Writing Ideas - Vampire Novel, part 27, Rising Action

7 May 2014, Writing Ideas - Vampire Novel, part 27, 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. 

The point of a novel in general and the rising action specifically is the revelation of the characters (especially the major characters).  Characters are not developed in a novel--they are developed by the author and then revealed in the novel.  Some characteristics of a character might change, but the telic change (the change that drives the theme and climax of the novel) belongs only to the protagonist.  In general, we say, the protagonist is the only character who has a telic change.  That doesn't mean that other characters might not grow or show some change in a novel, but rather the primary change belongs to the protagonist. If another character has a telic change, you chose the wrong character to write about.

Characters are developed prior to writing the novel and are revealed in the novel.  I've heard the term character development my whole writing life.  I think this is a misunderstanding by many teachers and educators who don't understand writing a novel.  It may appear during the rising action, that the characters develop or that the author is developing a character, but for a writer this is not true at all.  An author develops the characters before she writes about them.  In the novel, the characters are revealed.  All the development has been done, the author's job after developing them is to reveal them to the reader.

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

Scenes - Scene Setting, The Declaration

11 May 2013, Scenes - Scene Setting, The Declaration

Announcement: My novels Sister of Light and Sister of Darkness are about to be published. I write this blog about 2 months prior to its publication. I just heard that the proofs will be here soon--likely before the end of the week. My publisher also wants to put the entire set of novels based on Aegypt on contract--that's 5 more novels for 8 total. They also want to put my other novels on contract. The release schedule should be one novel every 2 months. 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/.

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 many 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.

In Orthodox thinking, marriage is a sacrament.  The Catholic Church holds it to the same standard.  Because of this, marriage is approached in an Orthodox service with great solemnity and decorum.  There are specific actions and words that must be said.  I communicate these to you in this translated marriage ceremony.

Properly accoutered for his role to administer a sacrament, he lit the incense and prepared the altar. All the while, Aksinya and Dobrushin waited in the Narthex.

Father Makar entered the narthex and came first to Dobrushin.  He made the sign of the cross once on Dobrushin’s forehead, then on Aksinya’s forehead.  He repeated the sign a second and then a third time on their foreheads.  Ekaterina handed the lighted candles to Father Makar and he gave one to Dobrushin and one to Aksinya.

Father Makar turned and censed the sanctuary in the sign of the cross.  He stepped through the doors and continued to cense in the shape of a cross at each step.  Dobrushin stepped behind Father Makar and Aksinya still on his arm came with him.  Behind them followed Ekaterina.

Father Makar continued onto the platform and to the altar.  Dobrushin stopped just before the platform.  After Father Makar censed the altar, he put the censer in its stand and returned to them.  He turned to Aksinya, “Princess Aksinya Georgovna Holstein-Gottorp-Romanov the Countess of Golitsyna, do you wish to marry this man, Dobrushin Sergeevich Lopuhin?”

“I do wish to marry him.”

“Dobrushin Sergeevich Lopuhin, do you wish to marry this woman, Princess Aksinya Georgovna Holstein-Gottorp-Romanov the Countess of Golitsyna?”

“I do.  Master, give the blessing.”

Father Makar’s brow rose in surprise that Dobrushin spoke the deacon’s part but he continued, “Blessed is our God, always, now and for ever, and to the ages of ages.”

Ekaterina pronounced, “Amen.”

The beginning of the ceremony is the blessing, the entry into the sanctuary, and the declaration.  Notice that Father Markar uses their entire names.  Second, Dobrushin announces his intent to act in the role of deacon (or junior priest) in the ceremony.

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.
 

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

Scenes - Scene Setting, Instead of a Kiss

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

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

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

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

Here are my rules of writing:

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

A scene outline is a means of writing a novel where each scene follows the other with a scene input from the previous scene and a scene output that leads to the next scene. The scenes don't necessarily have to follow directly in time and place, however they generally follow the storyline of the protagonist.

A storyline outline is a means of writing a novel where the author develops a scene outline for more than one character and bases the plot on one or more of these storyline scenes. This allows the scenes to focus on more than the protagonist. This is a very difficult means of writing. There is a strong chance of confusing your readers.

