Scenes - Scene Setting, Lull in Tension and Transitions

4 March 2013, Scenes - Scene Setting, Lull in Tension and Transitions

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.

The final tension building prior to the climax.  Here we have a simple scene setting with time, place, and characters.  This is the final lull before the storm.

At Grossbock, Aksinya and Natalya went to their suite of rooms immediately after dinner.  Aksinya would not answer her Aunt or Uncle’s questions during the evening.  After Natalya had prepared Aksinya for bed, Aksinya sat up in her bed with the large book of Heka on her knees.  A large magic circle encompassed the room.  Natalya watched her through the servant’s door.  Under Natalya’s covers was a very bright light.  Aksinya didn’t notice it.  She made a bright light of her own to read the book.  Natalya just watched.  A look of absolute contentment filled her features.

Natalya believes her actions have made the world perfect especially for her and for Aksinya.  This is the exact opposite of the truth, and soon the truth will come 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.


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 Transitions

2 March 2013, Scenes - Scene Setting, more Tension and Transitions

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.

We are still in the transition to the climax.  I'm letting my readers absorb everything, and I'm continuing to provide the tension buildup.

That evening before dinner, Sister Margarethe helped Aksinya and Natalya prepare to travel to Grossbock for the weekend.  Aksinya was dressed in finery and Natalya not less than a degree below that.  Aksinya held the book of Heka wrapped in brown paper in her lap.  She wouldn’t let anyone else carry it.  While they waited together in the parlor for Aunt Brunhilda to arrive, Aksinya lounged and Natalya sat in the large overstuffed chairs.  Sister Margarethe stood and held their cloaks.  Sister Margarethe cleared her throat.

Aksinya sat up, “Yes, Sister Margarethe, you wish my attention?”

“Yes, Countess.  The novice sisters told me this afternoon that they saw a strange man remove your post.”

Aksinya made a frown, “Ah, that must be my courtier, Asmodeus.”

“Your courtier?”

“Yes, perhaps you have not met him.”

“Then he has been intercepting the post?”

“I expect the bills and any official communications.  There were no letters today for me?”

“No, not today, or at least I don’t think there were.  So he has been allowing your personal correspondence to go through?”

“Yes, I expect so.”

“They thought they saw him take what looked like personal letters from the box.”

Aksinya froze.

Natalya turned her head away.

Aksinya stuttered, “They were likely letters concerning my business.”

“So your courtier takes care of all your bills and business.  You should introduce me to him.”

Aksinya’s voice was suddenly very weak, “The bills…the bills, they have all been paid—have they not?”

“Oh yes, every one.  I have heard no complaints and the larder continues to be filled.”

Aksinya’s voice shook with relief, “That is good.  It is as it should be.”

“Your courtier must be very efficient and a careful steward.  Everything seems to be in perfect order.  Everything comes on time and is of the very best quality.  He must choose your goods very carefully, and he must tip very well.”

“Yes.  I’m certain he does.”

Natalya turned Aksinya a strange look that Sister Margarethe and Aksinya both did not see.

Sister Margarethe shifted the cloaks in her arms, “Have you decided what you are going to answer Herr von Taaffe on Monday?”

Natalya cocked her ears.

“I have considered Herr von Taaffe’s proposal very carefully.  I think it would be unfair to the gentleman if I told anyone before him.”

“He is a very fine young man.  You could not do much better than to accept his proposal.  I would hope that I might continue to serve you afterward.”

“Thank you, Sister Margarethe that is very kind of you.  I will take your request into consideration.  I don’t expect to leave this house or the school for a while even if my decision is to join myself with his household.”

Sister Margarethe seemed relieved, “Then you anticipate a long engagement?”

“I take everything under advisement depending on my answer to the gentleman.  I enjoy his company.  Perhaps I shall tell him I would like more time to consider his offer, and perhaps I will request a longer time to get to know him.  Then again,” Aksinya’s eyes sparkled, “perhaps I shall accept him and his offer and entertain him here.”

Natalya blushed.

Sister Margarethe put her hand over her mouth, “Surely, you would not.  The Reverend Mother would not allow such a thing.”

“You have kept my other secrets well, Sister Margarethe.  Why should you not keep another one?  What the Reverend Mother doesn’t know will not burden her or me.”

