Scenes - Scene Setting, It Worked

16 June 2013, Scenes - Scene Setting, It Worked

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.

This is a pure release with a second tension builder and an implied plot and theme continuance.  The novel will end before we absolutely know what will happen to Aksinya.  This is an implication.

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.

Stacy tried what Aksinya told her--it worked.  We don't see the event, but rather the result of it.  This is an advanced technique in writing.  The release is the success of Stacy in reducing her punishment.  The tension builder and the implied information is the statement "I hope you do teach here."  The point is that Aksinya has already made a friend and that bodes well for the future and for Aksinya's maturing as a person.  The tension builder is that Stacy's statement brings us back to the purpose for Aksinya being at the school to begin with--she's looking for a job.
 

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

Scenes - Scene Setting, Stacy

15 June 2013, Scenes - Scene Setting, Stacy

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.

I set the characters through conversation.  The obvious purpose is to supply more information about the school and to provide a tension and release prior to the main portion of the scene.  This is a great example of how conversation can be used to inform the reader and describe important settings.

The girl beside her stared at Aksinya.

Aksinya stared back, “I’m Aksinya Andreiovna Lopuhin, and you are?”

The girl answered, “I’m Anastasiya, but everyone calls me Stacy.”  Her Russian was from Moscow, but the name Stacy was said purely in English.

Aksinya laughed, “Do you speak English?”

“Not well.  We’re supposed to learn it here.”

“Are you?”

“Too well.”

“What’s that supposed to mean?”

“My brother taught me some words and the Sister didn’t like me to say them at all.”

“What were the words?”

Stacy motioned for Aksinya to lower her head a little and whispered into her ear.

Aksinya blushed, “Is that why you are here to speak to the headmistress?”

Stacy nodded woefully.

“You have a Nun teaching here?”

“Yes, she is Orthodox but not from Russia.”

“What does she teach?”

“English, German, and French, but mostly German.”

“I see.”

The girl, Stacy asked, “Are you going to go to school here?  Where are your mother and father?”

Aksinya laughed, “I’m applying to be a teacher here.”

The girl’s eyes widened, “You look so young.”

“I’m married,” Aksinya held out her right hand.

Stacy admired Aksinya’s plain golden ring, “Mother told me they married young in the old country.  Just how old are you?”

Aksinya laughed again, “I’m twenty-three.  I just graduated from Radcliffe.”

“Do you like school that much?”

“Yes, I like it very much.  I never was able to go when I was young.”

“You’d hate it if you were my age.”

“Why is that?”

Stacy held out her red hand, “Sister already used her ruler on my hand, and now I have to speak to the headmistress.  If she tells my mother, I’ll get the strap for sure.”

“Perhaps you should tell the headmistress you didn’t know what the words meant and beg her forgiveness.”

“I truly didn’t know what the words were, and I still don’t know what they mean.”

“Then tell her that.”

“Sister wouldn’t listen.”

“Sometimes they are like that.”

The door cracked open, and a call came from inside the office.  It was Russian accented English and sounded very pleasant, “Miss Anastasiya please come inside.”  To Aksinya, the voice seemed slightly familiar.

As Stacy passed Aksinya, she whispered in Russian, “Don’t let her voice fool you, she is quite strict.”

Aksinya nodded.

The information that needed to be passed is about the nun and the school and the appearance of Aksinya.  There is another reason and that is to ingratiate Aksinya in the eyes of Stacy.  This doesn't bear directly on the story, but provides an important piece to the plot and theme.  I love novels that when they end, have an implied continuance, and further, that the reader can guess how the story will continue.  This is being set up here.  The readers want Aksinya to be successful in her new life and love.  I provided these clues at the beginning of the chapter.  Here I provide a degree of competence and goodness to Aksinya.  We will see how her advice pans out.

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

A New Novel, Part 318 I am Mrs. Aksinya Andreiovna Lopuhin

18 August 2011, A New Novel, Part 318 I am Mrs. Aksinya Andreiovna Lopuhin

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.  The last we knew, they were contemplating travelling to Boston in the United States... 

Aksinya swung off the streetcar and skipped down the Union Park in Boston.  She wore a tweed dress and a jaunty tweed cap.  She carried a leather briefcase her Dobrushushka had given her at her graduation only a month before.  It reminded her of the briefcase she owned when she attended Sacré Coeur, but she never remembered carrying that one herself.  She was very proud of this briefcase—it held her diploma in linguistics and teaching from Radcliffe College.  Radcliffe was one of the few woman’s college she could attend since all the Catholic ones excluded her.  She had mostly escaped notoriety, but still she and Dobrushushka attended a very small Russian Orthodox Church near his office. 

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 Boston for 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.”

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.”

This is an entirely new scene and location.  First, I set the scene.  I do this by showing you Aksinya's actions.  She swings off a streetcar and skips down Union Park (that's a street).  I give you a description of her clothing.  Do you remember the type of clothing she wore once before--it was silk and satin.  In the beginning of the novel, she was dressed in a dress fit for a princess--that didn't fit her well.  Now, she is dressed like a Kelly Girl.  She has on wool--it is nice clothing, but not very fine.

I give you another past reminder and some information.  She carries a briefcase that was a gift from Dobrushin at her graduation only a month before.  This tells you that she went to school.  I also tie the briefcase to Sacré Coeur and to Natalya (Aksinya never carried her old briefcase).  I use the briefcase as a tool to tell you her degree and her college.  Then I remind you that she couldn't attend any Catholic colleges. 

I give you more information: they attend a small Ecclesia and near Dobrushin's office.  Do you see how I am bringing you up to date about Aksinya and Dobrushin just using description.  I really haven't told you anything.

Then more of the setting.  The church on Union Park and Aksinya counts the buildings to find the proper address.  More information--they have been in Boston more than four years.  This is mixed with a little of Aksinya's thoughts--to tell you how precious Dobrushin is to her, and how they keep her nobility a secret.  Again, mixed with this is information that Dobrushin is a partner in the firm.  The reminder here is that Aksinya's notoriety could lose Dobrushin his job.

So, Aksinya arrives at her destination.  She stops skipping.  Did you get that before?  Aksinya is so happy, she skips.  She stops intentionally to not give the wring impression.  The name of the school is another connection with the past.  Sacré Coeur means Sacred Heart in French.  The sign is in English (I don't have to tell you).  The name is why it is just the right place for her.  

