partner and support; and those two were the parents of all human beings.  This was your word: ‘It is not good for the man to be alone; let us provide a partner suited to him.’  So now I take this my beloved to wife, not out of lust but in true marriage.  Grant that she and I may find mercy and grow old together.  Amen.”

“Amen,” Aksinya replied, “Do you love me?”

“I love you.  I married you.”

“Help me take off my clothes.”

Aksinya stood before him expectantly.  Dobrushin took off his coat and unbuttoned his shirt.  Aksinya reached up and fumbled with his buttons.  She smiled, “I’m not very good with buttons.”  She undid one after the other.  A golden cross lay against his chest.  It depended from a necklace.

Dobrushin pulled her to him and kissed her again.

Dobrushin gets out the details that are very important to a woman first--perhaps he was coached by Ekaterina.  Then he prepares the protection against the demon.  Do you remember, in Tobit, Tobias burned the part of the fish in the incense?  Now, Dobrushin burns Aksinya's surety in the incense.  I use some advanced writing techniques to bring in all your senses. 

Once the incense is burning, they take the next step--they are going to bed.  Do you sense the usually well prepared and mature Dobrushin's nervousness and inexperience.  He forgot nightclothes.  Aksinya doesn't care--she may be inexperienced, but she understands what is supposed to go on (or at least she imagines she knows).  She demands to be kissed.  That's when I get to make a statement through her about love.  This is one of the major sibthemes.

Dobrushin is getting worked up too.  Aksinya is just too cute.  She is filled with desire.  He knows what must be done, however, do you remember the scene in the restaurant?  They must complete each step like in the book of Tobit.  The next step is the prayer from Tobit.  If you will note, this prayer is whole in the Orthodox marriage ceremony.  It is a simple prayer.  The prayer, like the Book of Tobit is a turning point in Hebrew thought about the nature of God.  The God of Tobit listens to the cries of his people and answers their prayer.  If you look closely in the Old Testament, the prayers are almost always generic and not directed.  There are a few examples that are, but most are not.  In the Apocrypha, we see prayers to God that are direct and answered directly.  These are very much like the prayers we find in the New Testament.

Aksinya's question to Dobrushin: “Do you love me?”  Then with his answer, she wants to get down to business.  Do you remember that Aksinya seldom took off her own clothing or dressed herself.  She asks for help for more than reasons of sensuality.  Dobrushin doesn't care.  Aksinya begins to help him unbutton his shirt.  Do you remember, she has problems with buttons?  With these writing techniques, I want to build the tension and the excitement but for another reason--you will see why tomorrow.

A New Novel, Part 169 Where is Natalya?

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.

When Ernst took Aksinya to the Opera the night before, Natalya helped get Aksinya drunk to the point that she couldn't stand.  Aksinya wakes in the morning...

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.


In the morning, when Aksinya wakes, Sister Margarethe and not Natalya is in her bedroom.  With this short interaction, I give you an interesting view of Natalya and Aksinya's existence together.  In the morning, we know Natalya wakes Aksinya.  Natalya likes to open the shutters, Aksinya doesn't want so much sunlight in the morning.  We could have guessed this about Aksinya's personality, but it is fun for me to confirm your thoughts.  This is one of those little reminders of the characters' personalities.  These are not throw-away details, but continue to round out the characters and their personalities.

Natalya is missing.  Aksinya has a terrible hangover, but her first thought is of Natalya.  I don't want you to miss the incense and sulfur smell in Aksinya's bedroom.  This we know indicates the demon has been recently in the room.  The incense means...I'll get to that eventually.  If you have read this novel from the beginning, you might be able to guess.  You'll get more hints later.

Where is Natalya?  Sister Margarethe assumed Aksinya sent her on an errand last night.  Sister Margarethe spoke to Natalya, and Natalya left instructions for the sister.  This seems well planned.  Aksinya asks if the Sister has seen Natalya this morning--the Sister saw Natalya last night.  The Sister gets a small dig in about Aksinya coming home drunk with Herr von Taaffe.