“But such a thing…and right across from Sacré Coeur.  You wouldn’t be able to keep something like that a secret for very long.”

Aksinya shrugged, “I did not say what I would do, yet.  I simply suggested that as a possibility.  You would keep my secrets, wouldn’t you, Sister Margarethe?”

Sister Margarethe raised her eyes, “Yes.  Yes, you know I would.”

“Very good.  Then whatever decision I make, I shall feel comfortable that my interests are guarded by those who serve me.” Aksinya turned toward Natalya, “Isn’t that so, Nata?”

Natalya glanced down, “Y…yes, Countess.”

They heard horses’ hooves on the cobblestones outside and Aksinya stood, “My cloak, please.”

Sister Margarethe moved a little too quickly.  She fumbled a little and began to place the mink cloak over Aksinya’s shoulders.  Natalya intercepted her and took the heavy cloak from her.  She put it over Aksinya’s shoulders herself and lingered a moment too long when she tied it at Aksinya’s neck.  She put her face discretely close to the side and took a deep breath.

Sister Margarethe placed the other cloak around Natalya’s shoulders.  Then she answered the door.

The driver helped Aksinya and Natalya into the coupe, and the carriage took off with only a slight lurch.  Sister Margarethe watched the carriage until it was out of sight.

We learn more about Aksinya's thoughts about Ernst, but that isn't the point of this scene.  The importance of this scene is the mail.  Asmodeus has been intercepting the mail.  We don't know what that means, but we can guess.  The question comes up--who has been paying the bills.  Aksinya just glosses over this--it is of little worry to her.  She hasn't had to pay bills before.  The setting for the climax is still building.

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 Approaching the Climax

28 February 2013, Scenes - Scene Setting, more Approaching the Climax

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 train wreck started at the beginning of the novel.  It gained speed with each chapter:  when Aksinya took revenge, when she took Natalya as her lady-in-waiting, succumbing to the demon, traveling to Austria, etc.  Each step led closer and closer to this climax.  The reader knew the climax would occur, but not the total form.  As we move closer, the climax becomes more and more visible through the mist.

In the morning, when Natalya entered Aksinya’s bedroom, she had to immediately cover her eyes.  The room was filled with brilliance.  Aksinya sprawled naked across her bed, and a rod of light lay on her open palm.  The bedclothes all were on the floor, and a large and strange magic circle encompassed the bedroom. 

Natalya carefully crossed the circle and moved to Aksinya’s bed.  She held her hand in front of her face and squinted between her fingers at the bright light.  Natalya knelt at the edge of the bed and smiled a great and wonderful smile.  It filled her entire face and the sparkle in her eyes vied with the light of the rod.  Natalya reached out her hand and touched Aksinya’s lengthening hair.  She stroked it and gently clasped it.  Her eyes filled with tears, and she whispered, “I knew you would make something beautiful with the book.  I longed with all my heart to see it.”  She gave a great sigh, “I love you so much, mistress.  I would do anything for you.”  Her mouth trembled, “What I gave for these books was worth every moment of agony.”  She buried her face as though in prayer for a moment then raised her head.  She couldn’t take her eyes from the piece of light that lay so easily on Aksinya’s palm.

A knock came to the door.  Sister Margarethe’s voice came clearly to Natalya, “Lady Natalya, Countess, you will be late for chapel and class.”

Natalya didn’t want to take her eyes off Aksinya.  She replied without turning her head, “The Countess was up late studying.  I don’t wish to wake her yet.”

Aksinya moaned.  Her eyes snapped open.  She glanced at the rod of light in her hand then turned her face quickly from it.  She started to say a Latin phrase, Natalya touched Aksinya’s lips with her outstretched finger, “Don’t make it go away yet.  Let me look at it a little longer.  It is so beautiful.”

Aksinya yawned and stretched.  She clasped the light a little more tightly in her hand.  She pushed herself up and sat cross legged on the top of the bed then she held the light out to Natalya, “Would you like to hold it?”

“May I?”

“Take it in your hand,” Aksinya placed the rod of light in Natalya’s outstretched palm.

