Austenesque novels typically fall into one of three categories: variations, alternate universe, or sequels. All three have their own set of pit-falls the author must avoid for the story to be worth reading.
In my mind, the sequel is the easiest to sell to the reader, but the hardest to write. Readers want more of their favorite characters; that's why this genre exists in the first place. However, Jane did a wonderful job tying up loose ends, so it's hard to find an actual plot to work with. After all, plot requires conflict, and the pictures of perfect domestic felicity we find at the end of her novels might seem, at first look, to negate the possibility of the lovers ever suffering discord.
To get past that, the sequel author needs to remember that Jane Austen painted a realistic picture of people and life. People are not perfect, even when their love story has the perfect ending. For instance, I imagine that Emma continued to meddle and Knightley did not stop chastising her for it. Both were improved by the events of the book, but neither were perfected. It is the task of the Austenesque author to find which foibles of personality would carry on into marriage, and how that might affect the couple's future happiness.
In Mr. Darcy's Secret, Jane Odiwe excels at this. Her Darcy and Elizabeth are every bit as much in love with each other as we imagine them to be from Pride and Prejudice's conclusion. However, like all newlyweds, there are things they don't know about each other. Elizabeth in particular is troubled by letters she's found that indicate Darcy might once have loved another lady.
At the same time, his decision that Georgiana must make a good match disturbs Elizabeth. She knows her sister-in-law has formed a tendre for a landscape artist, and the marriage Darcy has in mind for her will not make her happy. Darcy's insistence on an alliance of equal fortune and importance seems hypocritical to her, given that he gave up both to marry her.
Both of these plots are very true to the characters. The story progresses in a manner that allows us to learn more of all our favorite characters from Pride and Prejudice, as well as getting to know Georgiana better yet. By the end, of course, all the misunderstandings are resolved. Life at Pemberley is happy once more.
And that is the true art of an Austen sequel: It takes our characters from the happily ever after we see at the end of the book, through another conflict, and brings them back to a happiness made more complete by a greater understanding of one another. If you wish to see this in practice, I highly recommend Mr. Darcy's Secret by Jane Odiwe.
Showing posts with label Austenesque Lesson. Show all posts
Showing posts with label Austenesque Lesson. Show all posts
Tuesday, May 31, 2011
Thursday, March 31, 2011
Austenesque Lesson: Alternate Universe
In fanfiction, "alternate universe" refers to a story that takes the recognizable characters from the fandom and puts them into a completely different setting. Austenesque authors lean heavily toward sequels and variations, but there are a few alternate universe stories out there.
In Pemberley Ranch by Jack Caldwell, Jane Austen goes to post-Civil War Texas. Beth Bennet is a Yankee with a passionate hatred toward former Confederate soldiers and slave owners. Rancher Will Darcy is both--or so she assumes. Meanwhile, Will is too proud to reveal the parts of his past that might make him more appealing to the young lady.
Obviously, when you take a Regency story and move it across the Atlantic 60 years later, there are going to be some changes, and some things won't necessary translate well. The key to an alternate universe is digging deep to find out who your characters actually are, and then deciding how to portray that in your new setting.
Confused? I'll give an example. In Pride and Prejudice, Darcy and Fitzwilliam are cousins, almost as close as brothers. They share the task of caring for Georgiana and it doesn't take much reading between the lines to say they trust each other implicitly. In Pemberley Ranch, Fitzwilliam is Darcy's foreman. The same level of trust exists between the two men, and thus Fitzwilliam plays much the same role as he does in Pride and Prejudice--he's just wearing a different hat.
That kind of finessing takes work. You can't just throw all the characters up in the air and hope they fall into place; you really have to think about who they are and how they relate to each other. That level of dedication is what makes a good alternate universe stand out from the crowd.
In Pemberley Ranch by Jack Caldwell, Jane Austen goes to post-Civil War Texas. Beth Bennet is a Yankee with a passionate hatred toward former Confederate soldiers and slave owners. Rancher Will Darcy is both--or so she assumes. Meanwhile, Will is too proud to reveal the parts of his past that might make him more appealing to the young lady.
Obviously, when you take a Regency story and move it across the Atlantic 60 years later, there are going to be some changes, and some things won't necessary translate well. The key to an alternate universe is digging deep to find out who your characters actually are, and then deciding how to portray that in your new setting.
