Writing Ideas - Vampire Novel, part 57, yet more Redemptive Theme, Developing Characters Rising Action

6 June 2014, Writing Ideas - Vampire Novel, part 57, yet more Redemptive Theme, Developing Characters Rising Action

Announcement: There is action on my new novels.  The publisher renamed the series--they are still working on the name.  I provided suggestions as did one of my prepub readers. Now the individual books will be given single names: Leora, Leila, Russia, Lumiere', China, Sveta, and Klava--at least these are some of the suggestions.  They are also working on a single theme for the covers.  I'll keep you updated.

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/.

The four plus one basic rules I employ when writing:

1. Don't confuse your readers.
2. Entertain your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.
5. Immerse yourself in the world of your writing.

All novels have five discrete parts:
1.  The initial scene (the beginning)
2.  The rising action
3.  The climax
4.  The falling action
5.  The dénouement

The theme statement of this new novel is: An agent of the organization becomes involved with a vampire girl during a mission, she becomes dependent on the agent, and she is redeemed. 

There is a third type of classical redemptive theme.  This is that a person or a being is redeemed in a religious or Christian sense.  The reason this is a classical theme is that in all Western literature even if the theme is from evil to good, there is an assumption of Christian redemption.  I point this out for historical accuracy and to make a very important point.  In any classical redemptive theme, there must be some spiritual element.  The spiritual element from the classics is one of Christian redemption, and there is no reason why this theme should be simply relegated to inspirational or Christian literature today.  The big point is, as anyone should note (C.S. Lewis' argument), the incorporation of a spiritual creature (like a vampire, zombie, or any other undead) presumes God.  You can't enter the spiritual regime without addressing God in some way.  The expression doesn't need to be a stereotypical conversion or a presumptive theological construct, but without God, there is no spiritual.

Therefore, by bringing a vampire into a novel, the author is making a presumption of some type of Christian or at least a spiritual worldview.  It is possible to have other gods or other worldviews (Asian, Eastern, Western, African, etc.), but they must include some spiritual god element or they become quickly illogical.  If you are not convinced, read an unexpurgated (unabridged) copy of Dracula.  Bram Stoker was a strong Catholic and presented a powerful Christian and redemptive worldview in a novel that has been more and more secularized.  I prefer the original.  The message of Bram Stoker was one of hope and redemption.  The message of a secular Dracula is powerful, but not hopeful or pleasant in the least.  Although we have lost Aristotle's treatise on comedy, we know the message of good comedy is that of humans overcoming a telic flaw.  In a classical redemptive theme, the telic flaw can only be overcome through spiritual means.       
 
More tomorrow.

For more information, you can visit my author site http://www.ldalford.com/, and my individual novel websites:
http://www.aegyptnovel.com/
http://www.centurionnovel.com
http://www.thesecondmission.com/
http://www.theendofhonor.com/
http://www.thefoxshonor.com
http://www.aseasonofhonor.com

Development - Rules of Writing, Power of Symbols

28 July 2012, Development - Rules of Writing, Power of Symbols

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.

All language is symbols. Therefore it shouldn't surprise you that your writing should include higher level symbols. What are higher level symbols? I mentioned before the cross as a symbol. The cross is a higher level symbol--a symbol that doesn't depend on language. Symbols can be ready made or author made symbols. Some symbols are a mix.

The number one purpose for any art including writing is to entertain.  This is where many modern artists have been misled by misunderstanding the purpose for their field.  Many writers have missed the point too--generally, those writers are not published.  The artists can sometimes get the government to support their uncreative and naive scribbles.  This is generally not so with authors.  If you have a message to tell, don't write--rather don't write fiction (go for essay)--or become a preacher.  However, if your writing doesn't entertain, neither will your sermons.

The purpose of art is to make the world more understandable and beautiful.  It is possible for dark and ugly images to achieve both illumination and beauty.  How can that be?  My latest topic in symbols is opposing symbols--that is symbols that are the opposite of what they literally convey.  I mentioned that this is evident in the novel, Aksinya.  In Aksinya, we see a young woman who has committed the grossest crimes, yet the image produced is that of innocence.  In her name much evil has been done by the demon, but we also see how she isn't fully responsible for those crimes.  Aksinya is coerced into taking Natalya as her lady-in-waiting, but Natalya assumes and credits her status as the beneficent act of Aksinya.  To save a sorceress' virtue (Aksinya), Natalya is willing to seduce Aksinya's probable fiance'.  Natalya, whose every action lead us to believe she is innocent has been sexually and physically abused.  All these are dark and in some cases ugly images--but the revelation of them in the context of the novel brings understanding and becomes beautiful.