“It isn’t hot.  It’s cold.  It’s beautiful, mistress.  Do you have to make it go away?”

Aksinya giggled, “No, why don’t you place it in the schrank then you can take it out whenever you like.”

“May I take it to my room?”

Aksinya’s lips turned up into a smile, “You may do whatever you like with it, but you must not let anyone else see it.”

Natalya’s eyes lit up, “Thank you, mistress.”  Natalya cupped the rod in her hand and carried it to the schrank.  She placed it inside and closed the door.  When she turned around Aksinya sprawled with her legs open on the bed, “Mistress!”  Natalya colored.

Aksinya turned her face toward her.

Natalya did everything not to point, “The way you are sitting.  Everything…”

Aksinya laughed and stretched again.  She scooted to the edge of the bed and hopped off, “Draw my bath, Nata.  I didn’t sleep very much last night, but I feel very refreshed.”

What agony did Natalya face to get the books.  We know what was required to get the books, but not how they were taken.  We do know that magic was involved, the demon was involved, Ernst was involved, and somehow, Aksinya was also compelled to make these things happen.  If you are very astute, which most of my readers are, you can figure out what happened.  If you can't, that's all right too.  The writer's job is to not confuse the reader.  Everything will come out.  I would expect my readers to not be confused, but rather be enthused.  They know something of magnitude happened, they just don't know what happened--and, like I mentioned, all the evidence is in place.  The exciting part is the revelation.  That is both the release and the next tension builder.  We shall see tomorrow.
 

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, Approaching the Climax

27 February 2013, Scenes - Scene Setting, Approaching the Climax

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.

Good novels should be like train wrecks in slow motion.  This is what we see in these scenes.  The return of Aksinya's books should alert us to a few possibilities.  Ernst said he would return the books when he had won Aksinya (that's the basic information).  So to have the books, Natalya would either have to steal them from him or Ernst thinks he has won Aksinya.  Either outcome seems out of place for Natalya and Ernst.  Still, Aksinya doesn't see what is going on. She doesn't process the information or she has decided not to...

That evening at dinner in the dinning room at Sacré Coeur, the moment after Reverend Mother Kluge finished praying Anna Pfaff asked, “Well, did Herr von Taaffe take you out last night?”

Aksinya didn’t answer.

Natalya replied in very precise German, “He took her to Tristan und Isolde by Wagner.  It was a tragedy.”

Frieda Trauen scrunched her lips to the side, “I wanted to see that, but papa wouldn’t take me.”

Fraulein Pfaff took a sip of soup, “Whyever not, Frieda?”

“He said it was too German.”

Natalya laughed.

Diedre Vogt tried to catch Aksinya’s eyes, “Countess, have you considered what you might answer Herr von Taaffe?”

Aksinya turned her head away.

Fraulein Trauen grinned, “Did you have a fight with him?”

Natalya voice sounded too happy, “She was drunk last night.”

Fraulein’s Trauen’s smile widened, “Too drunk to fight.  What kind of wife will Herr von Taaffe get for himself.”

Natalya took a bite of her fish course, “Herr von Taaffe knows exactly the kind of wife he will be getting.”

Aksinya didn’t act as if she heard.  She didn’t eat.  The moment dinner was over, she stood and made her way back out of the dining room.  Natalya followed closely behind her.

They walked across the street to Aksinya’s house.  Natalya unlocked the door.  The novices came when they heard the door open.  Aksinya didn’t wait for them to take her cloak.  Sister Margarethe entered directly behind them from the street.  She was out of breath.  She started to say something and follow Aksinya, but Natalya put up her hand and waved her back.  Natalya handed her cloak to the first novice.  She took a deep breath of the collar first.  Then she followed Aksinya up the stairs.

Natalya closed and locked the door to Aksinya’s rooms.  The mink cloak lay in the sitting room floor.  Natalya picked it up and smelled it.  She took a deep breath of the lining and smiled.  She placed the cloak reluctantly down over one of the chairs and went into Aksinya’s bedroom.  Aksinya fought with the buttons on her blouse.  Her uniform short coat lay on the floor.

