Scenes - Scene Setting, Time, Place, and Tension

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

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

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

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

Here are my rules of writing:

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

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

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

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

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

Every scene has these parts:

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

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

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

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

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

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

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

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

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

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

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques.

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

Scenes - Scene Setting, Writing in Writing Examples

13 November 2012, Scenes - Scene Setting, Writing in Writing Examples

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.

A diary or a personal note can also provide a time marker that allows you to set the time in a scene. All of these methods are used too seldom by authors. They also provide a pause or break in the writing.

You might ask why have a pause or a break in your writing? When you design a scene, the purpose is to entertain. If you have a very action oriented scene, the natural pause is when the action stops. This isn't true in a less action oriented scene. In such a scene, it many times makes sense to break up the action (lack of action) somehow. You can move from conversation to description or from conversation to action description, but this may not fit the time and place. You can very easily have a character read or write. The reading or writing can be conveyed through a note, diary, letter, newspaper, table card, calling card, etc. This provides a natural break in the writing.

I use these types of techniques more than once a novel. Many novels fit them very well. For example, in my unpublished novel, Shadow of Light, the main character is an agent who routinely receives messages from her boss as classified notes. These happen at least twice a chapter. Use written sources in your novels to set the time in the scenes, to convey information, and as a natural break in the writing.

I'll write more, tomorrow.

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

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

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques.

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

Scenes - Scene Setting, even more Time Examples

12 November 2012, Scenes - Scene Setting, even more Time Examples

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.

There are lots of other ways to set time markers (set time) in a scene.  I showed you the examples of a letter and a note yesterday.  This is one of my favorite methods of setting absolute time in a scene.  Readers really like this method, and it is considered a great breaking type method in a novel.  That is, it provides a large pause in the writing.

Another similar means of setting the time is through a newspaper article or heading.  For example, Jane picked up a copy of the San Fransisco Chronicle.  June 28, 1935...  This doesn't pause the scene, but it places a historical artifact as the setting marker.  You can also use anything else that has a date on it.  In a modern novel, you can use an expiration date.  For example, Jake picked up the can and read the expiration date: June 2010.  He did a little mental math, five months out of date.  He tossed it in the garbage.  This type of marker allows you to put in some character description and action.  Don't get stupid and put this in the wrong time.  Expiration dates were unknown until just recently in human history.

You could use a prescription in a similar manner.  There are other methods too.  We'll move to diaries tomorrow.

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

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

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques.

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

Scenes - Scene Setting, more Time Examples

11 November 2012, Scenes - Scene Setting, more Time Examples

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.

What about absolute time?  In most historical novels, the time is based in real time and historical events occur within the novel and within the real (absolute) time defined by the novel. 

To be clear, in my historical novels, the days and nights, months, days, days of the week are all based in real (absolute) historical time.  So when I write that on a certain week day of a certain month, a certain historical event took place--that event took place.  These are historical markers in my novels. 

You can also use these kinds of historical markers in your writing.  Just as I wrote that in my historical novels, I like to set the time with markers at the beginning of every chapter, I also like to throw out other markers for my readers.  One of the best methods in the writing is through letters and notes.  On a letter or note, you simply write it like you would a regular letter address or note address.  For example:

Mrs. Leora Bolang
123 Rue de Seine
Paris

14 September 1927

Then start your letter.  You just told your readers where and when your characters is.  If they receive a letter or a note, you can tell us the postmark.  If this was a novel, the street would be authentic, and I would have research it enough to know who should be around that neighborhood.

There are many other ways to set the time.  We'll move up another step tomorrow.

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

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

The following is a question asked by one of my readers. I'm going to address this over time: Please elaborate on scene, theme, plot, character development in a new novel creation....ie, the framework, the development, order if operation, the level of detail, guidelines, rule of thumb, tricks, traps and techniques.

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

A New Novel, Part 145 He Worships Me Too

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.


Ernst invited himself to dinner on Saturday evening at Grossbock.  We join Aksinya on Sunday morning...


Aksinya felt a little better at the Ecclesia on Sunday. The younger priest, Father Dobrushin’s piercing glance seemed to linger too much on her face, but Aksinya wasn’t certain if that was just her imagination. She didn’t speak to either of the priests that morning. Asmodeus did not make an appearance the entire weekend.


Aksinya and Natalya had a good beginning week at school. Natalya spoke passable German with a Russian accent. She was fluent enough now that she could keep up with her classes. Natalya still tutored her, but expended more effort on her own work. Her teachers were pleased. Natalya was pleased. Sister Margarethe was pleased. Aksinya was somewhat pleased with herself.

On Tuesday during dinner, Fraulein Pfaff again engaged Aksinya in conversation, “Well Countess, did you hear again from Herr von Taaffe?”

Aksinya grinned, “He came to dinner on Saturday.”

Fraulein Trauen dropped her fork, “At Grossbock?”

“Yes, at Grossbock.”

Fraulein Vogt asked, “Did you invite him?”

Aksinya sat up straight, “No, he invited himself through the Freiherr and Freifrau, but he informed me first of his intentions.”

Fraulein Pfaff clapped her hands together, “That is soooo suave. He is obviously a well bred gentleman.”