Then I give you some information--Aksinya's appearance is young and small.  The schools where she applied mistook her for a student, and they didn't call her back.  We also find that Aksinya heard about this school from a friend in the Russian Ecclesia.  This is an important connection. 

At the end of this piece, Aksinya announces herself to the maid.  A maid answering the door indicates the wealth and status of the school.  Tomorrow, the school.

A New Novel, Part 122 No One Asked Me to Dance

This is the beginning of the next chapter (chapter 11).  We need to set the scene for the entire chapter and for the characters.  I didn't mention the kicker at the end of chapter 10--it was the point about Aksinya calling for more wine.  The result...

Aksinya woke with a terrible headache. She had waited up late with the hope that Asmodeus would make an appearance. She wanted to ask him many questions, but the demon didn’t interrupt her that evening. That, in itself worried her more than anything.


She and Natalya attended a late Mass with the Freiherr and Freifrau Bockmann. Natalya was ill, but hid it well until the end. Natalya rushed her out of the nave just in time.

Because of the work at Grossbock to clean up the house following the Advent party, Aksinya and Natalya returned to Sacré Coeur early before dinner.

As usual, during dinner, Aksinya sat next to Natalya. Aksinya had barely spoken a word since the party. One of the young women, Frieda Trauen, across the table, finally plucked up enough courage to ask, “How was your Aunt and Uncle’s party last night. It is always the event of the season.”

Natalya smiled brightly.

Aksinya shrugged her shoulders and slouched a centimeter lower.

“Did you dance?” the girl continued.

Aksinya sighed, “There was dancing, but no one asked me.”

Fraulein Trauen face displayed amazement. She turned toward Natalya, “Surely someone asked you to dance, Lady Natalya.”

Natalya smiled and raised her shoulders, “They were mostly older men and married.”

“The young ones come later in the evening. I heard the toast of the town were there. Don’t tell me that the Countess scared them off.”

Aksinya smiled a little smile, “They did seem afraid to approach me. That is, except one.”

All the faces at the table turned toward her. The question they didn’t speak was evident in their features. Finally, Fraulein Trauen asked breathlessly for them all, “Who was it?”

“Ernst von Taaffe. Do you know the name?”

“Who doesn’t in Wien? His father is the Graf von Taaffe. That would be a good match for you.” She looked down, then back to Aksinya, “And he didn’t ask you to dance?”

“He said it was too late, and I had drunk too much wine anyway. What do you know of him?”

All the young ladies sat up straight. Fraulein Trauen sat the straightest, “Too much wine. You should be more careful. You don’t want to let the young men slip through your fingers and neither do you wish to get within their grasp.”

All the ladies nodded almost as one.

Aksinya’s voice dripped with sarcasm, “I quite understand your meaning. So I ask you again, a little more clearly, what is the reputation of this Ernst von Taaffe.”

The setting at the beginning of this chapter is simple.  I've already described all these places to you--I just have to set the characters and you in them.  The rest is the setting of the overall chapter--Ernst von Taaffe. 
 
The results of Aksinya's evening is a hangover.  I didn't hide her drinking from you before.  You might have guessed that Aksinya likes to drink and that wine is her especial temptation--this is all related to her problem with luxuria.  We will see how this manifests itself in the future. 
 
Asmodeus is not hanging around as much.  The implication here is that he doesn't have to.  This is why Aksinya is so worried.  She is concerned that she is accomplishing the demon's work without any instructions or encouragement.  I give you an indicator of Aksinya's problem.  She can't hold down her breakfast during the Mass.  How much of this is due to her hangover and how much to her use of sorcery is up in the air.  Aksinya and Natalya return to Sacré Coeur early because of the cleanup.  You can imagine Aksinya's impatiance too.  I want you to detect this.
 
It is unusual for them to be at dinner on Sunday evening, so they are automatically the center of attention for the young ladies.  This is part of a writing technique (if you couldn't tell).  An author uses the tools of the setting that he creates.  In the setting of Sacré Coeur, I have developed the evening diner conversation as a means of giving the reader information and also providing a relief scene.  This is related to the timing of scenes.
 
The setting here is simple, and I remind you of the position of the two principals at the table.  Aksinya has been especially quiet.  She receives a question from Fraulein Trauen.  Natalya thought the party was wonderful--she was able to serve Aksinya and she didn't have to put up with anyone else (hint).  Aksinya was very distrubed by the party--especially Ernst von Taaffe.  Aksinya confesses without thinking.  You know what she was thinking about--Ernst has her book and no one danced with her.  Remember, Natalya is much better looking than Aksinya, thus the question turned to her and from Aksinya. 
 
Then comes the cut against Aksinya, and again Aksinya reveals more information than she should.  Everyone around the table, including Natalya wishes to know who approached Aksinya.  Aksinya wants information about Ernst.  We discover that Ernst's father is a Graf.  This means Ernst is the son of an Austrian Count.  That's why the ladies say Aksinya is well matched with him.
 
I give you an indication of Aksinya's drinking issue.  She openly tells the ladies that she had drunk too much. Fraulein Trauen then gives Aksinya a sermon.  It is a sermon all the other girls understand well.  Aksinya is very sensitive to critisism.  She doesn't want a sermon, she wants information, so she asks again.
 
Who is this Ernst von Taaffe?  We'll have to wait until Aksinya gets a clear answer tomorrow.

A New Novel, Part 95 The Note

Aksinya lied again.  She told them she was nauseous because she had not eaten.  She is bothered by Dobrushin's remarks.  Her mind is embroiled with the book of sorcery.  Then Aksinya and Natalya return to the school, but all is not well there either.

Aksinya couldn’t eat anything at luncheon. She took Natalya’s tea. She was unaccountably bothered by Father Dobrushin’s candid assessment, and she was preoccupied with thoughts about the book the demon had given her. She wanted to finish memorizing it. That was the main desire she felt. Eventually, Natalya dressed her for dinner, and they went down together. The weekend ended when Freifrau Bockmann delivered the two of them back to Sacré Coeur. She left them in the hands of the Reverend Mother with the promise to pick them up on Friday so they could begin preparations for the Advent party on the Saturday after next.


Aksinya and Natalya returned to their rooms and prepared for bed.