Natalya came over and pulled Aksinya’s hands away from the front of her blouse.  She pushed them to Aksinya’s side and began to unbutton the blouse.  She pulled it off Aksinya and lifted the camisole over her head.  She unbuttoned Aksinya’s skirt and untied her slip.  She took everything to the gross schrank and hung them inside.  She pulled out a silk nightgown and returned.  Aksinya already sat on the edge of the bed.  Natalya pulled the gown over Aksinya’s head and plucked her hands through the sleeves.  She pulled the bottom of the gown over Aksinya’s thighs.

Aksinya lay back on the bed and her head touched something hard.  She frowned and reached up behind her head.  She felt a book.  No, two large books. 

Aksinya sat up suddenly.  She half turned and mumbled, “My books.”  She glanced at Natalya, “Why are my books here?”  Without waiting for an answer, Aksinya pulled the books over to her.  One had a brown cover, she opened the book and her mouth formed an “O,” “This is the book Ernst took.”

Natalya chuckled.

Aksinya’s hands trembled.  She pushed the book aside and took up the other.  She caressed it with an overly light touch as though she really didn’t want to handle it.  She opened it and whispered, “This is not my book.  It is a Greek Book of Heka.”  She stared at Natalya, “This is Ernst’s book.”  She dropped it back on the bed, “How did these books come to be here?”

Natalya smiled.

“What did you do, Nata?”

Natalya pulled the covers down on the bed.  She carefully didn’t touch either book, “Now that man has no power over you.  You have no reason to see him anymore.  You have your book again, and you have his book.” 

Aksinya picked up The Book of Heka and held it against her breast, “I do have his book.”

Natalya smiled, “Get in bed, mistress.  I know that you wish to read tonight.  I will leave the gas lamp lit over your bed.”  She bent forward and helped Aksinya crawl under the covers.  Aksinya would not let go of the new book.

The answer to appeasing Aksinya is in the books.  Her love (lust) is sorcery.  Natalya knows this.  She uses this lust to placate Aksinya.  Aksinya knew something was amiss before.  She should be even more worried now, but she isn't.  If you have read the book, you know everything has led to this point.  We are approaching the first climax of the novel.  Notice also, it is a tragedy, Natalya said so.

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, Foreshadowing

26 February 2013, Scenes - Scene Setting, Foreshadowing

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.

Foreshadowing is one of the most important tools an author has.  Through foreshadowing, an author can build anticipation in the mind of the reader and the characters.  Many times, the anticipation of the reader is more powerful than that of the characters.  In this scene, we have one of the important anticipatory points of the novel.  The readers should get it more than Aksinya.  Aksinya is patently ignoring all the signs she should note, but the reader can't help but see them.  The changes in Natalya that the reader can't help ignore, Aksinya disregards.  The foreshadowing is very strong in this scene.  See if you can catch all of them.

On Wednesday, Ernst escorted Aksinya to dinner and the opera.  He greeted Aksinya at her house with a bouquet of roses.  He explained the extravagance, “Because I am working for him, my father increased my remittance.”  At each place they visited, Aksinya thought she spotted Asmodeus.  She caught a glimpse of him in the mirror at the Palais Coburg Hotel Residenz, and in the grand foyer of the Wien State Opera.  A strong whiff of sulfur came to her in both places.  When the Champagne and caviar came at the intermission for Tristan und Isolde, Aksinya thought she saw Asmodeus sneaking in the corridor just outside their box seats.  Warned by his potential presence, she intended to drink less because of it, but ended up drinking more than she planned.

Before the beginning of the second act, Natalya prepared a blemis with caviar and handed it to Aksinya.  Aksinya took the flat piece of bread, “Thank you, Lady Natalya.”

Natalya smiled oddly at her, “Would you care for another glass of Champagne?”

Aksinya cocked her head and grinned back, “Please, as long as you are pouring, Lady Natalya, I won’t fear for my virtue.”

Natalya filled Aksinya’s flute and continued to hand her another blemis with caviar.  Natalya wasn’t certain how many times Natalya refilled her glass that evening, but by the end of the opera, she couldn’t stand on her own.  Natalya and Ernst had to both help her to Ernst’s landau and then back into her house.   

