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Jane Austen Writing Lessons. #48: Techniques for Writing About Holidays in Fiction

#48: Techniques for Writing About Holidays in Fiction

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Jane Austen Writing Lessons. #48: Techniques for Writing About Holidays in Fiction

Jane Austen has a thing for Christmas.

In some of her novels, Christmas is mentioned only in brief, while in others it is a focal component, but each of her six published novels incorporates Christmas in some way. In this post, we’re going to look at how Jane Austen uses Christmas as a storyteller, and what writing techniques we can learn from her. Whether your characters celebrate Christmas or Eid or Rosh Hashanah, you can apply these techniques for writing about holidays in fiction to your own stories.

Writing Holidays in Fiction. Technique #1: Use holidays as time markers. Jane Austen Writing Lessons.

Technique 1: Use Holidays as Time Markers

Major holidays act as time markers in the year—they are days that are out of the ordinary, and we associate them with certain months and seasons. Austen often references Christmas a time marker, to show either a sense of when something occurred or will occur, or to show the passage of time.

She does this a number of times in her novels, but here’s a few brief examples.

Mansfield Park

In Mansfield Park, there is a conversation between Miss Crawford and Edmund Bertram. They share a romantic interest in each other, but Miss Crawford looks down on the clergy as a profession, while Edmund looks forward to becoming a clergyman:

“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.”

Pride and Prejudice

After the regiment leaves Meryton, initially a number of members of the Bennet family are devastated. Eventually, their intense feelings on the matter begin to subside:

Mrs. Bennet was restored to her usual querulous serenity; and, by the middle of June, Kitty was so much recovered as to be able to enter Meryton without tears; an event of such happy promise as to make Elizabeth hope that by the following Christmas she might be so tolerably reasonable as not to mention an officer above once a day…

Technique 2: Use Holidays to Convey Emotions

Holidays are not joyful for everyone: there is not a unified experience or emotional reaction for any holiday. Jane Austen uses holidays to demonstrate a range of emotional states. Sometimes, the emotions shown will be about the holiday itself, or people’s expectations and experience of the holiday. At other times, she will use a holiday to reflect a character’s overall emotional state at this point in the story.

This passage in Persuasion does both: we see characters’ emotions about the present holiday (which in part is related to their expectations for it). Lady Russell expects a quieter holiday than Mrs. Musgrove. We also see characters’ emotional states about the present events—Anne is still troubled by Louisa Musgrove’s accident and the resulting health consequences, and so she expects something different from Christmas, while Mrs. Musgrove finds the Christmas chaos to be a balm for her worries about her daughter Louisa.

Immediately surrounding Mrs Musgrove were the little Harvilles, whom she was sedulously guarding from the tyranny of the two children from the Cottage, expressly arrived to amuse them. On one side was a table occupied by some chattering girls, cutting up silk and gold paper; and on the other were tressels and trays, bending under the weight of brawn and cold pies, where riotous boys were holding high revel; the whole completed by a roaring Christmas fire, which seemed determined to be heard, in spite of all the noise of the others. Charles and Mary also came in, of course, during their visit, and Mr Musgrove made a point of paying his respects to Lady Russell, and sat down close to her for ten minutes, talking with a very raised voice, but from the clamour of the children on his knees, generally in vain. It was a fine family-piece.

Anne, judging from her own temperament, would have deemed such a domestic hurricane a bad restorative of the nerves, which Louisa’s illness must have so greatly shaken. But Mrs Musgrove, who got Anne near her on purpose to thank her most cordially, again and again, for all her attentions to them, concluded a short recapitulation of what she had suffered herself by observing, with a happy glance round the room, that after all she had gone through, nothing was so likely to do her good as a little quiet cheerfulness at home.

Louisa was now recovering apace. Her mother could even think of her being able to join their party at home, before her brothers and sisters went to school again. The Harvilles had promised to come with her and stay at Uppercross, whenever she returned. Captain Wentworth was gone, for the present, to see his brother in Shropshire.

“I hope I shall remember, in future,” said Lady Russell, as soon as they were reseated in the carriage, “not to call at Uppercross in the Christmas holidays.”

Technique 3: Use Distinctive Holiday Details

At times, Austen gives distinctive details surrounding Christmas. This gives flavor to the holiday and paints the setting for the reader. As a modern reader, these details are fascinating, but they would also be interesting for a contemporary reader because they show how a particular character or group interacts with the holiday.