Whether you write with a scene outline or a storyline outline, you must properly develop your scenes. All novels are developed from scenes and each scene has a design similar to a novel. Every successful novel has the following basic parts:

1. The beginning
2. The rising action
3. The Climax
4. The falling action
5. The dénouement

Every scene has these parts:

1. The setting (where, what, who, when, how)
2. The connection (input)
3. The tension development
4. The release
5. The output

There are lots of approaches to scene setting. That means there are about a million plus ways you can set a scene. The main point is you have to clearly get across the where, when, who, what, and how.

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

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

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

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

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

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

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

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

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

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

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

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

“Ring!” squawked Freifrau Bockmann.”

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

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

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

Natalya scowled.

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

Aksinya asked, “What shall we see?”

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

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

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

Aksinya pursed her lips.  Natalya smiled.

Ernst took Aksinya’s hand and bowed over it.

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

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

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

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


The following is a question asked by one of my readers. I'm going to address this over time: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.

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

Scenes - Scene Setting, Revelations

22 February 2013, Scenes - Scene Setting, Revelations

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

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

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

Here are my rules of writing:

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

A scene outline is a means of writing a novel where each scene follows the other with a scene input from the previous scene and a scene output that leads to the next scene. The scenes don't necessarily have to follow directly in time and place, however they generally follow the storyline of the protagonist.

A storyline outline is a means of writing a novel where the author develops a scene outline for more than one character and bases the plot on one or more of these storyline scenes. This allows the scenes to focus on more than the protagonist. This is a very difficult means of writing. There is a strong chance of confusing your readers.

Whether you write with a scene outline or a storyline outline, you must properly develop your scenes. All novels are developed from scenes and each scene has a design similar to a novel. Every successful novel has the following basic parts:

1. The beginning
2. The rising action
3. The Climax
4. The falling action
5. The dénouement

Every scene has these parts:

1. The setting (where, what, who, when, how)
2. The connection (input)
3. The tension development
4. The release
5. The output

There are lots of approaches to scene setting. That means there are about a million plus ways you can set a scene. The main point is you have to clearly get across the where, when, who, what, and how.

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

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

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

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

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

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

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

Natalya shut the door.

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

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

Natalya gave a fierce tug on Aksinya’s hair.

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

“You have a lot to learn mistress.”

“Aksinya.  I am Aksinya.”

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

“About what?”

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

Aksinya’s head lolled, “Before what?”

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

“How do you know?”

“The number of times…”

“Number of times.  You haven’t?”

Natalya tugged a little harder against Aksinya’s hair.

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

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

“And you gave it to them?”

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

“Ernst isn’t like that…”

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

“They?  I am so sorry, Natalya.”

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

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

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

The following is a question asked by one of my readers. I'm going to address this over time: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.

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

Scenes - Scene Setting, more Tension and Place

25 November 2012, Scenes - Scene Setting, more Tension and Place

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.

We moved from the outside to the inside.  We moved from a gentle tension scene to a slightly more intense tension scene.  In the final sequence of the scene, we move into the office of the headmistress.  This place must be set.  Additionally, we move to the main tension and relief sequence of the overall scene.  This also happens to be the dénouement of the novel.
 

After a few minutes, Stacy exited the office.  She held her features set in a look of contrition.  The moment the door closed, she gave a very American, thumbs up to Aksinya, and mouthed, “It worked.”  Then louder she said, “I hope you do teach here.”  She skipped back down the hall to her class.

The door opened a crack, “Mrs. Aksinya Andreiovna Lopuhin, please enter.” 

Aksinya stood and entered the office.  The headmistress had her back to Aksinya and walked back to her desk.  The woman seemed young.  Very young for a headmistress.  One shoulder drooped a little lower than the other, but her back was ramrod straight and her clothing was very fine, much finer than Aksinya’s. 

The desk was large and filled one end of the room.  The office was rather deep and had a fireplace on the left wall.  Some padded chairs and a simple tea table were arranged before the fireplace.  An unpadded chair sat before the desk.  Without turning, the headmistress pointed to that chair.  Aksinya stood beside it and waited for the headmistress to sit. 

The moment the headmistress turned, Aksinya dropped her briefcase.  Her mouth fell open.  She couldn’t speak.

