For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.
Aksinya came home drunk last night. She revealed her soul (or a small part of it) to Natalya. Natalya promised to never deny or betray Aksinya. The next morning, Aksinya has to pay the price for her luxuria...
Aksinya was impossible the next morning. Natalya had to shake her for ten minutes to wake her. She had Sister Margarethe bring coffee instead of tea and made Aksinya drink a whole cup while she bathed and dressed her.
Aksinya protested the entire time. Natalya had to request help from Sister Margarethe. Together, they finally dressed, bathed, and fed Aksinya. Then they walked across the street to Sacré Coeur. Chapel was a chore. Aksinya fell ill from the very beginning and had to leave before the blessing of the elements. She was sick, but afterwards, Natalya found her a cup of tea. Sister Margarethe joined them until it was time for class.
When they entered the classroom together with Sister Margarethe, Aksinya stepped directly to her seat by the window and fell into it. She lay her head down on her arms and closed her eyes. The rest of her classes didn’t go much better for Aksinya. She was behind in everything and didn’t seem to care. Natalya kept better than an average pace.
At dinner, Aksinya was listless and ate little.
Anna Pfaff started the conversation at their table, “So, Countess, did Ernst von Taaffe escort you to the ballet?” She would not look Aksinya in the eyes. They darted all around the table.
Natalya sat a little straighter, “Yes, he did escort her. He was a very pleasant gentleman.”
Frieda Trauen glanced over her glass, “I understand our sweet countess was a little under the weather today.”
Aksinya didn’t move much, “I had too much to drink, but the evening and the gentleman were pleasant.”
Fraulein Trauen smirked, “I hope for your sake, he wasn’t too familiar during your drunken state.”
Natalya glared at her, “My mistress was in no way imprudent during the evening.”
“She was drunk.”
Aksinya snarled, “I just drank a little too much. By the way, Herr von Taaffe did not ogle the ballerinas.”
Fraulein Trauen cocked her head, “Oh really, then were did he keep his eyes?”
Aksinya stared at her, “He kept them on me the entire evening. I’m not certain he looked at anyone on the stage. He took me to the Palais Coburg Hotel Residenz for dinner in the red room and to the ballet. We had caviar and Champagne at intermission.”
Dieter Vogt sucked in her breath, “The red room—ooh.”
Fraulein Pfaff shook her head, “You have totally ensorcelled Herr von Taaffe.” She bent her neck toward Aksinya and blinked her eyes, “You should strike while the iron is hot.”
Fraulein Trauen was shocked, “Whatever do you mean? She should strike while the iron is hot?”
Fraulein Pfaff scowled, “You can’t be so naïve, Fraulein Trauen. The Countess should use her every womanly wile to entice Herr von Taaffe.”
Fraulein Trauen rose in her seat a little, “What do you mean Fraulein Pfaff? Are you suggesting the Countess act in some imprudent way?”
Aksinya’s laugh startled them all. She didn’t sit up, “It is only the first evening, but Herr Taaffe pleases me very much. I shall see what will come of it. Perhaps he will ask me out again.”
Natalya touched her lips with her napkin, “He will certainly ask you out again.”
Aksinya laughed again, “Do you really think so, Lady Natalya?”
Natalya smiled. Her brow rose, “It is certain.”
Aksinya smiled, “Then, Lady Natalya, you must ensure I don’t drink so much I miss Herr Taaffe’s untoward advances. I would surely not wish to miss something like that.” She glared at Fraulein Trauen who didn’t dare squeak out a reply.
Aksinya's slow descent into decadence is showing effects. Already, her teachers don't expect much from her. She is enjoying her luxuria and sorcery. She is being tempted by Ernst. She is like a slow motion train wreck, and Asmodeus is in control of it all. Natalya is there to pick up the pieces. She truly loves Aksinya and enjoys taking care of her. Natalya couldn't do it by herself--she had to get Sister Margarethe. The spiritual results of Aksinya's binge is evident when she goes to chapel. The result of her neglect for her schoolwork is evident in the classroom. Natalya is progressing--we know much of that is due to Aksinya.
Dinner wasn't much better for Aksinya. Fraulein Pfaff wants to know how the evening went. She won't look Aksinya in the eyes because of how Aksinya appears--she looks dangerous. Still Anna wants to know. But look at this, Natalya answers for Aksinya. She understands German well enough now to converse. Fraulein Trauen just makes fun of Aksinya, but that's Frieda.
Aksinya responds this time. She doesn't move much because she is still feeling the effects of her drinking. She admits she drank too much--she isn't ashamed of it at all. Did you note that? Fraulein Trauen won't let it go. She can't let go of the sexual innuendo about Aksinya and Ernst. Natalya defends Aksinya, but Fraulein Trauen just states her insinuation again as if drunkenness itself would results in the loss of a woman's virtue.
Aksinya turns everything around with her pithy statement about the object of Ernst's attention during the ballet. This statement by Aksinya is powerful on many levels. If you remember, not long ago, Fraulein Trauen attacked Ernst's integrity with the comment that he would give inordinate attention to the ballerinas. Instead, Ernst gave inordinate attention to Aksinya. This is a direct slam-dunk against every arguement Fraulein Trauen made about Aksinya's virtue, appearance, and nobility. Aksinya goes further to tell them where Ernst took her and about the expensive snack during intermission. The romantic Fraulein Pfaff advises Aksinya to go for Ernst. Ernst is such a good catch, any girl would want him for her husband. Note, that Anna tempts Aksinya to act to seduce Ernst. Fraulein Trauen realizes this and that she has lost this exchange. That is why Aksinya laughs. Aksinya is as good as the demon at influencing others. Aksinya gives the coupe de grace--she will entertain Ernst next time too. Aksinya finalizes it with a barb against Fraulein Trauen. Tomorrow, another invitation and an intrusion.
Showing posts with label gentleman. Show all posts
Showing posts with label gentleman. Show all posts
Tuesday, February 22, 2011
Thursday, February 10, 2011
A New Novel, Part 130 A Bouquet in Winter
We get a picture of the period as Ernst's landau drives up to Aksinya's house. A landau is a type of carriage. Ernst's carriage is a convertible landau with a two in hand team. This means he is very wealthy and very chic. A landau is considered a prestigious vehicle for the time. Having two horses and a driver make it very much a rich man's carriage. It is closed up for the winter weather.
On Thursday, a landau carriage drove up to the front door of Aksinya’s house. The convertible roof was up and the side flaps were tied tightly shut against the cold. The two dark horses blew out great puffs of frosty breath when the driver brought them to a halt. The driver jumped to the street and opened the flap on the house side. Ernst von Taaffe stepped out the landau and walked to the door. He held a small bouquet of flowers in one hand. He knocked on the carved cedar door himself.
Sister Margarethe opened the door to him, “Good evening.”
Ernst pushed past her into the house. He pulled off his top hat, “Good evening, Sister.” He glanced at her for only a moment, “I’m here to pick up that wonderful Lady, the Countess of Golitsyna.” He juggled the top hat and the small bouquet for a moment then handed her his card, “Will you please tell her that Ernst von Taaffe is here to attend her.”
Sister Margarethe took the card then her hand stole to her cheek, “You are here to pick up the Countess?”
“Yes, I am expected. I have an appointment.” He smiled.
Sister Margarethe backed toward the end of the room. As an afterthought, she called back to Ernst, “Please make yourself… comfortable. I shall return presently.”
Aksinya and Natalya almost ran into Sister Margarethe on the stairs. Sister Margarethe pressed her lips together, “A man is here.” She could barely get out the words. Then her eyes finally focused on Aksinya and Sister Margarethe let out a tiny squeak, “You were expecting him?”
“Of course,” Aksinya pushed past the Sister.
Natalya paused a moment beside Sister Margarethe. She smiled and nodded then she continued after her mistress.
Aksinya stepped into the parlor, and Ernst dropped both his hat and the flowers. Aksinya wore a dark blue dress made entirely of satin. The fabric shown brilliantly. Each twinkle of the gaslights reflected in it and blazed. It was an older noble cut, but certainly not out of style for visiting a tsar. The top was covered with brocade—a blue on blue whose design was so intricate, Ernst’s eyes could not discern its entirety in the dim light of the room. A mist of lace floated upward from the brocade to cover Aksinya’s shoulders. That was matched by the lace of the small veiled cap that covered her short hair.