In the above passage from Persuasion, here are some of the distinctive details included about Christmas:

  • Girls cutting up silk and gold paper
  • A table covered by “tressels and trays, bending under the weight of brawn and cold pies”
  • A “roaring Christmas fire”—a loud, large fire, louder and larger because it is for Christmas

The novel Sense and Sensibility includes only two brief references to Christmas, and yet the details included do give flavor to both the holiday and the character’s experience.

After Marianne Dashwood falls down a hill and is rescued by John Willoughby, the incident is mentioned by the Dashwoods to their friend Sir John, and Sir John gives several details praising Willoughby’s character, including the following with a reference to Christmas:

“He is as good a sort of fellow, I believe, as ever lived,” repeated Sir John. “I remember last Christmas at a little hop at the park, he danced from eight o’clock till four, without once sitting down.”

Here, we have details about Christmas—an outdoor party at the park, with dancing for eight hours!

Writing Holidays in Fiction. Technique #4: Use holidays for their associations. Jane Austen Writing Lessons.

Technique 4: Use Holidays for their Associations

Every holiday has a set of associations for both characters and readers. Some of these associations are universal—Christmas, for example, is associated with celebration and community and gathering as family and friends—while some may be more distinct.

In Emma, when the characters are at Box Hill, the characters begin sharing conundrums—a sort of riddle—and other plays on words. When it comes to Mrs. Elton, she says:

“Oh! for myself, I protest I must be excused,” said Mrs. Elton; “I really cannot attempt—I am not at all fond of the sort of thing. I had an acrostic once sent to me upon my own name, which I was not at all pleased with. I knew who it came from. An abominable puppy!—You know who I mean (nodding to her husband). These kind of things are very well at Christmas, when one is sitting round the fire; but quite out of place, in my opinion, when one is exploring about the country in summer.”

Mrs. Elton’s excuse for not participating is that it is not Christmas.

At other times these associations create emotional touchstones for the reader.

One of my favorite podcasts, The Thing About Austen, recently aired an episode about Elizabeth’s invitation for the Gardiners to join her for Christmas at Pemberley—first, Christmas is set up as a family event in the novel, for which the Gardiners always come to visit; then, Elizabeth supposes that it is good that she did not marry Mr. Darcy, for he would not allow the Gardiners to visit; and then, Elizabeth invites the Gardiners for Christmas. It’s an 18-minute episode, and well worth listening to for the way they analyze these passages and the details they include about Christmas in the Regency.

Writing Holidays in Fiction. Technique #5: Use holidays for key scenes.

Technique 5: Use Holidays for Key Scenes

In a previous post, I discussed how distinctive settings are often used for key scenes and turning points.

A holiday can provide a perfect opportunity for these key scenes or turning points—there is lots of emotions, and characters are often gathered together.

The most famous holiday scene in Austen’s works is the Christmas Eve dinner at the Westons in Emma. Its untimely end due to the snow leads to Mr. Elton’s unwanted proposal to Emma in a carriage. I discuss this scene in more depth in my post on using distinctive settings for major plot turns.

The other key scene which occurs at Christmas is the ball thrown for Fanny and her brother in Mansfield Park. This is the first time Fanny’s uncle has truly given her any attention—it is, perhaps, the first time she has felt valued by him. It provokes an internal crisis, as Fanny must decide whether to wear the necklace given her by the Crawfords or the one given by her cousin Edmund. And it is also an event where Henry Crawford gives Fanny his attentions as he attempts to make her fall in love with him. It’s an important scene with many key plot and character moments that change the course of the story.

Conclusion

While Austen often references Christmas, these techniques can be used for incorporating other holidays in fiction as well. Holidays are not an essential or required part of storytelling, yet every single culture and people celebrates holidays. Including holidays can give a fullness to the characters’ lives and show how they behave in circumstances which are out of the ordinary.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Other Holidays

Choose a holiday that is not Christmas that your characters would celebrate. Write either a reference to the holiday or a full scene which uses at least one of the techniques in this lesson. Make sure to consider what associations the characters would have for the holiday and how they would celebrate it.

Exercise 2: A Holiday Story

Some of the most famous works of fiction, like A Christmas Carol, use a holiday as a core focus and setting for the entire story.

Holiday stories are often associated with certain genres, such as romance, however, holiday stories can be used in any genre—horror, science fiction, mystery, etc.

Outline a short story or novel, of any genre, which uses a holiday as a core component and setting.

Exercise 3: Read or Watch

Read or watch a story which incorporates a holiday, either in a small or large way. Does the story use the same techniques as Austen, or different ones?

