The Cost of Selling eBooks Too Cheaply

Posted on April 26, 2012 by Regina Jeffers

By Melissa Foster for IndieReader

There’s a lot of controversy circulating throughout the publishing industry about the pricing of ebooks, and it’s a significant topic that warrants discussion. Independent authors are rallying around the controversial 99-cent price point. Some authors feel the 99-cent price point devalues their hard work, while others feel that readers will not take a chance on new authors at a higher price point. To further complicate the matter, it’s not just new authors that are using the 99-cent strategy, and the issue doesn’t only affect independent authors, but publishing houses and agents as well.

Readers are scooping up ebooks for 99 cents, that alone speaks of a demand for material at that price point. After all, to some readers, an ebook is seen as nothing more than a download. Many authors spend a year or more writing their books, and 99 cents seems ridiculously low and unfair. At the same time, an ebook for $9.99 seems equally unfair to the reader.

Let’s look at the dollars and cents of the 99-cent price point for independent authors. If an author is self-published through Amazon KDP, he or she earns 34 cents per 99-cent book sold. Not only do authors put time and energy into their writing, there are other associated costs to publishing a quality book, including cover artists ($125-3000), editors ($800-5000), marketing, etc. If you add up the average cover cost of $350, average editing job of $1400, then divide by 34 cents, the author would have to sell 5,134 books just to break even, and that’s nearly impossible without an additional amount for advertising. This would also assume that the author receives no income for actually writing the book. Most independent authors will sell less than 100 copies of their ebooks.

What about the author published through a small press? For that author, that 34 cents in earnings is reduced to roughly 12 cents per book.

Traditional publishers cannot even begin to price books at 99-cents, as they have far too much overhead to do so. In addition, how can a publisher sell a hardback book for $26 if the ebook version is 99 cents?

To read the complete article, visit the Huffington Post at http://www.huffingtonpost.com/2011/12/20/ebooks-cheap-price_n_1160383.html

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“Mirror, Mirror” – Use of Filmic Devices to Tell a Story

Posted on April 25, 2012 by Regina Jeffers

“Mirror, Mirror, on the Wall” (Previously Posted on PrideandPrejudice05 Blog)

Often in the visual representations of Jane Austen’s works, the media employs props or artifacts as visual cues to Austen’s themes of flawed impressions, misconceptions, and false interpretations. For example in Austen’s Emma, Harriet’s sketch serves as a means to reveal how the other characters feel about Emma’s friend. Mr. Elton flatters Emma’s representation of her subject rather than remark on Harriet. Mr. Woodhouse’s sensibility and his need for fires in all the hearths shows through when he says that Harriet has been subjected to the elements when she is portrayed without a shawl. Even Mr. Knightley gives the viewer a clue to how he feels about Emma’s efforts to raise Harriet up in Society. Upon observing the sketch, he says that Emma has made Harriet “too tall.”

The resetting of the miniature of Captain Benwick in Persuasion serves as a the perfect symbol for Captain Harville’s and Anne’s “debate” over the constancy of females and males in love. In Mansfield Park, the distorted and mistaken impressions of the characters plays out in theatricals. Edward Ferrars’ ring is a prime example. In Sense and Sensibility, Elinor Dashwood mistakenly believes that it is a lock of her hair that in encased within. In truth, the lock belongs to Lucy Steele.

These “mistaken interpretations” and many more of Austen’s subtle thematic layers appear in the film versions of Austen’s works in the form of a mirror. It is a bit of irony that Austen never uses the prop as part of her story lines (except in the case of Sir Walter Elliot in Persuasion). Yet, Hollywood loves a good prop, and a mirror can tell the viewer so many unspoken tales. The mirror is often used in film to double a shot’s space or to display a character’s feelings or even to take on metaphorical dimensions. Film history gives up multiple examples of the use of the mirror as important role (Orson Welles’s 1948 The Lady from Shanghai; Walt Disney’s 1939 Snow White, etc.).

 

A mirror in its stillness reflects a “fundamental absence,” as Christian Metz terms the prop’s use. It is a reflection within a reflection. Ariane Hudelet says in “Deciphering Appearances in Jane Austen’s Novels and Films” that “To look at a heroine looking at herself transforms the character into a self-spectacle, a motif we could link with the emphasis on interiority in Austen’s novels. The mirror objects can thus stand for conflicting notions of blindness or introspection, vanity or revelation, according to the films and sequences. Whether it is used as a symbol to reflect the characters’ thoughts or nature, or as a metaphor of the relationships between the characters which can sometimes contrast with the contents of the dialogue and reveal ironic distance, the mirror image constitutes a privileged example of the way Austen’s very modern questioning of the perception of reality can become a post-modern questioning of the reception and distortion of images.”

So, when we as viewers encounter a filmic scene in which the director has used a mirror, we immediately translate the prop’s use to represent introspection on the part of the character. Or we may immediately interpret the character’s self-absorption. Or we may recognize the illusory blindness of the character. In Joe Wright’s 2005 adaptation of Pride and Prejudice, the scene where Elizabeth Bennet “reflects” on Mr. Darcy’s letter is a very poignant one in the film. She discovers her own misconstructions. Those are summarized by Elizabeth’s response to Charlotte Lucas’s inquiry to her mindset. “I hardly know.”

Wright’s film relies on stillness to create the conflict. Following the proposal scene in the pouring rain, the viewer follows Elizabeth’s slow progression through Hunsford cottage to stand before the mirror. We, the viewers, are on the inside of the mirror, looking back at Elizabeth’s inner journey. The scene begins with Elizabeth sitting on her bed. This is what is known as a medium close shot. She does not move. It is a back lit shot to create a claire-obscure effect. Elizabeth moves along a narrow corridor to stand before the mirror. In his commentary on the DVD, Joe Wright says, “We are her,” in referring to the viewing audience becoming Elizabeth’s reflection.

Time progresses behind Elizabeth, but she remains still and expressionless. Darcy appears behind her to deliver his letter. Images are purposely blurred to tell the viewer that these characters have often misconstrued the other.

Elizabeth is learning about Mr. Darcy but also about herself. Her “vision” is both blurred and clear. She turns around to find what she now sees clearly as having disappeared. When she can finally recognize Darcy for the man he is, he is no longer available. Wright uses the mirror as an image of revelation. In the novel, Elizabeth looks long and hard at an image of Darcy in the Pemberley gallery. She recognizes the man she should have seen from the beginning.

 

Now, it is your turn. Tell me other instances of when the mirror is used as a prop in an Austen adaptation. I, personally, can think of several others, but I’ll leave it to you to list some before I pour forth others. We can even explore the use of the mirror in other modern films if you like.

 

As I leave you, I would like to introduce you to my latest Austen-inspired novel, The Disappearance of Georgiana Darcy. It is in the warehouse and ready for release. I hope you enjoy it.

 

 

 

Book Blurb:

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor – the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

 

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

 

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

 

Website – www.rjeffers.com

Blog – https://reginajeffers.wordpress.com

Twitter – @reginajeffers

Publisher – Ulysses Press http://ulyssespress.com/

 

 

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Why Are Sequels to the Classics So Popular?