Aksinya knows that Natalya's disappearance is a very big deal.  I don't tell you how distraught Aksinya is, I show you.  Sister Margarethe tries to soothe and placate Aksinya, and I show you how the Sister sounds to Aksinya--nonchalant.  She does sound nonchalant and this is unusual for Sister Margarethe.  She is not as worried about Natalya.  She never has shown much attention to Natalya--the Sister sees Natalya as a rival, but Sister Margarethe is always concerned about Aksinya.  What bothers Aksinya should bother Sister Margarethe.

I don't show you Aksinya's thoughts here.  I show you her reaction.  It suddenly dawns on Aksinya, the sulfur, the missing Natalya, the nonchalant Sister Margarethe, the demon has had a hand in Natalya's disappearance.  That is why Aksinya becomes listless--she knows she can do nothing to find or help Natalya.

The bath has been a place for revelations before in this novel.  It is a symbol for revelations in this book.  I chose it intentionally.  The subject matter fits it, but the bath is an obvious metaphor for baptism.  Initially, the demon prepared a bath for Aksinya.  He metaphorically baptised her.  That bath included great revelations about Aksinya.  Natalya prepared the next bath for Aksinya, and Natalya participated in a bath using the same water after Aksinya.  These were revelations about Aksinya and Natalya.  Now, Sister Margarethe prepares a bath for Aksinya...

In the bath, Aksinya thinks about Natalya.  Aksinya's hands are clasped together.  It is strange that Aksinya should realize she can't remember a time when Natalya was not with her.  Aksinya notes a new scar on her left hand--we know what that means.  Aksinya cast a successful great sorcery last night--do you remember the scent of incense.  This was the hint before that foreshadows this revelation now.  Aksinya made a great enchantment and has no memory of it at all.

As Sister Margarethe pours tea for Aksinya's breakfast, Aksinya detects a whiff of sorcery on the Sister.  I mentioned this more than once that Ernst could detect the smell of sorcery.  Aksinya knows it too well.  Aksinya puts all this together for us.  Asmodeus has somehow affected Aksinya and Sister Margarehte, and Natalya is missing. 

Aksinya has not given up hope, but she knows she can't fight the demon directly.  No one, she believe, in the physical world can help her.  She prays and isn't certain if prayer will help either.  She will confront the demon over Natalya.  She is driven to this.  She will face anything for her friend, but note Aksinya's despondency--she realizes there is little she can do.  Tomorrow, Natalya returns?

A New Novel, Part 165 I Shall Answer You on Monday Next

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.

Aksinya, Natalya, and the Bockmanns are at Steiholtz, the estate of Ernst's Father.  Ernst proposed to Aksinya, but she could not make a decision.  Still, he kissed her and that excited her mind and body.  She wakes on the first day of 1919...

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.

Setting the scene is the most important part of the beginning of any chapter.  Just as important is setting the chapter.  This is the beginning of chapter 14.  I use some advanced writing techniques to set the scene for you.  The first one, is that I use a direct comparison to place you back in the place we were at the end of chapter 13.  At the end of that chapter, Aksinya was in bed trying to pleasure herself.  At the beginning of this chapter she is in bed under the same circumstances.  This immediately draws the reader back to the place with the new time marker--it is morning.
 
That's all I really need to set the place, time, and person--the where, when, and who.  This single paragraph also sets the chapter.  That is its ultimate purpose.  You know from this paragraph that this chapter will deal with Aksinya' s passions and desires.  There is more, of course, but the point is to give the reader a foreshadowing and foretaste of the chapter.
 
The next paragraph that describes taking care of Aksinya just reinforces both the scene and chapter setting.  Aksinya is at her morning worse.  This is a continual motif.  Aksinya is acting like a brat, but it isn't just her bad habits--it is her position in life.
 
The next short transition uses description to show you that everything is ready for departure.  While Aksinya slept, everyone else was preparing to leave.  The Bockmanns still are courteous to Aksinya--she is a Countess.  When Aksinya nods, that makes her head ache--this lets me show you that she has a hangover.
 