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Jane Austen Writing Lessons. #43: Use Discovery to Create Satisfying Resolutions and Denouements

#43: Use Discovery to Create Satisfying Resolutions and Denouements

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Jane Austen Writing Lessons. #43: Use Discovery to Create Satisfying Resolutions and Denouements

If an airplane pilot crashes the plane while landing, it doesn’t matter how good the rest of the ride was. The same goes for novels—if you don’t land the ending, the book will not be satisfying.

Jane Austen is a novelist who always “lands the ending.” One of the main ways she does this is by incorporating discoveries into the resolution of the story: in particular, she uses discoveries to answer the big questions that have been raised throughout the story.

In lesson 40, we talked about some of the big questions raised in the novel Persuasion, including:

  • What will Anne’s future look like?
  • Can Anne and Wentworth reconcile?

Most of the other big questions in the book have been explored and answered by the time we hit the last two chapters of the novel, but not these two questions. Characters and readers have yet to discover the resolution.

The second to last chapter of Persuasion acts as the final “unravelling,” the final section of the climax sequence where the most important questions must be answer, the most important discoveries made. In this chapter, Anne and Captain Harville discuss love and the inconstancies of men and women—who suffers the most from loss of love? Whose feelings are the most tender, the most constant? Captain Wentworth overhears their conversation, and as a result of Anne’s words, writes her a letter which begins:

I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own, than when you almost broke it eight years and a half ago. Dare not say that man forgets sooner than a woman, that his love has an earlier death. I have loved none but you.

Upon reading the letter, Anne cannot sit still—she goes out into Bath, and when she sees Captain Wentworth, she joins him on a walk. And here, here we discover the answers we’ve been seeking. Anne and Captain Wentworth do reconcile, they express their love to each other, and they become engaged.

In a novel, when questions are raised for the characters, readers want answers by the end of the story. Some of these discoveries occur, and should occur, throughout the book, but some should be saved for the end.

Answering a key question or key questions near the end of the novel provides a satisfying resolution for both the characters and the reader.

In Persuasion the key discoveries are made in the second to last chapter. But there are still more discoveries saved for the denouement.

Discoveries in the Denouement

The denouement serves to show what happens as a result of the final resolution. It is a chance for characters to make any final smaller discoveries, to show any relationship changes, and to wrap up any lingering subplots which have not been resolved.

In the novel Persuasion, the final chapter serves as the denouement. It begins with the following paragraph, which reassures us that the key questions will truly be resolved in the way in which we as readers hope:

Who can be in doubt of what followed? When any two young people take it into their heads to marry, they are pretty sure by perseverance to carry their point, be they ever so poor, or ever so imprudent, or ever so little likely to be necessary to each other’s ultimate comfort. This may be bad morality to conclude with, but I believe it to be truth; and if such parties succeed, how should a Captain Wentworth and an Anne Elliot, with the advantage of maturity of mind, consciousness of right, and one independent fortune between them, fail of bearing down every opposition?

There are a number of other minor discoveries in the final chapter as part of the denouement:

  • We discover Sir Walter’s view on his daughter’s engagement. He approves (he decides that Captain Wentworth has a nice balance of physical attractiveness and fortune, which are two of the only things that matter to him).
  • We discover that Anne’s sister Mary is happy for her, and (mostly) not jealous.
  • We discover how Anne’s other suitor, Mr. Elliot reacts:

The news of his cousin Anne’s engagement burst on Mr. Elliot most unexpectedly. It deranged his best plan of domestic happiness, his best hope of keeping Sir Walter single by the watchfulness which a son-in-law’s rights would have given.

  • We discover that Mrs. Clay has become Mr. Elliot’s mistress (and thus, Anne’s father Sir Walter is safe from Mrs. Clay’s scheming).
  • We discover that Lady Russell and Captain Wentworth are able to reconcile with each other. This is an important discover, as Lady Russell was the person who convinced Anne to break off her original engagement to Wentworth eight years before.
  • We discover the resolution to the subplot of Anne’s friend Mrs. Smith being in poverty: Captain Wentworth is able to use his connections to secure Mrs. Smith’s fortunes, her health improves, and she maintains a good friendship with Anne.