Posted on April 24, 2012 by Regina Jeffers

Why Are Sequels to the Classics So Popular?

As the past is always being reinvented, it should not surprise anyone that there is publishing market niche for reimagining the classics, whether the remake is one from Jane Austen, Charles Dickens, Sir Arthur Conan Doyle, the Brontes, or Shakespeare. My writing career began with a Jane Austen retelling, and although I have branched out to Regency romances, I still regularly write Austen sequels. What appeal do these novels have for a modern reading public?

Truthfully, I cannot speak to the other authors, but Austen’s works maintain their timeliness because the subject matter is universal. They focus on themes that never die: marriage and social pressures. Jane Austen’s stories inspire self-reflection. Despite containing no war, no violence, no political intrigue, and no poverty, Austen’s stories are loaded with witty dialogue, irony, interesting back stories, and an epigrammatic style. In the early 1800s, the novel was written for a female audience. The subject matter was realistic, and the setting was recognizable.

Austen’s works are what are known as “formula fiction.” On the surface, that term sounds boring, but most readers seek out the same genre over and over. If one enjoys mysteries, he will attempt to solve the dilemma before the resolution is revealed. We all know people who exclusively read science fiction, fantasy, paranormal, inspirational, romance, or historical genres. The formula behind Austen’s stories involves a developing relationship between the hero and heroine. The hero is nearly a decade older than the heroine. He is masterful, mysteriously moody, refined, and passionate. The heroine has a profound transformation. Representing rational love, she is a woman of sense.

So, what do all these facts say for the Austen sequel? First, they say that little has changed in regards to a socially mobile culture. People are still trying to find their places in the world. They also say that Jane Austen’s analysis of the vicissitudes of class is timely. They speak of the appeal of the Byronic hero. They say there is a distinction between simple and complex personalities.

Small, perfect life stories are as compelling as those loaded with action scenes. The canon and its past are complemented by contemporary culture. In Ian Watt’s Rise of the Novel, the author says, “She [Austen] was able to combine into a harmonious unity the advantages both of realism of presentation and realism of assessment, of the internal and external approaches to character; her novels have authenticity without diffuseness or trickery, wisdom of social comment without a garrulous essayist, and a sense of the social order which is not achieve at the expense of the individuality and autonomy of the characters.”

Biting humor and delving insight pepper Austen’s works, and her romance enchants us. There is an undeniable potential for our species as long as love is an important part of our society.

Jane Austen was an expert in plot-driven fiction–a story line or turning point that branches out like the head of a broccoli. Her subject was common, ordinary, middling life, and she rendered it in minute detail. Her works are concerned with the 3 P’s + M: patriotism, paternalism, pastoralism, and the moral responsibility of the individual.

Many readers are under the mistaken impression that Jane Austen wrote character-driven works. Yet, characters are not really what drives Austen’s works. Jane Austen’s work is theme-driven. She wrote thematic masterpieces. Nuance upon nuance of a single idea is built around a central truism–very much like peeling away the layers of an onion. Theme permeates whatever it touches. Austen is not just clever with theme; she is a master.

Critics of these remakes refer to the phenomenon as “nostalgia.” But I beg to question for what are we nostalgic? The answer lies hidden beneath our contemporary need to view the world through a narrow lens–one buried in the past.

So, if you are looking for Austen-inspired literature, please join 19 of my closest friends and me at http://austenauthor.net. We’ll provide you with a ton of ideas. I have seven Austen sequels to my credit: Darcy’s Passions; Darcy’s Temptation; The Phantom of Pemberley; Vampire Darcy’s Desire; Captain Wentworth’s Persuasion; Christmas at Pemberley, and The Disappearance of Georgiana Darcy. I will release another Austen cozy mystery in Spring 2013.

Book Blurb:

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor – the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

 

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

 

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

 

Website – www.rjeffers.com

Blog – https://reginajeffers.wordpress.com

Twitter – @reginajeffers

Publisher – Ulysses Press http://ulyssespress.com/

 

 

 

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New Interview with Austen Author, Regina Jeffers

Posted on April 23, 2012 by Regina Jeffers

Posted previously on the Historical Hussies Blog 

Q: What genre or sub-genre do you write? Why did you choose this genre?

A: I write Jane Austen adaptations/sequels, as well as Regency Romance. As far as the Jane Austen books, my career began with my Advanced Placement English Language and Composition class. I was explaining to the class the nuances of dating in Regency England. In the midst of my explanation, I spoke of the many Austen-inspired novels I had read, giving my personal critique of whether the author achieved what I believed to be a viable continuation of Austen’s tales. When I remarked about tossing a particular title across the room in disgust, one of my students said, “If you know how to do this, why not do it yourself?” At first, I laughed with the possibility, but the more I thought of it, the more it made sense. I wrote Darcy’s Passions, a retelling of Pride and Prejudice from Mr. Darcy’s point of view. I never thought it the first step of a new career. Permitting the students to edit (Cringe!!!) and to do the cover art, I self published the book. It was a way of saying, “I met your challenge, now you must meet mine” to my students. The Amazon sales were strong, and Ulysses Press contacted me. I have published works with them since 2007.

For Regency-based pieces, what can I say? I have read historical romance for pleasure since I was a teen. (My mother was the one to hook me on the genre.) I have always preferred Regency England or Civil War based American pieces. With writing Jane Austen sequels, Regency England seemed a natural choice.

Q: What difficulties does writing this genre present?

A: The difficulty with writing Regency pieces is that the Regency was really only ten years in length – from 1811 to 1820. Most readers of the period will accept events from 1800 – 1830, but my pieces tend to fall between 1810 and 1820. This compacting of time means that a writer is dealing with a limited number of actual events to use as the backdrop for his/her story line. Another complication in writing Regency is the “strict” guidelines under which the aristocracy performed. It takes a skillful writer to give the heroine a bit of “independence” when she must operate in a Society that permitted few opportunities for her to express her personality.

Q: How much time do you devote to writing each day?

A: When I was still teaching school, I spent on average 2-3 hours per evening on a story line. Then two years ago, I retired, and I managed to crank out 3 books that first year. I was spending 6 – 8 hours per day. At present, I am babysitting my first grandchild for nine hours daily. By the time his mother picks him up, I am exhausted, and I admit that my writing has suffered.

The thing about writing, at least for today’s marketplace, is one cannot simply write his/her next novel. There is time each day on social media – Facebook, Twitter, etc. There are emails, maintaining a website and a blog, and LOTS of self promotion. There are edits and revision. An author is likely to spend 2-4 hours with these each day.

Q: Tell us about your other works, books, stories, etc. 