The woman before her gave a cry, “Princess Aksinya.”  She rushed around the desk and embraced her. 

Aksinya couldn’t get her breath she couldn’t speak.  Finally, she threw her arms around the headmistress and exclaimed, “Lady Natalya.”

Natalya buried her face in Aksinya’s thick braided hair and blubbered.  They stood together for a long time without saying anything.  Finally, Natalya spoke, “I thought I would never see you again, Princess.”

Aksinya kissed her cheeks, “Dear Lady Natalya, I would never have guessed I would find you here.  Is Herr von Taaffe with you?”

Natalya gave a laugh, “I am Mrs. Natalya Alexandrovna von Taaffe, though not called a Lady anymore.  And you?”

“Father Dobrushin married me although he is not a priest anymore, and I am no longer a Princess.”

Natalya’s moist eyes held Aksinya’s, “You will always be a Princess.  My lady’s maid told me you were looking for a job.”

“Please, Lady Natalya, I’m certain you would not wish to have me around you all the time.  I know I will bring back terrible memories to you.”

“You don’t understand at all Princess.  You are the reason I am here today.  Wait with me for a while.  Let me hear all that has happened to you since we parted, then we will have luncheon with Sister Margarethe, and we will discuss your teaching work in my school.”

“Sister Margarethe is also here?”

“Herr von Taaffe retained her as our housekeeper.  She converted to Russian Orthodox and entered an order in the United States.  Our school is loosely affiliated with Saint John’s.”  Natalya held Aksinya at arms length and looked her over, “Dear friend, we have so much to talk about and so much to share.  I do love you, Princess.  I want you to remain with us forever.”

“In spite of everything that happened?”

“Because of everything that happened before.  That time marked the end of a horrible and wonderful period, yet redemption came to you, to me.”  She held Aksinya close, “I could not bear to lose you again, Aksinya.  You redeemed me, the first of many.  You shall redeem many more.  God exceeded our expectations in spite of what we had done.”
As we move into the headmistress' office, this is the logical time to use description in the narrative to set the place.  The place is the headmistress' office.  The office looks like the office of a headmistress.  The woman is also described, but I'll get to that in a later post. 

The place is set and the tension and release is the recognition of Natalya and Aksinya.  This resolution is also the dénouement of the novel.  The point is to get in and out and tie all the important pieces together.  This gives the final wrap up of the novel.  The recognition and the conflict between Natalya and Aksinya provides the tension, the release is the words from Natalya that puts everything from the novel, Aksinya, in perspective.  Next, we'll move to the who, what, and how. 

My Notes: once you have a theme, you need to begin to visualize your plot, focus your theme, and define your characters. More tomorrow.

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: 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.

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.centurionnovelthesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor, http://www.aseasonofhonor.com/.

Scenes - Scene Setting, Time, Place, and Tension

23 November 2012, Scenes - Scene Setting, Time, Place, and Tension

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 a little more from the last scene in Aksinya.  This scene runs through more than one tension and release and through at least three separate places.  I mark scenes by time and not so much by place.  I mentioned how scenes can be defined as tension and release.  Usually, the end of a scene in a novel is marked by the end of a place sequence, a time sequence, and a tension and release sequence.  I'll try to show and explain what I mean by this.  At the beginning of this scene, Aksinya exits a trolley at Union Park in Boston and heads down the street:
 

Aksinya halted when her counting reached the correct house number and glanced at the building.  She stopped skipping and walked carefully up the stairs in front.  The sign was right beside the door: Sacred Heart of Christ, Russian Orthodox Seminary for Young Women and Girls.”