Austen, of course, never leaves her endings completely tidy—there’s never a sense of complete assured happiness. In the final paragraph, we read:

Anne was tenderness itself, and she had the full worth of it in Captain Wentworth’s affection. His profession was all that could ever make her friends wish that tenderness less; the dread of a future war all that could dim her sunshine. She gloried in being a sailor’s wife, but she must pay the tax of quick alarm…

Austen makes no pretense that Anne and Wentworth’s lives will be perfect. But it is a wonderful resolution because it answers the core, larger questions of the book. It’s a wonderful resolution because this discovery is made in a beautiful way. And it’s a wonderful resolution because the denouement is able to provide the reader with discoveries for lingering questions and subplots.

A Recap

We’ve spent the past seven lessons talking about discovery. To recap, we covered:

Discovery is a powerful tool that can be used in any sort of fiction to drive the character forward and invoke the reader’s interest. Ultimately, the process of discovery assists the character on their external journey, as they interact with the world and find their place in it. Discovery is also fundamental to a character’s internal journey: it gives them reason to change, and sometimes the greatest discoveries come from reflection about themselves, as characters recognize who they really are.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Write a new denouement

Take a short story or a novel that you have written and write a new denouement. Keep the main resolution the same, but write a different denouement, which resolves subplots, relationships, and other small discoveries in a new way.

Exercise 2: Write just the ending of a story

The author Victoria Schwab (also published as V.E. Schwab) writes her climax and denouement first, before writing anything else. In episode 15.42 of Writing Excuses she explained, “I don’t do anything until I’ve planned the ending. The ending…and that climax through the last page determines the entire story I’m telling….Rather than write toward the end, and think ‘What kind of resolution do I need in order to fulfill the promises I’ve made early on?’, I write backwards, from the end, and make those promises from the ending that I know I want to achieve.”

Take a story idea that you haven’t used and write the ending. To reemphasize—you are just writing the ending of the story, not the beginning or the middle. Consider what sorts of discoveries would you like your characters to make at the end of the story, and what emotions you would like to evoke in your reader. Also, ask yourself the same question that Victoria Schwab asks herself: “Who are my characters the moment we leave them?”

Once you’ve written the ending, consider what storytelling it will take to reach this ending, and how to get your characters to this point.

Exercise 3: Best and Worst Endings

Think of two stories, one which had a satisfying and rewarding ending, and another which had an ending that didn’t quite work for you. Now go back and analyze the endings—what specifically made the endings effective and ineffective for you as a reader?

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Jane Austen Writing Lessons. #40: Use Distractions, Interruptions, and Red Herrings

#40: Use Distractions, Interruptions, and Red Herrings

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Jane Austen Writing Lessons. #40: Use Distractions, Interruptions, and Red Herrings

If a character is seeking to discover something and she immediately discovers it fully and completely, then there is no story. For a story is about the journey, it is about the process, it is about the striving.

In the novel Persuasion, Anne Elliot has various questions that she seeks answers for, various things that she seeks to discover.

The initial question presented in the first few chapters of the book is:

  1. How can her family financially survive?

As this question is established, so are larger questions:

  1. What is Anne’s place in the world and her family?
  2. What will Anne’s future look like?

These two questions are big questions, which require large discoveries: they are asking fundamental questions about her identity, who she is, and who she wants to become.

In fiction, discovery is often about answering the fundamental questions of self. Yet it is difficult to “know thyself” and it is difficult to change and progress and become. As such, the discovery of answers to these fundamental questions should be difficult for characters.

Related to these fundamental questions in Persuasion are questions about relationships:

  1. Does Anne still have feelings for Captain Wentworth?
  2. Does Captain Wentworth have feelings for Anne?
  3. Can Anne and Wentworth reconcile?

While questions 2 and 3 relate largely to Anne’s internal journey, questions 4-6 related to Anne’s external journey. These questions are related to the larger plot arc of the story, and, once again, must be challenging to answer, or they would not be strong enough questions to sustain an entire novel.

Yet as a writer, how do you make discovery difficult for your characters? Jane Austen makes discovery difficult through three primary methods:

  1. Requiring a progression of knowledge discovery—knowledge that requires multiples steps to gain, or multiple types of knowledge.
  2. Using antagonists who interfere with the discovery process.
  3. Creating distractions, interruptions, and red herrings, all which make discovering the true answers more difficult.

We’ve discussed discovery progression and antagonists in other posts, so in this post we’ll discuss how to use distractions, interruptions, and red herrings.

Distractions

Distraction: A distraction draws the attention of the main character elsewhere, away from the core questions they are pursuing. Jane Austen Writing Lessons

A distraction draws the attention of the main character elsewhere, away from the core questions they are pursuing.

Two of the distractions in Persuasion come in the form of two other gentlemen who are interested in Anne Elliot: Captain Benwick and her cousin, Mr. Elliot.