A: I have seven Jane Austen-inspired pieces. As I said earlier, Darcy’s Passions was the first. Darcy’s Temptation (a Booksellers’ Best Award Finalist 2009) was “Passions” sequel, and it begins the day after “Passions” ends. Next came Captain Wentworth’s Persuasion, which tells Austen’s Persuasion from Captain Wentworth’s POV. Ulysses then asked for a vampire version of Pride and Prejudice, and Vampire Darcy’s Desire came about. It is set in a time 80 years before the release of Dracula. Therefore, it uses the more traditional vampiric folk literature. The Phantom of Pemberley followed. It is a cozy mystery based on the legend of the “Shadow Man.” “Phantom” took third in Romantic Suspense in one of RWA’s chapter contests. Christmas at Pemberley was released in November 2011. It is set two years after the end of Pride and Prejudice, and it takes a more “inspirational” slant than many sequels. The Disappearance of Georgiana Darcy hit shelves on March 26. It is another cozy mystery based on a Scottish folk tale, the legend of Sawney Bean.

In writing Regencies, I have a series of books based on a covert governmental group, known as the Realm. A Baloch warlord, who believes that one of Realm has stolen a fist-sized emerald, is hunting them. The first book was originally titled A Touch of Gold. With the Ulysses’ release, the book was changed to The Scandal of Lady Eleanor. Book 2 is called A Touch of Velvet, which is followed by A Touch of Cashémere. I am currently working on Book 4, A Touch of Grace. The first book in my First Wives Club trilogy is also available. Each of the ladies in this series begin their time in Society pretending to be a “widow,” which gives them more status than they would possess if they entered the “marriage mart” as a genteel lady with no connections. And believe it or not, I do have two contemporary romances: Honor and Hope (which is a contemporary romantica based on Pride and Prejudice) and Second Chances: The Courtship Wars (a sweet romance set around a reality TV show). Books 2 and 3 of the Realm series and First Wives’ Club, along with Honor and Hope are slated for release in the next couple of months. Currently, they are available on my website.

Q: What are you working on now?

A: As I said previously, I am writing Book 4 of the Realm series. A Touch of Grace is the tale of Gabriel Crowden and Grace Nelson, and I love creating a back story for Crowden, who is a bit standoffish. Women “bore” him, but why? I have also started a new novel Angel and the Devil Duke. As far as my Austen titles are concerned, I will be writing another project for Ulysses Press. I would like to do another Christmas title that follows up on events in The Disappearance of Georgiana Darcy. At the end of that piece, Georgiana is pregnant and due during Christmastide. It would the perfect situation to carry her story forward. With the success of The Phantom of Pemberley, we are also discussing another cozy mystery.

Q: How do you write?  Are you a pantser or a plotter?  Is it your characters or your plot that influences you the most?

A: I am truly a pantser. I have a “list” of events that will occur in my piece, but I do not outline and plot each detail. I open a spiral notebook and begin to write. Often times (ALWAYS!!!!), the story takes on a life of its own. It plays (as if it is a movie I can rewind over and over until I get it right) in my head as I seek sleep each night. I’m constantly saying, “He wouldn’t say that” or “She would act more surprised” or “That would be so cool.” The plot is the key through which the characters are defined.

Q: How do you choose your characters’ names?

A: Obviously, for my Austen pieces, many of the characters are already well known to the reading audience. Those readers know the characters’ names, the individual characteristics, and what they think should be the outcome of the interactions of certain characters. Minor characters are named with appropriate Christian and surnames that fit the period. As both the Austen titles and my historical romances are set in the Regency Period, names must be apposite for the time period. For example, I love the name “Joshua.” Heck, I named my only child “Joshua.” However, it does not truly fit the time period in which I write.

Occasionally, the names are thrust upon me. I met a young man named Brantley Fowler at a local Enterprise car rental outlet. I told him I was going to “steal” his name and make him famous. Brantley Fowler is the main character in A Touch of Velvet. His “lady” is a young woman named Velvet Aldridge. Years ago, I had a student named “Velvet.” It was the perfect name for that young lady and for my character.

And the power round:

Favorite food? I am a vegetarian. Any fruit or vegetable works for me, but my comfort food is mashed potatoes.

Favorite dessert? An old-fashioned hot fudge sundae

Jeans and T-shirt, or designer clothes? Designer clothes

Guilty pleasure? I am very much Anne Elliot of Persuasion in this matter. I love the company “of clever, well-informed people, who have a great deal of conversation.”

One word that describes you? Focused

Favorite flower? Yellow rose

Favorite sport? (tie) NFL football and distance running

Book Blurb:

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor – the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

Website – www.rjeffers.com

Blog – https://reginajeffers.wordpress.com

Twitter – @reginajeffers

Publisher – Ulysses Press http://ulyssespress.com/

 

 

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Lawsuit Will Change How the Publishing Companies Do Business

Posted on April 20, 2012 by Regina Jeffers

Apple and five of the “Big Six” trade publishers are reportedly under investigation by the Department of Justice for antitrust violations. The point of concern is the five publishers’ staggered but identical move to an agency rather than a wholesale pricing model, not just for Apple, but for all e-book retailers — a move that caused e-book prices for consumers to rise.

But the DoJ’s investigation and a related civil lawsuit touch on issues bigger than rising e-book prices or even collusion between publishers. The cases are also about who has the right to sue e-book publishers, the nature of publishers’ bilateral interactions with Apple and other retailers, and whether it’s even possible for a true agency model to exist for virtual goods like e-books.

In an interview with The Wall Street Journal’s Thomas Catan, Justice Department antitrust official Sharis Pozen outlines the framework guiding the agency’s investigation. The real issue, Pozen says, isn’t the agency model, but secret agreements between competitors.

“We don’t pick business models — that’s not our job,” Pozen told the WSJ. “But when you see collusive behavior at the highest levels of companies, you know something’s wrong. And you’ve got to do something about it.”

To read the complete article, visit WIRED at http://www.wired.com/epicenter/2012/03/case-against-apple-publishers

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Regina Jeffers’ Interview and Excerpt from “The Disappearance of Georgiana Darcy”

Posted on April 19, 2012 by Regina Jeffers

posted previously on Diary of an Eccentric Blog 

How do you research your novels?

The research is based on what would and would not be acceptable for the Regency Period, the time period in which the majority of my novels are set. The true Regency Period lasted only ten years, from 1811 to 1820. Most writers of the period place their stories somewhere between 1800 and 1820; however, a few feature everything from the French Revolution to the Reform. When I am creating a Jane Austen adaptation, my setting is defined by Austen’s original story line. For example, Pride and Prejudice is set in 1812. If I am writing an Austen sequel, I must be aware of the events that happened in the years after 1812. In my latest novel, The Disappearance of Georgiana Darcy, Colonel Fitzwilliam is returning from service with Wellington at Waterloo. Therefore, the book must be true to June 1815. In my unique Regencies, I tend to place my characters in situations that occur between 1810 and 1815. It is the time period of which I am most familiar.

I have a stash of Regency related books to which I often turn for assistance. The Internet is helpful, but there is so much misinformation on the Web that a person must look for sites that verify the content found upon the page. One of the biggest issues is anachronistic phrases. I am more aware of those issues in my Austen-inspired works. Miss Austen has a distinct style, which is difficult to replicate, and I make a point of adding her actual wording to the story lines. In most Regencies on the mass market, in the publishing business, a certain number of anachronistic phrases are acceptable. Those serve as a segue between what is often seen as the stilted language of the period and modern phrasing. However, I do attempt to be true to the language of the period.

