#53: Creating Space for Writing
One of the most common questions I am asked about my writing is, “When do you write?” I’m also asked, “How do you get writing done with children?” or “How do you prioritize writing when there are other important responsibilities?”
Part of writing is understanding your process, and what it takes for you to be able to write. This is something that Jane Austen seems to have thought a lot about. On September 8, 1816, she wrote a letter to her sister Cassandra which included the following paragraph:
I enjoyed Edward’s company very much, as I said before, and yet I was not sorry when Friday came. It had been a busy week, and I wanted a few days’ quiet and exemption from the thought and contrivancy which any sort of company gives. I often wonder how you can find time for what you do, in addition to the care of the house; and how good Mrs. West could have written such books and collected so many hard words, with all her family cares, is still more a matter of astonishment. Composition seems to me impossible with a head full of joints of mutton and doses of rhubarb.
Company and a busy week made writing more difficult for Jane Austen. She needed time for herself, time for quiet, and time without too many obligations. Especially in her years living in Chawton, Jane’s family did much to lift some of her responsibilities in order to give her the time and the mental space for writing.
Jane also prioritized a physical space. She had her own little table, just for her. And when I attended a guided virtual tour of her Chawton house a few weeks ago, the guide explained that several of the windows by the road were boarded up, so she wouldn’t have all the passerbys on the road looking in on her and distracting her.
In the letter, Jane is astonished by Mrs. West, who balances books and family cares: “Composition seems to me impossible with a head full of joints of mutton and doses of rhubarb.”
Most of us have things we need to balance, whether it’s family obligations, a full or part time job, school, or endless other responsibilities. These things are part of our lives. They’re not going to go away. But are we letting our heads be full of joints of mutton and doses of rhubarb? Or are we finding some time that is just ours, where we can let everything else go and give space for creativity?
When my children were pre-school age, I used nap time and movie time just for writing. It didn’t matter if there was a pile of dishes in the sink or a mess on the floor, appointments to schedule, or seemingly-urgent needs. This was my time, no matter what, and I wouldn’t let it be filled with mutton or rhubarb or anything else.
At other times, I’ve done #5amwritersclub so I could write before my mind filled with any other obligations. I’ve worked in coffeeshops. I’ve prioritized attending writing group.
We all have times, like Jane Austen, where we have obligations that prevent us from writing. But it’s important to make space for writing, whether it’s an hour a day, one evening a month, or a weekend retreat twice a year.
I have a variation on the standard writing exercises today—these are more personal reflections, about your personal writing spaces. But first, a few personal writing notes. I wrote an essay on revising for tone for Women Writers, Women[’s] Books. And yesterday, my second novel was released, The True Confessions of a London Spy! It’s exciting to have a new book to share with readers and friends.
Exercise 1: Spend a few minutes reflecting on the spaces you have for writing in your life. What gives you mental, physical, and creative space for writing. Do you prioritize giving yourself this space? What is something you could change to help create better spaces for writing in your life?
Exercise 2: Speak to the people in your life about your writing. How do you support the people in your life in their goals? How do they support you in your creative endeavors? Would any adjustments help you better support each other.
Exercise 3: Make a list of the priorities in your life, the things that matter to you, the things that pay the bills, the things that are essential. The goal is not to feel guilty that you have other responsibilities that are not writing. The key is to consider what things truly matter to you most, to give yourself credit for those things and to find meaning in those things. Sometimes non-priority things can be eliminated or shifted to give more space for your key priorities.
#52: Different Responses to Dialogue
One of the most useful practices when writing dialogue is to consider how different characters will respond to the same line of dialogue in different ways. Whenever, we have certain expectations for how we will be interpreted, for how we would like others to respond. Sometimes, they respond in the way we would expect; other times they respond differently. In a group dialogue, with three or more people, there can be—and often should be—a diverse range of responses to key lines of dialogue.