The first time that Anne sees her cousin, Mr. Elliot, she does not know who he is:

When they came to the steps, leading upwards from the beach, a gentleman at the same moment preparing to come down, politely drew back, and stopped to give them way. They ascended and passed him; and as they passed, Anne’s face caught his eye, and he looked at her with a degree of earnest admiration, which she could not be insensible of….It was evident that the gentleman, (completely a gentleman in manner) admired her exceedingly.

The interest of Captain Benwick and Mr. Elliot help her in her quest of answering the second and third questions: What is her place in the world and her family? What will her future look like? With them, she can visualize different possible futures and different possible roles.

On the surface, the time and attention she pays to Captain Benwick and Mr. Elliot is a distraction from asking the three key questions regarding the plot—whether Anne still likes Captain Wentworth, whether Captain Wentworth likes Anne, and whether or not they can reconcile.

Yet in the hands of a master like Austen, distractions do not simply draw away the character’s attention from their process of discovery.

These distractions ultimately help Anne consider what it that she wants. Her interactions with these men help her choose the path of taking more initiative. Her interactions with Benwick and Elliot make her realize how much she still loves Wentworth. And finally, her interactions with Benwick and Elliot create jealousy within Wentworth, and help him realize that he has the risk of losing Anne.

Good distractions help the character learn and act in ways that will ultimately help them in the discovery process.

Interruptions

Interruption: An interruption halts possible discovery or disrupts forward movement toward the discovery. Jane Austen Writing Lessons

An interruption halts possible discovery or disrupts forward movement toward the discovery.

After Anne sees her cousin Mr. Elliot for the first time, and Mr. Elliot admires her, there is a key moment between Anne and Captain Wentworth:

Captain Wentworth looked round at her instantly in a way which shewed his noticing of it. He gave her a momentary glance—a glance of brightness, which seemed to say, ‘That man is struck with you,–and even I, at this moment, see something like Anne Elliot again.’

These two sentences open the possibility of future discovery about and between Anne and Captain Wentworth. Both Anne and Wentworth are more aware of each other, and Captain Wentworth seems to remember his interest in Anne. If an interruption had not occurred, they might have resolved their past and their future much more quickly.

But an interruption does occur:

Louisa falls and experiences a head injury. As a result, Anne returns to her family, and it also places Captain Wentworth in a position of obligation with Louisa. He has been pursuing her, and now that she is injured, he cannot simply begin pursuing Anne: his duty as a gentleman demands that he continue to assist Louisa, and even potentially become engaged to her.

When Anne returns to live with her father and older sister, she goes from being in a group that appreciates and understands her to being largely unappreciated and misunderstood. Yet she does not wallow in inactivity, for instance, spending time with her friend Mrs. Smith even though her family disapproves of it.

Wentworth is able to see more fully the result of his actions. When Louisa becomes engaged to someone else, he is free to choose anew what he wants, and he begins more actively reestablishing a relationship with Anne.

Interruptions create hardships or difficulties for characters, often in ways that help them grow internally.

Red Herrings

A red herring is a conclusion or path which seems to be the truth, but ultimately is a false conclusion or a false path.

Earlier in the novel Persuasion, Anne follows a red herring. She sees Captain Wentworth’s pursuit of Louisa and concludes that Captain Wentworth has completely moved on from their relationship. She believes that he feels nothing for her, and that there is no possibility of a future between them.

Anne did not wish for more of such looks and speeches. His cold politeness, his ceremonious grace, were worse than any thing.

In this first half of the novel, Anne is quiet and unassertive, and she does not pursue her interests, in part because of her belief in this red herring.

Jane Austen’s novel Emma arguably uses more red herrings than any of her other novels. Emma consistently notices the wrong things about people, which leads her to great trouble in relationships. She takes clues and carries them to false conclusions, and then she pursues these red herrings relentlessly, which blinds her to the truths and the real clues around her.

For instance, when she paints a portrait of her friend Harriet, Mr. Elton excitedly offers to have the portrait framed in London. Emma takes this as a clue for Mr. Elton’s interest in Harriet, and does everything to set up a relationship between Elton and Harriet. Yet this is a red herring. Mr. Elton is interested in Emma, and it was for this reason that he was enthusiastic about the portrait.

Red herrings make it more difficult to find the truth, creating internal and external obstacles that the character must overcome in order to continue the path of discovery.