What is a typical working day like for you? When and where do you write?

This is only my second year of retirement. I spent 40 years in the classrooms of three different states. During those years, I would teach all day, set at my desk and grade papers until about 7 each evening (English teachers always have tons of papers to grade.), then go home to eat, shower, and write for 2-3 hours.

One would think that now that I am retired that I would have more time to write. However, my “free” time has been limited by the birth of my first grandchild, James. As my son and daughter-in-law are both teachers, I am babysitting James each day for 9 hours. Many days when he leaves me, I am too exhausted to move from the sofa. I do not wish to appear to be complaining; I love the little “monster” more than words can express, but I had forgotten how exhausting raising a baby can be. I am nearing 65 years of age, and it shows. Thus said, my writing has suffered. I feel less structured, and I would admit to a bit of frustration because the stories NEVER leave my head, even if I am too tired to put them on paper. Hopefully, I will recover a bit my life once the school year ends, and my darling Jayme becomes a child can simply spoil (like all good grandparents) and then send home to his parents.

What would you say is your interesting writing quirk?

I still hand write my novels. I write with a black ink pen and use a wide ruled spiral notebook. Then I word process the pages. By that time, the book has had several rewrites (arrows up and down the page, White Out, scratched out lines, inserted words, etc.). All these checks and rechecks affect the writing process. When the novel goes to print, there are few major rewrites with which to deal.

Have you ever written a character you did not like? What did you do about it?

I did not like my take on Anne De Bourgh in Darcy’s Temptation. She was TOO meek, and I thought her quite undeserving of Colonel Fitzwilliam, a character I absolutely adored. Therefore, when I had the opportunity to add her to The Phantom of Pemberley, I gave Miss De Bourgh a “rebellious” streak. I certainly liked her better, and so did my readers, who responded with delightful anticipation of what might follow for her.

In my Regency series based on the men of the Realm, a covert governmental group, I had originally planned to bring Satiné Aldridge and Aidan Kimbolt together; but as I set up their joining, I again grew weary of Satiné’s lack of a backbone (Yes, I realize it was I who gave her no spine). The Regency heroine needs more in her life that fashion and manners. Plus, Satiné was like my original Miss De Bourgh, not good enough for the hero. Aidan Kimbolt required a woman who could bring him happiness. For the moment, in the series, Satiné is in Europe. I have not decided whether to add her to a future book or, perhaps, kill her off. I may, just for fun, let my readers vote on what to do about Miss Satiné.

What makes Jane Austen adaptations/sequels/retellings so special?

I seriously believe that Austen’s intertextual reinscriptions of Restoration comedy have echoes in contemporary literature. Reading a historical novel in its period requires the reader to understand the period, as well as the social distance from the present. Despite Austen being a part of the Society of which she wrote, her works display a “distance” from the time period, and that “distance” marks Austen’s voice as one more distinct than others of her time. Jane Austen was sophisticated, subtle, and very intelligent in her handling of complex issues. Austen’s women were women of sense; they embodied the notion of rational love. Today’s audience has paradoxically maintained Austen’s “formula.”

Excerpt from The Disappearance of Georgiana Darcy

(Situation: Lydia and George Wickham have unexpectedly appeared uninvited on Pemberley’s doorstep. Elizabeth has tried to send them away before Darcy becomes aware of their inviting themselves into his home. However, Darcy’s appearance in the drawing room escalates the situation.)

“It does not surprise,” Wickham grumbled. he caught Lydia’s elbow and turned his wife toward the still-open door. however, when he reached Darcy’s rigid form, he mockingly said, “Please give Miss Darcy my regards. I understand the last four years have been very good to her.” With a slight nod, Wickham took a step to depart.

However, Darcy’s anger had never receded—not today, not four years prior when Wickham had staged the elopement, which would have devastated Georgiana—not through the years of falsehoods, and not when the man had purposely ruined Lydia Bennet and had crushed Darcy’s hopes of claiming Elizabeth as his wife. The memory of every degrading moment seemed to course through his veins, and without considering his actions, his right arm wound up for a perfectly executed uppercut to Wickham’s finely chiseled jaw. A left jab to Wickham’s nose followed the right, and the man went sprawling backward to rest at Elizabeth’s feet. Blood gushed from Lieutenant Wickham’s nose upon the man’s crisp uniform.

“Bloody hell, Darcy!” Wickham exclaimed as he dug in his pocket for a handkerchief. “You are a case for Bedlam!”

Darcy growled, “Curse in my wife’s presence again, and those

imprecations will be the last words that you utter.”

Elizabeth stepped around Wickham’s efforts at recovery and

slipped into Darcy’s one-armed embrace. “Tell me you are well,” she whispered as she caressed his chin.

Darcy did not remove his eyes from the scuttled figure bleeding onto his Persian rug, but he tightened his hold. “As long as you are safe,” he said softly.

Meanwhile, Lydia’s loud protestations were added to the clamor. “Lizzy, look what you have started.” She avoided her husband’s bloody hands when she cuddled his head. “What kind of man have you married?” she accused.

“The best kind, Lydia.” Elizabeth looked lovingly into Darcy’s eyes. “A man of honor. A man of integrity.” She turned in Darcy’s embrace. “Mr. Nathan, would you ask Jasper and Thomas to escort Lieutenant and Mrs. Wickham safely from Pemberley’s grounds?”

“Certainly, Mrs. Darcy.” he snapped his fingers, and the two footmen appeared.

“I cannot believe it has come to this,” Lydia lamented. “You would turn your own sister away? Your flesh and blood?”

Elizabeth’s mouth turned downward. “As my marriage vows require, I would cling to my husband above all others.” She shook her head in sadness. “I never wished it to come to this. In the future, should you choose to return to Pemberley, I shall welcome you with open arms, but I shall never subjugate Mr. Darcy’s desire to sever relations with Lieutenant Wickham to my desire to maintain sisterly affection. If you cannot accept those terms, then we shall communicate through the post.”

As she supported her husband’s rise from the floor, Lydia exclaimed, “You have turned Kitty against me.”

Elizabeth shot a quick glance to the downcast countenance of a sister she dearly adored, and she noted how Kitty’s mouth twitched with the desire to smile. Kitty, too, had found all the drama quite amusing. Miss Catherine Bennet had grown into a sage young woman. “I hope not. I would never place Kitty in a position to have to choose between us.” She silently thought, as you have just required. “And I hope to see you regain the family and friends you have so carelessly sacrificed. The nuptials are a public gathering. You must choose whether you shall stay until Monday for the service. Yet, Pemberley is my home, and I shall determine the events we celebrate and the guests who participate.”

“I see.” Lydia straightened her clothing. “We shall await my parents at the Lambton inn.”

Wickham staggered to his feet. “That may not be the best idea.”