Ernst could only beam when he saw her. He recovered the flowers and dropped to his left knee, “Countess, you are ravishing.” He held out the bouquet, “Please accept this small gift.”
Aksinya took the flowers. She knew it was no small gift. In the middle of winter such a bouquet of fresh flowers was very dear. It was made of a single red rose surrounded by lilacs and edelweiss. She brought them close to her nose. They smelled very pleasant. She smiled behind the bouquet, “Aren’t you being a little presumptive in presenting me with a red rose?”
“Not at all, you accepted it, didn’t you?”
“So I did, Herr von Taaffe.”
We see many indications of wealth here: the carriage, a driver, the clothing, the flowers, a calling card. Ernst had his driver rush--the horses are winded while pulling an almost empty carriage. He has a small bouquet, obviously for Aksinya. Such a bouquet in post WWI Austria would be especially expensive and hard to find. Ernst wants to impress and express his love.
The moment the door opens, Ernst pushes his way into the house. Ernst obviously knows something about Aksinya's house. It should be evident that Ernst has information from another source--how about the demon? He pushes into the house passed Sister Margarethe. He is very polite, but he gets in the door. You always hand your calling card when visiting in this culture and level of society. Note that Ernst is a little nervous and uncomfortable, but tries not to show it.
The moment Sister Margarethe leaves to get Aksinya, she meets Aksinya and Natalya coming down the stairs. The Sister reads Aksinya's face. She knows something is up. Aksinya is back in control of herself and to a degree, her world. Natalya is following and keeping up again.
The moment Ernst sees Aksinya, he drops his hat and the flowers. We understand from this that she appears truly ravishing. I try to show you how ravishing she is, but the reaction of Ernst is better than a thousand words. I also continue the running descriptive joke about the style for visiting a tsar. This reminds you that Aksinya is Russian and that she is nobility. I also remind you that her hair is short--we can't ever forget the hair, since it represents the reason she is here and in her predicament.
Ernst is somewhat romantic. Although his letter wasn't a girl's dream, he brings flowers in winter (a very big deal in 1918 Austria). The bouquet is simple. It is a single red rose with purple and light blue flowers around it. In German and Austrian culture a red rose signifies love. By accepting such a gift, a person has accepted the feelings of the giver. You don't bring red roses unless you mean it, and you don't accept them unless you mean it. Thus, we start the evening with Ernst von Taaffe. We shall see how he and Aksinya fair tomorrow.
I said I would mention markers a little. In writing historically based novels, like this one, a key point is to use markers to set the time and place. These markers are significantly different than the usual makers in setting a scene. The reason is that in a real historical novel, time moves. In a nonhistorically based novel, or a novel in a historical setting, time doesn't matter much. You tell your readers once that you are in 1920 and there you are. The time and the novel don't depend on the movement of time. It is as if the world stopped for that novel. In a historically based novel, the world moves around the novel and time in the novel is critical. This is why I am careful to the point of exactly determining the precise days of the calendar for the years, months, and days I am writing about. When I tell you it is Monday the xth, it was really Monday the xth. You can use tricks to make certain you don't trip yourself up, and you can work the days, weeks, and months to make the times work out. In addition, the events of the world should occur within and without the story--that is if they drive the story, plot, or theme. Usually, I like to put letters (dated and with an address), seasonal references (winter, spring, etc.), church season references (Advent, Epiphany, Lent, etc.), historical markers (end of WWI, famous treaty, famous person, etc.) to mark important time events. In my Aegypt novels, the time was so important to the writing, my publisher asked me to put a month, year, and place at the beginning of each chapter. It think that was a great idea. I might add it to this novel, although, I think here the time markers are strong and the movement of the times is both obvious and well marked.
On Thursday, a landau carriage drove up to the front door of Aksinya’s house. The convertible roof was up and the side flaps were tied tightly shut against the cold. The two dark horses blew out great puffs of frosty breath when the driver brought them to a halt. The driver jumped to the street and opened the flap on the house side. Ernst von Taaffe stepped out the landau and walked to the door. He held a small bouquet of flowers in one hand. He knocked on the carved cedar door himself.
Sister Margarethe opened the door to him, “Good evening.”
Ernst pushed past her into the house. He pulled off his top hat, “Good evening, Sister.” He glanced at her for only a moment, “I’m here to pick up that wonderful Lady, the Countess of Golitsyna.” He juggled the top hat and the small bouquet for a moment then handed her his card, “Will you please tell her that Ernst von Taaffe is here to attend her.”
Sister Margarethe took the card then her hand stole to her cheek, “You are here to pick up the Countess?”
“Yes, I am expected. I have an appointment.” He smiled.
Sister Margarethe backed toward the end of the room. As an afterthought, she called back to Ernst, “Please make yourself… comfortable. I shall return presently.”
Aksinya and Natalya almost ran into Sister Margarethe on the stairs. Sister Margarethe pressed her lips together, “A man is here.” She could barely get out the words. Then her eyes finally focused on Aksinya and Sister Margarethe let out a tiny squeak, “You were expecting him?”
“Of course,” Aksinya pushed past the Sister.
Natalya paused a moment beside Sister Margarethe. She smiled and nodded then she continued after her mistress.
Aksinya stepped into the parlor, and Ernst dropped both his hat and the flowers. Aksinya wore a dark blue dress made entirely of satin. The fabric shown brilliantly. Each twinkle of the gaslights reflected in it and blazed. It was an older noble cut, but certainly not out of style for visiting a tsar. The top was covered with brocade—a blue on blue whose design was so intricate, Ernst’s eyes could not discern its entirety in the dim light of the room. A mist of lace floated upward from the brocade to cover Aksinya’s shoulders. That was matched by the lace of the small veiled cap that covered her short hair.
Ernst could only beam when he saw her. He recovered the flowers and dropped to his left knee, “Countess, you are ravishing.” He held out the bouquet, “Please accept this small gift.”
Aksinya took the flowers. She knew it was no small gift. In the middle of winter such a bouquet of fresh flowers was very dear. It was made of a single red rose surrounded by lilacs and edelweiss. She brought them close to her nose. They smelled very pleasant. She smiled behind the bouquet, “Aren’t you being a little presumptive in presenting me with a red rose?”
“Not at all, you accepted it, didn’t you?”
“So I did, Herr von Taaffe.”
We see many indications of wealth here: the carriage, a driver, the clothing, the flowers, a calling card. Ernst had his driver rush--the horses are winded while pulling an almost empty carriage. He has a small bouquet, obviously for Aksinya. Such a bouquet in post WWI Austria would be especially expensive and hard to find. Ernst wants to impress and express his love.
The moment the door opens, Ernst pushes his way into the house. Ernst obviously knows something about Aksinya's house. It should be evident that Ernst has information from another source--how about the demon? He pushes into the house passed Sister Margarethe. He is very polite, but he gets in the door. You always hand your calling card when visiting in this culture and level of society. Note that Ernst is a little nervous and uncomfortable, but tries not to show it.
The moment Sister Margarethe leaves to get Aksinya, she meets Aksinya and Natalya coming down the stairs. The Sister reads Aksinya's face. She knows something is up. Aksinya is back in control of herself and to a degree, her world. Natalya is following and keeping up again.
The moment Ernst sees Aksinya, he drops his hat and the flowers. We understand from this that she appears truly ravishing. I try to show you how ravishing she is, but the reaction of Ernst is better than a thousand words. I also continue the running descriptive joke about the style for visiting a tsar. This reminds you that Aksinya is Russian and that she is nobility. I also remind you that her hair is short--we can't ever forget the hair, since it represents the reason she is here and in her predicament.
Ernst is somewhat romantic. Although his letter wasn't a girl's dream, he brings flowers in winter (a very big deal in 1918 Austria). The bouquet is simple. It is a single red rose with purple and light blue flowers around it. In German and Austrian culture a red rose signifies love. By accepting such a gift, a person has accepted the feelings of the giver. You don't bring red roses unless you mean it, and you don't accept them unless you mean it. Thus, we start the evening with Ernst von Taaffe. We shall see how he and Aksinya fair tomorrow.