As Aksinya, Natalya, and the Bockmanns are about to depart, the Graf and Ernst make their appearance.  The Graf is polite, but his second question is what he really wants to know: “Do you have an answer for me and Ernst this morning?”  Aksinya has obviously thought much about this.  She doesn't hesitate and tells the Graf that she will give her answer in one week.
 
The Graf's response to Aksinya alerts the Freifrau.  She understands very well what a ring means.  Aksinya fills them all in.  I also remind you of Aksinya's diminutive size here also.  Ernst can't help but remind Aksinya of what he has gone through to be able to ask her to marry him.  Aksinya doesn't note any irony in Ernst's words, she accepts them as forthright--therefore the look she gives him.  I can't let you forget that Natalya is not happy with any Ernst arrangement.
 
Ernst is still courting.  He loves Aksinya.  He will pick her up at their regular time on Wednesday.  Aksinya asks what they will see.  This is a set up for you.  The opera is Tristan and Isolde.  It is not only a tragedy, it is about a love triangle that was a precursor to King Aurther.  Every opera and ballet they have seen that I mentioned were direct parallels to Aksinya's life.  What shall this one be?
 
The Graf remembers from the night before that Aksinya wished to kiss Ernst longer, thus his words that Aksinya may kiss Ernst.  This is too froward and Aunt Brunhilda reminds them.  That makes Aksinya uphappy and Natalya happy.  Did you get that? 
 
Ernst acts the gentleman and that pleases Aunt Brunhilda.  It doesn't please Aksinya.  She wanted a kiss.  The party heads back to Wien.  Tomorrow, the arrival at Wien.

A New Novel, Part 159 Kiss Me Again

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 kissed Aksinya and confessed his love.  He wants to give her an engagement ring and for her to accept his proposal of marriage.  Aksinya doesn't know what to answer him.  She wants to know if Asmodeus has been encouraging Ernst...


Aksinya stared out into the darkness and whispered, “This is a temptation to me. It is surely a temptation.” She spoke more loudly, “Did Anatov Aznabaev put you up to this?”


“Your courtier? I haven’t seen him in a long time.”

“Have you been engaging in sorcery?”

Ernst put up his hand, “Not since I met you. I realized then, I could not achieve any of it. I told you already, I don’t have the skills or the power to do it. I want to give you this ring.”

Aksinya raised her eyes to his, “I’m not sure of what I will answer to you. I’m not certain if I love you.”

“Isn’t it enough if I love you? I swear I will give you everything in my power.”

Aksinya cried, “Do not swear. Do not swear anything to me. Don’t use those words around me. Don’t you realize how dangerous that is?”

“Dangerous to swear what I am truly willing to do? I do swear it. I swear to Aksinya that I love her, will do anything I can for her, and will marry her.”

Aksinya pressed her hands over her ears, “Don’t swear. It is enough to say you will do it, but do not swear it.”

“Will you accept my ring?”

“I cannot—not yet.”

“Will you accept my love?”

“I must think on this—it is too difficult for me to decide right now. My mind is in turmoil.”

“Will you allow me to continue to court you?”

Aksinya sighed, “Will you kiss me again?”

“I will, but only if the Lady Natalya will not scream.”

Aksinya turned a little toward Natalya, “Lady Natalya, I wish to allow Ernst to kiss me again. Will you please let him?”

“Kiss him? You should hit him.”

“I wish to kiss him. Please allow me. I shall not ask for more than one tonight, but I would like to kiss him once more.”

Natalya’s anger was evident on her face, “I shall turn around for ten seconds. By the time I have counted to ten, I expect you to be at my side. If you are not, I shall certainly yell for your aunt and uncle.”

“Thank you, Lady Natalya.” Aksinya didn’t wait to see if Natalya turned, she ran to Ernst and put her arms around his neck. She clumsily brought her lips to his and lingered there in a measured kiss. He put his arms around her and held her tightly. They parted at eight seconds and Aksinya ran to Natalya’s side. Natalya noted Aksinya beside her with an impatient nod and began walking. Aksinya glanced back at Ernst. His eyes lingered on her. They did not leave her the entire time until she lost sight of him when she exited the parlor.