“Why ever not?” Lydia demanded. “There is no coach until tomorrow.”

Darcy eyed Wickham carefully. The man’s nervous mannerisms made him an open book. “If your husband’s demeanor is any indication, Lieutenant Wickham expects to meet those in the area who still hold his markers.” Everyone turned to stare at the wastrel in the King’s uniform.

“I simply prefer not to importune Father Bennet for the cost of our room and return passage,” Wickham said smoothly.

Darcy laughed sarcastically. “Did you hear, Mrs. Darcy? Your father’s debts grow. You suggested that Mr. Bennet would assume the unexpected cost of an inn stay, but your assumption included the notion that Lieutenant Wickham had previously arranged a return journey to Carlisle. Now, we find that not to be the case. Our brother in marriage requires both passage and room, and I suspect board, as well.”

Elizabeth said accusingly, “I expect the accuracy of your words, but that is my father’s issue.”

Kitty said softly. “Mr. Saunders is at Kympton. Perhaps Lydia and Lieutenant Wickham could share the curate’s quarters for the evening. Should I speak to Mr. Winkler? I would not wish Lydia to know any public humiliation.”

“You do what you consider best, Kitty.” Elizabeth admired how Kitty had handled herself. Her sister had demonstrated a firm resolve, but she had also shown charity, a quality Mr. Winkler had recognized in the young Catherine Bennet—a quality he required in his wife. “Why do you not speak privately to Mr. Winkler and then ask Papa to join us here?”

“Yes, Lizzy.” Kitty dropped a quick curtsy and then disappeared from the room.

“Mr. Darcy, we shall await my father in the main foyer. Mr. Nathan shall attend Lieutenant and Mrs. Wickham. We should rejoin our guests.” She reached for Darcy’s hand, and he came willingly.

Within seconds, they were at the foot of the main staircase and in each other’s arms. “Thank you,” Darcy rasped as he pulled her closer.

Elizabeth clung to him. “For what? For loving you beyond reason? I fear that my heart is fully engaged, Mr. Darcy.”

“As is mine,” he whispered into her ear. “Yet, I am chagrined that my previous acquaintances have tainted your family’s life.”

“I shall hear none of this regret, Mr. Darcy. You, Sir, are exactly the man who, in disposition and talents, most suits me. Your understanding and temper, though unlike my own, has answered all my wishes. You are as generous as the most generous of your sex.”

Before she could say more, her father appeared on the landing. “Kitty tells me that you require my assistance,” he said suspiciously. Elizabeth blushed at having been caught in an intimate embrace, but she quickly explained what had transpired. “And your mother never indicated to anyone that she had invited Lydia and Lieutenant Wickham?” his disbelief showed. “I tolerated her maneuverings with Mr. Grange at Christmastide because Grange is harmless and unassuming. No one could object to Grange, but Lieutenant Wickham is a different story.” he turned to Darcy. “I swear, Mr. Darcy, that I held no prior knowledge of this situation, but I will deal with the Wickhams and with Mrs. Bennet. “

“We will escort the others to Derby while you see to your youngest child.”

With a reluctant shrug, Mr. Bennet agreed. “Mrs. Bennet will miss the journey. During your absence, my wife and I will have a serious discussion.”

Book Blurb:

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor – the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

Website – www.rjeffers.com

Blog – https://reginajeffers.wordpress.com

Twitter – @reginajeffers

Publisher – Ulysses Press http://ulyssespress.com/  

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Jane Austen’s Current Relevance

Posted on April 18, 2012 by Regina Jeffers

Jane Austen’s Current Relevance

As we celebrate Jane Austen in modern settings this month, I thought it prudent to examine what makes “our” Jane so popular. Austen’s influence proves that the past is always in the process of being reinvented. There have been over 300 continuations, retellings, adaptations, and sequels to Austen’s works.

Ian Watt’s Rise of the Novel, the author says that Austen combines the internal and external approaches to character, that she has authenticity without diffuseness or trickery, and that Austen offers a sense of social order, which is not achieved at the expense of individuality and autonomy of the characters.

As we all know, Austen conveys life stories, which are small, but perfect. Her subjects are common, ordinary families. Austen sees things as they are and as they ought to be. Her happy endings translate the heroine’s moral assets into material ones.

So, what are some characteristics of Austen that are easily translated into modern times?

Theme/Plot/Style

**   Jane Austen wrote about the mundane, interior lives of deliberately prosaic characters.

**   Austen’s stories are filled with strong irony and rigorous social critique.

** The ironic take on society is delivered in a reassuring, sisterly voice.

**  Her works deal with the believable, timeless obstacles of class, money, and misunderstandings, which make her works adaptable to any era.

**   Austen’s witty, satirical approach to her subjects resonates with contemporary readers.

**  Jane Austen looks at society through a comedic screen, examining the problems of a male dominated society.

**   Jane Austen’s novels focus on personal conduct and that within a complex system of estates, incomes, and social position, personal conduct is seen to create a bridge between private moral order and social order.

**   “Family” is the building block of society.

**   Subject matter is universal.

**  Focuses on themes that never die: marriage; social pressure; generation gap.

**   Ordinary people can have interesting lives.

**   Her novels focus on the tenuous position of women who accept the fact that they must marry in order to achieve social acceptance.

**   Adaptations of Jane Austen’s novels hold a mirror to our own society – Jane Austen’s keen analysis of the vicissitudes of class.

Female Characters

**  The reader is presented with a protagonist whose life and social position was similar to her own.

**  Austen’s women are women of sense; they embody the notion of rational love.

**  Her characters speak to what we were, what we are, and what we want to be.

Male Characters

** Courtship offers the hero a paradoxical challenge in that he must follow normalizing rules of public behavior in order to create uniquely personal emotional connections.

** The visual text escapes Austen’s verbal control and encourages her audience to interpret it.

** Modern readers appreciate the male hero’s displaying his struggle to achieve emotional expression, which will bring him into balance. He physically displays the emotions that he cannot speak.

** We create “masculine balance” according to our own emotion-based criteria, while Austen creates our ideas of masculinity. Her characters’ internal contradictions become harmonized.

Book Blurb: 

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor – the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

Website – www.rjeffers.com

Blog – https://reginajeffers.wordpress.com

Twitter – @reginajeffers

Publisher – Ulysses Press http://ulyssespress.com/

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Interview with Austen Author, Regina Jeffers

Posted on April 17, 2012 by Regina Jeffers

Previously Posted on Donna Hatch’s Blog 

Q: When did you start to write and how long did it take you get published?

A: First, I should explain that I write Jane Austen-inspired sequels and adaptations, as well as Regency romance. My career began with the Austen pieces, and I am probably more well-known for those than the Regencies, which are a relatively new genre for me.