Ernst didn’t kiss Aksinya that evening, at least she had no recollection that he kissed her.  She wished he had.  She didn’t remember much at all.  In the morning, she woke with a splitting headache.  A strange whiff of incense and sulfur touched her nose.  Someone was opening the shutters of her windows.  Aksinya didn’t open her eyes, “Don’t let the sun in Nata.  I’ve told you so many times.”

“I’m not the Lady Natalya,” came Sister Margarethe’s voice.

Aksinya jerked to a sitting position and was overcome with dizziness.  Her head ached.  She held her head in her hands and fought down the nausea that enveloped her.  Finally, between clenched teeth, she forced, “Where’s Nata?  Where is she?”

Sister Margarethe sat on the side of the bed, “I have no idea.  I assumed you sent her on an errand last night.  She asked me to take care of you last evening, and she said I was to wake you in the morning.”

“You’ve seen her this morning?”

“No.  She last spoke to me when Herr von Taaffe brought you home drunk again.”

Aksinya’s eyes widened, “Where is she?  We must find her.”

“I’m certain she is fine.  She seemed to be off on something important.”

“She can’t be fine.  She can’t be.  Why are you speaking so nonchalantly about this?”

“Let me help you with your bath.  I’ve already drawn it for you.”

Aksinya was suddenly listless.  She allowed Sister Margarethe to pull her out of bed and remove her nightgown.  The nun helped her into the bath, “I’ll bring your morning tea and breakfast in a moment.”

Aksinya sat in the warm tub with her hands clasped together.  She heard her sitting room door open and close.  She couldn’t remember a waking moment when Nata was not at her side.  This seemed too strange to her.  Aksinya stared at her hands.  Her eyes opened wide, the faint line of new scar crossed the many others on her left hand.  She couldn’t imagine how it could have happened.  She hadn’t done that kind of magic in a while.  Finally, the sitting room door opened again.  She heard Sister Margarethe as she directed the novices.  The door shut again, and Sister Margarethe stepped into the bathroom, “Are you ready to get out, Countess?”

Aksinya nodded.

Sister Margarethe helped her out of the tub and dried her.  She put a dressing gown around Aksinya’s shoulders, and led her into the sitting room.  Sister Margarethe poured the tea and served Aksinya breakfast.  That’s when Aksinya finally caught a whiff of it.  Aksinya lifted her head and enunciated a couple of Latin words.  She hadn’t practiced any sorcery in a while.  The crucifix between her breasts heated immediately, but Aksinya knew it then.  Sister Margarethe had been touched with sorcery.  Her room had a definite scent of incense and under that, the sink of sulfur.  Aksinya understood there could only be one source for it—it had to be that cursed demon, Asmodeus.

She didn’t know what to do.  She had no idea where Natalya had gone.  She wasn’t certain she could get anyone to help her.  Sister Margarethe was convinced that Natalya had just gone out on an errand.  Aksinya couldn’t appeal to her or to anyone in this world except…  She began to pray.  She wasn’t certain it would do any good, but she reasoned prayer couldn’t hurt.  If Natalya didn’t return soon, Aksinya would call the demon that evening and demand that he come to her—explain everything to her.

After breakfast, Sister Margarethe dressed Aksinya and brushed her hair.  She didn’t notice the strange expression on Aksinya’s face.  She didn’t see how pale she was or how wide and frightened her eyes were.  Or, if she did, perhaps she attributed it to the alcohol and lack of sleep.

Aksinya was ill during chapel and vomited before Sister Margarethe could rush her into the hallway outside.  Sister Margarethe tried to comfort her and brought her tea before class, but the tea was not made to Aksinya’s taste, and Aksinya was in no mood to be comforted.  By the time, she arrived at her first class, her hair was loose around her face and her clothing had spots from her accident and from the tea she spilled.  She put her head down on her desk and tried to sleep.  She couldn’t do anything else, Sister Margarethe had forgotten Aksinya’s bag.  It was the bag Nata always carried for her.  The bag had all her school books and papers inside.