Conclusion

Distractions, interruptions, and red herrings are essential elements of storytelling. They don’t exist simply to make the story take longer. They exist because struggle is essential for refining character, and because the things that characters most want and need should be initially outside of their grasp if they are truly worth seeking.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1:

Write out answers to these questions about your personal life:

  • What everyday things distract you from your goals? Is there a time when you have had a larger distraction from your goals?
  • What sort of everyday interruptions do you experience? What is a large interruption you have experienced which has halted for a time or changed the progression of your life?
  • Are there any times in your life when you have come to false conclusions, or headed down a path that seemed like the right path but turned out to be the wrong one?
  • What can you learn about distractions, interruptions, and red herrings from your own personal life that you can apply to writing fiction?

Exercise 2:

Take a scene that you have written and add a distraction, interruption, or red herring to it. (Or, if you’d like, you can add more than one!) This distraction, interruption, or red herring can be small and localized (and could potentially be overcome by the end of the scene), or it could be larger, with implications for later in the story.

Exercise 3:

Picture the classic character of Little Red Riding Hood, who desires to visit her grandmother in the woods. Set a timer for 5 to 10 minutes, and create a list of as many possible distractions, interruptions, and red herrings that she could encounter on her journey. This list can include those in the original tale, but should not be limited to them. Circle the three ideas that seem the most interesting to you.

Bonus: Write a new version of the Little Red Riding Hood story using your chosen distractions/interruptions/red herrings.

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Jane Austen Writing Lessons. #35: Establish the Character of a Setting

#35: Establish the Character of a Setting

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Jane Austen Writing Lessons. #35: Establish the Character of a Setting

We’ve talked a lot about characters—the people who are part of a story—but places can also have character.

One of the definitions that the Oxford English Dictionary provides for the word character is:

The aggregate of the distinctive features of something; essential peculiarity; distinctive nature, style, or quality; sort, kind, description.

The character of a setting is its essence, its overall nature which is experienced by those who interact with it (both the characters within a story and the readers of the story).

The character of a setting is its essence, its overall nature which is experienced by those who interact with it.

Jane Austen masterfully captures the character of a setting—its essence—regardless of whether she uses large or small amounts of description. Here are a few examples of the character of a setting from her novels:

Emma

In Emma, a shop is the setting for several key scenes, including Harriet running into Robert Martin, and a key interaction between Emma and Frank Churchill.

The essence of the shop, Ford’s, is described by the narrator:

Ford’s was the principal woollen-draper, linen-draper, and haberdasher’s shop united; the shop first in size and fashion in the place.

We see this essence again when Frank Churchill proposes that he and Emma visit it:

At this moment they were approaching Ford’s, and he hastily exclaimed, “Ha! this must be the very shop that every body attends every day of their lives, as my father informs me. He comes to Highbury himself, he says, six days out of the seven, and has always business at Ford’s. If it be not inconvenient to you, pray let us go in, that I may prove myself to belong to the place, to be a true citizen of Highbury. I must buy something at Ford’s. It will be taking out my freedom.—I dare say they sell gloves.”

Pride and Prejudice

In Pride and Prejudice, Rosings is the estate of Lady Catherine de Bourgh. Its essence has less to do with its buildings and land than with the fact that it is owned by Lady Catherine. In a previous post, I described Elizabeth’s approach to Rosings and the way in which description is used, but I’d like to offer one further quote:

The palings of Rosings Park was their boundary on one side. Elizabeth smiled at the recollection of all that she had heard of its inhabitants.

Rosings itself does not actually matter; rather, it is Rosings in the imagination that is of import, it is Rosings and its various associations that impacts all the characters that come in contact with it.

Persuasion

In Persuasion, the Elliot family is in rough financial straits and as a result is forced to rent out their estate. They go to stay in Bath, a bustling community that is known for being a center of society and health (while being a little cheaper on the pocketbook).

This is its core essence, but different characters, such as Lady Russell and Anne, interact with this core essence differently:

Everybody has their taste in noises as well as in other matters; and sounds are quite innoxious, or most distressing, by their sort rather than their quantity. When Lady Russell not long afterwards, was entering Bath on a wet afternoon, and driving through the long course of streets from the Old Bridge to Camden Place, amidst the dash of other carriages, the heavy rumble of carts and drays, the bawling of newspapermen, muffin-men and milkmen, and the ceaseless clink of pattens, she made no complaint. No, these were noises which belonged to the winter pleasures; her spirits rose under their influence; and like Mrs Musgrove, she was feeling, though not saying, that after being long in the country, nothing could be so good for her as a little quiet cheerfulness.