As part of a challenge from one of my students, I wrote my first novel, Darcy’s Passions (a Pride and Prejudice retelling from Mr. Darcy’s point of view), more to answer his “test” than for any other purpose. The students did part of the editing, which still makes me cringe when I read it, but I refused to make changes because I never intended to publish the book. It was a learning experience for the members of that class, as much as it was for me. One of the students who wanted to major in art in college did the cover, and I self published the book. Then I pretty much forgot about it. However, one day I received an email from my son, which announced that my novel was #8 on the Amazon sales list. Of course, I had no idea what that meant. I was a real publishing virgin! A few days later, I received an email from Ulysses Press asking if they could publish my novel. I am one of those freaks of nature who never sent off a manuscript before a publisher picked up my first work. I do not mean to say that I have not looked for other outlets for my non-Austen works. Yet, I have not actively shopped those pieces to other publishers.

Q: What inspired you to write romance?

A: I am a product of the 1960s, when women’s rights came to a forefront because the media gave it a window through which we could see the disparity. Unfortunately, many of the books I read (and I do devour books) pretended that women were nothing more than decoration on a man’s arm. I began to look for a heroine in my novels who was perceptive, who found wry amusement in the follies of others, and who was a keen observer of human nature and society’s quirks. I wanted a woman like me: One who could own up to her flaws. A woman who was not perfect, not a raving beauty, and not desperate to marry. A woman who read more than most women of her time, but who also had a physicality about her. I could not find such a heroine in the majority of the books I encountered at the time. Therefore, my mother introduced me to historical romance. As romance is the most compelling of tasks, it seemed a natural fix. When I began writing something beyond grant proposals and site development reports, I turned to what I loved – to romance.

Q: Do you write with music playing? If so, is the music likely to be songs with lyrics or only instrumentals?

A: I am a Broadway baby, so I often have a soundtrack with my favorite Broadway hits playing in the background. In between passages, I sing along (VERY BADLY). I would say you should hear me belt out “On the Street Where You Live” from My Fair Lady or “Big Spender” from Sweet Charity, but, perhaps, that’s not such a good idea after all. One might also find a classical CD in the computer, with a mix of Mozart, Chopin, Handel, and Tchaikovsky. It depends on my mood.

Q: What is the coolest thing about being an author? 

A: I write under my maiden name, and I keep thinking how proud my mother would be to have someone recognize it. Receiving a promo copy of each book sets my heart racing. I have directed plays and choreographed dance numbers. Both were satisfying, providing me a creative outlet. However, writing a story that affects others is an amazing feeling. Recently, at an independent bookstore in Charlotte, NC, I was setting up my table to sign books for customers. It was the first time I had signed at this particular bookstore, and I was a bit nervous. Just as I finished the table display, a customer came by. She did not know I was scheduled to be part of the day’s array of authors. She had simply stopped at the store as part of her regular shopping. But she looked at me and said, “Are you Regina Jeffers?” When I replied in the affirmative, she said, “I have read all your books, and I loved them. They have a special place on my bookshelves.” I must admit I fought back the tears. My mother must have been doing the “happy dance” in heaven.

Q: What has surprised you about being a published author? 

A: I have met people who hold the “twisted” idea that writing is something that authors “play” at. That it is not a full time job. I would beg to differ. Besides the writing process, there is revision and editing and spending time on social media and self promotion and etc. and etc. Then there are those who think authors are RICH. Most authors I know personally write because they have to or else the stories will die, and the stories are their life blood.

Q: What do you like to do when you aren’t writing?

A: I find it therapeutic to work in my garden. I like to travel, but I do not do as much of it as I desire. I love old movies. A good walk energies my sagging spirits and does wonders for my blood pressure. And I love to read, read, and read.

Q: What was the most usual way you came up with a story idea? What made you to think, ‘hey, I could make that into a story?’

A: I was watching the Today Show one morning, and there was a report on Nerve O. The report told of how an olfactory nerve discovered in a whale could be the real source of attraction between males and females. Nerve O has endings in the nasal cavity, but those nerve endings play a different role from what we expect. Nerve O does not smell out the person to whom we are attracted, but it does identify sexual cues from all the thousands of potential lovers we meet on a daily basis. Family members, logically, have a similar chemical make up. This is nature’s way of protecting close family members from procreating as we seek out those with a different chemical program. Nerve O also can be a cue to fertility issues, miscarriage, and infidelity. If your partner has similar chemicals, such problems may occur. This is where the old adage of opposites attract comes into play. Nerve O became the scientific research specialty of my heroine in Second Chances: The Courtship Wars. I am reworking this title and hope to release it again soon.

Q: What will be your next project? 

A: Currently, I am working on Book 4 of my Regency series dealing with the Realm, a covert governmental unit. Ulysses Press released book 1, The Scandal of Lady Eleanor. I have self published books 2 and 3, A Touch of Velvet and A Touch of Cashémere. A Touch of Grace will follow. My latest Austen novel, The Disappearance of Georgiana Darcy, was released on March 26. I am also doing background research for a new Austen-related title to be released after the first of the year.

Book Blurb: 

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor – the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

 

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

 

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

 

Website – www.rjeffers.com

Blog – https://reginajeffers.wordpress.com

Twitter – @reginajeffers

Publisher – Ulysses Press http://ulyssespress.com/

 

 

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Celebrating the Release of “The Disappearance of Georgiana Darcy”

Posted on April 13, 2012 by Regina Jeffers

The Old Grey Man - part of the Range of the Awful Man

To celebrate the release of my latest novel, The Disappearance of Georgiana Darcy, I thought I might give you a taste of the story line. The Disappearance of Georgiana Darcy begins some three months after the close of Christmas at Pemberley. At the end of CatP, Georgiana Darcy and Colonel Fitzwilliam have married in a rush before he must join Wellington at Waterloo. At the beginning of TDofDG, Georgiana, in anticipation of her husband’s return to England, has traveled to Galloway in Scotland to prepare the Fitzwilliam property for their “honeymoon.” Alone on the Scottish moors, Georgiana receives word that her beloved Edward has died on the battlefield. Distraught, she has raced from the home she had set in preparation for celebrating their joining. Back at Pemberley, Darcy and Elizabeth are told in a hastily written letter from the Fitzwilliam housekeeper that they have conducted a search for Darcy’s sister on the Merrick moor, and Georgiana is presumed dead. The Disappearance of Georgiana Darcy is a cozy mystery based on the Scottish legends of the Merrick Moor and of Sawney Bean.

EXCERPT #1 (A girl has been found upon the moors and placed in a prison cell.)

Although the nightmare had returned, when a brace of candles floated into the room her eyes opened to devour the precious light. She pushed herself to a seated position and shoved several loose strands of hair behind her ears. She no longer possessed an idea of the number of days and nights she had spent curled up on the hard cot.

“I ‘ave brought ye a warmer gown—one of wool,” a female voice said. “If ye will change from yer fine cloth, I’ll be seeing to the stains.” The woman placed the expected food plate on the small stool. “I ’ave brought ye a bit of cheese this time.”

She watched the movements—memorizing the actions. How would it feel to walk across the room—to stretch her cramped muscles? By twisting awkwardly, she had managed to stand beside the cot and to mark her steps in place. To give her weakened legs some much-needed relief. But to actually take a step would be glorious. However, even the slightest shift on her part allowed the manacle to cut into her wrist.