The most important question for Aksinya is the part Asmodeus has played in Ernst's confession and proposal.  You know why this is so important to her.  She realizes that Asmodeus has been setting her up to accomplish evil--that is his purpose.  In every case, in every thing that has happened since Aksinya called the demon, he has tempted or manipulated her to evil.  Even when she succeeded in thwarting him, Aksinya still ended up doing the demon's ultimate will.  She hopes this is not the case now.  We know how this situation must work out, but we are waiting for the other shoe to drop.  We hope Aksinya can find happiness with Ernst.  We hope everything can work out well for her and for him.  We can hope...
 
Aksinya knows.  She tells us and herself, this is a temptation.  Still, she is reassured by Ernst's reply--he hasn't seen Asmodeus in a while.  She asks about sorcery--he hasn't been attempting it.  His reaction to a person who has mastered such a skill is reasonable--he has given it up.  He still wants to give (tempt) her with the ring.
 
Aksinya can only tell the truth at this moment.  There is no reason for her to lie.  She isn't certain if she loves Ernst.  Ernst is lovestruck.  His answer is the one sided loves eternal answer--isn't it enough that I love you.  He then swears.  That is a mistake.  Aksinya tries to prevent him from continuing, but Ernst doesn't understand.  He swears to her.  Do you remember, the demon always attempts to illicit a promise.  To swear is to make a contract.  That would be okay with anyone else in the world, but around Aksinya, spiritual forces battle (or perhaps the forces of evil dominate).  To swear around Aksinya is tantamount to a red flag in front of a bull.  Remember each of the promises made in this novel.  Remember everything that was sworn.  They will not stand--they cannot stand.
 
Aksinya realizes all this, but she won't give up hope.  She won't give up hope because she is tempted and she has great desire.  She wants Ernst to love her and to give her luxuria.  She really would like to love someone.  She would like to indulge her desires.  But...she is afraid to do any of that because she knows the demon is behind everything.  Thus, her answer: “Will you kiss me again?”  Aksinya wants to indulge in her desire.  She thinks she can get away with this luxuria, with this small indulgence.
 
Aksinya asks Natalya if she may kiss Ernst again.  Listen to Natalya's response.  The power is in the hands of Natalya now.  For some reason, the control has shifted to Natalya, and her animosity is obvious.  We would have expected Natalya to applaud Aksinya's courting, but at this moment, for some reason, Natalya is bothered by it.  In spite of her discomfort and her anger, Natalya allows Aksinya to indulge herself in this temptation.
 
Aksinya kisses Ernst, and she and Natalya exit the parlor together.  The lovelorn Ernst watches Aksinya until she is out of sight.  Tomorrow, the Graf gets involved.

A New Novel, Part 158 This is a Temptation to Me

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 professed his love to Aksinya and kissed her.  Natalya busted up the clinch and now they are in their respective corners.  Fighting isn't really what either of them have in mind...

Natalya glanced at Aksinya. Aksinya hastily moved to the other end of the balcony. They waited for Natalya to return to her seat.

Aksinya bent forward a little toward Ernst. She whispered and tried to get her voice to carry to him, “You…you kissed me.”

Ernst kept his voice low, “I have wanted to kiss you for a long time.”

She touched her lips, “Why?”

“Because I love you.”

“What will you gain by loving me?”

Ernst smiled, “I desire you. That is all. I love you. Do you love me?”

“I…I don’t know.”

“Then I’m sorry I was so forward, but I’m not sorry I kissed you. I would hope to continue to woo you. I want you to marry me.” He pulled out a small box from his coat pockets, “I have a ring for you. I would like to give it to you tonight.”

“For me? Then you are serious?”

“Why would you think I wasn’t serious?”

“What about your father, and his wish for you to join his business?”

“I told him tonight that I would join the firm. I made arrangements with him to begin to work the following Monday. I will still be able to escort you to dinner and the opera on Wednesday. Didn’t you understand me? Even if you will not make up your mind tonight, I will continue to see you and entertain you. I will pursue you until your answer is yes. You have no other suitors?”

Aksinya shook her head.

“You don’t have another lover?”

Aksinya shook her head.