I said I would mention markers a little. In writing historically based novels, like this one, a key point is to use markers to set the time and place. These markers are significantly different than the usual makers in setting a scene. The reason is that in a real historical novel, time moves. In a nonhistorically based novel, or a novel in a historical setting, time doesn't matter much. You tell your readers once that you are in 1920 and there you are. The time and the novel don't depend on the movement of time. It is as if the world stopped for that novel. In a historically based novel, the world moves around the novel and time in the novel is critical. This is why I am careful to the point of exactly determining the precise days of the calendar for the years, months, and days I am writing about. When I tell you it is Monday the xth, it was really Monday the xth. You can use tricks to make certain you don't trip yourself up, and you can work the days, weeks, and months to make the times work out. In addition, the events of the world should occur within and without the story--that is if they drive the story, plot, or theme. Usually, I like to put letters (dated and with an address), seasonal references (winter, spring, etc.), church season references (Advent, Epiphany, Lent, etc.), historical markers (end of WWI, famous treaty, famous person, etc.) to mark important time events. In my Aegypt novels, the time was so important to the writing, my publisher asked me to put a month, year, and place at the beginning of each chapter. It think that was a great idea. I might add it to this novel, although, I think here the time markers are strong and the movement of the times is both obvious and well marked.
Wednesday, February 2, 2011
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.
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.
Tuesday, February 1, 2011
A New Novel, Part 121 Another Book of Sorcery
At her aunt and uncle's Advent party, Aksinya is approached by a young gentleman who claims to have her book of sorcery, and who claims to have observed her make the great enchantment outside the Golden Adler Gasthaus. He has her book and knows her secret--he offers her another temptation...
But I have another temptation.”
Aksinya stared at him. An angry scowl set her features.
He didn’t seem to notice Aksinya’s very dangerous appearance, “I have another book that your courtier told me you would desire. It is one you have not seen before.”
Aksinya trembled, “Which book is it?”
“It is the book of Heka…”
“That is ancient Egyptian. It isn’t effective.”
“The Heka I have is Greek. It isn’t death sorcery of the Egyptians but the practice of light. I know you are interested.”
Aksinya took a breath, “If it is a Greek Heka…”
“It is a Greek Heka.”
“What about my book. You stole it.”
“Those are strong words, Countess. You dropped it in the street. I picked it up for you. Who’s to say who such a book belongs to?”
“It is mine, and you know it.”
“I also know that you are a marvelous sorceress, and I wish to entertain you.”
“I will not accommodate any lewd behavior.”
“Lewd behavior? Countess, you mistake my intention. I wish to woo you. I do not wish to seduce you.”
“How can I trust your intentions?”
“I have your book,” he laughed.
“And you blackmail me with it?”
“I only want to take you to dine and to a play, the ballet, or to a concert. Surely that is not lewd.”
“I will bring my lady-in-waiting as a chaperone.”
“You may bring your guardian nun as well.”
Aksinya sat back, “Pardon me then. I did not understand your intentions.”
“My intentions are pure, but I would like to know much, much more about this enchanting sorceress who came to Wien. The moment your courtier described you, I had to meet you.”
Aksinya stared suspiciously at him, “Just where did you meet my courtier?”
A puzzled look crossed Ernst von Taaffe’s features, “I don’t entirely remember, Countess, but wherever and whenever it was, I am thankful for it because that meeting led me to you.”
“You don’t think me plain, diminutive, and unwomanly.”
Ernest von Taaffe bowed his head, “On the contrary, I find you mysterious, powerful, and exciting.” He glanced up, “I will contact you at your house. Please make an evening open for me next week.”
Aksinya sighed, “I will entertain you when you visit. Please return my book.”
Ernst rose, “Not until you attend a dinner and an evening event with me. Then I will discuss the return of your book. It is late or I would ask you to dance. Countess,” he bowed deeply and wandered back to the ballroom floor.
Aksinya slumped in her seat. When Natalya finally returned, Aksinya drank the whole glass of wine and sent Natalya back for more.
Ernst von Taaffe has obviously been conversing with Asmodeus. He knows a lot about Aksinya, and he is infatuated with her. He also is prepared with ammunition to force her to accede to his demands. Aksinya is sensitive to temptation, but she can't fight against it--not against the right kind of temptation. This temptation is a new book of sorcery. If you didn't figure it out already, Aksinya is extremely tempted about new knowledge of sorcery. Ernst knows this is the cap on the temptation. Already he knows her secret, he has her book, now, he tells her he has another book. It is a book she covets.
The conversation continues to details about Aksinya and then turns to Ernst's desires. He wishes to entertain her. Ernst wishes to woo her, and he tells her that because he has her book, she must do as he wishes. He offers to take her to dinner and the theater. Aksinya tells him, she will bring Natalya, and he ups it. Aksinya may bring Sister Margarethe if she wishes. Notice, this is significantly private information that Ernst knows. The depth of his information and his response brings about Aksinya's reply about his intentions.
Aksinya asks where Ernst met Asmodeus, and the young man can't remember. The demon has been busy. This is the point of the demon's work. He works all the time. His plans are insidious and pernicious. Aksinya may realize how powerful they are, but can she really fight against them? Is there any hope for her?
Aksinya counters with a list of her perceived physical issues. He calls her mysterious, powerful, and exciting. We know she is. He makes the date, and Aksinya agrees. She just wants her book--she realizes how dangerous it is in anyone else's hands. He honors her again and explains why he won't ask her to dance--it is too late.
Aksinya drinks the remainder of the evening. Tomorrow, we begin chapter 11.
But I have another temptation.”
Aksinya stared at him. An angry scowl set her features.
He didn’t seem to notice Aksinya’s very dangerous appearance, “I have another book that your courtier told me you would desire. It is one you have not seen before.”
Aksinya trembled, “Which book is it?”
“It is the book of Heka…”
“That is ancient Egyptian. It isn’t effective.”
“The Heka I have is Greek. It isn’t death sorcery of the Egyptians but the practice of light. I know you are interested.”
Aksinya took a breath, “If it is a Greek Heka…”
“It is a Greek Heka.”
“What about my book. You stole it.”
“Those are strong words, Countess. You dropped it in the street. I picked it up for you. Who’s to say who such a book belongs to?”
“It is mine, and you know it.”
“I also know that you are a marvelous sorceress, and I wish to entertain you.”
“I will not accommodate any lewd behavior.”
“Lewd behavior? Countess, you mistake my intention. I wish to woo you. I do not wish to seduce you.”
“How can I trust your intentions?”
“I have your book,” he laughed.
“And you blackmail me with it?”
“I only want to take you to dine and to a play, the ballet, or to a concert. Surely that is not lewd.”
“I will bring my lady-in-waiting as a chaperone.”
“You may bring your guardian nun as well.”
Aksinya sat back, “Pardon me then. I did not understand your intentions.”
“My intentions are pure, but I would like to know much, much more about this enchanting sorceress who came to Wien. The moment your courtier described you, I had to meet you.”
Aksinya stared suspiciously at him, “Just where did you meet my courtier?”
A puzzled look crossed Ernst von Taaffe’s features, “I don’t entirely remember, Countess, but wherever and whenever it was, I am thankful for it because that meeting led me to you.”
“You don’t think me plain, diminutive, and unwomanly.”
Ernest von Taaffe bowed his head, “On the contrary, I find you mysterious, powerful, and exciting.” He glanced up, “I will contact you at your house. Please make an evening open for me next week.”
Aksinya sighed, “I will entertain you when you visit. Please return my book.”
Ernst rose, “Not until you attend a dinner and an evening event with me. Then I will discuss the return of your book. It is late or I would ask you to dance. Countess,” he bowed deeply and wandered back to the ballroom floor.
Aksinya slumped in her seat. When Natalya finally returned, Aksinya drank the whole glass of wine and sent Natalya back for more.