The elder sister at the table snapped her fingers at Fraulein Pfaff’s clap and loud response.

Fraulein Pfaff put her hands at her side and lowered her voice, “Sorry sister.”

Fraulein Vogt spoke excitedly, “Still that is very polished of him. I am more and more impressed by this gentleman. Has he asked you to accompany him again, Countess?”

“He has invited me to the opera and dinner on Wednesday.”

Natalya nodded.

Fraulein Trauen grinned over her glass, “That’s Christmas Eve. I hope you don’t intend to drink as much that other evening.”

Aksinya’s lips turned up in a grin, “I intend to drink and eat as much as I like. I shall not drink so much I will miss any of Ernst’s advances.”

“Ernst?” Fraulein Trauen dropped her knife.

“Yes, he asked me to call him by his given name.”

Fraulein Trauen’s eyes widened, “And you do?”

“Of course I do. Why should I not?”

Fraulein Trauen was breathless, “What does he call you?”

Aksinya put her chin on the back of her hand and batted her eyes at Fraulein Trauen, “He calls me, Countess, of course.”

When I want to indicate to you Aksinya's spiritual condition, I show you how things go at the Mass.  In this case, the Freiherr and Freifrau take Aksinya and Natalya to the Orthodox Ecclesia.  There is a writer's trick here.  I do not want you to forget about the Ecclisia, and I don't want you to forget about Father Dobrushin.  He bothers Aksinya--this in itself should be an indicator.  Asmodeus hasn't made an appearance in a while.  Do you remember Aksinya's realization that the demon might be in the room with her and she wouldn't know?
 
The world is happy.  Aksinya is content.  Natalya is content.  Natalya is progressing--Aksinya not so much.  Remember, study was the thing Aksinya loved.  She gave it up somewhat for Natalya.  Still, everyone seems pleased with the world.
 
We transition to the Tuesday dinner conversation.  I hope you enjoy these conversations as much as I enjoy writing them.  When I set up the entire existence of the girl's school, I intended these conversations to enlighten you about many incidents around and within Aksinya's life.  As I wrote before, one of the reasons for the setting was to allow this kind of information flow.  I think this writing technique is effective and entertaining.  If you want to use this technique, you must set up a situation that requires it.  I recommend at least three or so adversaries.  You must describe them and delineate them by their personalities and descriptions.
 
For this dinner conversation, the purpose is to communicate Aksinya's thoughts about Ernst.  That is generally the purpose of all these kinds of dialogs.  They allow the author to convey information to the reader without telling you what the character thinks.  In every case, there is also some degree of unsurity about the true thoughts of the characters.  Just like in real life, the reader should not know more than they can see or perceive.  This is a critical rule in good writing. 
 
The topic of conversation is announced immediately by Fraulein Pfaff.  She is the positive character and the curious one.  She is positive in her approach to Aksinya.  Fraulein Trauen is the negative character.  She is adversarial toward Aksinya.  Fraulein Trauen's reaction tells you a lot about her thinking.  She knows the name of the Bockmann's estate, and she knows Akinsya and Natalya go there for the weekends.  Perhaps this is common knowledge in the school.  I never told you it was.  You assume it from the Fraulein's statement, but there is more.  Fraulein Trauen's reaction also shows you that for a gentleman to come calling at the house of a lady is a big deal.  You know in this culture that is true.
 
Fraulein Vogt is the neutral figure.  Her father is also the politician.  She asks the obvious question.  The answer to such a question will give much information to the ladies at the table.  That Ernst invited himself and it was accepted by the Freiherr is a big deal.  This shows them that he is pursuing Aksinya with the blessings of her uncle.  To Ernst's credit, he also told Aksinya he was coming to dinner on Saturday.  He really didn't have to.  Thus Fraulein Pfaff's reaction.
 
The Sister at the table has not had much input at all before.  I didn't tell you she was a little deaf, but you might figure that out.  Fraulein Pfaff's loud reaction gets a reproof.  We get a reaffirmation from Fraulein Vogt about Ernst's gentlemanliness.  Plus, Akinsya can then tell them Ernst asked her out again.  Natalya is not unhappy with the invitation.
 
Fraulein Trauen takes the opportunity to get in a jibe at Aksinya's expense.  She also gives me the opportunity to remind you of the scene setting in time--it is approaching Christmas Eve.  Aksinya's reposte' is to the point and repeats the last kicker in this setting.  She adds a little piece of information in her response, however.  For her to call Ernst by his first name is a great intimacy in this time and social setting.  It indicates very much to these ladies.  Fraulein Trauen shows you that with her reaction.  The important question from all the ladies around the table is what does Ernst call Aksinya?  If he uses her given name, that means they are lovers.  This is the response they all expect.  If he calls her Fraulein, that means they are equals in relationship, but not intimate.  Aksinya's answer floors them, it shows that she has not given over any intimacy from her degree of aristocracy.  The fact that Ernst holds to that shows both his respect for Aksinya and the degree of difference between them.  Aksinya might as well have said Ernst is her lapdog.  Her response shows her degree of control over the relationship and puts the respect of the ladies at a new level.  We will observe this new level of respect tomorrow.