The great betrayal of Aksinya by Natalya leads to the redemption of Aksinya, Ernst, and Aksinya (just to mention three).  The power that makes these opposing symbols come right is subtlety and presentation.  As I mentioned, the primary purpose in writing fiction is to entertain.  The theme, plot, and storylines are all part of that entertainment--they are also their own message on (hopefully) many levels.

There is much more to writing without confusing your readers. I'll write about that tomorrow. The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques. To what extent do you outline the historic context, culture, mannerism, speech, dress and thought process of the main characters, in a historic novel...in order to maintain integrity, and gradually (help) reveal attributes of a character in the story, or otherwise clarify the plot, scene, transition, tension or resolution?

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/, http://www.thesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor.com/, and http://www.aseasonofhonor.com/.

A New Novel, Part 167 That is My Own Business

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 and Natalya return to Wien and Sacré Coeur.  Aksinya can't abide another moment with her aunt--not after Ernst proposed to her, and she hasn't made a decision about it...


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.



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.

When we left them, everyone is unhappy.  There is the expectation of happiness, but everyone's happiness relies on Aksinya.  It isn't just her answer--it is Aksinya herself.  Aksinya's answer to Ernst's proposal is like the middle of an endless line of dominos.  If her answer falls one way, so will the dominos.  If her answer falls the other way...  She doesn't have the option to not make a decision.  And look at what depends on her decision.  Ernst and his father's relationship.  Ernst's future in his father's business.  The Bockmann's future influence in Wien.  The freindship of the Bockmanns and the von Taaffes.  Natalya's relationship with Aksinya, and, as we shall see, with others.  However, these are all very simplistic concerns compared to the real ones that will shortly manifest themsleves, and these don't depend on Aksinya's decision about the proposal at all.
 
Ernst is a gentleman.  He takes Aksinya and Natalay to their Orthodox Church.  Note Father Dobrushin--I don't want to let you forget about him.  Notice that the balance of power between Aksinya, Natalya, and Ernst has changed slightly.  The crucifix burns Aksinya while she is in the Ecclesia--remember, this is an indicator of her spiritual problems.
 
The return to Sacré Coeur brings Aksinya unanticipated attention.  In the community of the wealthy and privilaged of Wien, this gossip about Aksinya is important and exciting.  It was likely the talk of the weekend.  Our little romantic, Anna Pfaff wants to know all about it.  She thinks this is a safe question.  Normally, this would be a great question for any woman, but Aksinya isn't any person.  This decision is difficult for her.  She isn't happy about it or the attention.   
 
Look at Sister Margarethe's reaction.  She is disappointed for more than one reason.  The first hint I give you is that she is unhappy because she didn't know.  She should have known before any of her students--doesn't she live with and act as a servant for Aksinya?
 
Aksinya's first reaction is to ignore Anna, but Aksinya isn't in the mood to ignore anything.  As Anna tells her, it is a rumor.  To her and the others, this is an innocent question.  Aksinya can just confirm or deny.  Aksinya has a different view.  Can't you imagine her response--a "glare."  It is so great a "glare," it makes the other girls step back.  Still, Anna is intimidated, but her curiousity is greater than her intimidation.  She tries to make nice.
 
We could have guessed Aksinya's answer--she is a private person, but she still tells them that Ernst proposed.  Anna's reaction is joy; Aksinya growls.  She drops a bomb:  "I have not made my decision.”
 
The interjection of Natalya amazes us.  This is new for Natalya.  Usually, Natalya only takes this role when Aksinya cannot.  The power has changed.  Natalya is undercutting Aksinya.  She likely thinks she is doing it for Aksinya's own good.  Natalya excites Aksinya's anger.  This may be the first time Aksinya has been mad at Natalya.  Anna bravely asks Natalya--this should show that even Anna detects the change in power.  In this moment, Natalya has taken some degree of control from Aksinya.  She even answers Anna's question with the shake of her head.

Then we see the other reason for Sister Margarethe's distress--she is worried about losing Aksinya.  The implication is that if Aksinya is married, she won't be in school and Sister Margarethe won't be able to take care of her.  Aksinya has lost her power and control.  The girls are not pushed away by Aksinya's growls or glares but by Sister Margarethe's admonision.

Aksinya realizes she has lost control--she won't speak to either of her most stalwart defenders.  The world is changing for Aksinya and the world suddenly depends on Aksinya.  Tomorrow, at the opera with Ernst.

