How to Write Like Jane Austen Recap
at Portland Center Stage Armory
by Vonnie Alto, Secretary
Jane Austen aficionados gathered for Happy Hour at the Portland Center Stage Armory to hear the Willamette Writers pre-talk, “How to Write Like Jane Austen“ prior to the showing of Sense and Sensibility on January 22, 2019. Academic librarian, Elizabeth Brookbank and instructor/writer Amy Foster-Myer discussed what makes Jane Austen unique and how we can write like her today.
Both speakers have each completed a novel set in the time of Jane Austen which they hope soon to publish. They graciously provided a plethora of tips on how to do the same.
Amy Foster-Myer’s book is a Jane Austen time travel novel in which a modern day heroine, Emma Wood, accidentally falls out of a window in a shop on the Pulteney Bridge and into the Thames River at a Jane Austen festival in Bath. Mark Landen, with whom she has a flirtatious friendship attempts to rescue her, and falls into the river too. Interestingly, these thwarted lovers actually live an ocean apart and only see each other in person during the 10 days of the festival. They have never taken their relationship seriously. When they emerge from the river, they have fallen back in time to 1802 where they meet Jane Austen who becomes a character in the story.
Amy noted that it is during this time that Jane Austen probably experienced her “lowest emotional point in life—loss of home, living in a city she despises, loss of love (either through death or marriage to another), etc. Because ultimately, this is also what Emma is grappling with—how does one willingly step into the unknown whilst also knowing there may be nothing but a long drop and a dark period ahead of you?”
Amy stated that she pays homage to Austen’s plotlines by creating “a pair of thwarted lovers whose own poor choices and inability to speak openly about their feelings results in separation, wounded feelings, and an emotional distance that seems insurmountable. It is only over the course of the novel, in learning the lessons of friendship and love, that they can overcome their own obstacles and achieve ‘rational happiness.’” Thus, it’s a story of miscommunications and misunderstandings about a modern heroine who also insightfully comments on Georgian society.
Amy wrote this fun book while taking a Literary Arts workshop titled, “How to Write A Novel in 8 Weeks.” Amy’s suggests that we read Jane Austen to write like her. Amy watched Jane Austen movies the entire time while writing her novel to keep herself engrossed in the world of Jane Austen. She read letters of Jane Austen and noticed her “snarky, prickly, and wry wit.” Amy said that Jane’s “cruel wit” comes through her letters. Amy strove to capture that “snarkiness” in her own book. Amy recommended Project Gutenberg for accessing Jane Austen’s letters/novels in full text with references since it was easy for her to google the subject while writing her novel. Amy recommends that if there’s a style of writing that you like, choose that as your writing voice.
I later asked Amy what was the challenge in portraying Jane Austen? Amy said that, “The biggest challenge in doing something so monumentally pitfall--laden as portraying a person so famous and so studied was my initial desire to ‘get it right’ coupled with the fact that we have so little actual evidence about what Austen was like, and so much debate within the community about her. Her letters are wonderful source material, but they are, sadly, so redacted by Cassandra's ever-watchful concern for both Jane and other family member's privacy that much has been lost. So ultimately, I had to make the decision to portray Jane as I believe her to be--the Jane I talk to in my head, I guess you could say. And I also wanted to capture that Jane was a bit of a prickly pickle at times! There are a number of passages in her letters where she is biting, sarcastic, and sometimes even, downright cruel. I didn't want to present some perfect image of Jane, but the real person -- or perhaps I should say, any real person. I wonder what my readership will think of her when this book is out in the world. I look forward to it, but it's a nervous anticipation. “
Conversely, Elizabeth Brookbank’s book is about two young women set in 1809 England during the time Jane Austen lived, but Jane Austen is not a character in it. The two women fall in love with each other which is based on a romantic friendship. Of course, everything goes wrong because Georgian/Regency era society expected that women marry men.
Elizabeth said that it’s necessary “to marinate” in the world of Jane Austen so you’ll write naturally like her. She watched PBS dramas/movies to get a sense of how the people back then talked. She zeroed in on the cutting, dry wit of Jane Austen, but not the sarcasm. Elizabeth also noted that what is often missing in romance novels of the period is Jane Austen’s wry wit which she strove to capture.
Interestingly, some writers avoid reading fiction while they’re writing fiction. Elizabeth said that’s a mistake because it’s really good to get the period into your psyche while you’re writing about it. That’s why it’s good to build a historical foundation so that when you sit at the computer you can write easily in the historical style of the time.
