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

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

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

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

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

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

The four plus one basic rules I employ when writing:

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

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

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

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

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

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

Scenes - Scene Setting, Determination

15 March 2013, Scenes - Scene Setting, Determination

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.

Aksinya's decision was to go to confront her own sin and crime.  This is the beginning of a chapter and a new scene.  Notice the setting.  We ended in Aksinya's room and we begin again in her room.  The time is very early next morning.  The characters and place are set by narration.  Most of the beginning of this scene is narration and description.  I give you domestic details, and you can see in them the preparation and thoughts of Aksinya.

Aksinya woke very early the next morning.  She stood in the darkness and folded her blanket.  She straightened her dress.  She hadn’t bathed much since she came here.  She was certain she smelled, but that couldn’t be helped.  She tried to smooth her hair.  That was impossible.  Ekaterina usually brushed it in the morning for her.  It was not long enough to braid properly, but it wasn’t short enough to not be a problem.  It just touched her shoulders.  She had no mirror and was glad of it.  She couldn’t stand to look at herself.  It was too dark anyway.  She brought out her rosary and quickly said the first decade and the last prayer.  She would complete them later.  She crossed herself then lovingly drew her hand over the leather cover of the Greek Bible.  She wanted to take it with her, but she knew she couldn’t.  It wasn’t really hers.  She had memorized most of the Gospels and Acts.  She wanted to begin to memorize Paul’s letters next. 

Aksinya turned abruptly and stepped to the door of her room.  Although nothing changed, the room seemed to darken.  She felt for the handle and pulled the door open.  Her hand stretched out to the wall at her right.  With her right hand trailing against the wood, she followed the hall to the back of the rectory.  The outside door only halted her for a moment—it was bolted but not locked.  She went out through it to the small backyard where she and Ekaterina hung the wash every Wednesday.  In the predawn night, the low clouds reflected enough light for her to see.  Aksinya’s eyes were so accustomed to the dark, it seemed almost bright to her.  The thin gate that led outside the yard had a simple wooden latch.  She opened it and in the predawn, exited into the street outside the rectory. 

Aksinya knew generally where she was within the city, but she wasn’t certain how she should go.  She recalled little of her flight here.  She only remembered the stone wall that lay on her left the entire time.  Aksinya tentatively placed her right hand on the wall at the street outside the rectory and began to walk up the street. 

The morning was cold, and her breath formed gentle swirls in the air.  Her clothing was insufficient for the day, but she didn’t have a cloak anymore.  She could only imagine with regret her warm mink cloak.   As she walked, the morning clouds seemed to descend.  They enclosed her, but she kept her hand on the right hand wall and continued along the cold cobblestone street.

Around her, she could hear and smell the city come awake.  The rich fragrance of coffee filled the air.  She smelled butter and eggs as they cooked.  Somewhere bacon sizzled and the scent of the hot grease flowed into the street.  Aksinya remembered bacon.  Her mouth watered.  Her empty stomach rumbled.

The muted conversation of waking mothers and fathers came to her.  She heard crying babies.  The creaking of harness and wheels moved in and out of the fog.  She caught the nicker of horses and their heavy hooves on the cobbles.  As of yet, none of this came within her sight.  The fog pressed down against her and kept it all hidden from her.  She could tell the world was lightening.  She could feel a little warmth seep into the cold late winter morning.

Aksinya didn’t stumble.   She didn’t falter.  She kept moving forward.  Slowly shapes began to appear in the fog.  A lampman passed her on the other side of the street.  She recognized him because he carried a long taper and a tool that he used to cut off the gas at each lamp.  The light of the morning already dimmed the blaze from the gaslamps.  It was too early for the beggars and too late for the prostitutes to be in the streets.   

Aksinya is on her way.  This is the very thing Dobrushin wanted to prevent.  It is not the thing Makar wished to happen.  Aksinya has taken control of herself and her actions.  The result can only be tragedy.

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

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

Scenes - Scene Setting, Redemption

13 March 2013, Scenes - Scene Setting, Redemption

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 beginning of this scene is a movement in time.  The scene setting gives you that time motion and the place is understood from the context.  The next scene sets the time on Saturday following the morning prayers.  So we have time moving and then catch the plot to that point. 

In this scene, the point is to continue the tension building as well as the plot and theme development.  The point of this novel is the redemption of Aksinya; therefore, she needs to be redeemed.  A classic redemption is depicted through these scenes.  The redemption isn't wholly physical--although Aksinya changes.  The redemption is mental--she changes the way she thinks.  Instead of incantations, she recites prayers.  Instead of magic books, she reads the New Testiment.

This is how Aksinya’s days progressed with only the variation of the domestic work of the rectory and Ecclesia.  Every evening, Aksinya asked about Natalya, but she received no information.  Father Makar explained every time she asked that he still sought the Lady Natalya, but that no one knew what had happened to her.

On Saturday following the morning prayers, Ekaterina prepared to take Aksinya with her to the market, but Father Dobrushin blocked the door when Aksinya tried to leave the rectory. 