Ernst’s voice softened, “Then there are no others ahead of me. I have no competition.”

“But I have never imagined someone loving me before.”

Ernst shook his head, “Why should a man not love you. You are beautiful and intelligent. Your deportment and social skills are excellent. You enjoy all the past times I enjoy. Why should I not want to share my life with you?”

Aksinya stared out into the darkness and whispered, “This is a temptation to me. It is surely a temptation.” She spoke more loudly, “Did Anatov Aznabaev put you up to this?”

We find out just how clueless about everything Aksinya is.  Aksinya wonders why Ernst would kiss her.  Remember, she thinks she is ugly.  She has resolved herself to this for her entire life.  She can't imagine that any of her other features might make a man desire her, but we realize Aksinya is desirable for many reasons.  She is astounded that Ernst would kiss her, so she asks why.  His answer is just like we expect from Ernst, straightforward: "I love you."  Let me point out that I use a lot of advanced writing techniques in this small exchange.  Just one example is Aksinya's gesture--she touches her lips.  This tells you a lot about her thinking and her wonder at what happened.
 
The main point, however, is Aksinya's response to Ernst: “What will you gain by loving me?”  Remember Natalya's comment before--why does love have to be a contract with you (Aksinya).  Aksinya can't imagine love without some contract or gain.  Ernst offers her love; she wonders what he really wants.  They could go around and around like this forever.  Ernst really can't answer her question.  He mixes love and desire.  That would be a mistake usually, but he is talking to Aksinya.  To Aksinya, love and desire go hand in hand.  Even though she learned from Sister Margarethe that you don't have to have desire to have love--she doesn't fully understand it.  When Ernst asks Aksinya if she loves him, she can only answer truthfully: “I…I don’t know.”
 
Ernst was expecting her to say "yes."  His response shows this.  He is tempting her, and he brings out his next temptation--luxuria.  It is a ring, an engagement ring.  This is something dear to any girl and especially dear to Aksinya.  She loves luxuria more than anything.  If she had ever thought someone might want to marry her, she might have thought marriage desirable.  This is completely ironic, because Ernst is willing to give Aksinya luxuria to prove his love, then she accepts him as being absolutely serious.
 
Ernst adds another temptation to her.  It was drug out by Aksinya's question.  Ernst has bowed to his father's desires and will go to work for him.  He will join the family business.  Aksinya drove Ernst to this.  Ernst has changed entirely for Aksinya.  Can you guess the joy of Ernst's father.  Ernst will become a dour Ernst for Aksinya.  These are not cast off statements.  The power of the change from the happy-go-lucky Ernst to the serious Ernst is an amazing change, and it is all due to the thoughtless statements of Aksinya. 
 
Remember during the Opera of Mozart's Magic Flute, Aksinya's taunting of Ernst about her other suitor.  Ernst wants to make certain.  He asks about other suitors.  He asks about other lovers.  Notice, Aksinya doesn't really answer. She only shakes her head.  We know there is a problem that stands in the way and that problem is a demon who has made a claim on Aksinya.  I won't tell you now, but what do you think in terms of the demon's claim.  Ernst draws the wrong conclusion, and Aksinya lets him do it.  There is a small problem between them and that is Asmodeus.  Aksinya doesn't love Ernst, but she wants Ernst.  She can't answer truthfully about the demon.  She doesn't want to drive Ernst away. 
 
Look at her response: “But I have never imagined someone loving me before.” This statement is the absolute truth.  In Aksinya's mind, no one really ever loved her (not even Natalya), but she obvoiusly doesn't understand love.  Then from Ernst's heartfelt response about why someone might love Aksinya, we get her realization: “This is a temptation to me. It is surely a temptation.” Everything is a temptation for her.  Everything is a carefully orchestrated temptation.  We should never forget this and Aksinya should never forget this.  Still, we want everything to be a French comedy and not a Russian tragedy.  Aksinya wants to imagine her life is her own and not plyable clay in the hands of a demon.  She asks the most important question yet: “Did Anatov Aznabaev put you up to this?”  Tomorrow, Ernst answers this question and we learn more about what has been going on around Aksinya.