To do this, Elizabeth read about the phenomenon of historical romantic friendship before she started writing her book. However, she still had to research details (i.e. authentic dialogue, clothing, transportation, the look of houses, the age for coming out in 19th century society, etc). But be careful. It’s easy to let the research overtake the writing. After a few weeks, Elizabeth decided to separate her writing time from her research time and keeps a separate document for research notes. For editing, she uses Scrivner to make edit notes to herself in which Scriver puts red bracketed text into whatever is written. For example, [build more here] or [insert more here].
By contrast, Amy gives herself 5 minutes to research a subject. She also used key letters for inserting information later. She borrowed this useful method from fellow writer Evan Williams. He deliberately inserts the same arrangements of letters with brackets into various spots in his novel as a note to himself to return to that section later—either to clean it up, add a detail, a scene, or something else. Essentially, it’s a mnemonic device that you’ll remember to search for later in the revision process. For example, the bracketed letters that Williams uses is “[asdf]” is actually meaningless and doesn’t contain a particular meaning. Instead, it serves as a flag for him to add or fix something later in his novel.
If using Microsoft Word, type CTRL+F to bring up the search bar into your document. Then type in your code letters or special word to find those areas that you need to revise or add more information.
However, it’s important to choose a selection of key letters or even a particular word that you can remember as a reminder of what needs to be done later for your book. Make sure to bracket it so that it’s separate from your story.
What an interesting method for inserting information! It’s also lends itself to other methods. I talked to another attender at the happy hour who extrapolated this tool and created her own method. She recommended to code it in your manuscript and index cards for research. In other words, use the first letter of a word such as “E” for editing or “R” for research that requires further attention. Then bracket it which would allow you to carry on with without losing your train of thought, yet indicate that you need to do something further with the sentence. This would send you in the direction you need to go but wouldn’t answer the question.
Also, these first letter codes of a word would correspond to key letters on your index cards (i.e. E for editing, R for research--for perhaps researching transportation, vehicles, hemlines, and how people of certain spoke).
Both Elizabeth and Amy agreed that about 10% of research goes into a book. The rest of their research provides authority. Elizabeth says if you’ve put a lot of research into your book, then it will be boring. Don’t over explain. Instead, give a sense of the time. Amy said that it’s important to note that Jane Austen wrote her books for the people of the time with approximately 10% giving the reader a sense of the world, but not a complete history.
Elizabeth said that there’s different amounts of research to include, depending on your story. You’ll need both general and specific research for accuracy. Historical information that is most important are the dynamics of the main characters (their interactions and how other characters view them) vs the history of the period (including servants/clothing). Therefore, pick and choose specific things about what you’re writing and make it accurate.
Elizabeth kindly provided a handout of Regency/Georgian/Victorian England research resources. She especially recommended the Georgian/Regency blogs: “Regency History,” “Jane Austen’s World,” “Pen and Pension,” “The Risky Regencies,” “All Things Georgian,” “Austen Authors,” and “English Historical Fiction Authors.” Also, British Baby Names and Behind the Name.
Inquiring minds wanted to know, do these writers write multiple projects at the same? Is it easier to do so?
Elizabeth said that no writing is easy. It’s all hard. She has more than one project going because it’s hard to focus on just one project.
Amy writes 1,000 words flash fiction short stories and also novel writes and tries to focus her energies. She recommends having something else to focus on while writing your novel so that it brings momentum to your writing. She’s always working on three different phases of writing: 1) writing the current project, 2) editing a completed work, and 3) mulling over an idea for the next project that she hasn’t yet written. This writing process is based on the writing advice she heard from local author, Fonda Lee of Willamette Writers. Lee always works on three projects at the same time: 1) the book she’s drafting, 2) the draft she’s revising, and 3) the project she’s mulling over and researching.
Another attender volunteered that for her this was the biggest takeaway of the happy hour. Have three categories of writing that you’re in the process of doing: editing, writing and developing--each which requires a different length of time to complete. This keeps your interest level up and your writing exciting. Otherwise you can get stalled. If you have these three levels you’re working on, then you’ll always have something moving forward. You can work on all three levels in one day or one at a time. Then slot in a new projects as you finish one of these levels. When you finish something, you’ll return with a new outlook and a fresh vision. Then you slot in a new project as you finish one of these levels. This way, there’s always something you’re developing and finishing.
So much to ponder! What an engrossing happy hour on writing like Jane Austen! Thank you Elizabeth and Amy for sharing your insightful tips on how to write like Jane Austen and how to portray Jane Austen! We look forward to reading your own novels once they are published.