Monday morning brought more problems for Natalya. Aksinya had spent the entire night with her new book and would not wake up. Natalya finally dragged Aksinya out of bed and dressed her in her uniform. They were too tardy for breakfast and chapel, and they came in late to German class. Sister Margarethe just gave them a glance. There was no animosity in it. Before the class was half done, Aksinya fell asleep at the desk she shared with Natalya.

Natalya couldn’t ignore her, but she tried to not draw any attention to Aksinya.

Sister Margarethe came by with a look of concern and made a couple of notes. She glanced over Natalya’s work and spoke German with her for a while. The sister was obviously preoccupied in her concern about Aksinya. She kept looking over at the Countess. At the end of German class, Natalya shook Aksinya awake and led her to their next class. It should not have been a surprise that Aksinya slept through most of each class. Or that the sisters were perturbed. They dared not treat a countess like they would their normal students with a swat from a ruler or a thump from a book. They felt helpless to do anything other than keep a careful eye on her.

The Reverend Mother heard about Aksinya’s sleeping and lethargy that afternoon. All the teachers wanted a conversation with her about it. Yet, after the Reverend Mother heard from them, only Sister Margarethe sent a note to Aksinya through Frau Drescher.

A knock came that evening at Aksinya and Natalya’s sitting room door. Natalya answered it. She addressed the Frau in German, “Good evening, Frau Drescher.”

“Good evening, Lady Natalya. Your German is improving.”

“Thank you.”

“I have a note for the Countess from one of her teachers. Would you please give it to her?”

Natalya didn’t understand half of what the lady said, but she accepted the folded piece of paper from her and nodded.

Frau Drescher took a long look around the sitting room she could see from the door then stated, “Good night.”

Natalya closed the door and brought the note across the room to Aksinya. Aksinya was memorizing the brown book the demon had given her. Natalya handed the note to her and went back to her studies. Aksinya ignored the note for a while then finally opened and read it.

Dear Countess,

I have been asked by the Reverend Mother and your other teachers to talk to you about your classes today. She has allowed you to come to my cell and office in the convent tonight. Please come at eight and be on time. We will also go over the German you missed during class.

Sister Margarethe

Aksinya looked up from the note to Natalya, “Nata, we’re going over to the house early tonight. You should bring your books.”

Natalya stretched, “Will we study together?” Her eyes moved excitedly toward the brown book.

Aksinya sighed, “Yes. I shall start you with some Latin, but only a little. We can work mostly on German.”

They put their regular cloaks over their uniforms and snuck down to the back exit from the dormitory. It was still unbarred, but Aksinya had to open the lock. They went over to the house and stayed there until late. They didn’t see Asmodeus anywhere.

Many things irritate Aksinya.  She has a lot to think about and a lot that disturbs her.  Still temptation holds her trapped, and that temptation is what is driving everything in her life. There is also still the Advent party in the near future.  Aksinya is spending all her time with the new book of sorcery.  Natalya couldn't wake Aksinya in time to make breakfast or get to chapel.  Aksinya sleeps through her classes.
 
Sister Margarethe gives Aksinya attention that isn't in proportion to normal teaching.  When we compare the attention the Sister gave to Aksinya, we can see some degree of truth to the demon's assertions.  The sisters all want to do something about Aksinya, but only Sister Margarethe is given permission to confront Aksinya.  We also see that Natalya is learning to understand German better, and Aksinya receives a note from the Sister.  Aksinya knows what is in the note.  She takes her time to read it.  We know why Aksinya doesn't want to be alone with the Sister Margarethe.  The demon wants Aksinya to seduce the Sister, and we assume the Sister might want to seduce Aksinya--this is what Aksinya thinks.  Aksinya believes the best thing to do is run away--she may be right. 

The Lady Natalya sees the opportunity to study sorcery with Aksinya.  Her reaction is to glance at the book of sorcery.  You can taste her desire.  They went to Aksinya's house and stayed late.  We will see the Sister's reaction tomorrow.

A New Novel, Part 60 Natalya Must Sit

Natalya's greatest goal is to serve Aksinya.  You must keep this in mind.  You must also remember that Natalya was compelled to serve before.  With this background, we see what is brewing in the dining room.

The novice sister curtsied to the floor. She couldn’t take her eyes off Aksinya and Natalya. She led them to the round table just below the head table and tried to seat them.

Aksinya sat and Natalya stood behind her chair. The novice sister stared at Natalya, “Lady, you should sit. That’s what the Reverend Mother instructed me.”

Natalya shook her head.

Aksinya spoke to the novice sister in German, “She doesn’t understand German.”

Novice Sister Rita pulled out the chair beside Aksinya, “Please lady, sit here. Countess, you tell her.” She glanced nervously at the head table.

All this time, the other students entered the dining room. They sat in their places and gawked at the odd scene at the older scholar’s table. The young women who sat at that table came in and took their places. They stared at Aksinya and Natalya. Natalya still obstinately stood behind Aksinya’s seat.

Sister Rita ran over to the head table and whispered to the Reverend Mother. The Reverend Mother slowly stood and stepped over to the older scholar’s table. She took everything in a glance and spoke in French, “Please Lady Natalya, sit at the table. It is necessary for the good order of the school.”

Natalya cocked her head toward the Reverend Mother, “For the good order, Reverend Mother?”

Aksinya laughed, “Yes, Lady Natalya. I told you already. You must sit.”

Natalya frowned and appeared as if she was about to cry. She complained, “But why isn’t it good order to wait on my mistress?”

Do you already know the answer to Natalya's question.  I'll tell you tomorrow if you can't guess it.  I've given hints all over the place.  Natalya wishes to serve Aksinya at table.  This is a world of precedence and protocol.  Aksinya is an expert in this area.  She is more expert than almost anyone.  You might ask yourself why she is such an expert.  You knew she was a book worm.  You knew she spent most of her childhood in study. 
 
The tension is funny to Aksinya.  She realized this time would come--don't you see that she both expected it and looked forward to it.  Aksinya isn't cruel, but she is a realist in many ways.  She knows Natalya will not change easily, and she will not accept any change gracefully.  Natalya is not stubborn, but she loves Aksinya.  She loves the idea of subjugating herself to another being that is worth that subjugation.  Remember, the demon told Aksinya that Natalya was looking for something.  She was looking for purpose and for a master.  That master should have rightly been God--remember the conversation outside Natalya's house.  Natalya was forced to serve in the home Aksinya took her from.  She was beaten to force that service.  Natalya would have served without any coercion.  She desires to serve.  This is important.
 