Finally, in the late morning, Natalya opened the classroom door.  Someone touched Aksinya’s arm, and she raised her head.  Aksinya’s eyes widened.  She stood at her desk and nearly fell.  She started toward Natalya and did fall.  She tripped on the desk and dropped to one knee.  Natalya was instantly beside her.  She took Aksinya’s arms and lifted her up.  Aksinya put her arms around Natalya and held her close.  Her eyes widened again—there was that smell plus another.  There was the scent of sorcery and a strange musky smell Aksinya couldn’t place.  Aksinya pulled back slightly from Natalya and stared at her.  Natalya lowered her eyes.  She led Aksinya back to their desks.  Natalya straightened Aksinya’s hair and brushed off her clothing.

Natalya didn’t say anything to her, and Aksinya was afraid to ask anything.

Natalya gets Aksinya drunk.  This is obviously purposeful.  That, in itself, is not foreshadowing, but the actions and appearance of Natalya are.  Likewise, where ever they go, the demon is present.  Aksinya note him when they are out that night.  In the morning, she notes incense and sulphur in her room.  She notes a new scar on her hand.  She notes the sorcery on Sister Margarethe.  Each of these and the disappearance of Natalya foreshadow what will happen next in the novel.  I use foreshadowing all the time.  It doesn't have to be that obvious.  It can be as subtle as a new scar from an incantation.  It can be as simple as a smell.  Note the smell on Natalya when she returns.  She won't look Aksinya in the eyes.
 

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, even more Conversation about Magic

29 January 2013, Scenes - Scene Setting, even more Conversation about Magic

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. This is the continuation of the previous scene.  The place and time setting have already been given.  The characters are set.  In this scene, we get the continuation of Aksinya and Natalya's conversation.  Specifically, Natalya complains that Aksinya is not teaching her about sorcery.  The importance of this is that the demon used this to tempt Natalya and is using it to tempt Aksinya.  Aksinya has been holding out for the reasons she gives in the conversation below.
 

Sister Margarethe closed the door.

Natalya waited a moment, “When will you teach me sorcery?”

Aksinya stared at her, “Nata, I don’t ever intend to teach it to you.  It does me no good and only causes me to suffer.  If you only knew…”

“I do not know.  I only see the good you do.  I don’t understand why you won’t do this for me.”

Aksinya let out a breath and glanced down, “I have already begun to teach you Latin, but I do not intend to teach you sorcery.”

“Why Latin?  What is the purpose of it?”

Aksinya mumbled again, “It is the words.”

“I’m sorry Aksinya.  I couldn’t understand you.”

“I said, it is the words.  Sorcery can be accomplished in Latin or Greek.  Latin is more common.  The words and the sounds are critical.  They must be said precisely.  If they are spoken incorrectly, at best, the enchantment will not work, at the worst, it will injure you.  The first step is to learn the language of sorcery.”

“Why Latin or Greek?”

“Although I have heard that sorcery has been successful in other languages, I have no evidence of it.  The documents of the church were first in Greek and next in Latin.  Those have been the languages of sorcery since then.”

“What of Hebrew?”

“There is a possibility of sorcery in Hebrew, but I don’t know the language, and I have never seen any books.  The books are necessary.”

“Why necessary?  You have made enchantments without your books.”

“If a single piece of the enchantment is wrong or incorrectly done, it won’t succeed.  The books give explicit directions to make it work.  If you forget, or if you make a mistake, your life or your health can be forfeit.”

“But you do it so easily.”

Aksinya took Natalya’s hands, “Listen closely to me, Nata.  I spent nearly every free moment of my childhood studying sorcery.  I had no friends.  I had no one, so I read the books.  I collected the items.  I practiced everything over and over until I perfected it.  When I began, I quickly discovered the danger.  My fingers were covered with wounds.  I have scars on my body from every failed enchantment.”

Natalya’s voice was low, “I have scars on my body and nothing to show for it.”

“I am happy to have you for my friend.  I will do anything to keep that including teaching you sorcery, but I suspect I will not be able to let you ever do it.  I will be too afraid to allow you to harm yourself.”

Nata stood, “It is late, Aksinya.  Let me prepare you for bed.”

Natalya took Aksinya’s arms and lifted her up from the chair.  Aksinya passively stood and Natalya began to remove her clothing.

Strangely, the demon didn’t visit Aksinya this night either.
 

This scene is about magic and how it works.  I don't tell you about magic and how it works--I allow my characters to tell you about magic and how it works.  Within the body of the conversation, we also get information about Natalya and Aksinya.  This is the point of the conversation and this is how you convey cryptic topics without telling.  Remember: show and don't tell.