Anne did not share these feelings. She persisted in a very determined, though very silent disinclination for Bath; caught the first dim view of the extensive buildings, smoking in rain, without any wish of seeing them better; felt their progress through the streets to be, however disagreeable, yet too rapid; for who would be glad to see her when she arrived? And looked back, with fond regret, to the bustles of Uppercross and the seclusion of Kellynch.

As an interesting note, to me personally, the character of Bath feels different in Austen’s novel Northanger Abbey. In Northanger Abbey, Bath’s essence or defining characteristic seems to be as a place of possibility and discovery, both good and bad. The character of a particular setting can be represented differently depending on the needs of the story.

Establishing the Character of a Setting

While Jane Austen does not directly address the character of every single one of her settings, most of the time it is still implied. For important settings, it is especially useful to consider the overall character of the setting.

As seen in the above examples, the character could relate to its physical characteristics and mood, the people that reside in a setting, how the setting is used, a person who owns or is associated with a space. This is not an exhaustive list: a multitude of things could be contribute to the essence of a place.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Choose five settings from your life. These can be very specific/focused settings (a particular room) or much larger/broader (a city or a region) or anything in between. For each of the settings, write a single sentence in which you capture the essence or character of the setting.

Exercise 2: As you watch a film, make a list of every single setting in the film. Afterwards, in a word or a phrase, describe the character of each setting, as represented in the film. What sorts of things determine the character of each setting? Is it the physical characteristics? How people use the setting? What the setting represents? The people in the setting and their behavior? Etc.

Exercise 3: Revise a scene you have written to better capture the essence or character of the setting. As you do so, consider how different characters might feel differently about the setting and its character.

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Jane Austen Writing Lessons #31: Use a Distinctive Setting for Major Plot Turns

#31: Use a Distinctive Setting for Major Plot Turns

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Jane Austen Writing Lessons #31: Use a Distinctive Setting for Major Plot Turns

Many of the scenes in Jane Austen’s novels occur in what, for her characters, would be ordinary settings—drawing rooms and walks where they had been many times before. We’ll talk, in a few weeks, about how to use familiar settings.

But sometimes Austen uses very distinctive settings for her scenes, and this often happens when there is a major plot turn in the story.

A major plot turn is when both the story and the characters undergo a large shift. Something happens which irrevocably changes the future direction of the plot, and has a profound impact on character and relationship arcs.

In her novel Persuasion, Jane Austen gives her characters a distinctive setting, unlike the rest in the book, when a number of the characters take a trip to the town of Lyme Regis.

Lyme Regis by Alison Day -- a city with a rocky shore and a hint of the ocean.

A modern view of Lyme Regis by Alison Day (limited Creative Commons license)

Three of the characters who travel to Lyme Regis are our main character, Anne Elliot, the man she turned down years before, Captain Wentworth, and his current love interest, Louisa Musgrove.

I previously talked about the Anne-Wentworth-Louisa trio in a post about making things hard for your character. In sum, when Anne and Captain Wentworth became engaged, Anne was persuaded by family members and friends to break off the engagement. Wentworth still has not forgiven her for this. One of the things Wentworth values about Louisa is that she is not easily persuadable—she will go her own way.

Fast forward to Lyme Regis. Bringing the characters to this new, distinctive setting first allows them to meet or encounter new characters who will be key to the story, including Captain Benwick and Anne’s cousin, Mr. Elliot.

Distinctive settings are unfamiliar to characters, which heightens the awareness of the setting for both the characters and the reader. When in a distinctive setting, the characters have a whole additional layer of things to navigate: new physical objects, new or unfamiliar expectations, and as a result…

Distinctive settings often draw out peoples strengths and weaknesses, demonstrate who they really are, and provide opportunities for characters to transform in either a positive or a negative direction.

At Lyme Regis, a number of the characters take a walk along the Cobb, which is a wall near the harbor. There is a heightened awareness of the setting, which is distinctive enough to bring to Anne’s mind the poetry of Byron as she walks with Captain Benwick:

Lord Byron’s ‘dark blue seas’ could not fail of being brought forward by their present view, and she gladly gave him all her attention as long as attention was possible.

In the following paragraph, which is one of the biggest, most dramatic events in Persuasion, we see how the setting draws out Louisa’s firmness of character and the way she is unyielding to persuasion. While Captain Wentworth has always seen this characteristic as a virtue, the negative side of it is made clear.