So what is the answer to the question, and what will happen to Natalya?  This is critical to Natalya's existence.

A New Novel, Part 53 The Other Bedroom and Bathroom

We get a short description of the other bedroom.  Then we transition to the bath.

Frau Drescher let them look through the room then she led them back to the center door, “This is the other bedroom.” She opened it. The door led into a slightly smaller room with a bed, schrank, desk, and similarly padded chair. The room had two windows behind the bed and a gas lamp both over the desk and between the windows. The desk took the place of the bedside table. “These rooms were intended for a suite for two young ladies. It will be very appropriate for the Countess and her lady-in-waiting. Finally, I wish to show you the bath.”


Frau Drescher led them to the final door. This entered into a room that was smaller than the other two. The door opened into a blank wall, but a turn to the left revealed the rest of the room. At the end, against the street side, the high window was crazed and curtained. The top could still be opened, but it was more than six feet above the floor. Under the window lay a bathtub. To the left sat a standing sink and instead of the usual stove of the bathrooms Aksinya was used to stood a water closet and a bidet.

Frau Dresher pointed proudly at the devices. Freiherr Bockmann turned his back and blushed. Frau Drescher ignored him, “We have indoor plumbing including hot water in our dormitory. We also have modern toilets and bidets. We want our ladies to have the comforts of modern sanitation at Sacré Coeur. As I mentioned, water for making tea is available from the sink here. We do ask that you do not attempt to cook or bake anything in your rooms. Our kitchen can provide you baked goods for tea, and you can bring your luncheon or breakfast to your rooms for consumption. Supper is considered an important event for the school and dormitory. Only students who are not borded here are allowed to miss supper.”

As I mentioned yesterday, our expectations for sanitary facilities are very different than in 1918.  Typically, in towns people were just getting running water and sanitary sewers.  Baths inside houses with other than just bathtubs and stove is a very new thing.  Did you ever wonder why they were called bathrooms or water closets or why the Europeans separate bath from toilets.  The all in one idea is relatively new even in cities.  In the past, as I mentioned, people went outside to outhouses for the toilet and used bathrooms exclusively for baths.
 
Sacré Coeur is a very high level school.  It obviously caters to young women from wealthy backgrounds.  I will not go into the details in the writing of explaining how important an invention a bidet was considered to women in an era when toilet paper did not exist and women's sanitary devices consisted of rags, cloth pads, and belts.  Notice that the Freiherr is embarrassed.  Toilets and such facilities were embarrassing to people in this time and culture, but the women's outlook is very utilitarian.
 
Finally, we get to the details of eating at Sacré Coeur.  Breakfast and dinner (luncheon) are short and light with a heavy supper.  The heavy is nothing like our idea of heavy.  In a school like Sacré Coeur we could expect the minimum of food size to give the full courses to the students because much of their training is in how to eat, etiquette, and decorum.  We also see how important tea is again.  Note the carry on of the idea of a water closet.  You get your water for tea from the bathroom.  There is no need to have it close to the tea preparation place.
 
Happy Thanksgiving.  I would have liked to include some bit about thanksgiving in the novel, but that is an American holiday.  Perhaps if we get to the USA at some point, I can include it.  That is a hint.

A New Novel, Part 51 The Upper Dormitory

Frau Drescher's attitude changes with Aksinya's pronouncement--if she knew more about Aksinya, she wouldn't have made such a change.  She should be more wary, but then, no one knows Aksinya at all, and we understand her issues more than anyone else.  Note, Frau Drescher's response to Aksinya's order.  Ma'am is the correct address of any titled woman--including a queen.  I hope that you were sucked into trusting Aksinya too.  I certainly wouldn't invite a woman who has a contract with a demon into a dormitory of young girls and a convent of nuns.

Frau Drescher’s lips made a flip-flop but never became a smile, “Yes, you are very perceptive, Countess. I am very concerned about having a woman of your quality and standing in my dormitory. Your own appraisal does make me feel much more comfortable…”

“Please take us to our room.”

“Yes ma’am.”

Frau Drescher led them to the stairs where the archway cut the building. She directed them up to the second floor. On the upper floor lay a very long corridor that led from the school to the church. The street side was similar to the bottom floor, but the windows were full. Aksinya could see the street and the building across from it. The wallpaper was a darker mix of flowers to match the brighter light from the windows. They were also roses but colored shades of red. Everything seemed fresh and well taken care of. The floor here was also oak, like the lower floor. Runners that matched the handsome wallpaper ran at the center of the floor and marked off the corridor by rooms.

Frau Drescher turned down the corridor away from the church and toward the gymnasium proper. At the end, she turned left. The doors at this end of the corridor would have opened directly on the second floor of the school. They were closed and locked.

They all followed Frau Drescher to the end door on the right that also happened to be directly above her office. She pulled out an old key with an attached heavy bob like those from a gasthouse and unlocked the door, “Usually, the doors are kept unlocked while the students are away from them. They may be locked when a student is inside, but I don’t recommend that.”

The parallel is the description of the upper floor and the lower floor.  Remember, the lower floor has yellow and pink roses, the upper floor has red roses.  In German culture, red roses are indicators of love.  This is an important idea that will be used later.  The change shows the paradox that Frau Drescher wants to prevent--she is obviously deathly afraid of impropriety.  This fear is common in the culture and society represented by this time (1918)--think of Victorian culture.  It is not much different in Austria (as compared to England).
 
We also see how the dormitory is isolated from the rest of the school--the blocked and locked doors on the second floor show this directly.  We will find that there is only an entrance at the lower floor and one into the chapel on the second floor.  You can get the imagery here, the only exits are into the school and the church--there isn't any other way out.
 
Then the clincher, Frau Drescher tells us the doors should remain unlocked while the students are away and when they are in their rooms.  The keys are like a gasthouse, they are not retained by the students--they are kept by Frau Drescher.  This will become important later.  Can you guess why Frau Drescher doesn't want the doors locked--it isn't a perverted reason, but we will see exactly why later.
 
I also surreptitiously draw your attention to the fact that Aksinya and Natalya's rooms are right above Frau Drescher's office.  This should indicate the level of surveillance.

A New Novel, Part 49 A Description and a Question

Frau Drescher just can't smile.  I do wish you to think about this.  I want to use Frau Drescher somewhere in the novel as a greater character, but I haven't worked her into the main plotline for the theme--that is other than a colorful secondary character.