Ekaterina pursed her lips, “What’s wrong Father Dobrushin.  The Countess can help me with carrying everything.  She will be very helpful.”

Aksinya stood silent.

Father Dobrushin answered carefully, “I don’t think she should appear in the marketplace.  Right now, until we determine what is going on, she should remain in the Ecclesia.”

Ekaterina glared at him, “I would like her to accompany me, and I’m certain she would like to go out.”

Father Dobrushin sighed, “I will get a Greek Bible for the Countess to study today.  That will make up for missing the market.”

Aksinya didn’t raise her head, “I would like to study.”

Ekaterina made a face, but she turned, “Very well.  I’ll be back before midday communion.  Father Dobrushin, look after my charge.”

Father Dobrushin’s face was very serious, “I shall.”  After Ekaterina was out of the sight, Father Dobrushin gestured toward Aksinya.  She wasn’t watching.  He cleared his throat, “Countess.”

She glanced up, “Yes.”

“Come with me.  I’ll give you an old Bible to study.  It is a little worn, but you should be able to read it without any problem.” Father Dobrushin led Aksinya to the side of the ark, “Wait here.  I’ll get the Bible.”  He went between the rails and to the back of the ark.  After a few moments, he returned with a large book in his hands.  He handed it to Aksinya, “You may read this all you like.”

“May I take it to my room?”

“Yes.  If you have nothing else you need to do, you should study it now.”

Aksinya clasped the large book to her chest.  The place still stung between her breasts where the crucifix had burned her.  She took the Bible back to her room and began to read it.  She was so intrigued with what she read, Ekaterina had to retrieve her for the midday communion.  Following communion, Aksinya continued to read until Ekaterina called her to come help with supper.  Aksinya dragged herself away from the book and went to help.

After dinner, Aksinya begged a taper from Ekaterina and continued to read until the wax and floss was entirely gone.  Then she prayed her rosary until she fell asleep.  Her last prayer was that she might have light to spare so she could spend enough time to memorize the Greek Bible Father Dobrushin had lent her.

After that, Aksinya’s days were completely filled with her work, prayer, and memorization of the Greek Bible.

Aksinya is acclimating to the environment of the Ecclesia.  She is becoming a part of them.  She is being rehabilitated by the people there.  She knows this and goes along with it.  The point is to build the tension slowly out of the climax.  If you have already ready all the Aksinya then you know how everything works out.  If you haven't, note the details of the environment painted by the scenes and the mindset of Aksinya.

 

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.

A New Novel, Part 273 Nothing is Certain

4 July 2011, A New Novel, Part 273 Nothing is Certain

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 is on trial in Wien, Austria.  The presiding judge found Aksinya not guilty of the fraud charges against her.  He did so because her debt had already been paid.  The judge then released the court for lunch.  Father Dobrushin and Aksinya head for the luncheon room in the Rathaus...

Sergeant Nagel led Aksinya and Father Dobrushin into the private luncheon room within the Rathaus.  They sat at a private table near the back of the chamber.  Aksinya appeared completely out of place there.  Her hair had not been properly brushed in weeks.  Her dress was wrinkled and stained beyond the bloody crosses that marked it.  It had been the dress of a drudge to begin with.  She had not had a bath either—not in a long while.  She glanced at Father Dobrushin in his clean and well pressed suit and stood, “I don’t belong here.”

Father Dobrushin didn’t look at her, “Sit down, now.  Judge Richter sent you here so you would not have to face the reporters yet.”

She sat, “Yet?”

“When you win and are redeemed, you will have to answer some of their questions.  When that happens, I suggest you keep quiet and allow me to speak for you.”

“I will win?  What does that mean?”

“It means that you will be found not guilty and you will be released.”

“This is certain?”

“Nothing is certain.  All I know is that I will do everything I can to save you.”

“Perhaps you are the foolish one.  What do you gain from all this?  I can’t pay your bill.  In fact, who did pay my bills on the remaining claims?”

“I did.”

“You did?  Why would you do that for me?”

“Right now, I want you to eat something nice and have tea the way you like it.”

“I like tea best the way Natalya makes it for me.”

Father Dobrushin smiled, “You act as though nothing happened to estrange you from anyone else in the world.”

“Because I can’t control what anyone else does.  I can only control what I do or think.  I learned that long before I met the demon.  He just reminded me of it.”

Father Dobrushin couldn’t say anything after that.  He ordered then both lunch and tea.

The most revealing conversations are many times those that have little to do with the here and now within a novel.  This little scene in the luncheon room is this type of scene.  You must take into account that this is pure chapter setting and scene setting.  The purpose of this scene is to propel the chapter and to move the theme of the novel.  So let's look at the elements of the scene and the chapter setting.

First, the scene is set by comparison.  I don't need to go into great detail on the scene setting--that is narrative description, because I use a direct comparison between the place and Aksinya herself.  She is the focus of the chapter and the novel.  She gets the billing and she is the comparison here.  I describe her clothing and appearance and that is the comparison.  You can see the room and setting through this.  That is the purpose and it is a dual purpose: first, you see Aksinya and second, you see the scene.  I do give you a third for free--Father Dobrushin's appearance.