Aksinya smiled.  That sounded like just the place for her.  All the other schools where she applied to teach mistook her for a student.  None of them had called her back.  She luckily heard about this place from a friend at their Ecclesia.
Aksinya pulled the bell.  After a couple of minutes a matronly woman dressed as a chamber maid answered the door.  She was pleasant looking.  Aksinya smiled and announced in English, “I am Mrs. Aksinya Andreiovna Lopuhin.”
The maid responded in broken English, “This is a Russian academy, are you certain you are at the right place?  We don’t accept married students.”
Aksinya changed to Russian, “I am here to apply for the position of English and linguistics teacher.  You posted it with the Russian exchange office.”
“Yes, so we did.”  The woman frowned and looked Aksinya up and down.
“Is there a problem?”
“None at all.”  The woman’s tone of voice said there was.  “I’ll take you to see the headmistress.  She is also the wife of the owner of this school.”
The building was similar to many of the row houses Aksinya was familiar with in Boston.  The foyer wasn’t large.  It opened to a stairway that led up into the building and a hall that led to the rear.  A parlor was on the right and a classroom on the left.  Aksinya could hear the teacher lecturing through the closed door. 
The maid didn’t lead Aksinya into the parlor or upstairs but rather headed down the hall on the first floor.  They passed a second and a third classroom on the left and right and finally arrived at a large dining room and kitchen.  They were also on the left.  On the right was a door labeled Office of the Headmistress.  The door was closed.  Outside the door sat four hardback chairs in a row.  A girl of about twelve slumped in one of the seats.  She didn’t seem very happy.
The maid turned a stern look at the girl then pointed to the seats.  Aksinya sat next to the girl.  The maid knocked at the office, entered and closed the door behind her.  She exited just a moment later, “The headmistress will call for you in a moment.”
Aksinya answered “Thank you.”

In the part of the scene I gave you, we have a change from the front door to the interior of the building and then to the waiting place in front of the headmistress' offices.  The first tension and release was with the maid.  There is also a foreshadowing for the next tension and release sequence. 

You can see already that the scene isn't simply demarcated by the place or tension and release.  We will see that the culmination of the scene is the end of the place, the time, and the final tension and release. 

The interior setting for each place must be fixed.  It is not enough to tell us that Aksinya moves with the maid to the hall outside the headmistress' office.  You must show this to us.  You show in the narrative with description.  Thus, the scene moves from the exterior of the building at the front door to the interior and I give you a description of that interior.  On the interior, the scene moves from the foyer to the hall (and waiting area) in front of the headmistress' office. There happens to be a girl in one of the other seats.  The girl is a set up for the next tension and release sequence so I can prep the reader for the events to come and give them information to foreshadow the visit to the headmistress' office.  More details tomorrow.

My Notes: once you have a theme, you need to begin to visualize your plot, focus your theme, and define your characters. More tomorrow.

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: 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.

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.centurionnovelthesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor, http://www.aseasonofhonor.com/.

Scenes - Scene Setting, yet more Place

22 November 2012, Scenes - Scene Setting, yet even more Place

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.

Yesterday, I took the place setting to the level of the house.  This is what I gave you from Aksinya:

Aksinya spotted Saint John the Baptizer Greek Orthodox Church across the street and started counting the buildings down from it.

She and Dobrushin had been in Bostonfor a little over four years. They were delightful years. She already wondered what she would do to seduce him tonight—it had been two days already since the last time. He was already a partner at the law firm. Everyone in the firm knew he was married, but Aksinya rarely showed her face there. Dobrushushka begged off officially because of her schooling. That was a good thing, she didn’t need notoriety. She didn’t want her Dobrushushka to lose this job.

Aksinya halted when her counting reached the correct house number and glanced at the building. She stopped skipping and walked carefully up the stairs in front. The sign was right beside the door: Sacred Heart of Christ, Russian Orthodox Seminary for Young Women and Girls.

I also took you to the next level.  This level is that of the actual scene.  This is the part you see on the stage at a play.  The initial setting for this scene in Aksinya is the front door to the Sacred Heart of Christ, Russian Orthodox Seminary for Young Women and Girls.  This is like the interior of a room. 

In a novel, unlike a stage play, the author can move from room to room and place to place within the same scene.  In most stage plays, the scene remains the same until a scene change.  In a novel, the scene isn't dependent on the place as much as the time. 

In this scene, Aksinya starts at the door and ends up in the house in a chair before the headmistress desk.  She has a conversation with a student and is then called into the headmistress' office.  I'd call this entire event a scene.  It could be theoretically broken into two scenes, because there is more than one tension and release event.

A scene is not limited to a single tension and release event, but a scene is defined by its tension and release events.  Perhaps I should give you the whole scene tomorrow and show you how this works.

My Notes: once you have a theme, you need to begin to visualize your plot, focus your theme, and define your characters. More tomorrow.

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: 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.