Ernst von Taaffe has obviously been conversing with Asmodeus. He knows a lot about Aksinya, and he is infatuated with her. He also is prepared with ammunition to force her to accede to his demands. Aksinya is sensitive to temptation, but she can't fight against it--not against the right kind of temptation. This temptation is a new book of sorcery. If you didn't figure it out already, Aksinya is extremely tempted about new knowledge of sorcery. Ernst knows this is the cap on the temptation. Already he knows her secret, he has her book, now, he tells her he has another book. It is a book she covets.
The conversation continues to details about Aksinya and then turns to Ernst's desires. He wishes to entertain her. Ernst wishes to woo her, and he tells her that because he has her book, she must do as he wishes. He offers to take her to dinner and the theater. Aksinya tells him, she will bring Natalya, and he ups it. Aksinya may bring Sister Margarethe if she wishes. Notice, this is significantly private information that Ernst knows. The depth of his information and his response brings about Aksinya's reply about his intentions.
Aksinya asks where Ernst met Asmodeus, and the young man can't remember. The demon has been busy. This is the point of the demon's work. He works all the time. His plans are insidious and pernicious. Aksinya may realize how powerful they are, but can she really fight against them? Is there any hope for her?
Aksinya counters with a list of her perceived physical issues. He calls her mysterious, powerful, and exciting. We know she is. He makes the date, and Aksinya agrees. She just wants her book--she realizes how dangerous it is in anyone else's hands. He honors her again and explains why he won't ask her to dance--it is too late.
Aksinya drinks the remainder of the evening. Tomorrow, we begin chapter 11.
Monday, January 31, 2011
A New Novel, Part 120 I Have Your Book
The young man, Ernst von Taaffe knows Aksinya's great secret--she is a sorceress. He insists that she must do as he asks or he will reveal her secret...
He noted the look on Aksinya’s face, “Don’t worry, Countess. Your secret is safe with me, but only if you do as I wish.”
“Who would believe you?”
He brought his face close to hers, “I have your book.”
Aksinya gasped and trembled, “You must give it back.”
“No, no, no, Countess. That is not how the game is played.”
“What do you want from me?”
“Anatov Aznabaev, told me you were a special person. He told me I would find everything I desired with you. He is right. I myself have tried for years to study sorcery. I have been, as yet, unsuccessful.”
“Your body doesn’t seem unduly marked.”
“The scars are well hidden by my clothing. It has not touched my face or hands much.” He pulled her hand toward his face and turned it over. He gently stroked the many scars that marked Aksinya’s fingers, “A successful sorcerer, so says my books, has a multitude of knife scars on their hands. They are from the constant use of blood as a sacrifice.” He turned his face toward hers again, “The smell of the use is strong on you now. You can’t hide it from me. Although, I can’t accomplish any of it, I know its smell. I know its feel. I know its marks.” He kissed the scars on her fingers.
Aksinya finally was able to pull her hand from his, “I asked you what you want?”
“I would like to learn from you, but first I must win your affection.”
“What makes you believe it can be won?”
“You courtier, Anatov Aznabaev told me that you long to find love and someone to share your life. I offer myself. You are exactly the woman I wish to love.”
“My courtier is mistaken. I do not need love or anything else…”
“But you need your book.”
“I have memorized it already.”
“Zut! I know you still desire that book.”
Aksinya raised her chin, “How would you know that?”
“Anatov Aznabaev told me.”
Aksinya snarled, “Anatov Aznabaev, Anatov Aznabaev… do you believe everything my servant tells you?”
“In this case, yes. But I have another temptation.”
Now we know--Ernst took the book. Not only does he know about Aksinya's secret, he has proof--the book. How could things get worse for her? This is why someone might believe Ernst, he has a book of magic that he can tie to Aksinya. One of the threats of Asmodeus when they first came to Wien was that he could reveal Aksinya's proclivities and thus ruin her uncle and aunt. That would ruin Aksinya and Natalya too.
Aksinya is afraid and asks the obvious question: “What do you want from me?” Then begins a short dialog that tells us much in some great detail about sorcery and sorcerers. We knew a lot of this informaiton from before, but now, we get it all together and in a focused manner. We also discover that Ernst has been attempting sorcery for a long time, but has been unsuccessful as yet. Ernst's knowledge of sorcery and his knowledge about sorcerers is dangerous to Aksinya. Then we learn what Ernst wants from Aksinya: “I would like to learn from you, but first I must win your affection.” He wants to be her apprentice and her lover. Aksinya already has apprentice problems. She never thought to have a lover--except in her imagination. I told you she was naive and innocent in many ways. Although she is filled with sexual desire--it is not directed toward anyone but herself. She simply loves herself. Aksinya then imagines she can get out from the problem by ignoring the issue of the book, but Ernst has another temptation for her. Do you note that these temptations seem to well designed and thought out. Who might be their originator?
Tomorrow, the other temptation.
He noted the look on Aksinya’s face, “Don’t worry, Countess. Your secret is safe with me, but only if you do as I wish.”
“Who would believe you?”
He brought his face close to hers, “I have your book.”
Aksinya gasped and trembled, “You must give it back.”
“No, no, no, Countess. That is not how the game is played.”
“What do you want from me?”
“Anatov Aznabaev, told me you were a special person. He told me I would find everything I desired with you. He is right. I myself have tried for years to study sorcery. I have been, as yet, unsuccessful.”
“Your body doesn’t seem unduly marked.”
“The scars are well hidden by my clothing. It has not touched my face or hands much.” He pulled her hand toward his face and turned it over. He gently stroked the many scars that marked Aksinya’s fingers, “A successful sorcerer, so says my books, has a multitude of knife scars on their hands. They are from the constant use of blood as a sacrifice.” He turned his face toward hers again, “The smell of the use is strong on you now. You can’t hide it from me. Although, I can’t accomplish any of it, I know its smell. I know its feel. I know its marks.” He kissed the scars on her fingers.
Aksinya finally was able to pull her hand from his, “I asked you what you want?”
“I would like to learn from you, but first I must win your affection.”
“What makes you believe it can be won?”
“You courtier, Anatov Aznabaev told me that you long to find love and someone to share your life. I offer myself. You are exactly the woman I wish to love.”
“My courtier is mistaken. I do not need love or anything else…”
“But you need your book.”
“I have memorized it already.”
“Zut! I know you still desire that book.”
Aksinya raised her chin, “How would you know that?”
“Anatov Aznabaev told me.”
Aksinya snarled, “Anatov Aznabaev, Anatov Aznabaev… do you believe everything my servant tells you?”
“In this case, yes. But I have another temptation.”
Now we know--Ernst took the book. Not only does he know about Aksinya's secret, he has proof--the book. How could things get worse for her? This is why someone might believe Ernst, he has a book of magic that he can tie to Aksinya. One of the threats of Asmodeus when they first came to Wien was that he could reveal Aksinya's proclivities and thus ruin her uncle and aunt. That would ruin Aksinya and Natalya too.
Aksinya is afraid and asks the obvious question: “What do you want from me?” Then begins a short dialog that tells us much in some great detail about sorcery and sorcerers. We knew a lot of this informaiton from before, but now, we get it all together and in a focused manner. We also discover that Ernst has been attempting sorcery for a long time, but has been unsuccessful as yet. Ernst's knowledge of sorcery and his knowledge about sorcerers is dangerous to Aksinya. Then we learn what Ernst wants from Aksinya: “I would like to learn from you, but first I must win your affection.” He wants to be her apprentice and her lover. Aksinya already has apprentice problems. She never thought to have a lover--except in her imagination. I told you she was naive and innocent in many ways. Although she is filled with sexual desire--it is not directed toward anyone but herself. She simply loves herself. Aksinya then imagines she can get out from the problem by ignoring the issue of the book, but Ernst has another temptation for her. Do you note that these temptations seem to well designed and thought out. Who might be their originator?
Tomorrow, the other temptation.
Sunday, January 30, 2011
A New Novel, Part 119 I Know Who and What You are, Countess
The moment Natalya goes to refresh Aksinya's wine, a young gentleman approaches Aksinya, goes to one knee, and addresses her...