Father Dobrushin is all business.  He simply instructs Aksinya to sit and explains why the judge sent her to the luncheon room.  We know there is much more to this, but it does not need to be said.  By the way, you know Aksinya is not grand standing.  She is serious, but Father Dobrushin is too.  Aksinya is just too unsophisticated to understand what is going on.  I also use this to remind you of the reporters and to move to the point I want to make in this scene.  This is the question of Aksinya's redemption.

In this scene, I use very specific vocabulary to make a point about the entire chapter.  The point is that Father Dobrushin is going to save Aksinya.  The bills were paid by Father Dobrushin.  We guessed this--I wanted to make sure it was certain in your mind.  Aksinya has nothing to offer, but still Father Dobrushin has given his wealth, expertise, and...we shall see for Aksinya.

Father Dobrushin deflects Aksinya's question about why he would do these things for her.  His statement: “Right now, I want you to eat something nice and have tea the way you like it.”  Allows me to bring up Natalya.  Natalya is an important question and part of this chapter--remember chapter setting.

Father Dobrushin's question is one of forgiveness and acceptance.  Aksinya has accepted everything in stride.  It is not that she doesn't care about it, the point is that she has accepted her lot and is ready to accept any punishment.  She believes she deserves great punishment and wants to be punished.

Aksinya's response is an important one.  It is absolutely true and a great truth: “Because I can’t control what anyone else does.  I can only control what I do or think.  I learned that long before I met the demon.  He just reminded me of it.”   With this statement, we know Aksinya was wise, but she has reached a point where her wisdom could be a force for goodness instead of evil.  That is the ultimate point--she has been and is about to be redeemed.  Tomorrow, the trial continues.

A New Novel, Part 105 The Accusation of Lust

Aksinya made a great enchantment to save her friend.  She made another great enchantment to save her life.  When she woke the first time, the woman she most fears was beside her.  When she wakes again, the same woman, Sister Margarethe is there.

When Aksinya woke again, Sister Margarethe held her hand. Aksinya pulled it out of the nun’s grasp, “Don’t touch me.”

“I…I’m sorry, Countess.”

“I don’t want you in my room.”

“The Reverend Mother said I could look after you.”

“Why are you here, anyway?”

Sister Margarethe closed her eyes and put her hands together.

“I asked you a question.”

“The Lady Natalya and I have been looking after you since you collapsed in the street.”

“You brought me back here?”

“No, a young man carried you here. The Lady Natalya suggested it.”

Aksinya closed her mouth.

“The Lady Natalya told us that this was your house. She explained about how you had to flee Russia and set up everything here. You didn’t need to keep it a secret.”

Aksinya glared at her.

“I realize you wanted to keep the existence of this place from us. I think I understand how you wanted to blend in with the other girls…”

“Then why did you follow and spy on me?”

“The Reverend Mother instructed me to keep a special eye on you…I didn’t mean to spy. We were worried about you.”

“Why do you care about me at all?”

Sister Margarethe colored, “You are one of our students. You are a special student.”

“Is that all?”

Sister Margarethe glanced at the door, “I…we love you.”

Aksinya wrinkled her lip, “Love me. I realize what you think about me. You feel lust in your heart for me. You want me that way…that’s why I don’t want you alone with me.”

Sister Margarethe stared in shock. She didn’t say a thing.

Aksinya looked smug.

Asmodeus convinced Aksinya that Sister Margarethe has sexual desire for her.  This shocked Aksinya so much that she didn't take the time to question the demon's statements.  This was a revelation that the reader will not know (yet might guess), but I wanted to give you a heads up.  This explains Aksinya's reaction--and perhaps the Sister's.

Aksinya's statement that she doesn't want the Sister in her room is direct and partially misinterpreted by the Sister.  In this dialog, the two are talking passed each other.  Aksinya doesn't dare state what is on her mind--for many reasons.  In spite of this, we learn a lot about what is going on.  Aksinya interrogates the Sister.  We find that the Reverend Mother knows about the house.  We discover that a young man carried Aksinya to her bed.

Sister Margarethe tells us that they understood that Aksinya wanted to blend in so she kept the house secret.  This is a blatant misconception.  Aksinya never tried to blend in anywhere.  That idea was never in her mind.  That the sisters thought it of her was informative on lots of levels.  Aksinya lets that one go by--it's a worthwhile misconception for her to use.

Aksinya drills in on the point she wants to know, but she does it from the side.  Sister Margarethe's reactions are informative.  I...we love you.  Then Aksinya pounces.  Sister Margarethe is in shock from Aksinya's accusations.  Is her shock due to the revelation.  Is she astounded that Aksinya would make such an accusation.  Is it because she is embarrassed or offended or angry?  Aksinya thinks she has it all figured out.  Do we.  Do we know what is really going on here.  I've tried to direct and misdirect you.  If you review the writing, I never told you one way or the other about the truth or falsehood of the demon's claims.  My writing was intentionally ambivalent.  Tomorrow, the answer to this important question, and an important marker in the potential redemption of Aksinya.