In Jane Austen’s novel Persuasion, Louisa Musgrove falls on a stone staircase and injures her head. Her illness and her recovery become a talking point in many social gatherings. Not long after the injury, Lady Russell and Anne Elliot call upon the Crofts. Jane Austen describes the conversation between Lady Russell, Anne, and Mrs. Croft, as Admiral Croft observes and then adds his perspective on the matter:
As to the sad catastrophe itself, it could be canvassed only in one style by a couple of steady, sensible women, whose judgments had to work on ascertained events; and it was perfectly decided that it had been the consequence of much thoughtfulness and much imprudence; that its effects were most alarming, and that it was frightful to think, how long Miss Musgrove’s recovery might yet be doubtful, and how liable she would still remain to suffer from the concussion hereafter!—The Admiral wound it all up summarily by exclaiming,
“Ay, a very bad business indeed.—A new sort of way this, for a young fellow to be making love, by breaking his mistress’s head!—is not it, Miss Elliot?—This is breaking a head and giving a plaister truly!”
Admiral Croft’s manners were not quite of the tone to suit Lady Russell, but they delighted Anne. His goodness of heart and simplicity of character were irresistible.
Lady Russell does not approve of Admiral Croft’s statement or the manner in which he has said it—to her, Louisa’s injury is not a laughing manner. This is not a formal, sophisticated way to speak of it. Yet we read that this response “delighted Anne.” It is not that Anne disregards propriety, but rather that she sees a place for levity, and that she understands his goodness and his character and how that informs his statement.
In a previous Jane Austen Writing Lesson, I discussed how groups of characters are not monoliths: even among very similar characters, there should be a range of perspectives and attributes.
The same is true with how characters respond to dialogue.
Factors that influence how a character responds to dialogue:
In Mansfield Park, a group of individuals, which includes most of the main characters, is given a tour of the Rushworth home by Mrs. Rushworth. Mrs. Rushworth show them the chapel—which disappoints Fanny for its lack of grandeur—and explains:
“It is a handsome chapel, and was formerly in constant use both morning and evening. Prayers were always read in it by the domestic chaplain, within the memory of many. But the late Mr. Rushworth left it off.”
Miss Crawford interprets this dialogue very differently than Fanny:
“Every generation has its improvements,” said Miss Crawford, with a smile, to Edmund….
“It is a pity,” cried Fanny, “that the custom should have been discontinued. It was a valuable part of former times. There is something in a chapel and chaplain so much in character with a great house, with one’s ideas of what such a household should be! A whole family assembling regularly for the purpose of prayer is fine!”
The differences in their reactions to Mrs. Rushworth’s dialogue reveal much about Miss Crawford and Fanny. Fanny is pious and has grand visions of morality, while Miss Crawford is more cynical.
Yet the dialogue does not stop there—each of the characters continue to bring themselves to the discussion. Fanny’s statement is immediately interpreted in two different ways:
“Very fine indeed!” said Miss Crawford, laughing. “It must do the heads of the family a great deal of good to force all the poor housemaids and footmen to leave business and pleasure, and say their prayers here twice a day, while they are inventing excuses themselves for staying away.”
“That is hardly Fanny’s idea of a family assembling,” said Edmund. “If the master and mistress do not attend themselves, there must be more harm than good in the custom.”
Miss Crawford’s interpretation shows an awareness of class disparity and the way in which upper class people often force their morality on those in their employ while disregarding the same principles of morality for themselves. It’s both a clever and an insightful comment. And it also treats Fanny’s perspective as inadequate and uninformed.
Edmund’s response defends Fanny, in part because of the long-established relationship that he has with Fanny, and his understanding of her meaning. But his response also stems from the fact that he intends to become a clergyman and also sees value in religious practices.
Later on in the scene, Edmund’s sister Julia tells a joke about Maria and Mr. Rushworth being ready for marriage, and tells Edmund:
“My dear Edmund, if you were but in orders now, you might perform the ceremony directly.”
Miss Crawford is shocked by this new information:
“Ordained!” said Miss Crawford; “what, are you to be a clergyman?”
“Yes; I shall take orders soon after my father’s return—probably at Christmas.”
Miss Crawford, rallying her spirits, and recovering her complexion, replied only, “If I had known this before, I would have spoken of the cloth with more respect,” and turned the subject.
This new knowledge makes Miss Crawford wish that she had responded differently to the previous lines of dialogue. She was trying to impress Edmund with her insights and clever way of speaking, but was missing information that would have shifted her response.