A New Novel, Part 104 The Great Enchantment

Aksinya is dying and Natalya helps her set up her sorcery.  We have an idea what is being done, but we are not certain, yet.  Natalya knows everything that Aksinya will do--she has obviously been watching her accomplish sorcery...

Aksinya grabbed for the bag of wax and couldn’t reach it. Natalya opened it and put the whole lump in Aksinya’s hands. Aksinya fumbled for the bag of herbs. Natalya opened that one for her too. Aksinya held the wax in one hand and the herbs in the other.


Aksinya motioned Natalya back with her chin. Natalya ran to the other side of the room. She wanted to watch. She could not take her eyes off Aksinya.

Aksinya’s lips moved slowly at first, but then faster. Her hands brought the wax and the dried leaves together. Aksinya didn’t look at her hands, but in them formed a small figure made of wax. Pieces of the herbs filled the lightly transparent material and stuck out in places. Aksinya’s voice almost increased to the level that Natalya could hear her, but it rose and fell in volume and the words were strange.

Finally, Aksinya grasped all around her. She nearly fell, but kept upright. Natalya didn’t know what to do. Aksinya’s hands moved slowly but frantically on the floor at every side. Natalya knew what Aksinya wanted, it was the dagger. She saw it just to her side.

Natalya called out, “There mistress. Your dagger is on your right.”

Aksinya mouthed, don’t speak.

Natalya fell silent, but without crossing the circle, she pointed at the dagger.

Aksinya reached out and took the knife by the blade. Natalya grasped, it bit into Aksinya’s fingers. Blood trickled from the fist that held the dagger. Aksinya dropped it and seized the wax doll. Blood covered it.

A low sound filled the room. The wax melted and was gone. The blood was suddenly gone. The tallow candles were out, and a bright flash filled the magic circle. For a moment, Natalya couldn’t see Aksinya. She was about to cry out, but she bit her lip. Natalya blinked her eyes, and Aksinya lay prostrate in the center of the magic circle. Natalya ran to the edge and hopped from foot to foot. She didn’t dare cross the circle. She didn’t dare speak. She didn’t dare do anything. Finally, she couldn’t wait any longer, “Countess.” She screamed, “Countess, are you all right?”

Aksinya raised her head and nodded, “Come, sweet Natalya. All is well. I just must sleep now.” Her head fell back to the floor, and she didn’t move.

Natalya ran across the circle to Aksinya’s side. She put her arms around her mistress and held her close. She listened covetously to her breathing and her heartbeat. She kissed her cheeks. Slowly, tenderly, she dragged Aksinya to the bed and lifted her onto it. They were almost the same weight, but Natalya was determined. Then she cleaned up the magic circle and put away all of Aksinya’s items. She laid back the rug. When everything was perfect, Natalya checked on Aksinya again. She kissed her forehead and went to get Sister Margarethe.

Aksinya is accomplishing a great enchantment.  The circle was properly made and encompasses her.  She takes wax--it is the item that will represent her physical body.  She takes herbs.  The body has form, the wax, and parts of the living earth, the herbs.  Natalya gets out of the way, but she wants to watch everything.  This is an amazing thing in the world--the work of a master sorceress.
 
The words are the Latin that Aksinya has memorized to make the enchantment occur.  With the words and the item properly formed, the last ingredient is the sacrifice.  Previously, Aksinya herself was the sacrifice--that was what injured her (along with the backlash from the power of God in the world).  Natalya helps Aksinya find the dagger.  Since Aksinya can barely manipulate the items, she just grasps the razor sharp dagger and allows it to slice her hand.  With the addition of the blood sacrifice to the wax and herb figure, along with the Latin words, the enchantment is complete, and we see the result.
 
Natalya's greatest concern is for Aksinya.  This is always true.  The enchantment was a success and Aksinya needs to rest.  Natalya takes care of everything--Aksinya knew she would.  She gets Aksinya back into bed and everything is right again in their world, or is it?  Aksinya is whole again, but much has happened.  Sister Margarethe knows about the house, and the sister is inside Aksinya's house.  The demon has been thwarted by Aksinya.  He disappeared, but is he truly gone?  The men from the tavern, are they dead or alive?  What about Aksinya's book of sorcery?  What about the gentleman who was outside the tavern?  What will happen now?  I told you this was a pivotal chapter.  You can see how everything has been brought together to make these events happen at this point.  The world has changed radically for Aksinya and Natalya--the world has changed for many of the participants in this novel.  We shall see how it plays out.