He glanced at her hand and then at her face again and smiled, “You are truly the one, Countess.”
Aksinya took a deep breath, “The one…?”
His smile broadened, “I have met you twice, but we have not been introduced. Please don’t think me forward if I introduce myself. I am Ernst Franz von Taaffe. My father is the Graf von Taaffe. So, you see, we are of nearly equal rank.”
Aksinya tried to pull her hand from his, “Why should that matter to me?”
“Because, first, I am infatuated with you. I warn you, I will do anything to have you. Second, I know exactly what you are…”
Aksinya pursed her lips and yanked her hand back. The man would not let it go. “Where did you meet me?” She hissed.
“Outside the Golden Adler Gasthaus.”
Aksinya’s free hand stole to her face, “You were one of the rapists?”
The furrows in Ernst’s smooth brow deepened, “Dear Countess, surely you don’t count me with that sort. Search your memories. You stared directly at me. You spoke to me. I carried your sweet body back into your house and placed you in your bed. Your blood ruined one of my good suits, but I purposely haven’t thrown it out.”
Aksinya’s eyes widened, “You were that man.”
Ernst’s lips drooped, “Yes, that man…”
Aksinya’s eyes filled with fear. She tried again to pull her hand from his grasp, “Why were you there? What did you see?”
Ernst grinned, “I was there because your courtier, Anatov Aznabaev told me you would be there.”
Aksinya shook her head, “Wait, Anatov Aznabaev.” She whispered a sentence of Latin words under her breath, “Say that name again.”
Ernst repeated, “Anatov Aznabaev.”
And clearly to Aksinya’s ears came, “Asmodeus.” She puffed out her cheeks, “Scheize.”
“Countess! I was led to believe you were a completely refined woman.”
“I don’t care.” She stared at the man, “What do you know?”
“That you are a most wondrous sorceress. I saw everything. You made a great enchantment without any protection. Such power, unbelievable power…” He noted the look on Aksinya’s face, “Don’t worry, Countess. Your secret is safe with me, but only if you do as I wish.”
Now, the plans of Asmodeus are coming to fruition. Did you imagine the actions and the events outside the tavern were there only to tempt Aksinya into sorcery. That was less than half of it. There is much mush more that will come out of that single incident. It is like the widening ripples when you throw a stone into a pond. These ripples will not stop until the accomplishment of everything the demon desires.
The gentle claims to have met Aksinya twice, but he only tells us about one time. The other is left in obscurity and Aksinya doesn't ask him. He introduces himself--this is a faux pas in that culture, but he is of almost equal rank--his father is a count.
I love the imagery of Aksinya trying to pull her hand from his. Do you see that. This isn't the last time. Ernst has made a demand on her--she doesn't wish to accept it. Then the confession of Ernst von Taaffe. He is infatuated with her, and he knows what she is. The what is important. Aksinya asks the obvious question. The answer surprises her. This shouldn't surprise us, Aksinya doesn't look at these details. Unless they are beholden to her, people are unimportant to her.
Ernst reminds her about the events we learned only second hand. That he hasn't thrown out his ruined suit should tell you, he has it bad. Aksinya gets it--he was the man Natalya and Sister Margarethe told her about. The reason Ernst was at the Gasthaus was that Asmodeus told him to come. We see the demon's plans inside of plans inside of plans. We also learn that Asmodeus is acting on his own as Aksinya's courtier. He uses the name Anatov Aznabaev. Aksinya uses sorcery to confirm what she realizes--Anatove Aznabaev is Asmodeus.
Aksinya curses. This surprises Ernst. It shouldn't. He knows she is a sorceress! He saw the enchantment and seems to understand what it meant. He knows Aksinya's greatest sin, and her greatest secret: “Don’t worry, Countess. Your secret is safe with me, but only if you do as I wish.” Tomorrow, we find what Ernst desires from Aksinya.
He glanced at her hand and then at her face again and smiled, “You are truly the one, Countess.”
Aksinya took a deep breath, “The one…?”
His smile broadened, “I have met you twice, but we have not been introduced. Please don’t think me forward if I introduce myself. I am Ernst Franz von Taaffe. My father is the Graf von Taaffe. So, you see, we are of nearly equal rank.”
Aksinya tried to pull her hand from his, “Why should that matter to me?”
“Because, first, I am infatuated with you. I warn you, I will do anything to have you. Second, I know exactly what you are…”
Aksinya pursed her lips and yanked her hand back. The man would not let it go. “Where did you meet me?” She hissed.
“Outside the Golden Adler Gasthaus.”
Aksinya’s free hand stole to her face, “You were one of the rapists?”
The furrows in Ernst’s smooth brow deepened, “Dear Countess, surely you don’t count me with that sort. Search your memories. You stared directly at me. You spoke to me. I carried your sweet body back into your house and placed you in your bed. Your blood ruined one of my good suits, but I purposely haven’t thrown it out.”
Aksinya’s eyes widened, “You were that man.”
Ernst’s lips drooped, “Yes, that man…”
Aksinya’s eyes filled with fear. She tried again to pull her hand from his grasp, “Why were you there? What did you see?”
Ernst grinned, “I was there because your courtier, Anatov Aznabaev told me you would be there.”
Aksinya shook her head, “Wait, Anatov Aznabaev.” She whispered a sentence of Latin words under her breath, “Say that name again.”
Ernst repeated, “Anatov Aznabaev.”
And clearly to Aksinya’s ears came, “Asmodeus.” She puffed out her cheeks, “Scheize.”
“Countess! I was led to believe you were a completely refined woman.”
“I don’t care.” She stared at the man, “What do you know?”
“That you are a most wondrous sorceress. I saw everything. You made a great enchantment without any protection. Such power, unbelievable power…” He noted the look on Aksinya’s face, “Don’t worry, Countess. Your secret is safe with me, but only if you do as I wish.”
Now, the plans of Asmodeus are coming to fruition. Did you imagine the actions and the events outside the tavern were there only to tempt Aksinya into sorcery. That was less than half of it. There is much mush more that will come out of that single incident. It is like the widening ripples when you throw a stone into a pond. These ripples will not stop until the accomplishment of everything the demon desires.
The gentle claims to have met Aksinya twice, but he only tells us about one time. The other is left in obscurity and Aksinya doesn't ask him. He introduces himself--this is a faux pas in that culture, but he is of almost equal rank--his father is a count.
I love the imagery of Aksinya trying to pull her hand from his. Do you see that. This isn't the last time. Ernst has made a demand on her--she doesn't wish to accept it. Then the confession of Ernst von Taaffe. He is infatuated with her, and he knows what she is. The what is important. Aksinya asks the obvious question. The answer surprises her. This shouldn't surprise us, Aksinya doesn't look at these details. Unless they are beholden to her, people are unimportant to her.
Ernst reminds her about the events we learned only second hand. That he hasn't thrown out his ruined suit should tell you, he has it bad. Aksinya gets it--he was the man Natalya and Sister Margarethe told her about. The reason Ernst was at the Gasthaus was that Asmodeus told him to come. We see the demon's plans inside of plans inside of plans. We also learn that Asmodeus is acting on his own as Aksinya's courtier. He uses the name Anatov Aznabaev. Aksinya uses sorcery to confirm what she realizes--Anatove Aznabaev is Asmodeus.
Aksinya curses. This surprises Ernst. It shouldn't. He knows she is a sorceress! He saw the enchantment and seems to understand what it meant. He knows Aksinya's greatest sin, and her greatest secret: “Don’t worry, Countess. Your secret is safe with me, but only if you do as I wish.” Tomorrow, we find what Ernst desires from Aksinya.
Saturday, January 29, 2011
A New Novel, Part 118 The Gentleman
Since Aksinya was introduced at the Advent party, no one except the Abbot and Cardinal have spoken to her. This is just a little too strange. Aksinya has her issues, but she desires to make the acquaintance of someone. Even if it isn't the potential groom her aunt mentioned, she doesn't want to be ignored. She already imagines she is ugly, what does this do for her self-esteem?