Frau Drescher paused again and her mouth rotated up in a little line that became a frown. She turned around and led them to the end of the corridor. It went around a corner to the right and there entered a long well lighted corridor. The corridor halted at a stairway where the archway into the courtyard bisected the lower floor. The hallway was covered in heavy, flower decorated wall paper. The flowers were light pink and yellow roses. Along the street side were high windows that let in much light, but still hid the street from view. No one would be able to look outside or in. The hallway was cold and stuffy. Because of the crisp December weather, none of the windows were open. On the other side of the corridor were widely spaced doors with a gas lamp on the wall between each of them. The floor was dark oak and covered with long runners that were similar in decoration to the wall paper. The runners were each centered on a door and ran from room center to room center.


Frau Drescher opened her hand and gestured toward the doors, “These are the rooms of our regular students. The young ones share a room with eight together. As they progress in age, we allow them to have four as roommates and finally, after they are fifteen, they are allowed two to a room. We always keep at least two to a room to prevent any impropriety. The room we have prepared for you is our best. We don’t have any other students of your social standing right now. The highest is a bevy of ladies of the courts, but none of them are titled.”

Aksinya asked, “Is that unusual?”

“Not really. Most of the titled ladies are educated and trained at home.”

Aksinya looked down, “I see. That is so. I was also educated at home—when I had one.”

The Freifrau stepped up, “Really, Frau Drescher, there is no reason to remind the Countess of her loss. Her home is with us now. It is, to my mind, better for her to gain your gymnasium’s knowledge and prepare herself for higher learning.”

Frau Drescher’s lips formed a fine line that then fell into a frown again, “What you say is very true, Freifrau Bockmann. I was simply answering the Countess’ question.”

First, we get the description of the lower floor of the dormitory.  The picture I paint isn't unpleasant, but the place is stifling.  I also try to give you a flavor of the times and the building.  Notice the gaslamps and the very beautiful fixtures.  Still, the picture is of a cramped and stifling place.  From the wall paper to the rooms set in near perfect symmetry.  Then we find the reason for the order in Frau Drescher's dormitory--to prevent impropriety. 
 
We see the reason there are no titled ladies in the school.  The only reason Aksinya is there is that she lost her family, and we see again Frau Drescher's lack of sensitivity.  I also wanted to remind you and Aksinya of her condition.

A New Novel, Part 47 The School Tour

So we begin the tour of Sacré Coeur with RM Kluge.  We can't forget that Sacré Coeur is a convent and a school.  We learn some more details about it.

The Reverend Mother led them from classroom to classroom. They saw girls of every age from as young as six up to twenty-one. The classrooms were small and comfortable. The classes were rarely larger than ten girls. The teachers were nearly all nuns. The Reverend Mother explained, “Our day begins with chapel. The priest of our church, Sacré Coeur, is Father Abend. The Father also acts as the chaplain for our order and for our school. He officiates on most days and the sisters and students take turns with the details of the service. We have communion every day... ”


Aksinya interjected, “The Lady Natalya and I are Orthodox and not Catholic. We will not be able to commune with you.”

“There is an Orthodox church a couple of blocks from here. They cater already to many Russians who have escaped to the west. You will be allowed to attend there as you desire, but I must insist you be present for our chapel each day.”

“Of course.”

The Reverend Mother smiled, “Good. Our school, a gymnasium, is broken into classes divided by ability and not by age. We teach primary and advanced subjects including philosophy, languages, history, mathematics, art history, religion, science, literature, as well as culture and domestic skills. For those ladies, like the Freifrau Bockmann, our classes prepare them for their future responsibilities among society. For those others who continue on to the university, our classes provide the foundation for excellence and success. Most of the young women accepted into universities in Austria and Germany attended our gymnasium. We also provide a means toward vesture as a nun in our order as well as leadership for other orders in the Catholic church.”

Again, we get details about the school.  The class size and makeup, the teachers, the chapel, the chaplain, the communion... Then the reminder, Aksinya and Natalya can't commune with them.  You can guess that Aksinya will have problems communing at all--we will see this.  Then the information about the Orthodox Church close to Sacré Coeur--this is a deliberate foreshadowing.  The Orthodox Church close to Sacré Coeur is a critical point of the novel.  We see that this Orthodox Church caters to escapees from the Russian civil war.  Then RM Kluge tells them they must attend chapel every day, but they may not commune--this is an important point.
 
Then at the end, we get a repetition of some information we already knew.  The information isn't as important to us as it is to Aksinya.  It repeats the fact that she could go to the university.  This tempts her.  Then the other information lets us see more about the importance of Sacré Coeur, it not only provides training for women going to the university, it provides education for women going on to Catholic orders.

A New Novel, Part 46 Languages and Friendship

Welcome to Dr. Ryan.  Glad to have you aboard. 

We get rid of Frau Drescher for a little while and provide a little more interesting levels to the story.  Remember, in this time and culture, you don't introduce servants.  So here we go.

Frau Drescher’s brow rose, but she nodded and curtsied to Aksinya then left toward the dormitory.

The Reverend Mother let out a sigh, “Will you all please come with me. I’ll show you around our school and answer any of your questions.” The Reverend Mother gestured Aksinya to her side and Natalya stepped right behind her.

Aksinya halted and turned toward Natalya, “Reverend Mother, this is my lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. I address her as the Lady Natalya. She is my confidant and my friend. She will be attending Sacré Coeur with me.”

The Reverend Mother’s smile widened. She turned her gaze to Natalya, “That is very interesting. Is there something wrong with your eyes, Lady Natalya?”

Natalya blinked the moisture from her eyes.

Aksinya repeated the question in Russian to Natalya.

Natalya blushed and ducked her head, “No, Reverend Mother.”

Aksinya continued, “The Lady Natalya doesn’t speak German yet. She is very conversant in French. Though she serves me, the Lady Natalya is to be treated with the same respect as any other student.”

The Reverend Mother nodded and continued in atrociously German accented French, “Then for her benefit, as well as yours, we shall use French.”

Aksinya barely constrained a laugh. She glanced at Natalya, and they shared a smile. Aksinya whispered to her, “Perhaps I shouldn’t worry about my German.”

From the beginning, the RM (Reverend Mother) is happy to get rid of Frau Drescher--she sighs, and we move on with Aksinya, Natalya and the rest on the school tour.