Both Elizabeth and Amy are accessible on the web: Elizabeth Brookbank is on Twitter at elizabethbrookb and Amy Foster Myer has a blog: https://amyfostermyer.wordpress.com/
at Portland Center Stage Armory
by Vonnie Alto, Secretary
Jane Austen aficionados gathered for Happy Hour at the Portland Center Stage Armory to hear the Willamette Writers pre-talk, “How to Write Like Jane Austen“ prior to the showing of Sense and Sensibility on January 22, 2019. Academic librarian, Elizabeth Brookbank and instructor/writer Amy Foster-Myer discussed what makes Jane Austen unique and how we can write like her today.
Both speakers have each completed a novel set in the time of Jane Austen which they hope soon to publish. They graciously provided a plethora of tips on how to do the same.
Amy Foster-Myer’s book is a Jane Austen time travel novel in which a modern day heroine, Emma Wood, accidentally falls out of a window in a shop on the Pulteney Bridge and into the Thames River at a Jane Austen festival in Bath. Mark Landen, with whom she has a flirtatious friendship attempts to rescue her, and falls into the river too. Interestingly, these thwarted lovers actually live an ocean apart and only see each other in person during the 10 days of the festival. They have never taken their relationship seriously. When they emerge from the river, they have fallen back in time to 1802 where they meet Jane Austen who becomes a character in the story.
Amy noted that it is during this time that Jane Austen probably experienced her “lowest emotional point in life—loss of home, living in a city she despises, loss of love (either through death or marriage to another), etc. Because ultimately, this is also what Emma is grappling with—how does one willingly step into the unknown whilst also knowing there may be nothing but a long drop and a dark period ahead of you?”
Amy stated that she pays homage to Austen’s plotlines by creating “a pair of thwarted lovers whose own poor choices and inability to speak openly about their feelings results in separation, wounded feelings, and an emotional distance that seems insurmountable. It is only over the course of the novel, in learning the lessons of friendship and love, that they can overcome their own obstacles and achieve ‘rational happiness.’” Thus, it’s a story of miscommunications and misunderstandings about a modern heroine who also insightfully comments on Georgian society.
Amy wrote this fun book while taking a Literary Arts workshop titled, “How to Write A Novel in 8 Weeks.” Amy’s suggests that we read Jane Austen to write like her. Amy watched Jane Austen movies the entire time while writing her novel to keep herself engrossed in the world of Jane Austen. She read letters of Jane Austen and noticed her “snarky, prickly, and wry wit.” Amy said that Jane’s “cruel wit” comes through her letters. Amy strove to capture that “snarkiness” in her own book. Amy recommended Project Gutenberg for accessing Jane Austen’s letters/novels in full text with references since it was easy for her to google the subject while writing her novel. Amy recommends that if there’s a style of writing that you like, choose that as your writing voice.
I later asked Amy what was the challenge in portraying Jane Austen? Amy said that, “The biggest challenge in doing something so monumentally pitfall--laden as portraying a person so famous and so studied was my initial desire to ‘get it right’ coupled with the fact that we have so little actual evidence about what Austen was like, and so much debate within the community about her. Her letters are wonderful source material, but they are, sadly, so redacted by Cassandra's ever-watchful concern for both Jane and other family member's privacy that much has been lost. So ultimately, I had to make the decision to portray Jane as I believe her to be--the Jane I talk to in my head, I guess you could say. And I also wanted to capture that Jane was a bit of a prickly pickle at times! There are a number of passages in her letters where she is biting, sarcastic, and sometimes even, downright cruel. I didn't want to present some perfect image of Jane, but the real person -- or perhaps I should say, any real person. I wonder what my readership will think of her when this book is out in the world. I look forward to it, but it's a nervous anticipation. “
Conversely, Elizabeth Brookbank’s book is about two young women set in 1809 England during the time Jane Austen lived, but Jane Austen is not a character in it. The two women fall in love with each other which is based on a romantic friendship. Of course, everything goes wrong because Georgian/Regency era society expected that women marry men.
Elizabeth said that it’s necessary “to marinate” in the world of Jane Austen so you’ll write naturally like her. She watched PBS dramas/movies to get a sense of how the people back then talked. She zeroed in on the cutting, dry wit of Jane Austen, but not the sarcasm. Elizabeth also noted that what is often missing in romance novels of the period is Jane Austen’s wry wit which she strove to capture.
Interestingly, some writers avoid reading fiction while they’re writing fiction. Elizabeth said that’s a mistake because it’s really good to get the period into your psyche while you’re writing about it. That’s why it’s good to build a historical foundation so that when you sit at the computer you can write easily in the historical style of the time.
