Tuesday, October 20, 2009

Opening Scene: Soulless by Gail Carriger

An exercise suggested by Nancy Kress for learning to write first scenes:
CHAPTER ONE
________

In Which Parasols Prove Useful

Miss Alexia Tarabotti was not enjoying her evening. Private balls were never more than middling amusements for spinsters, and Miss Tarabotti was not the kind of spinster who could garner even that much pleasure from the event. To put the pudding in the puff: she had retreated to the library, her favorite sanctuary in any house, only to happen upon an unexpected vampire.

She glared at the vampire.

For his part, the vampire seemed to feel that their encounter had improved his ball experience immeasurably. For there she sat, without escort, in a low-necked ball gown.

In this particular case, what he did not know could hurt him. For Miss Alexia had been born without a soul, which, as any decent vampire of blooding knew, made her a lady to avoid most assiduously.

Yet he moved toward her, darkly shimmering out of the library shadows with feeding fangs ready. However, the moment he touched Miss Tarabotti, he was suddenly no longer darkly doing anything at all. He was simply standing there, the faint sounds of a string quartet in the background as he foolishly fished about with his tongue for fangs unaccountably mislaid.

Miss Tarabotti was not in the least surprised; soullessness always neutralized supernatural abilities. She issued the vampire a very dour look. Certainly, most daylight folk wouldn't peg her as anything less than a standard English prig, but had this man not even bothered to read the vampire's official abnormality roster for London and its greater environs?

The vampire recovered his equanimity quickly enough. He reared away from Alexia, knocking over a nearby tea trolley. Physical contact broken, his fangs reappeared. Clearly not the sharpest of prongs, he then darted forward from the neck like a serpent, diving for another chomp.

"I say!" said Alexia to the vampire. "We have not even been introduced!"

Miss Tarabotti had never actually had a vampire try to bite her. She knew one or two by reputation, of course, and was friendly with Lord Akeldama. Who was not friendly with Lord Akeldama? But no vampire had ever actually attempted to feed on her before!

So Alexia, who abhorred violence, was forced to grab the miscreant by his nostrils, a delicate and therefore painful area, and shove him away. he stumbled over the fallen tea trolley, lost his balance in a manner astonishingly graceless for a vampire, and fell on the floor. He landed right on top of a plate of treacle tart.

Miss Tarabotti was most distressed by this. She was particularly fond of treacle tart and had been looking forward to consuming that precise plateful. She picked up her parasol. It was terribly tasteless for her to be carrying a parasol at an evening ball, but Miss Tarabotti rarely went anywhere without it. It was of a style of her own devising: a black frilly confection with purple satin pansies sewn about, brass hardware, and buckshot in its silver tip.

She whacked the vampire right on top of the head with it as he tried to extract himself from his newly intimate relations wit the tea trolley. The buckshot gave the brass parasol just enough heft to make a deliciously satisfying thunk.

"Manners!" instructed Miss Tarabotti.

The vampire howled in pain and sat back down on the treacle tart.

Alexia followed up her advantage with a vicious prod between the vampire's legs. His howl went quite a bit higher in pitch, and he crumpled into a fetal position. While Miss Tarabotti was a proper English young lady, aside from not having a soul and being half Italian, she did spend quite a bit more time than most other young ladies riding and walking and was therefore unexpectedly strong.

Miss Tarabotti leaped forward—as much as one could leap in full triple-layered underskirts, draped bustle, and ruffled taffeta top-skirt—and bent over the vampire. He was clutching at his indelicate bits and writhing about. The pain would not last long given his supernatural healing ability, but it hurt most decidedly in the interim.

Alexia pulled a long wooden hair stick out of her elaborate coiffure. Blushing at her own temerity, she ripped open his shirtfront, which was cheap and overly starched, and poked at his chest, right over the heart. With her free hand, she made certain to touch his chest, as only physical contact would nullify his supernatural abilities.

"Desist that horrible noise immediately," she instructed the creature.

The vampire quit his squealing and lay perfectly still. His beautiful blue eyes watered slightly as he stared fixedly at the wooden hair stick. Or, as Alexia liked to call it, hair stake.

"Explain yourself!" Miss Tarabotti demanded, increasing the pressure.

"A thousand apologies." The vampire looked confused. "Who are you?" Tentatively he reached for his fangs. Gone.

To make her position perfectly clear, Alexia stopped touching him (though she kept her sharp hair stick in place). His fangs grew back.

He gasped in amazement. "What are you? I thought you were a lady, alone. It would be my right to feed, if you were left this carelethly unattended. Pleathe, I did not mean to prethume," he lisped around his fangs, real panic in his eyes.