“Come,” the woman said as she unlocked the metal cuff and assisted her to her feet. “There. Does that not feel better?” The woman rubbed her hands with her own, and life rushed into the girl’s fingertips. She searched the woman’s face, but all she could discern was the lady’s age. Likely her late fifties. Silver-gray hair. Very strong hands. Not dainty like those of a woman of good breeding. Her ministrations indicated that the woman did not readily retreat from hard work. Was she someone familiar? But the shadows robbed the girl of her savior’s other features. “Permit me to assist ye with yer laces and yer stays.”

Obediently, the girl turned her back to the woman. “My, yer skin be so smooth,” her captor said. The gown slipped down her body to the floor, and she stepped from it. A cold shiver rocked her spine, but she kept her focus on her surroundings. Where was she? Could she escape? The room resembled a cell–a place for prisoners, which is exactly what she was: someone’s prisoner, and she needed never to forget that fact. Breaching the stone walls was not possible. She would need another form of flight.

“This gown should be making ye more comfortable.” The woman dropped the cloth over her head and began to lace the eyelets. Without her stays, she would be able to move more freely. “I ’ave also brought ye some gloves, as well as this strip of cloth. It’ll be keepin’ the shackle from cuttin’ into yer skin.”

She turned to the stranger. “Must I be returned to the cuff?” She wanted to explore her options more fully, but she permitted the woman to refasten the chain.

“I ’ave no right to order it otherwise.” her captor’s gravelly voice held sadness, but the girl wondered if the woman offered an untruth. Something did not feel right. A shiver ran down the girl’s spine as she bent to accept the fastening.

“Then to whom should I plead my case?” she implored.

The woman’s mouth set in a tight line. “you’ll see in time.” The stranger straightened the gown’s line, tugging at the seams. “It be a bit tighter than I be thinkin’,” the woman said as she bent to retrieve the traveling dress from the floor.

Without considering the gesture, the girl’s hand came to rest upon her abdomen. “My family shall pay whatever you ask for my release,” she said softly.

“Not yer husband?” the woman accused as she strode toward the door.

“My husband is dead,” the girl said softly into the empty room.

 

EXCERPT #2 (When she discovers the news of Georgiana’s disappearance, Elizabeth chases Darcy into the Scottish countryside. She refuses to permit him to face the possibility of Georgiana’s death alone.)

“How much farther, Mrs. Darcy?” Ruth Joseph asked as she shifted in the coach’s seat.

“Mr. Simpson reports that we should be in Gretna Green within the hour. We shall spend the night. I would like to share some time outdoors with Bennet. I miss walking about with my son in my arms.”

“From Gretna, where to next?” Mary asked as she searched the landscape.

“Tomorrow, we shall turn toward Dumfries and then onto Thornhill. The next day we shall arrive at Kirkconnel.” Elizabeth, too, stared at the changing scenery. “The land seems so hard,” she said as she thought of her home. “I once considered Derby and the Peak District quite savage, especially as compared to Hertfordshire. Yet, it was not wild, but wonderfully majestic and as old as time. Now, I look at this rugged terrain and wonder about those who live in the Scottish Uplands.” Elizabeth sighed deeply. “Will these people have nurtured Mr. Darcy’s sister? Is she safe among those who eke out a living in this rocky soil? Will such people treat kindly a girl who until not two years prior shrank from her own shadow?”

 

EXCERPT #3 (When she falls and strikes her head upon the harden floor, the girl is moved to a room where her captors can tend her.)

“There. There.” The woman patted the back of her hand. “Ye be safe. We let nothin’ happen to you.”

The girl opened her eyes wider. The room was cleaner and larger than she had expected. “Where am I?” She attempted to sit up, but the woman pressed her back.

“Might be best not to move too quickly,” she said.

The girl sank into the soft cushions. “I am thankful for your consideration, but I would know the name of my rescuers and of my current direction.”

The woman captured her hand. The warmth felt good against her chilled fingers; yet, a warning rang in her subconscious. She could not pinpoint the exact moment that betrayal manifested itself upon the woman’s countenance, but it had made a brief appearance. Her breathing shallowed in response. “We be the MacBethan family, and you be a guest at our home in Ayr. Me oldest son is the current laird. Of course, ye know me youngest Aulay.” She gestured to a young man in his twenties waiting patiently by the door. “One of arn men found ye and brung ye to arn home. Do ye remember any of wot I tell?”

Her mouth twisted into a frown. “I recall a different room, and I remember your presenting me with a fresh gown.”

“And that be all ye remember?” The woman asked curiously. “Nothin’ of yer home? Yer family befoe ye came to Normanna Hall?”

The lines of the girl’s forehead met. A figure stroking her hair softly fluttered at the edges of her memory. And another of water sucking the air from her lungs. Tentatively, she said, “Only what I have previously said.” She would not speak more of the comfort the figure had given her until she knew what she faced in this house. The woman shot a quick glance at her son. Soothing the hair from her face, she told the girl, “The room must ’ave been the sick- room. Ye be lost on the moor for some time and be in despair. We not be knowin’ if’n ye wud live. The family be thankin’ the gods for yer recovery.”

The girl stared at the woman who tenderly stroked her arm; nothing of what this woman spoke rang true; yet, she could not dispute the obvious. She had suffered, and she was a stranger at Normanna Hall. “May I know your name?”

“Dolina MacBethan. Me late husband, may he rest in peace, and now me son be Wotherspoon.”

“Dost thou raise sheep?” The girl inquisitively asked before she could resist the urge to know more of her surroundings.

The woman pointedly dropped her hand. “The family surname comes from those who tend sheep. It be an honest trade. Although our fortunes are now tied to Galloway cattle. The land be not so fit for farmin’.”

The girl shoved herself to her elbows. “I meant no offense.” The woman’s tone reminded her that she would need to guard her impulsive tongue.

As she watched, her hostess purposely smiled; yet, the gesture did not appear genuine. “Of course, ye not be offering an offense. ye be part of the family. Or very near to being so.”

Suspicion returned, but the girl schooled her tone. “I am a part of the MacBethan family? When did that happy event occur?”

“It not be official.” The woman straightened her shoulders. “ye have accepted Aulay’s plight, and we be planned a joinin’ in a week or so. As soon as ye be regainin’ yer strength.”

“I am to marry Aulay?” she said incredulously. “how can that be? Until a few hours ago, I held no memory of your son. He is a stranger to me.”

Dolina turned quickly toward the door; she shooed her son from the room. “I be givin’ ye time to remember yer promise to this family, Lady Esme, and yer lack of gratitude for our takin’ ye to our bosom.”

“Lady Esme?” The girl called after her. “Is that my name?”

The woman turned to level a steady gaze on her. “Of course, it be yer name. Ye be Lady Esme Lockhart, and ye be Aulay’s betrothed.”

“Mam?” Aulay whispered in concern once they were well removed from the closed doorway. “Wot have ye done? She not be Lady Esme Lockhart.” he gestured toward the room where they detained the girl. “She no more be Lady Esme than I be Domhnall.”