Aksinya leaned against the arm of her chair. She put her hand under her chin and gave every indication that she was bored. She was bored. The crowd seemed to move a little further from her. Slowly the party wound down. No one else approached her or her lady-in-waiting. The crowd cleared out a little and Aksinya noted some late arrivals who had not been introduced to her. They didn’t approach her either. They were mostly young men without a female companion or women with an older male escort. Aksinya felt a little piqued that they had not greeted her.
After a while, Aksinya glanced at Natalya, “Lady Natalya, please get me another glass of wine.”
“Would you like something to eat?”
“No, just wine. The very sweet wine Uncle opened just for me. Ask him to open another bottle... or two.”
Natalya smiled then frowned and hurried off.
Almost immediately a young man moved from the ballroom floor and stepped directly up to Aksinya. He dropped to his left knee and bowed his head. He was dressed in finery. Not as fine as the clothing Aksinya wore, but very formal and slightly out of fashion. Aksinya’s Uncle would have approved. His frockcoat was charcoal and his pants were cream colored. His shirt was also cream and everything was pressed to perfection.
Aksinya straightened her back. She couldn’t see anything of his face only the top of his blond head. She wondered if, with such a display, he mocked her. The young man didn’t stand. He lifted his face to hers and reached for her hand. Aksinya was too slow to keep him from taking it. His face was gentle and pleasant. It matched his voice which was almost melodic. Aksinya might have described it as like a snake in a more pointed moment, but it was sweet and calm. His eyes were blue and met hers without apology. He glanced at her hand and then at her face again and smiled, “You are truly the one, Countess.”
Aksinya is bored. No one comes to speak to her (except the least available men at the party). No one asks her to dance. She is stuck in her chair and the protocol of the times doesn't give her any options. Aksinya's main problem is luxuria. Luxuria is the untoward desire (lust) toward anything. Aksinya's desire isn't just peculiarly sexual. It isn't just sorcery. It is also clothing, food, drink (especially wine), furnishings, etc. So, when she is bored, the first thing she desires is to relieve her luxuria. She has been drinking, she sends Natalya for more wine. This is why Natalya smiled then frowned. She realizes Aksinya's problem--at least the luxuria part.
That's when it happens--when Natalya is away. You might have thought it was planned. A young man approaches her and drops to his left knee (that is the way you honor nobility that is at a rank higher than yours). He is well dresses and obviously a gentleman. He is forward, but his manners are impeccable--except when he takes her hand. In polite society, you only take a lady's hand when it is proffered. His words to her: “You are truly the one, Countess.” Tomorrow, who is this gentleman and what does he want?
Aksinya leaned against the arm of her chair. She put her hand under her chin and gave every indication that she was bored. She was bored. The crowd seemed to move a little further from her. Slowly the party wound down. No one else approached her or her lady-in-waiting. The crowd cleared out a little and Aksinya noted some late arrivals who had not been introduced to her. They didn’t approach her either. They were mostly young men without a female companion or women with an older male escort. Aksinya felt a little piqued that they had not greeted her.
After a while, Aksinya glanced at Natalya, “Lady Natalya, please get me another glass of wine.”
“Would you like something to eat?”
“No, just wine. The very sweet wine Uncle opened just for me. Ask him to open another bottle... or two.”
Natalya smiled then frowned and hurried off.
Almost immediately a young man moved from the ballroom floor and stepped directly up to Aksinya. He dropped to his left knee and bowed his head. He was dressed in finery. Not as fine as the clothing Aksinya wore, but very formal and slightly out of fashion. Aksinya’s Uncle would have approved. His frockcoat was charcoal and his pants were cream colored. His shirt was also cream and everything was pressed to perfection.
Aksinya straightened her back. She couldn’t see anything of his face only the top of his blond head. She wondered if, with such a display, he mocked her. The young man didn’t stand. He lifted his face to hers and reached for her hand. Aksinya was too slow to keep him from taking it. His face was gentle and pleasant. It matched his voice which was almost melodic. Aksinya might have described it as like a snake in a more pointed moment, but it was sweet and calm. His eyes were blue and met hers without apology. He glanced at her hand and then at her face again and smiled, “You are truly the one, Countess.”
Aksinya is bored. No one comes to speak to her (except the least available men at the party). No one asks her to dance. She is stuck in her chair and the protocol of the times doesn't give her any options. Aksinya's main problem is luxuria. Luxuria is the untoward desire (lust) toward anything. Aksinya's desire isn't just peculiarly sexual. It isn't just sorcery. It is also clothing, food, drink (especially wine), furnishings, etc. So, when she is bored, the first thing she desires is to relieve her luxuria. She has been drinking, she sends Natalya for more wine. This is why Natalya smiled then frowned. She realizes Aksinya's problem--at least the luxuria part.
That's when it happens--when Natalya is away. You might have thought it was planned. A young man approaches her and drops to his left knee (that is the way you honor nobility that is at a rank higher than yours). He is well dresses and obviously a gentleman. He is forward, but his manners are impeccable--except when he takes her hand. In polite society, you only take a lady's hand when it is proffered. His words to her: “You are truly the one, Countess.” Tomorrow, who is this gentleman and what does he want?
Friday, January 21, 2011
A New Novel, Part 110 The Book--Where is it?
This chapter is about the book. I promised you the setting would tell you that, we finally get to that point in the setting of the chapter. I included the last paragraph to give you the context from yesterday...
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.
“Čort poberí , that blasted devil.”
Natalya covered her ears, “What you said…”
“…is true. He must have taken it.” She glanced back at Natalya, “Have you seen my courtier?”
Natalya shook her head.
“I’m certain he took it.” She grasped Natalya’s hand, “After we have breakfast and before we go to school...”
“We are going to school today?”
“Yes, before we go to school, look in the cellar for my new book. Check the shelves, but don’t let Sister Margarethe see you and don’t forget to relock the door.”
“Yes, Aksinya.”
“Good, now draw my bath. I feel wonderful today.”
Natalya smiled.
I've been asked about the pacing in and of scenes. This isn't the best example, but I'll forget about the topic if I don't get to the point. Within a scene, the careful writer attempts to control the pace that the action moves with the way the scene is written. For a quick back and forth dialog, the writer will not give beats (he smirked, she glanced) or conversational indicators (asked, told, replied, the dreaded said (I try to never use it) etc.). Likewise when it is important to slow the conversation and make the reader dwell on the words, the writer will insert more than the normal beats or indicators. In fact, the purpose of the little markers in conversation, for example the first one today: 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.” was to make you slow down to a reading crawl so you would note the statement Aksinya made--hers is a very important statement. The actions of Aksinya draw out this point in the conversation. You might note the many "glances" in my writing. I don't have a glance fetish. I use this as a means to get to you imagine the other person in the conversation or the scene. If you focus on the other person, just as the character is at that moment, you too will begin to imagine the whole of what is going on within the scene.
In action scenes, the writer shortens up the verbiage and the sentences to give the reader a sense of the action. Also, the writer can slow the action down intentionally to draw out the important points. If the purpose of the writing is the theme, this is much more than the pace of the story or the plot. In other words, when you read in my writing an action scene, I don't write it the way many of my contemporaries do. They might write wholly for the action--the entire scene is terse and tight. I want to draw out the theme and the plot as well as the story. When I pull up the reigns, you know there is a reason. That's pacing in scenes.
For pacing of scenes we are talking about how the scenes fit into each other. Something I dislike in contemporary fiction is one action scene backing directly into another and another and so on. It is like a string of jokes without a punchline. I try to pace scenes to build and build and build to a climax--what I've called a pivotal scene before. A pivotal scene is the scene that literally the whole novel (or parts) have driven to. The power in this type of writing is that the reader feels the depth of it and knows the writer isn't wasting their time. If every bit of the writing supports the overall storyline, plot, and theme, nothing is wasted. Further, in the pacing of scenes, the reader gets a reprieve from the action. Don't get me wrong, there is still action going on, but the reader can take a breath. The reader can take a sip of the writing and not a gulp. The reader can feel comfortable again. The example of this is the attempted rape of Natalya and Sister Margarethe. You knew something was brewing for a long time. You could feel it in the story and plot (the theme should have you always a little tense in this novel). When Aksinya made her great enchantment, it was as if the world was suddenly resolved. When she was healed, the world came right for the reader. The pacing in the scene was slightly fast with breaks for key points to be made: the gentleman, the conversation with the demon, etc. The pacing of the scenes was action (the great enchantment), then relief (the aftermath), then action (healing Aksinya), then relief again, and now this gentle interlude. Such pacing is not and should not be formulaic, but it is keyed into the plot to give time for the reader to feel comfortable again and yet with an underpinning of tension as we build to the next climax (pivotal scene). Through this journey, as I mentioned, the reader should capture that the writer isn't wasting their time with anything extraneous. The novel moves on, and every tiny gesture and word has a place that cannot be changed without harm to the whole. Pacing in and pacing of scenes.
