Writer 1879: Solitary Journey in France

Chapter 37 "New Friends", Jules Verne

After dinner, Lionel declined Lucien's offer to take him for a stroll around the opera house, eager to return to his new apartment and put his newly acquired inspiration into words.

This apartment has a small study, just big enough for a table and a chair, with a small bookshelf, a gas lamp on the wall, and candlesticks on the table.

Under dual lighting, Lionel had a writing experience similar to that of an electric lamp in his previous life—of course, it would have been even better if the quill pen and rough, frayed paper had been replaced with a keyboard and screen…

If "Decadent City" is to win the approval of readers in Paris, France, and even Europe, it cannot rely solely on piling up erotic descriptions.

It's important to understand that by this time, the French readership was no longer limited to intellectuals and the urban class, but had expanded to include workers, farmers, and even rural women as education became more widespread.

In Paris alone, there are more than 500 officially licensed public reading rooms where readers can borrow newspapers and novels for a very low price; in the countryside, "mobile libraries" are also common, providing entertainment for housewives whose lives are dull.

Emma, ​​the protagonist of Madame Bovary, developed her romantic fantasies through the books in the mobile library.

Now, in 1879, French readers had become increasingly discerning, and a certain level of literary merit was still necessary to attract their purchases.

At the same time, we should pay attention to the characteristics of readers in this era:

Many 20th-century, and especially 21st-century, young readers often complain when reading 18th- and 19th-century novels that the great writers of the time often devoted lengthy descriptions of scenery and customs before the plot even began, especially Balzac, who could spend several pages on local customs and traditions in the opening chapters.

Lionel didn't understand at first, but after coming to this world, he understood—readers of this era didn't have a wealth of films and paintings to fill their minds, and without enough text to create a context for them, it was difficult for them to enter the novel, and the reading experience was naturally poor.

Similar phenomena exist in ancient Chinese novels, where the protagonists are given a detailed description whenever they arrive in a new environment or encounter a new character.

Therefore, it's not that the writers at the time were unaware that these descriptions were too lengthy, but rather that a specific style was developed to accommodate the readers.

But who says that to make readers feel immersed, the beginning must be a description of the environment?
After much deliberation, Lionel wrote down the first paragraph of "The Decadent City" on a piece of paper.

Lyon, the city, gaped open, its breath like damp, mossy graveyard, shoving into Louis Penset's lungs. The late autumn night was bitterly cold; fine, needle-like rain stung his face and trickled down his neck into the already sweat-soaked collar of his shirt. Louis Penset, the Royal Opera's "rising star," now huddled like a skinned, defeated dog in a narrow alley in the Saint-Jean district, a place filthy, reeking of urine and rotting vegetables. His back pressed against the cold, rough stone wall; each rapid breath tore at his lungs, each heartbeat pounded heavily against his eardrums, as if trying to shake the gleaming sword—the Count de Lorraine's sword that had almost kissed his throat—from his mind.

Lionel changed the name of Lucian de Pense, whom he had just met today, to "Louis Pense," since in the royal era, nobles with "de" in their names usually wouldn't "fall so low" as to become opera singers.

His opening for "Louis Pensay" is both suspenseful and urgent, while shifting the focus of environmental description from local customs to more relatable elements like "temperature" and "smell".

"The Royal Opera House's 'Rising Stars' in Refuge" is enough to attract readers' attention, since there have been almost no previous works depicting this group.

He even used a bit of the "golden three chapters" technique from online novels, trying to create suspense at the beginning and get readers into the situation as soon as possible—which was often considered a "big taboo" in European novels in the 19th century and earlier.

As for the reason why this "rising star" fell on hard times in Lyon, Lionel didn't hide anything and quickly gave the answer—

Less than a week ago, Louis Pensay's world was a world of velvet, crystal chandeliers, and the sweet scent of perfume... He reveled in being the center of attention amidst all this chaos. His voice, his figure, the allure in his eyes and brows were enough to make the bejeweled ladies in the private rooms grip their fans tightly, and to make the seemingly respectable gentlemen's Adam's apples bob involuntarily.

Until he met Emily. Or rather, until Emily met him. Emily was Count de Lorraine's new love, a delicate rose newly transplanted from the provinces to the Parisian greenhouse, carrying the bewilderment and irrepressible curiosity of someone just entering the glitz and glamour of the world. The Count's box was perfectly positioned, facing the center of the stage. Louis Penset could clearly see how Emily's deep brown, doe-like eyes, initially shy and evasive, gradually became ignited by his singing and performance, growing hot and bold. Her gaze was like a hook, each sweep across the stage landing precisely on him. This silent invitation, for a hunter who delighted in conquest, was more powerful than any beautifully worded love letter. One midnight after a performance, in the shadows of the backstage aisle, her skirt brushed against Louis Penset's leg, leaving a dizzying scent of rose and musk. Emily handed Louis Penset a note with the same fragrance, containing only an address and a time. What happened next was a natural progression, sensual and enchanting.

Louis Pensley was completely absorbed in it. He had forgotten that the rose had already been claimed—belonging to the Count of Lorraine, known in the court for his volatile temper and possessiveness.

Although "Decadent City" emphasizes literary merit, it is essentially an erotic novel that stimulates the senses.

Lionel did not intend to hide the content that readers most wanted to see too deeply—after reading the exquisite, decent, orthodox literary descriptions, their patience would last no more than two pages, otherwise they would angrily go to the bookseller to settle scores.

Therefore, what needs to be given should be given early in order to keep the reader enticed to continue reading. In Lionel's writing, Louis Pensay is hunted down by the Count of Lorraine for sleeping with his woman, and is forced to flee to Lyon to hide.

It was in Lyon that he met Gérard Simons, the protagonist of the entire novel.

Louis Pensell quickly became a popular "guest" at the Gérard Simmons estate thanks to his womanizing ways, and the entire novel unfolds from his perspective.

Lionel continued writing until late at night before turning off the lights and going to sleep.

The next morning, Lionel went downstairs to have breakfast again—this was the first time he had eaten "breakfast" since he was reborn into this era.

The tradition of "three meals a day" started with royalty and nobility and is now gradually becoming more common among the middle class. As for the common people and the poor who make up the majority of Paris's population, they will have to wait several more decades to be able to eat "breakfast".

After breakfast, Lionel returned to his apartment and continued writing "The Decadent City".

There's no other way. Although I have four months to write, my writing efficiency is really not high. And it's not easy to write this kind of novel while daydreaming in class, so I have to write as much as I can on weekends.

However, after dinner, Lionel did not continue composing. Instead, he took the gas lamp he had prepared earlier and a dozen francs in cash, and took a public carriage to the "Hell Street" in the 14th arrondissement.

By this time, the sky was as black as ink, and most of the 14th ward had only a few streetlights still on; the narrow "Hell Street" had no streetlights at all, with only the windows in the walls between the streets letting in light, barely illuminating this gloomy and terrifying street.

When Lionel arrived, Albert de Rohan and his entourage were already there, also carrying gas lamps.

Seeing the "completely transformed" Lionel, Albert was somewhat surprised and couldn't help but want to make a sarcastic remark, but then he remembered his previous experience and shut his mouth.

Lionel raised the gas lamp a little higher, shining it on Albert and the others, and noticed that there was a stranger among his followers: "Oh, is there a new person joining today?"

Seeing that Lionel had taken notice of the newcomer, Albert suddenly puffed out his chest and said with considerable pride, "This is my new friend, from Amiens."

The "new friend" introduced himself in a lazy tone: "My name is Michel, Michel Jean-Pierre Verne!"

(End of this chapter)