So, there you have it.  First Aksinya, introduces Natalya--that means she is not a servant.  Further, Aksinya called her "confidant" and "friend."  In the aristocracy, this is very important.  A friend is one thing, a confidant is entirely another.  Aksinya goes on to tell RM Kluge that she, she Aksinya calls Natalya, Lady Natalya.  Already, Aksinya has called Natalya, friend, confidant, and said she holds her in such high esteme she calls her Lady (that is a title reserved for an aristocrat).  It should not suprize you that the very emotional Natalya's eyes moisten.  She would cry outright, but that is never acceptable in high society.  The RM kindly reminds Natalya of that.  This is a nice admonition in this culture and time (remember Frau Drescher).  And so, Natalya blushes and ducks her head.
 
Aksinya goes on to instruct--did you get that?  She instructs RM Kluge that Natalya is to be treated like any other student.  She didn't say, "to be treated like me."  Such words wouldn't come from a Countess.  She also "suggests" that they use French, for Natalya's sake.  Can't you see Natalya in your mind.  She understands what is happening.  Aksinya even gives her such a compliment, "Natalya doesn't understand German--yet."  The implication is that she will and very quickly. 
 
Then we see the break and the level of the RM's French.  This is intentional.  Though the Austrians and the Germans taught French, they didn't see much purpose in it--(sarcasm) it was only the language of gentility and diplomacy at the time.  It was also the language of the Russian Court.  It was not the language of the German or the Austrian Courts.  Ah, the prejudice of their betters flows down to the people. The break is the smile that Aksinya and Natalya share at the RM's poorly accented French.  This also cements the Aksinya/Natalya bond.  Finally, Aksinya's comment about her own German ends this piece.

A New Novel, Part 45 German Introductions and the Demon

The piece today continues from the arrival at Sacré Coeur.  By the way, Sacré Coeur is a real school with a convent and church.  The names of the people have been changed, of course.  The descriptions and the places are fiction.  In my historical fiction, I want the places and in many cases, the descriptions and places to match--we will see this later, but to keep to the fiction world, in some cases we must modify the world a little to achieve the theme--remember, the theme is always the reason and the purpose.  Many modern works go adrift because the author forgets this very important concept. 

The opening of this piece is more about the demon--he doesn't like crosses.  Aksinya has guessed this.  We get more information here.  It confirms more to us, but we still don't have enough information.  I'm saving that for a very pivotal scene.

The Reverend Mother wore a large cross that depended from a silver chain around her neck. The demon eyed it then moved to the far side away from her. The Reverend Mother engulfed Aksinya in her smile, “I understand Countess that you would like to attend Sacré Coeur like your aunt.“


Aksinya nodded.

Aunt Brunhilda interjected, “The Countess believes her German is not very skilled.”

Frau Drescher’s response was slightly tense, “Does she speak any tongue well?”

Freifrau Bockmann raised his eyebrows, “She is a Russian Countess but speaks French, Greek, and her German to my mind is excellent.”

The Reverend Mother bobbed her head, “Frau Drescher takes care of our dormitory and the students. She speaks only German. She is concerned that the Countess might not understand her or our rules well.” She turned to Frau Drescher, “Frau, you should prepare your dormitory for the Countess’ visit. Thank you.”

Frau Drescher’s brow rose, but she nodded and curtsied to Aksinya then left toward the dormitory.

A short piece but very important to tell you about Frau Drescher and RM Kluge.  I intend for Frau Drescher to play a more important role in the future than I have given her yet.  Her introduction is jarring.  She reacts as she does because Aksinya does not speak.  If you are familiar with aristocracy, you would expect Aksinya to act like her aunt.  That is what Frau Drescher expects and when Aksinya doesn't speak, she makes a very rude and terse comment.  This is not out of character in German or Austrian culture, so don't let it bother you.  Notice that RM Kluge covers it up the best she can.  In this exchange, I try to show you the culture of the time.  I also show you the characters of Frau Drescher and RM Kliuge.
 
Additionally, I show you Frau Drescher's job at the school.  Can you see her in your mind?  That is my ultimate goal.  I want you to see Frau Drescher in your mind's eye.  I don't want you to totally dislike her yet, just a little.  Don't you like and trust RM Kluge already?

A New Novel, Part 44 Reverend Mother Kluge and Frau Drescher

So, do you know what a coupe is?  In the world of horse-drawn vehicles, each type had its own name and each name was important--as important as a convertible, compact, subcompact, luxury, sport, SUV.  Do you get the point?  If you are going to immerse your readers, you need to use the appropriate words from the past.  I will perhaps add a little more description of a coupe later, but you can see it is covered for the riders (not the driver).  It can carry at least five comfortably.

The driver opened the door of the coupe and handed down first the Freiherr then the Freifrau Bockmann. The Lady Natalya followed them, then Asmodeus. At the last, the driver handed down Aksinya. She was dressed in the finest clothing of anyone there. She wore a wonderful creation in red satin and white lace. Her hat was the newest style from Moscow, red brushed satin with a bit of lace and feathers. Her mother never had a chance to wear it. Although her uncle and aunt had put on their best, their best was nothing compared to the gowns Aksinya’s mother once wore. That and the long mink coat Aksinya had on marked her as the Countess Sacré Coeur expected.


The nun and older woman immediately came to Aksinya’s side. They both curtsied.

Freiherr Bockmann put out his hand, “Countess Golitsyna, may I introduce the Reverend Mother Kluge and Frau Drescher. Reverend Mother and Frau Drescher, this is my niece, the Countess Aksinya Andreiovna Golitsyna. She is the one we spoke about yesterday.”

The Reverend Mother’s wore a full habit with a wimple that only allowed her face to be seen. The wimple flowed over her head and shoulders and was lost in the folds of her habit. The face that showed was wrinkled, but appeared kind. It wasn’t a hard face or a harsh one. It seemed to be filled with a smile most of the time, like the smile that went out to Aksinya right now. Aksinya lowered her eyes, but not her head.

Frau Drescher on the other hand displayed features of steel. Her wire rimmed glasses sat back on her very sharp nose. Her eyes darted constantly until they focused on a person and then they didn’t seem to move at all until the woman was fully satisfied with her scrutiny. Frown lines marked the corners of her mouth and her eyes. She wore a frown now and unsuccessfully tried to turn that into a smile. She was slightly plump and wore a very severe dress that wasn’t a habit, but might as well have been.