In writing group dialogue, it is useful to consider that different characters will often respond to the same passage of dialogue in different ways. Incorporating these differences can richer dialogue with more tension and movement.
Exercise 1: The Response Game
Choose 5 characters. These could be characters you’ve already written, characters from one of your favorite books or films (for example, Mr. Darcy, Mr. Bingley, Miss Caroline Bingley, Elizabeth Bennet, and Jane Bennet), or characters that are inspired by people in your life.
Now watch a trailer for a new or upcoming movie. How would each of the five characters respond differently to this trailer?
Craft a 2-3 sentence response for each of the characters to this movie trailer.
Exercise 2: A Practice Scene
Write a brief scene with three characters. Have one of the characters say a line of dialogue which is interpreted differently by the characters. something, and then the other two characters respond in different manners. The responses can be largely internal or largely external; they can be in the form of dialogue, action, or introspection. The characters may also have the same external reaction or action, but for different reasons.
Exercise 3: Dialogue Analysis and Revision
Part 1: Analyze a passage of dialogue in a published short story or novel. The passage of dialogue should include at least three characters. Consider when characters respond differently to the same line of dialogue, and what motivates this response.
Part 2: Revise a scene you have written which includes dialogue between at least three characters. Are there places where you could strengthen the passage by having the characters respond differently to the dialogue?
Jane Austen Men as Potatoes
In December, I participated in the #16DaysofJane challenge by @bookhoarding on Twitter. The theme for Day 6 was potatoes, and after a lively text conversation with my friend Brooke Lamoreaux, who told me that all Austen men are actually potatoes, I posted the following on social media. For the sake of posterity, I’ve decided it better me on my blog as well.
As demonstrated, all Jane Austen men are potatoes. What type of potato do you think Mr. Darcy is? What about Mr. Bingley? I’d love to hear in the comments.
The Jane Austen Mystery Novel
I’ve written three Jane Austen mystery novels, so it’s a genre that is dear to my heart. New Jane Austen mystery novels are being published each year, so I’d like to investigate what has led to the Austenesque mystery surge, and showcase some prime examples of the genre.
First, let’s start with a definition. Then we’ll look at why blending Jane Austen and the mystery genre is so effective, and then I’ll give 10+ examples of books that fall into this genre.
What is a Jane Austen mystery novel?
A Jane Austen mystery novel is a mystery story that uses Austen’s novels as its base, either by injecting a mystery into one of the original tales, using her characters to solve mysteries beyond the original stories, transforming Jane Austen herself into a sleuth, or telling a modern-day mystery with a strong Jane Austen connection.
Why Blending Jane Austen and the Mystery Genre is so Effective
First, all of Jane Austen’s novels are about social tensions and societal fissures—money and financial distress, love and jealousy, secrets and miscommunication, power and the powerless—and it is at these fissures, these moments of tension, when crime often occurs.
Second, Austen’s novels are deep studies into character: in each, the protagonist must try to understand others in a detective-like manner. It’s a quest to unravel motivations, character history, and unstated desires, especially when these desires contradict with the face that a person displays to the public.
In Pride and Prejudice, there’s a delightful exchange as Elizabeth Bennet and Mr. Darcy are dancing with each other:
“May I ask to what these questions tend?” [said Mr. Darcy.]
“Merely to the illustration of your character,” said she, endeavouring to shake off her gravity. “I am trying to make it out.”
“And what is your success?”
She shook her head. “I do not get on at all. I hear such different accounts of you as puzzle me exceedingly.”
1895 C. E. Brock illustration of Elizabeth contemplating Mr. Darcy’s portrait as she attempts to understand him (image in public domain)
After much trial and error, by gathering the accounts of others and making her own personal observations, Elizabeth reaches a conclusion on Mr. Darcy’s character, and it’s a positive one. Cue the wedding bells.