To do this, Elizabeth read about the phenomenon of historical romantic friendship before she started writing her book. However, she still had to research details (i.e. authentic dialogue, clothing, transportation, the look of houses, the age for coming out in 19th century society, etc). But be careful. It’s easy to let the research overtake the writing. After a few weeks, Elizabeth decided to separate her writing time from her research time and keeps a separate document for research notes. For editing, she uses Scrivner to make edit notes to herself in which Scriver puts red bracketed text into whatever is written. For example, [build more here] or [insert more here].
By contrast, Amy gives herself 5 minutes to research a subject. She also used key letters for inserting information later. She borrowed this useful method from fellow writer Evan Williams. He deliberately inserts the same arrangements of letters with brackets into various spots in his novel as a note to himself to return to that section later—either to clean it up, add a detail, a scene, or something else. Essentially, it’s a mnemonic device that you’ll remember to search for later in the revision process. For example, the bracketed letters that Williams uses is “[asdf]” is actually meaningless and doesn’t contain a particular meaning. Instead, it serves as a flag for him to add or fix something later in his novel.
If using Microsoft Word, type CTRL+F to bring up the search bar into your document. Then type in your code letters or special word to find those areas that you need to revise or add more information.
However, it’s important to choose a selection of key letters or even a particular word that you can remember as a reminder of what needs to be done later for your book. Make sure to bracket it so that it’s separate from your story.
What an interesting method for inserting information! It’s also lends itself to other methods. I talked to another attender at the happy hour who extrapolated this tool and created her own method. She recommended to code it in your manuscript and index cards for research. In other words, use the first letter of a word such as “E” for editing or “R” for research that requires further attention. Then bracket it which would allow you to carry on with without losing your train of thought, yet indicate that you need to do something further with the sentence. This would send you in the direction you need to go but wouldn’t answer the question.
Also, these first letter codes of a word would correspond to key letters on your index cards (i.e. E for editing, R for research--for perhaps researching transportation, vehicles, hemlines, and how people of certain spoke).
Both Elizabeth and Amy agreed that about 10% of research goes into a book. The rest of their research provides authority. Elizabeth says if you’ve put a lot of research into your book, then it will be boring. Don’t over explain. Instead, give a sense of the time. Amy said that it’s important to note that Jane Austen wrote her books for the people of the time with approximately 10% giving the reader a sense of the world, but not a complete history.
Elizabeth said that there’s different amounts of research to include, depending on your story. You’ll need both general and specific research for accuracy. Historical information that is most important are the dynamics of the main characters (their interactions and how other characters view them) vs the history of the period (including servants/clothing). Therefore, pick and choose specific things about what you’re writing and make it accurate.
Elizabeth kindly provided a handout of Regency/Georgian/Victorian England research resources. She especially recommended the Georgian/Regency blogs: “Regency History,” “Jane Austen’s World,” “Pen and Pension,” “The Risky Regencies,” “All Things Georgian,” “Austen Authors,” and “English Historical Fiction Authors.” Also, British Baby Names and Behind the Name.
Inquiring minds wanted to know, do these writers write multiple projects at the same? Is it easier to do so?
Elizabeth said that no writing is easy. It’s all hard. She has more than one project going because it’s hard to focus on just one project.
Amy writes 1,000 words flash fiction short stories and also novel writes and tries to focus her energies. She recommends having something else to focus on while writing your novel so that it brings momentum to your writing. She’s always working on three different phases of writing: 1) writing the current project, 2) editing a completed work, and 3) mulling over an idea for the next project that she hasn’t yet written. This writing process is based on the writing advice she heard from local author, Fonda Lee of Willamette Writers. Lee always works on three projects at the same time: 1) the book she’s drafting, 2) the draft she’s revising, and 3) the project she’s mulling over and researching.
Another attender volunteered that for her this was the biggest takeaway of the happy hour. Have three categories of writing that you’re in the process of doing: editing, writing and developing--each which requires a different length of time to complete. This keeps your interest level up and your writing exciting. Otherwise you can get stalled. If you have these three levels you’re working on, then you’ll always have something moving forward. You can work on all three levels in one day or one at a time. Then slot in a new projects as you finish one of these levels. When you finish something, you’ll return with a new outlook and a fresh vision. Then you slot in a new project as you finish one of these levels. This way, there’s always something you’re developing and finishing.
So much to ponder! What an engrossing happy hour on writing like Jane Austen! Thank you Elizabeth and Amy for sharing your insightful tips on how to write like Jane Austen and how to portray Jane Austen! We look forward to reading your own novels once they are published.
Both Elizabeth and Amy are accessible on the web: Elizabeth Brookbank is on Twitter at elizabethbrookb and Amy Foster Myer has a blog: https://amyfostermyer.wordpress.com/