First point is Aksinya's clothing.  She is dressed appropriately now--the demon insisted.  The clothing is not exactly appropriate for a school visit--unless you are trying to impress.  The demon wants to impress.  The gown is new, the newest fashion, and fabulous.  The clothing is exactly what the school would find impressive.
 
So Aksinya should look like exactly what Sacré Coeur expects.  Now we see a reflection of the school: Revernd Mother Kluge and Frau Drescher.  Kluge means smart or clever in German--so should we expect that of RM Kluge?  Perhaps.  Drescher means thresher in German.  Well, perhaps she is a thresher.  We shall see.  The descriptions put these two women directly in their correct situation in Sacré Coeur.  We shall see how they fit into this school...and how Aksinya will fit in or not.

A New Novel, Part 43 The Arrival at the Gymnasium

So the situation is set.  Asmodeus manipulated every circumstance to bring Aksinya to a convent and girl's school in Austria.  We still don't have any idea what the demon's overall plan is.  He obviously thinks there is more opportunity for evil in this situation than in Russia.

They visited Sacré Coeur in the late morning the next day. Aksinya wore a wonderful gown Natalya had just finished fitting to her. Natalya had an appropriate matching dress that had come from Aksinya’s closet. Natalya could wear almost any of Aksinya’s clothes without fitting. They never fit Aksinya very well to begin with. Now, Aksinya wore nearly only those that had been her mother’s or her sister’s. Asmodeus insisted.


The weather was clear and cold. They rode in an elegant covered carriage, a coupe, from Aksinya’s uncle and aunt’s mansion to the convent and gymnasium at Sacré Coeur. They entered the center of Wien and arrived at a beautiful old catholic church with three attached buildings. The church appeared first. It was tall with a face decorated by stained glass. The bell tower stuck upward from the center. Connected directly to the church was another long building that was constructed in a more modern style. It was mostly sandy brick with long windows on the upper floor and shorter windows on the lower floor. A wide archway cut through the center of this building. Their driver turned the stylish coupe, through this archway. They entered a large retanguler courtyard. That’s when the other two buildings came within sight. On the other side of the courtyard was a building that appeared almost as old as the church. It was wood and stone and built in an archaic style. To the right, another building attached to the building that fronted the street and the older one across the courtyard. The building to the right was the newest. Within the courtyard, to the left across from this building the side of the church. It was as decorated with stained glass as the front.

When they entered the courtyard, Freifrau Bockmann began a running commentary, “Do you see Countess, the building along the street is the students’ dormitory. Most of the rooms front the courtyard. Across from that is the convent. They are both attached to the church. Between them and across from the church is the school... I mean the gymnasium. That is such a new term for me. It was always just a school when I attended there.”

The building between the convent and the dormetory had a fine facade. It looked like a school, but definitely one that taught the highest level of decorum. Over the double door in elegant script was the name, Sacré Coeur. The driver pulled directly before the door. A very officious appearing older woman and a tall nun stepped through the wide door to greet them.

This is mostly description punctuated with little tidbits of information.  I have to take this chapter to describe this place to the reader because this will the an important part of the story.  Much revolves around the school, convent, and the Bockmanns. 
 
The first point is that Aksinya's clothing is a choice of Asmodeus.  We've seen this before.  This time, he obviously chose it to impress.  When the clothing is described, it is exactly what a Countess would wear.  Note also that obviously Aksinya's clothing was sub par to her mother and sister.  You might expect that difference from her mother, but not her sister.  We also see that Aksinya's clothing never fit her well--isn't that interesting. 
 
The rest is simply the description of the buildings.  I usually have to work on this over and over.  I try to use the fewest words for description, but I want the reader to see what I describe.  This takes time and careful editing.

A New Novel, Part 42 The Proposal Part 2

We saw the proposal--Aksinya's uncle and aunt want her to attend the gymnasium for girls, Sacré Coeur.  This idea came from Asmodeus--it was likely a suggestion in the telegram.  Asmodeus chose this aunt and uncle, this school, this city for exactly his own purpose.  I haven't shown you that purpose yet, but I did give a big hint.  I revealed to you that the demon would have more scope to torture Aksinya in the West than in Russia.

Aunt Brunhilda clasped Aksinya’s left hand with both of hers. “We wish to enroll you in my old school, Sacré Coeur. It is a school, a gymnasium, for girls here in Wien. The church runs it, and it is connected with a convent of the same name. I know it is something you have never experienced before, but I believe you will blossom in it.”


Aksinya stared at her aunt. Then she turned her stare at the demon. Asmodeus’ face was covered with a scowl. He stood, “Freiherr, I’m not sure the Countess should be placed in this kind of environment. She is a very sensitive young woman who is not used to being among so many people.”

The Freiherr immediately warmed to his argument, “The Countess would have her lady-in-waiting to take care of her. She would be boarded in the style of a princess. She would possess the highest rank of anyone in Sacré Coeur.”

The demon didn’t back down, “But the Countess isn’t used to being away from her family.“

Aunt Brunhilda clasped Aksinya’s fingers a little tighter, “We are her family now. She may come stay with us on the weekends. She will certainly go to church with us and dine with us, and she may bring as many of her friends as she likes for the weekend.”

Asmodeus straightened, “Is all this certain?”

The Freiherr stuck out his chest, “It is a surety and a promise.”

“Do you swear?”

Baronet Herman Bockmann’s eyebrows rose, “Yes, I guess. I do swear.”

Asmodeus bowed, “Good. Then the Countess shall attend Sacré Coeur. Should we visit the school tomorrow?”

Aksinya’s brows lowered, “Don’t I have a say?”

Her aunt and uncle stared at her.

Asmodeus' look was dangerous, “Yes, Countess, of course you have a say.” The demon’s voice dripped with menace, “What do you wish? It is your choice, after all.” He glared at her.

Aksinya returned his gaze. Then after a moment, she lowered her head, “I shall go to Sacré Coeur on a trial basis. If I am not happy there, I shall not continue.“

Aunt Brunhilda shook Aksinya’s hand, “What a wonderful answer.”

Her uncle lit another cigarette, “Yes, very wise. It shall be on a trial basis. We shall see how all of us like it. I would rather have you here all the time with us, Countess, but I am willing to give you up during the week for your own improvement and education.”