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: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, http://www.aseasonofhonor.

Scenes - Scene Setting, Private Scene

21 January 2013, Scenes - Scene Setting, Private Scene

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.  We have some very creative scene setting at the beginning.  I also left part of the rest of the scene so you could see Natalya and Aksinya's private interaction and a very important foreshadowing concerning Aksinya's book.  Reacquiring this book is a critical part of the next portion of the novel.

“Natalya!  Natalya!” Aksinya called from her room while she rang the tiny servant’s bell.  Her voice was ten times louder than the bell, and it formed a soft counterpoint to her cries.

Sister Margarethe and the Lady Natalya came running.
The moment they were through the door, Aksinya pointed at Sister Margarethe, “You, sister, prepare my breakfast.  I shall have tea and something more substantial than the school provides.  Sausages with eggs would be fine.  Please scramble the eggs in butter.”
Sister Margarethe’s brow rose, but she just curtsied and went down to the kitchen.
Aksinya waited a moment, then she raised her chin and spoke loudly, “Natalya, please draw my bath.” Then she whispered, “First come here—beside my bed.”
Natalya didn’t hesitate, “Yes, mistress.”
“Yes, Aksinya.”
Natalya blushed, “Yes, Aksinya.”
“Next time, I want you to drink tea with my guests as well.  I did not embarrass you when Lady Bockmann and the Sister Margarethe were in my room, but I will next time.”
“Y…yes, Cou…Aksinya.”
“Now, close and lock the door.”
Natalya ran to the door and locked it.
“Come over here.”
Natalya stood at the side of the bed. 
Aksinya grabbed Natalya’s arm and pulled her down to the bed.  She put her arms around the girl and kissed her cheeks, “Nata, you saved me yesterday.  I didn’t have a chance to tell you before.  You saved me.  You are truly my best friend, and I love you.  You don’t know how important you are to me.”
Natalya held Aksinya close and sobbed in her hair, “Mistress, Aksinya, I was so afraid I would lose you.  I love you.  You are like the sister I never had.”
“And you are much more than the sister I lost.  I can’t shed a tear for her either, and I don’t know why.”
Natalya’s embrace tightened, “Let me shed your tears, mistress.  That is something I am very good at.”  A laugh tinged her sobs.
Aksinya kissed Natalya’s tear streaked cheeks again, “Yes, dear Nata, you are very good at that, but you are an especially great person.  I pray you learn that before you fall as I have.”
“But…”
Aksinya placed her fingers over Natalya’s lips, “Hush.  I need to know where my book is.”
“The new one?”
“Yes, I dropped it in the street…”
“Yes, when you made the great sorcery.”
“Hush, don’t say it that way.  And especially don’t say it with any trace of pride in your voice.  I dropped it, where is it?”
“I’m sorry, mistress….”  She noted Aksinya’s look, “I mean Aksinya.  I hadn’t thought of it since then.  We were so worried about you.  The young man carried you back here and placed you in your bed.  If he hadn’t been around, I don’t know what we would have done.”
“Did you see the book when he picked me up?”
Natalya shook her head.
 

Notice in the scene setting, we quickly get the time (breakfast) and the place (Aksinya's bedroom) and the characters (Aksinya and Natalya after Aksinya gets rid of the Sister).  The rest of the flow of the scene moves from Aksinya's thanks, but encompasses many powerful ideas:  the way Natalya addresses Aksinya to the household to the book.  As I mentioned, the book is a very important part of the next portion of the novel.  In fact, the book has led to many issues in the novel.  We shall see many more.

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: I am awaiting for you to write a detailed installment on identifying, and targeting your audience, or audiences...ie, multi-layered story, for various audiences...like CS Lewis did. JustTake care, and keep up the writing; I am enjoying it, and learning a lot.

I'll repeat my published novel websites so you can see more examples: http://www.ldalford.com/, and the individual novel websites: http://www.aegyptnovel.com/, http://www.centurionnovel.com, www.thesecondmission.com/, http://www.theendofhonor.com/, thefoxshonor, http://www.aseasonofhonor.