The transition from Aksinya's statement about her fall to the book is an example of this. Look at the action implied and explicit in this small transition: "But…” then Aksinya placed her fingers over Natalya’s lips, “Hush. I need to know where my book is.” You know why the book is important to her. This is just another link and a incomplete piece of the plot you know must come whole at some point. Within the trappings of this small exchange, we get more and more out of Aksinya. The small keys in the dialog: “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.” In this, I remind you about the gentleman--he is an incomplete piece you know will come whole.
Then Aksinya curses: “Čort poberí , that blasted devil.” Natalya's reaction should be expected--good girls don't curse, but Aksinya is not a good girl. Aksinya thinks the demon has taken her book. Then more setting, they are going to school.
I never mentioned that I like to place a small kicker at the end of every scene. You should expect it in my writing--it is my style. Note the trust Aksinya has given her lady-in-waiting--Natalya has the keys to the household (lock the door to the cellar, she has a key to Aksinya's sanctum).
Finally, the end of the scene and the kicker: “Good, now draw my bath. I feel wonderful today.” then Natalya smiled. Why did she smile? Remember, nothing is extraneous in the writing. She smiled for many reasons. The first is that when all is right with Aksinya, all is right for her handmaiden (her worshiper). Second, the trust Aksinya gave to Natalya and not Sister Margarethe (the key, the cellar, the mission to look for the book). The third, Natalya is happy (with school, with Aksinya, with her world).
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.
“Čort poberí , that blasted devil.”
Natalya covered her ears, “What you said…”
“…is true. He must have taken it.” She glanced back at Natalya, “Have you seen my courtier?”
Natalya shook her head.
“I’m certain he took it.” She grasped Natalya’s hand, “After we have breakfast and before we go to school...”
“We are going to school today?”
“Yes, before we go to school, look in the cellar for my new book. Check the shelves, but don’t let Sister Margarethe see you and don’t forget to relock the door.”
“Yes, Aksinya.”
“Good, now draw my bath. I feel wonderful today.”
Natalya smiled.
I've been asked about the pacing in and of scenes. This isn't the best example, but I'll forget about the topic if I don't get to the point. Within a scene, the careful writer attempts to control the pace that the action moves with the way the scene is written. For a quick back and forth dialog, the writer will not give beats (he smirked, she glanced) or conversational indicators (asked, told, replied, the dreaded said (I try to never use it) etc.). Likewise when it is important to slow the conversation and make the reader dwell on the words, the writer will insert more than the normal beats or indicators. In fact, the purpose of the little markers in conversation, for example the first one today: 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.” was to make you slow down to a reading crawl so you would note the statement Aksinya made--hers is a very important statement. The actions of Aksinya draw out this point in the conversation. You might note the many "glances" in my writing. I don't have a glance fetish. I use this as a means to get to you imagine the other person in the conversation or the scene. If you focus on the other person, just as the character is at that moment, you too will begin to imagine the whole of what is going on within the scene.
In action scenes, the writer shortens up the verbiage and the sentences to give the reader a sense of the action. Also, the writer can slow the action down intentionally to draw out the important points. If the purpose of the writing is the theme, this is much more than the pace of the story or the plot. In other words, when you read in my writing an action scene, I don't write it the way many of my contemporaries do. They might write wholly for the action--the entire scene is terse and tight. I want to draw out the theme and the plot as well as the story. When I pull up the reigns, you know there is a reason. That's pacing in scenes.
For pacing of scenes we are talking about how the scenes fit into each other. Something I dislike in contemporary fiction is one action scene backing directly into another and another and so on. It is like a string of jokes without a punchline. I try to pace scenes to build and build and build to a climax--what I've called a pivotal scene before. A pivotal scene is the scene that literally the whole novel (or parts) have driven to. The power in this type of writing is that the reader feels the depth of it and knows the writer isn't wasting their time. If every bit of the writing supports the overall storyline, plot, and theme, nothing is wasted. Further, in the pacing of scenes, the reader gets a reprieve from the action. Don't get me wrong, there is still action going on, but the reader can take a breath. The reader can take a sip of the writing and not a gulp. The reader can feel comfortable again. The example of this is the attempted rape of Natalya and Sister Margarethe. You knew something was brewing for a long time. You could feel it in the story and plot (the theme should have you always a little tense in this novel). When Aksinya made her great enchantment, it was as if the world was suddenly resolved. When she was healed, the world came right for the reader. The pacing in the scene was slightly fast with breaks for key points to be made: the gentleman, the conversation with the demon, etc. The pacing of the scenes was action (the great enchantment), then relief (the aftermath), then action (healing Aksinya), then relief again, and now this gentle interlude. Such pacing is not and should not be formulaic, but it is keyed into the plot to give time for the reader to feel comfortable again and yet with an underpinning of tension as we build to the next climax (pivotal scene). Through this journey, as I mentioned, the reader should capture that the writer isn't wasting their time with anything extraneous. The novel moves on, and every tiny gesture and word has a place that cannot be changed without harm to the whole. Pacing in and pacing of scenes.
The transition from Aksinya's statement about her fall to the book is an example of this. Look at the action implied and explicit in this small transition: "But…” then Aksinya placed her fingers over Natalya’s lips, “Hush. I need to know where my book is.” You know why the book is important to her. This is just another link and a incomplete piece of the plot you know must come whole at some point. Within the trappings of this small exchange, we get more and more out of Aksinya. The small keys in the dialog: “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.” In this, I remind you about the gentleman--he is an incomplete piece you know will come whole.
Then Aksinya curses: “Čort poberí , that blasted devil.” Natalya's reaction should be expected--good girls don't curse, but Aksinya is not a good girl. Aksinya thinks the demon has taken her book. Then more setting, they are going to school.
I never mentioned that I like to place a small kicker at the end of every scene. You should expect it in my writing--it is my style. Note the trust Aksinya has given her lady-in-waiting--Natalya has the keys to the household (lock the door to the cellar, she has a key to Aksinya's sanctum).
Finally, the end of the scene and the kicker: “Good, now draw my bath. I feel wonderful today.” then Natalya smiled. Why did she smile? Remember, nothing is extraneous in the writing. She smiled for many reasons. The first is that when all is right with Aksinya, all is right for her handmaiden (her worshiper). Second, the trust Aksinya gave to Natalya and not Sister Margarethe (the key, the cellar, the mission to look for the book). The third, Natalya is happy (with school, with Aksinya, with her world).
Wednesday, January 12, 2011
A New Novel, Part 101 The Great Enchantment
Natalya and Sister Margarethe are about to be raped in the streets. The demon has proposed multiple solutions most of which will not work. He is driving Aksinya to some course of action. The obvious solution is what the demon told Aksinya he could do for her a long time ago--I can murder in your name. Aksinya is driven into a corner. She is fighting against the demon and has had a tiny success when he could not strip her to do his will. Now we will see what Aksinya has decided to do...
Natalya and Sister Margarethe writhed on the ground. Their attackers just now reached for the buttons on their pants and knelt on the hard cobbles before the two women in preparation to violate them. Aksinya lifted up a prayer as a great cry. She grasped the crucifix around her neck through her clothing and dropped her book. It fell at her feet.
The demon leaned toward her. His sulfurous breath touched her face, “That will do you no good. That guy isn’t listening to you. He never did before, and He certainly isn’t going to start now.”
Aksinya’s cries turned into a Latin curse. She began to shout in Latin. Her words flowed faster and faster.