Aksinya mumbled under her breath then she glanced up, “I will attend on a trial basis only if my lady-in-waiting may attend too.” Aksinya continued before anyone could respond, “The Lady Natalya is incredibly bright and educated. She would succeed very well in such an environment.”

The Freiherr glanced at Natalya then back at Aksinya, “Certainly, I don’t see any reason why the Lady Natalya cannot attend with you. Her primary job must be your care, but she may attend and study with you.”

Aksinya bowed her head, “Thank you.”

“You are very welcome,” Aunt Brunhilda smiled and stood. Now, let us ladies retire to my sitting room where I will inform you both all about Sacré Coeur. ”

Reluctantly Aksinya stood. Natalya bounced up. They followed Aunt Brunhilda to the second floor and her sitting room.

The demon is a consumate actor.  Look at his response.  He plays the "devil's advocate" and gives a counter arguement.  His focus isn't the arguement, it is to get Freiherr Bockmann to swear.  You can imagine why this is so important to a demon.  It means there is a resolve to act.  It means there is a contract.   When and if (it will be when) Aksinya can no longer continue at the school, Freiherr Bockmann will be forced to break his promise (contract).  This is the way with all good, even if we swear to achieve it, we make it all wrong when we cannot achieve what we have agreed to do.
 
Then Aksinya takes matters into her own hands for just a singular moment.  She defies the demon.  She matches his gaze, but can't hold it.  She knows she wants to go to the school.  So does the demon.  Aksinya attaches two criteria to the proposal: it is a trial and Natalya must attend.  You can see the reaction of both.  Aksinya is reluctant--she lost out, but achieved what she wanted.  Still she worries about the ramifications of the demon's choice.  Natalya bounces up--her mistress thought of her and gave her a great gift.  That is the end of chapter 5.  I need to get writing.  I just finished the first run through of chapter 11 and started chapter 12.

A New Novel, Part 41 The Proposal Part 1

So now we get the point of almost everything.  Freiherr Bockmann makes a proposal to Aksinya that truly tempts her.  She can't let it seem she it too interested, but she is truly tempted by what he proposes.  Do you think Asmodeus had anything to do with the proposal?

The fire was still burning in the great fireplace, but it was mostly coals with only a light sprinkling of flames. Aunt Brunhilda led Aksinya to a chair and sat her. She took a seat in the chair beside her and held her hand.


The Freiherr stood. He stepped to the fireplace and lit a cigarette. He took a puff and turned around, “You don’t know how pleased we are that you came to us and that you are safe here with us.” He flicked some ash from his cigarette into the coals, “When we heard about your family, I had the priest make a high Mass in their honor. At the time, we thought you had died with them.” He gave her a crooked smile, “We were glad someone survived and that you survived. You being who you are, after all.”

Aksinya lowered her eyes, “Thank you.”

“Your Aunt and I have discussed this since we heard you were coming.” He smiled again, “You are not quite seventeen, am I correct?”

“I am seventeen, Uncle.”

“How much education have you received?”

“None except from our family’s priest and my governess.”

“In the past that might have been sufficient for a young lady. Today, it is woefully deficient. As I remember, you have always been very keen on learning.”

Aksinya tried to appear disinterested, but in spite of herself, she nodded and leaned forward expectantly.

“Yes, I see I am right. Your German is much better than you led us to believe last night. I see you understand me very well.” His eyes crinkled, “You learned it from your mother, I know. And I know you speak French and can read Greek.”

“Yes, Uncle.”

“What do you think about the idea of an education.”

Aksinya smiled, “What did you have in mind, Uncle?”

“There is an excellent gymnasium in this city.”

Aunt Brunhilda laughed, “I went to it myself.”

“What is a gymnasium?”

“It is a school for students who will go on to a university.”

“To a university? Could I attend a university—is it allowed for women?”

Aunt Brunhilda put her hands together, “Yes, it is very possible for you to go on to a university.”

“I would gladly attend, but for what purpose?”

The Freiherr stood straight and threw the butt of his cigarette in the coals, “Ha, the world we once knew well is changing. The future will belong to men and women who have grasped an education, and who have an aristocratic pedigree. The people will need someone to lead them. This is what we wish for you. It is certainly what your father and mother would have desired.”

“I’m not so sure. You tempt me...”

Asmodeus cleared his throat.

Her uncle grinned, “I want to tempt you. I want you to follow this course, and I think you are well fitted to succeed. You always were a studious child.”

Aksinya sighed, “What exactly do you propose, Uncle?”

Aunt Brunhilda clasped Aksinya’s left hand with both of hers. “We wish to enroll you in my old school, Sacré Coeur. It is a school, a gymnasium, for girls here in Wien. The church runs it, and it is connected with a convent of the same name. I know it is something you have never experienced before, but I believe you will blossom in it.”

We begin with a slight remembrance of Aksinya's loss.  Her uncle reminds her while he begins his introduction.  Do you see the multi-level mystery he invokes.  They were happy she survived of all the others--this should get you thinking.  I'm not going to tell you why yet.  The point is emphasized twice.  Then he brings up the next point--to him it is important and important to the demon.  Asmodeus chose her clothing.  Her uncle should know her age, he assumes she is younger--who might have put that thought in her mind.  The first point is her age--she is young yet.  The second point is her education.  She, like most aristocratic women in this age, was educated by the family governess and priest.
 
Her uncle then praises her.  He praises her German, French, and Greek.  She knows German from her mother (a clue), French from the Russian court, and Greek from the Orthodox church.  Her uncle's pont is to tempt her toward an education.  You might wonder why the demon wants Aksinya to get an education.  Keep thinking.
 
The next idea is the gymnasium.  I use a trick of a question in the dialog to tell you what it is.  Aksinya doesn't know, so I can explain what it is to the reader.  The obvious question to Aksinya is whether a woman can aspire to the university--this was not expected at the time.  We get a shot of the culture.  Her uncle is tempting her.  He uses a hard argument "your mother and father would have wanted it."  See the reaction of Aksinya--she realizes what is happening.  The demon threatens her just a little, and Aksinya sighs.  She realizes she can't win against her aunt and uncle, the demon, and her own desires.  We end the first part of this dialog with the revelation that the gymnasium is a convent school run by the church.  Do you begin to understand why the demon might want to put Aksinya there--ah, we will find out soon.