The third reason that Jane Austen and mystery combine so well is that Austen is already using many mystery conventions. In 1988, Ellen R. Belton published an article in the journal Nineteenth-century Literature titled “Mystery Without Murder: The Detective Plots of Jane Austen.” Belton argues that all of Austen’s novels are in fact detective novels in which the heroines are “not investigating criminals, but potential marriage partners.” Austen uses countless mystery techniques, including the juxtaposition of seemingly random events, “the embedding of important information in a mass of unimportant detail,” selective disclosure of viewpoints, red herrings, mysteries that once revealed disclose “deeper mysteries,” and “clues that allow us, if we are clever, to solve the mysteries ahead of the heroine.” Ultimately, each of Austen’s novels is structured as a mystery, and the goal is not to simply unravel what happened or “who did it,” but to come to what today we would call an underlying psychological understanding of people and events.
One of Jane Austen’s novels, Northanger Abbey, plays directly with the conventions of the mystery novel. It’s written as a pastiche of the Gothic novel, and the main character, Catherine Morland, sees herself as a protagonist in such a story.
1833 Illustration of Catherine Morland reading (and scaring herself with) a Gothic novel, illustrator unknown (image in public domain)
While staying as a guest at the mysterious, ominous Northanger Abbey, Catherine searches for clues to help her unravel the mystery of the murdered Mrs. Tilney. At this point, Austen turns the genre on its head: Mrs. Tilney was not murdered after all, and no crime has been committed (unless you count being insufferable, overbearing, and mildly vindictive as a crime). Yet Catherine Morland does learn to read character, and she discovers many truths about others and herself in the process.
The fourth and final reason is that while Jane Austen completed only six novels before her early death, the world she penned is expansive, full of wonder and potential. Like Greek mythology, fairy tales, and other literary treasure troves, Austen’s work supplies an abundance to the modern novelist, full of possibilities and “what ifs.” What if there was a death at Pemberley? What if a character gave in to human foibles and embraced the worst of humanity? What then? How do those who remain figure out what has happened and why? And then how do they move forward?
Decades before authoring her own Jane Austen-inspired mystery novel, P.D. James wrote, “I think if Jane Austen were writing today, she might very well be our greatest mystery novelist.”
Truly, Jane Austen has much to teach modern readers—and writers—about what makes an effective mystery. It is little wonder then, that the Jane Austen Mystery Novel is a growing subgenre with an avid readership.
10+ Examples of Jane Austen Mystery Novels:
1. Jane and the Unpleasantness at Scargrave Manor by Stephanie Barron
Published in 1996, this is the first novel in what is now a fourteen-book series which features Jane Austen herself as an amateur sleuth. When her friend Isobel is accused of murdering her husband, Jane must prove Isobel’s innocence and avoid danger.
2. Midnight in Austenland by Shannon Hale
Published in 2012, this is the sequel to the romantic comedy Austenland (which is also a feature film). In Midnight in Austenland, a recently divorced woman attends a Jane Austen-themed resort…but things quickly turn sinister, and it’s hard to tell where the fiction ends and the truth begins.
3. The Secret Life of Miss Mary Bennet by Katherine Cowley
This 2021 novel is the first in a trilogy featuring Mary Bennet as a spy for the British government. While visiting distant relatives at the mysterious Castle Durrington, Mary discovers a dead body on the beach. She feels driven to investigate, despite the threat of invasion by Napoleon Bonaparte and the fear that she will jeopardize her position at the castle and her family’s good name in the quest for the truth.
(Note: this is my novel! For years, I have wanted to tell a story about Mary Bennet, because it hurt to see the middle sister dismissed and mocked, and I knew that there was more to Mary than everyone around her believes.)
4. The Lovesick Maid: A Pride and Prejudice Sequel by Mark Brownlow
Published in 2018, this novella features a perceptive Charlotte Collins solving a whodunnit mystery at Rosings under the eye of Lady Catherine de Bourgh. Brownlow has also written a sequel novella featuring Charlotte Collins titled The Darcy Ring.
5. Pride and Premeditation by Tirzah Price
Another 2021 novel, this is a young adult retelling of Pride and Prejudice in which Elizabeth and Mr. Darcy work for competing law firms; both are set on solving a scandalous murder (and perhaps falling in love in the process).
6. Murder Most Pemberley by Jessica Berg
Also published in 2021, this novel features Eliza Darcy, a modern-day descendant of Elizabeth Bennet and Mr. Darcy. Eliza returns to England and the family estate, only to find herself embroiled in a murder investigation that seems tied to a family rift.