The demon stepped back, “You can’t do that spell without preparation.” He reached for her. The smell of sulfur increased.
The young man stood helpless with his arms at his side. We stared at Aksinya. Natalya and Sister Margarethe stopped moving and stared at Aksinya. Her words were strange and a glow began to encompass her.
The men around Natalya and Sister Margarethe stopped and turned to stare.
Asmodeus’ clawed hand nearly touched Aksinya, but he flinched and pulled it back, “You can’t do that spell without a magic circle. It will bring the force of the world back on you. It may kill you. I can’t allow you to do it.”
Aksinya ignored him or didn’t hear him. She raised her hands and cried out a terrible word in Latin. The world stopped for a moment. All the passion in every person there suddenly disappeared. In that moment, the men from the tavern were gone. They were no longer there. It was as though they disappeared with all the passion and lust and emotion that had encompassed them in that moment.
As if it was an afterthought, the demon was suddenly gone too.
Aksinya let out another cry. She screamed. She felt something powerful around her, suffocating her. Then the pain filled her from head to toe. She heard a snapping like brittle sticks being broken, and fell to her knees. The crucifix on her chest seared her skin. She thought she smelled scorched silk and flesh. She doubled over and heaved and heaved again. She lost her breath and sucked in a lungful of vomit and choked. She collapsed to the street in agony. She couldn’t breath and in a moment blessed oblivion caught her.
Now we have reached the climax of this scene and a pivotal point in the novel. The men from the tavern are about to rape Natalya and the Sister Margarethe. Aksinya cries out a prayer. She drops her book of sorcery. She grasps her crucifix. The demon taunts her about her prayer and Aksinya turns her prayer into a "great" enchantment. This is why I told you all about "big" sorcery and "little" sorcery yesterday. You didn't really need my explanation to understand what is going on, but with that revelation, everything should make sense (remember, I don't like to tell my readers everything, but I'm reveling trade secrets to you).
The demon explains everything to you--you can't do that spell without preparation. He can't stop her. Everyone's attention is suddenly on Aksinya. Her words and her power course through the place. They all watch her.
The demon gives you more of the revelation, a small piece, you can't make that spell without a magic circle. The power of the world will be reflected back on you and you might die. If you wondered why a sorcerer requires a protective circle--this is it. Aksinya doesn't listen. We know she wishes to die, but that she is too afraid to die. We know she wants to be free of the demon. She has opposed him once with the crosses. She thinks she can do it again with this spell. Note that she still opposes God. She is using her own power and her own knowledge to fight the demon. She realizes she might die, but she will take that risk. The demon's fear is interesting. He doesn't want her to die--will he then be in default?
Aksinya's spell is successful. Suddenly, the passion of the men is gone, and they are gone. I don't give you a lot of details about what exactly happens--that will be partially answered in the future because Aksinya doesn't know exactly what happened. This is part of the point I've made before--don't tell your readers everything. Don't let your readers know more than the main character knows--that's one way you build tension and mystery. The rest of the answer will be to a degree given in the novel, but not here. The demon is also gone--for a while.
Then we see the results of Aksinya's enchantment as it affects her. The power of the world hits her. This is the power of God in the world. The protective circle protects the sorcerer from the backlash of the power of God, and Aksinya is struck by it. The sounds of snapping twigs are her bones. Her injuries are great and we shall see tomorrow the result of her actions.
On another note, I finished the third rewrite of the novel and am still working on it. Yesterday, I put it together for the first time as a single document. I write in chapters and make each chapter in the document a separate file. This is for protection in case of loss, and a habit from the days when a full novel wouldn't fit into a single file. I put the entire novel together in a single linked master outlined document and format it there. I still work on the individual chapters as single files. In any case, the novel is about 121,500 words, and is still a very tight novel. There isn't an extraneous scene in it.
Natalya and Sister Margarethe writhed on the ground. Their attackers just now reached for the buttons on their pants and knelt on the hard cobbles before the two women in preparation to violate them. Aksinya lifted up a prayer as a great cry. She grasped the crucifix around her neck through her clothing and dropped her book. It fell at her feet.
The demon leaned toward her. His sulfurous breath touched her face, “That will do you no good. That guy isn’t listening to you. He never did before, and He certainly isn’t going to start now.”
Aksinya’s cries turned into a Latin curse. She began to shout in Latin. Her words flowed faster and faster.
The demon stepped back, “You can’t do that spell without preparation.” He reached for her. The smell of sulfur increased.
The young man stood helpless with his arms at his side. We stared at Aksinya. Natalya and Sister Margarethe stopped moving and stared at Aksinya. Her words were strange and a glow began to encompass her.
The men around Natalya and Sister Margarethe stopped and turned to stare.
Asmodeus’ clawed hand nearly touched Aksinya, but he flinched and pulled it back, “You can’t do that spell without a magic circle. It will bring the force of the world back on you. It may kill you. I can’t allow you to do it.”
Aksinya ignored him or didn’t hear him. She raised her hands and cried out a terrible word in Latin. The world stopped for a moment. All the passion in every person there suddenly disappeared. In that moment, the men from the tavern were gone. They were no longer there. It was as though they disappeared with all the passion and lust and emotion that had encompassed them in that moment.
As if it was an afterthought, the demon was suddenly gone too.
Aksinya let out another cry. She screamed. She felt something powerful around her, suffocating her. Then the pain filled her from head to toe. She heard a snapping like brittle sticks being broken, and fell to her knees. The crucifix on her chest seared her skin. She thought she smelled scorched silk and flesh. She doubled over and heaved and heaved again. She lost her breath and sucked in a lungful of vomit and choked. She collapsed to the street in agony. She couldn’t breath and in a moment blessed oblivion caught her.
Now we have reached the climax of this scene and a pivotal point in the novel. The men from the tavern are about to rape Natalya and the Sister Margarethe. Aksinya cries out a prayer. She drops her book of sorcery. She grasps her crucifix. The demon taunts her about her prayer and Aksinya turns her prayer into a "great" enchantment. This is why I told you all about "big" sorcery and "little" sorcery yesterday. You didn't really need my explanation to understand what is going on, but with that revelation, everything should make sense (remember, I don't like to tell my readers everything, but I'm reveling trade secrets to you).
The demon explains everything to you--you can't do that spell without preparation. He can't stop her. Everyone's attention is suddenly on Aksinya. Her words and her power course through the place. They all watch her.
The demon gives you more of the revelation, a small piece, you can't make that spell without a magic circle. The power of the world will be reflected back on you and you might die. If you wondered why a sorcerer requires a protective circle--this is it. Aksinya doesn't listen. We know she wishes to die, but that she is too afraid to die. We know she wants to be free of the demon. She has opposed him once with the crosses. She thinks she can do it again with this spell. Note that she still opposes God. She is using her own power and her own knowledge to fight the demon. She realizes she might die, but she will take that risk. The demon's fear is interesting. He doesn't want her to die--will he then be in default?
Aksinya's spell is successful. Suddenly, the passion of the men is gone, and they are gone. I don't give you a lot of details about what exactly happens--that will be partially answered in the future because Aksinya doesn't know exactly what happened. This is part of the point I've made before--don't tell your readers everything. Don't let your readers know more than the main character knows--that's one way you build tension and mystery. The rest of the answer will be to a degree given in the novel, but not here. The demon is also gone--for a while.
Then we see the results of Aksinya's enchantment as it affects her. The power of the world hits her. This is the power of God in the world. The protective circle protects the sorcerer from the backlash of the power of God, and Aksinya is struck by it. The sounds of snapping twigs are her bones. Her injuries are great and we shall see tomorrow the result of her actions.
On another note, I finished the third rewrite of the novel and am still working on it. Yesterday, I put it together for the first time as a single document. I write in chapters and make each chapter in the document a separate file. This is for protection in case of loss, and a habit from the days when a full novel wouldn't fit into a single file. I put the entire novel together in a single linked master outlined document and format it there. I still work on the individual chapters as single files. In any case, the novel is about 121,500 words, and is still a very tight novel. There isn't an extraneous scene in it.
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