There was too much wind to make the high part of the new Cobb pleasant for the ladies, and they agreed to get down the steps to the lower, and all were contented to pass quietly and carefully down the steep flight, excepting Louisa; she must be jumped down them by Captain Wentworth. In all their walks, he had had to jump her from the stiles; the sensation was delightful to her. The hardness of the pavement for her feet, made him less willing upon the present occasion; he did it, however; she was safely down, and instantly, to shew her enjoyment, ran up the steps to be jumped down again. He advised her against it, thought the jar too great; but no, he reasoned and talked in vain; she smiled and said, ‘I am determined I will:’ he put out his hands; she was too precipitate by half a second, she fell on the pavement on the Lower Cobb, and was taken up lifeless!

A picture of steps on the Cobb, which is one of the sets of steps that Austen may have been describing in the novel. Image by Chris Talbot, Creative Commons license.

Almost all of the characters completely panic and are rather useless in this sort of situation. Except for Anne. Here we see her kindness, her perceptiveness, her rationality, and her ability to act in the face of challenge.

“Go to him, go to him,” cried Anne, “for heaven’s sake go to him….Rub her hands, rub her temples; here are salts,–take them, take them.”

Captain Benwick obeyed, and Charles at the same moment, disengaging himself from his wife, they were both with him; and Louisa was raised up and supported more firmly between them, and every thing was done that Anne had prompted, but in vain; while Captain Wentworth, staggering against the wall for his support, exclaimed in the bitterest agony,

“Oh God! her father and mother!”

“A surgeon!” said Anne.

He caught the word; it seemed to rouse him at once, and saying only, “True, true, a surgeon this instant,” was darting away, when Anne eagerly suggested,

“Captain Benwick, would not I be better for Captain Benwick? He knows where a surgeon is to be found.”

Every one capable of thinking felt the advantage of the idea[.]

Jane Austen uses a number of techniques in this passage to create emotional intensity. After Louisa’s fall, descriptions of the setting and people and people’s behavior are very short and concise. Her use of punctuation changes, paragraphs not ending with full stops before leaping into the next paragraph. And short snippets of dialogue are stacked on each other with almost no interruption.

A distinctive setting, like the Cobb at Lyme Regis, seems a fitting backdrop for such a pivotal event that impacts the entire trajectory of the novel.

Making an Ordinary Setting Distinctive

Sometimes distinctive settings are big and new and grand and different. Yet at other times, Jane Austen takes an ordinary setting and makes it distinctive in some way, and then uses this ordinary yet distinctive setting for a major plot turn.

An example of this is Mr. Elton’s proposal to Emma, in the book Emma. This proposal is key, not just because it is a proposal which she rejects, but because it is the start of Emma’s awareness that her judgment can be faulty (she thought Mr. Elton was in love with her friend Harriet, but he is actually in love with her).

The proposal occurs in a carriage, a very ordinary setting for an Austen character, yet what makes it distinctive is that Emma and Mr. Elton were never meant to be in a carriage alone together, and they only are because of a mix-up caused by other characters.

It is not common for a man and a woman to be in a carriage by themselves. This suddenly distinctive setting puts these two characters alone and unsupervised, when they would not normally be so. Mr. Elton decides to seize this opportunity to propose. The setting also serves to trap the characters: they are stuck in a moving box together, which adds to the pressure. During the proposal Emma feels trapped, and then after he is denied, Mr. Elton is also trapped both literally and figuratively.

A distinctive setting—whether it is grand and full of danger like the Cobb, or a familiar setting made distinctive like Emma’s carriage—is a powerful place to set a major plot turn, as it can make the plot possible, heighten awareness and tension, and draw out characters’ strengths and weaknesses.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Choose a key scene from a story you have written, and revise the scene either by:

  1. Editing the setting to make it more distinctive (which will impact your description as well as how your character interact with and within the setting).
  2. Rewriting the scene with a new setting that can do more to assist with this major plot point.

Exercise 2:

Choose a book or a film, and find a scene with a distinctive setting in terms of landscape, architecture, cultural/historical significance, etc.

How does the use of this setting impact the plot and the character? What strengths and weaknesses of the characters does it manifest? How does this setting fit within the context of the other settings used in the story?

Exercise 3:

Consider the following list of ordinary places. Add a description to each to show how you could make them distinctive, in a way that might open up storytelling possibilities. (This could be anything, for example, something happening within the place, who is inside, how this place differs from other places like it, etc.)

  • A grocery store
  • A school bus
  • A bar
  • A movie theater
  • A kitchen

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