Alexia, finding it hard not to laugh at the lisp, said, "There is no cause for you to be overly dramatic. Your hive queen will have told you of my kind." She returned her hand to his chest once more. The vampire's fangs retracted.

He looked at her as though she had suddenly sprouted whiskers and hissed at her.

Miss Tarabotti was surprised. Supernatural creatures, be they vampires, werewolves, or ghosts, owed their existence to an overabundance of soul, an excess that refused to die. Most knew that others like Miss Tarabotti existed, born without any soul at all. The estimable Bureau of Unnatural Registry (BUR), a division of Her Majesty's Civil Service, called her ilk preternatural. Alexia thought the term nicely dignified. What vampires called her was far less complimentary. After all, preternaturals had once hunted them, and vampires had long memories. Natural, daylight persons were kept in the dark, so to speak, but any vampire worth his blood should know a preternatural's touch. This one's ignorance was untenable. Alexia said, as though to a very small child, "I am a preternatural."

The vampire looked embarrassed. "Of course you are," he agreed, obviously still not quite comprehending. "Again, my apologies, lovely one. I am overwhelmed to meet you. Your are my first"—he stumbled over the word—"preternatural." He frowned. "Not supernatural, not natural, of course! How foolish of me not to see the dichotomy." His eyes narrowed into craftiness. He was now studiously ignoring the hair stick and looking tenderly up into Alexia's face.

Miss Tarabotti knew full well her own feminine appeal. The kindest compliment her face could ever hop to garner was "exotic," never "lovely." Not that it had ever received either. Alexia figured that vampires, like all predators, were at their most charming when cornered.

The vampire's hands shot forward, going for her neck. Apparently, he decided if he could not suck her blood, strangulation was an acceptable alternative. Alexia jerked back, at the same time pressing her hair stick into the creature's white flesh. It slid in about half an inch. The vampire reacted with a desperate wriggle that, even without superhuman strength, unbalanced Alexia in her heeled velvet dancing shoes. She fell back. He stood, roaring in pain, with her hair stick half in and half out of his chest.

Miss Tarabotti scrabbled for her parasol, rolling about inelegantly among the tea things, hoping her new dress would miss the fallen foodstuffs. She found the parasol and came upright, swinging it in a wide arc. Purely by chance, the heavy tip struck the end of her wooden hair stick, driving it straight into the vampire's heart.

The creature stood stock-still, a look of intense surprise on his handsome face. Then he fell backward onto the much-abused plate of treacle tart, flopping in a limp-overcooked-asparagus kind of way. His alabaster face turned a yellowish gray, as though he were afflicted with jaundice, and he went still. Alexia's books called this end of the vampire life cycle dissanimation. Alexia, who thought the action astoundingly similar to a soufflé going flat, decided at that moment to call it the Grand Collapse.

Does the opening contain an individual character?
Hell, yes! She doesn't like society dances. She loves libraries. She loves food. She is not the kind of women who is easily flustered. She's smart and resourceful. I like her. This is one no nonsense woman.

A hint of conflict?
Um, the whole scene is conflict. However, it also hints at conflict yet to come. This vampire is not acting like a vampire is expected to act, doesn't know what he's expected to know. Why is he acting this way? There's a mystery coming.

Specific, interesting concrete details?
How about the design of of the parasol? The details of the attire? The fact that there is a Civil Service department dedicated to registering supernaturals? There is a lot of detail and exposition packed into this scene.

Is there anything here you can use in your openings?
I think this may be an opening to mark as a way exposition is worked into an action scene successfully. (At least I think it's successful.)


Study the last paragraphs. Do they evoke emotion through detail or dialogue?
I'm relieved our protagonist is safe, but I don't think that's what Nancy Kress means here. I'm not sure how to answer this question. What strikes me about the last paragraphs is the droll humor. I like it.


Is that emotion related to what you know the rest of the novel to be about?
Soulless is full of droll humor and conflict, so the answer to this question would have to be yes?

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Probably, most of you haven't read Soulless yet (and may never), so you can't answer the last question. How would you answer the other ones? Does this scene make you want to read the whole novel? Does the woman in the cover art look like the one you had in your head?

1 comment:

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....Petty Witter said...

Your right Cara, I've never read Soulless and may well never do so. An interesting post, you ask some seriously good questions. To answer but one of them - Does the woman in the cover look like the one in your head? No. the woman portrayed on the cover looks to me to be too weak and somehow or other rather girly - the woman in my head, is much more substantial, more soild if I may use these two words.

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