7. Murder at Longbourn by Tracy Kiely
This 2009 novel is the first in a four-book series of cozy mysteries with Austenesque inspiration (including many characters directly paralleling those in Pride and Prejudice). It features a modern Elizabeth Parker attending a Cape Cod murder mystery party. The problem? Someone is actually found dead, and Elizabeth’s aunt is the prime suspect.
8. Death Comes to Pemberley by P.D. James
Published in 2011, this novel occurs after the events of Pride and Prejudice. There is a murder on the Darcy estate, and Elizabeth’s brother-in-law, Wickham, is one of the main suspects. This novel has been adapted into its own BBC miniseries.
9. Murder at Northanger Abbey by Shannon Winslow
This 2020 novel is set after the events of Northanger Abbey. In this story, Catherine Morland’s time has come: she gets to solve a real murder at Northanger Abbey.
10. Death of a Clergyman by Riana Everly
In this 2020 novel Mr. Collins is found dead and Elizabeth is the prime suspect. Mary Bennet and an investigator named Alexander Lyons both attempt to solve the murder and prove Elizabeth’s innocence.
11. What Happened on Box Hill by Elizabeth Gilliland
This 2022 novel is a modern-day mashup which incorporates all of Austen’s characters into a single contemporary setting, Austen University. A murder is covered up as an accident, but Caty Morland believes otherwise and sets up to find the truth over the course of a three-course dinner party full of suspects from Austen’s novels.
12. Accusing Mr. Darcy by Kelly Miller
In this romance/murder mystery, after a brutal killing in a nearby estate, Mr. Darcy finds himself the prime suspect. Elizabeth must attempt to find the truth and follow her heart, even as she risks crossing paths with the killer. This novel is the winner of the Firebird Book Award for Romantic Suspense.
13. The Mysterious Death of Mr. Darcy by Regina Jeffers
Shortly after Darcy and Elizabeth’s wedding, Mr. Darcy’s cousin is found dead, and Elizabeth and Darcy are forced to investigate, diving into family secrets and mysterious legends. The author, Regina Jeffers, has won a number of awards for her Jane Austen-inspired fiction. In addition to this novel, her other Austenesque mysteries include The Disappearance of Georgiana Darcy, The Prosecution of Mr. Darcy’s Cousin, and The Phantom of Pemberley.
14. Mistaken Identity by J. Dawn King
Murder, betrayal, and treachery abound in this mystery-variation of Pride and Prejudice. Is it Elizabeth who is trying to kill Mr. Darcy, or someone who likes remarkably similar?
15. Lover’s Knot by Jenetta James
Another variation on the original Pride and Prejudice story, Elizabeth Bennet witnesses a terrible crime, and Mr. Darcy finds himself drawn to discover the truth.
16. The Suspicion at Sanditon by Carrie Bebris
In her Mr. and Mrs. Darcy series, Elizabeth and Darcy solve a mystery set in the world of every Jane Austen novel (Pride and Prejudice, Sense and Sensibility, Mansfield Park, etc.) This mystery takes place in the world of Sanditon, and the mystery is the disappearance of Lady Denham. Is a kidnapper responsible, or is there a greater secret which has caused her disappearance?
Note: this post was edited on February 4, 2022, to add some of the amazing Jane Austen mystery novels that came highly recommended.
Have you read other Jane Austen mystery novels? Or did you write one? If so, please share in the comments.
Launch Party for The True Confessions of a London Spy
I am doing an in-person launch party for The True Confessions of a London Spy in Kalamazoo, Michigan.
It will be held at my favorite indie bookstore, This is a Bookstore/Bookbug, on March 1st, 2022, at 6:30 p.m. If possible, pre-order the book from them when you RSVP to support an amazing local bookstore.
During the launch party, I will be teaching everyone how to do letterlocking and create paper traps. That way all your 19th century secrets can remain safe.
More details are available on the Event Brite. Also, please RSVP for the event in advance, so we know how many people to expect! (And preordering the book will make sure the bookstore gets enough copies.)
I’m excited to actually do an in-person event at a bookstore–in fact, because of Covid, this is my first-ever in-person book event. If you are in the area, or if you’ve always wanted to experience western Michigan, then I hope to see you there!