Dolina shushed his protest. “Didnae ye hear the gel? She cannae remember her own name. We kin create the perfect mate fer ye. Do ye not comprehend? I knows ye be slow, but it must be as plain as the lines on me face. She cannae rescind her agreement without just cause. It not be the ’onorable thing to do. Besides, when the gel recalls the bairn she carries, then she’ll be glad to ’ave a man who’ll accept another’s child.”

“But we be tellin’ her the truth?” he insisted. “We tell the gel of ’er real family?”

His mother rolled her eyes in exasperation. “Certainly, we’ll tell the gel of ’er roots. But for now, she be Lady Esme.”

 

Shackled in the dungeon of a macabre castle with no recollection of her past, a young woman finds herself falling in love with her captor–the estate’s master. Yet, placing her trust in him before she regains her memory and unravels the castle’s wicked truths would be a catastrophe.

Far away at Pemberley, the Darcys happily gather to celebrate the marriage of Kitty Bennet. But a dark cloud sweeps through the festivities: Georgiana Darcy has disappeared without a trace. Upon receiving word of his sister’s likely demise, Darcy and wife, Elizabeth, set off across the English countryside, seeking answers in the unfamiliar and menacing Scottish moors.

How can Darcy keep his sister safe from the most sinister threat she has ever faced when he doesn’t even know if she’s alive? True to Austen’s style and rife with malicious villains, dramatic revelations and heroic gestures, this suspense-packed mystery places Darcy and Elizabeth in the most harrowing situation they have ever faced – finding Georgiana before it is too late.

The "Murder Hole" on the Merrick Moor

 

 

 


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P&P 200 – Darcy Is Determined to Make Elizabeth Bennet His Wife

Posted on April 8, 2012 by Regina Jeffers

Below, you will find an excerpt based on Jane Austen’s Pride and Prejudice. Over at Austen Authors, we are celebrating the 200th anniversary of the events in this classic novel. However, we are telling the story from the point of view of the other characters. If you wish to read the entire series, join us at austenauthors.net. Click on the “Writer’s Block” and the symbol above to enjoy the whole story.

On the third day that Darcy met Elizabeth along her favorite path, he encountered some resistance on her part, but he had prepared himself for her reluctance. “Miss Elizabeth,” he began upon meeting heraccidentally for the third time in as many days, “I have purposely sought you out.” His words registered a mild shock upon Elizabeth’s face. “After leaving you yesterday at the Parsonage, I recalled a particularly pleasant prospect I believe you would enjoy. I came today in hopes of having the pleasure of showing it to you.”

“Thank you, Mr. Darcy,” she countered, “that shall not be necessary.”

He said apologetically, “I understand if you are too tired. I should have thought better than to intrude upon your time.” He retrieved his gloves from where they lay upon a bench. “I had only thought of how much you have enjoyed the park while we have kept each other company. The walk I had thought to share was one of my late mother’s favorites. I had forgotten about it until Lady Catherine reminded me.” He prayed that such a small prevarication would not come back to haunt him.  “I simply thought you might find it a pleasant choice for a solitary walk. 

Elizabeth hesitated briefly before saying, “If it is not too far, I would take delight in seeing it, Sir. Thank you for considering my pleasure.” She rested her gloved hand on his proffered arm.

Walking along the narrow, winding path, Elizabeth often moved closer for support, as the footing was a bit bumpy with tree roots. Lost to her closeness, Darcy considered the pleasure he would know by lifting Elizabeth into his arms and carrying her along the path. To feel her clinging to his chest would be pure bliss, but he resisted any rash impropriety.

In less than ten minutes, they emerged from the thick-trunk, tree-lined path into a clearing painted by the sun. Darcy pushed aside some branches and permitted Elizabeth to step into a field of vibrantly colored wildflowers—primroses, bluebells, wild hyacinths, and anemones. He enjoyed the gasp she emitted upon seeing what the clearing had to offer.

“Mr. Darcy,” she exclaimed, “this is magnificent!”

He could not stop the smile erupting upon his lips. As Elizabeth stepped away from him and scampered toward the field, Darcy reluctantly released her. He watched as she stopped suddenly, spread her arms wide, and turned around and around, looking skyward with joy. He did not expect such unencumbered pleasure, but he could not turn his head. She was the most exquisite creature that he had ever seen.

She walked through the field at several angles, stopping to enjoy the various flowers; then she strode purposely toward him. “Mr. Darcy, you have honored me by sharing this clearing. I cannot understand why you chose to do so, but it will be a treasured memory of my trip to Rosings.”

“My mother loved nature, Miss Elizabeth. I believe she would have been pleased to know you approved of her favorite refuge,” he offered. Realizing he could not press her too quickly, he said evenly, “Are you prepared to return to the Parsonage?”

“Yes, Sir, I believe I am.” He extended his arm, and anticipating the pathway’s unevenness, she took a firmer grip than previously. Her rich, mellow hazel eyes sparkling as she turned around and around in the field had filled Darcy with happiness. He loved Elizabeth Bennet; the realization of admitting his feelings flashed through his being; no more would he say he loved her eyes or loved how she spoke her mind; no longer would he think of his feelings being only a strong attraction; Darcy loved Elizabeth. It was as simple as that: he loved Elizabeth. Finally openly acknowledging his devotion for her to himself, Darcy wanted to scream it to the world. Instead, he forced himself to swallow hard and say, “I am pleased my intrusion was not unpleasant, Miss Elizabeth.”

“I believe I told you earlier not all intrusions are unwelcome, Sir.”

“Our acquaintance has been long enough for us to know something of the other’s preferences.” She looked at him with questions hidden behind her eyes; Darcy realized that Elizabeth would now expect him to make known his intentions: He shared his mother’s favorite refuge with her, and he had told her of his wishing to share precious parts of his life with her. The lady could no longer doubt his purpose.

Broken only by occasional civilities regarding the weather and of books recently read, the companionable silence returned between them. As customary, he left her at the Parsonage’s door, but this time as he strode away he allowed himself the pleasure of turning for a final look at her; Elizabeth stood transfixed and looking toward where he brought up; he touched the brim of his hat to bid her farewell and strolled away. After he turned toward Rosings the second time, he did not see her grimace, nor did he observe her perplexed stare.

Tomorrow—he thought as he made his way along the path; tomorrow he would offer his hand to Elizabeth. He would depart from Rosings in two days; therefore, tomorrow would be the day. The prayer the Devil answers, he reminded himself. Let the Devil beware, Darcy thought. He would declare his love for Elizabeth; she would accept; and then Darcy would deal with those whose censure would surely come. Tonight he would prepare a proper proposal; he would tell Elizabeth how his regard for her had grown despite their differences. He imagined her happiness at his declaration. That evening Darcy slept well with the knowledge that on the morrow Elizabeth Bennet would be his.

(This scene comes from Chapter 8 of my first Austen-inspired novel, Darcy’s Passions.)

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