Confused? I'll give an example. In Pride and Prejudice, Darcy and Fitzwilliam are cousins, almost as close as brothers. They share the task of caring for Georgiana and it doesn't take much reading between the lines to say they trust each other implicitly. In Pemberley Ranch, Fitzwilliam is Darcy's foreman. The same level of trust exists between the two men, and thus Fitzwilliam plays much the same role as he does in Pride and Prejudice--he's just wearing a different hat.
That kind of finessing takes work. You can't just throw all the characters up in the air and hope they fall into place; you really have to think about who they are and how they relate to each other. That level of dedication is what makes a good alternate universe stand out from the crowd.
Thursday, February 24, 2011
Austenesque Lesson: Character Development
Characterization is a classic fanfiction pitfall, and Austen sequel readers are especially picky about this. They know these characters inside and out, and they want to recognize their favorites in our stories. To avoid their ire, we work hard to present the characters exactly as Austen left them.
However, that's not true to life and it's not good writing. People grow and change; I will not be the same person at the end of this year as I was at the beginning. That change is even more vital in fiction. If we are to believe the crisis that drives your plot matters, your character must be changed by the events.
In Charlotte Collins, Jennifer Becton strikes the middle ground. Becton begins her story with the Charlotte we all know, the lady who believed that "happiness in marriage is entirely a matter of chance." If anything, after seven years of marriage to Mr. Collins she is even more pragmatic than before.
After her husband's death, she is assiduously courted by two men; one a gentleman, the other a rake. When the rake ruins her reputation by spreading a scandalous falsehood about her, she is faced with a decision. Will she remain the same Charlotte who chose security over all other concerns, or will she risk everything for one chance at happiness?
Our last picture of Charlotte is of a woman who has finally found true love. Her life is no longer ruled by propriety or a striving for security. Her life is exactly the opposite of where Jane Austen left her, but those same purists we fear have done nothing but praise this book.
There are three keys to Becton's success. I already touched on the first--Charlotte starts out as the recognizable Austen character. The second is an inciting incident that is both believable and big enough to cause the ripple effect you're looking for. Mr. Collins' death certainly qualifies on both counts.
The third is where the magic is. Charlotte doesn't transform overnight. This is where that little thing called plot comes into play. Each decision Charlotte makes drives her to the next change, which leads to the next decision. When we finally reach the climax of the story, she is sufficiently changed that we can almost guess what she will do.
Character development is a difficult balancing act when writing a Jane Austen sequel, but if we pull it off, the result is a book that will satisfy both the purist and someone only looking for a good story.
However, that's not true to life and it's not good writing. People grow and change; I will not be the same person at the end of this year as I was at the beginning. That change is even more vital in fiction. If we are to believe the crisis that drives your plot matters, your character must be changed by the events.
In Charlotte Collins, Jennifer Becton strikes the middle ground. Becton begins her story with the Charlotte we all know, the lady who believed that "happiness in marriage is entirely a matter of chance." If anything, after seven years of marriage to Mr. Collins she is even more pragmatic than before.
After her husband's death, she is assiduously courted by two men; one a gentleman, the other a rake. When the rake ruins her reputation by spreading a scandalous falsehood about her, she is faced with a decision. Will she remain the same Charlotte who chose security over all other concerns, or will she risk everything for one chance at happiness?
Our last picture of Charlotte is of a woman who has finally found true love. Her life is no longer ruled by propriety or a striving for security. Her life is exactly the opposite of where Jane Austen left her, but those same purists we fear have done nothing but praise this book.
There are three keys to Becton's success. I already touched on the first--Charlotte starts out as the recognizable Austen character. The second is an inciting incident that is both believable and big enough to cause the ripple effect you're looking for. Mr. Collins' death certainly qualifies on both counts.
The third is where the magic is. Charlotte doesn't transform overnight. This is where that little thing called plot comes into play. Each decision Charlotte makes drives her to the next change, which leads to the next decision. When we finally reach the climax of the story, she is sufficiently changed that we can almost guess what she will do.
Character development is a difficult balancing act when writing a Jane Austen sequel, but if we pull it off, the result is a book that will satisfy both the purist and someone only looking for a good story.
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