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.centurionnovelthesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor, http://www.aseasonofhonor.com/.

Answers to Some Questions, Number 5

18 November 2012, Answers to Some Questions, Number 5

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.

Place is the obvious next place we go in scene setting. I'll take some time to answer the following questions from one of my readers. Questions in blue, answers in black:

I was trying to systematically review your writing installments, and organize them w/in the context of 'Elements of Literature'..ie, (Plot, Setting, Theme, Characterization, Point of View, etc.) and I had couple of questions:

5. Point of view: Which point of view do you prefer to employ in telling different types of stories, and why? How careful are you at tracking what he/she is aware of, at various stages of the story? Any rules, tricks, techniques or warnings for 1st Person narrator, 3rd Person Limited narrator or 3rd Person Omniscient Narrator?

First in any modern novel, do not use any type of obvious narrator.  Historically, novels in English started in the first person, present tense (Daniel Defoe) implying the past (diary style).  Novels have moved over time to be third person, past tense, implying the future (full action style).  Many juvenile novels have used first person, past tense, implying the future.  In my opinion, the use of the first person is a bad technique, unless, the character is critical to the place and time in their own right (the most important person in a world, universe, place, existence) and the knowledge of that person's thoughts is critical to the theme.

I did this myself with my novel, The End of Honor. I started the novel with the first person of the protagonist's helper, Lyral Neuterra.  In the universe of The End of Honor, this woman, Lyral Neuterra was the reason why the Human Galactic Empire went to war.  She was the reason for the entire novel.  She, herself, was the purpose and beginning of everything that occurred in the novel.  In this case, the use of the first person was justified.  Further, her thoughts placed in context everything that happened in the novel and the universe.  The novel was otherwise written in past tense and not implying the future, but in the actual future (science fiction).  The later half of the novel was written in third person, past tense, and in the future.

If your theme and a major character does not meet the above criteria--do not use the first person.  I've written extensively about this.  With the first person, the author is too tempted to tell us and not show.  It is too easy to tell us the thoughts of the character.  In my opinion, this breaks one of my rules of writing: don't show (or tell) everything.  It is just too easy for an author to tell us the mind of a character using the first person.

Go with the classical transition of writing and aim to write third person, past tense, and if it is a modern novel implying the future.  If it is a historical novel, then you have no choice--it is in the past.  A science fiction novel is in the future.

If you do choose (I wouldn't recommend it (unless the character meets the criteria)) to use the first person, you must ensure you don't tell too much (you will) or give away too much (you will).

POV in very limited and specific circumstances to make a point, but realize your editor will likely make you take it out.  Here is an example from my contracted novel, Sister of Darkness.  It is yet to be seen if my publisher will let me keep it.  This is the use of the third person omniscient:

      The children attended school with all the other Catholic children in Hyères.  Except for their mathematics skills, they were many, many levels ahead of their classmates, a situation, the children, Paul and Leora, and their teachers attempted to hide from everyone else.  They were of course completely unsuccessful at keeping it secret.  Children, especially, discern these things.  Once you catch your best friend conversing in perfect classical Greek with his younger sister, a language you have with limited success attempted to understand for at least a couple of years, you realize your friend is unusually gifted.  Paul and Leora’s children were so artful and well liked that no one paid attention to their inexplicable skills and instead capitalized on them.  For another student and even for a priest and school teacher, there is a distinct benefit to having a natural linguist for a student.  Good examples are always hard to find, as are teachers who make a language seem effortless.  The Bolang children achieved this purpose for their small school and their friends.

Just a few questions. Thanks in advance. And, may I briefly add, I have certainly enjoyed reading your postings on the art of writing, and apologize if I'm asked Q's that you've already covered in the past. If so, I must have missed those particular installments, or more likely, was looking for a bit more elaboration, should you care to provide it. :)I'll answer more, tomorrow.

My Notes: once you have a theme, you need to begin to visualize your plot, focus your theme, and define your characters. More tomorrow.

I'll move on to basic writing exercises and creativity in the near future.

The following is a question asked by one of my readers. I'm going to address this over time: 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.

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.centurionnovelthesecondmission.com/, http://www.theendofhonor.com/, http://www.thefoxshonor, http://www.aseasonofhonor.com/.