Mars vs. Venus Part I

Posted on November 2, 2010 by Regina Jeffers

Today on the TV show, The Doctors, they answered questions from audience participants on male/female stereotypes and comparisons. As a writer, those differences are forever part of one’s psyche. One cannot have an Alpha male responded as if he is a female. So, understanding some of the basics about male/female relationships is important.

Whereas men have excellent abstract orientation, women, for example, need landmarks to orient themselves. That is why women do not read maps well.
On the show today, they showed an experiment that proved that women can multi-task better than men. Men are more linear. They must stay with one task at a time – until it is completed.
Women seek acceptance, where men seek respect.
Men who lie do it to cover up something or to build up their ego. Women lie to make someone feel better.
Women in a committed relationship report that they reach fulfillment only 20% of the time, where men say they satisfy their partners completely 55% of the time.
When a group of women eat out, they will divvy up the bill by calculating who owes what. Men, in a similar situation, will compete for the “honor” of paying the entire bill. They will toss money on the table and pretend they would not like some change.
When listening to a person of authority will maintain a neutral face, while women will show up to six distinct expressions.
Women can speak and listen at the same time. Men are totally lost in this type of situation.
Women smile more (showing their teeth) than men do.
Women talk through their stress, while men close up and withdraw to deal with his stress.

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A Book in a Month???

Posted on November 1, 2010 by Regina Jeffers

(by Abigail Reynolds) It’s almost NaNoWriMo! NaNoWriMo is the (Inter)National Novel Writing Month, celebrated each year in November. Anyone who wants can join in the fun, even if you’ve never written anything before. The goal is to write 50,000 words of a novel between November 1-30. Yes, that’s about 1800 words a day, which is far more than most authors write, but that’s the point of it. It’s a chance for people who have never dared to write before to set a pen to paper, as well as for more practiced writers to give themselves a push and a challenge. For a good summary of what NaNoWriMo is about, check their website.

But why do NaNoWriMo instead of writing on my own schedule? Because it works. My worst enemy as a writer is myself. I write a sentence, then second-guess it. Did I show, not tell? Did I use an adverb where I shouldn’t? Is this phrase evocative enough? Then I erase the sentence and start again… and again and again. NaNoWriMo helps me avoid that trap. So what if I told instead of showed, or used an adverb or a speech tag? It’s words, and it counts towards that 1800 words a day! So what if it’s bad? So I keep what I wrote instead of erasing it. Then, in December, I go back and improve it. But I can’t improve and edit something I haven’t written in the first place, hence NaNoWriMo. It gets me through that first draft. Yes, it’s awful, but at least I have something to work from later.

Meantime, NaNoWriMo gives me a kick in the pants. I can’t decide not to write that day, because I know I’ll have to post online how many words I’ve done and all my writing buddies will see it. There’s no “I’m not in the mood” or “I don’t have time.” More importantly, there’s a certain energy that goes along with writing in the company of others. It’s inspirational.

In our Austen community, we have a variety of authors of all stripes – published, unpubbed, and ones who have never dared show a word of what they’ve written to anyone – who participate in JaAuNaNoWriMo. Yes, that’s Jane Austen NaNoWriMo. We also have complete newcomers to writing. The more, the merrier! If you’ve ever thought about writing, this is the time to give it a try. You’ll get lots of encouragement… without ever having to show anybody what you’ve written. No fear of criticism, no angst, just lots of fun, support, and writing. Who knows where that could lead?

So who is in and what are you planning to write? It doesn’t matter if it’s not Austen-related. I’m wavering between two stories, both Regency, one a variation and one a sequel. Sign up on the NaNoWriMo site – it’s free, and you get some cool stuff including a free copy of your story from CreateSpace. I love NaNoWriMo writing buddies! My username there is littorina if you want to be buddies.

Does anyone know if there’s already a JaAuNaNoWriMo group? If not, we could start a thread in the NaNoWriMo forums for Austen-related fiction. I’ll be posting follow ups here every week or two about how I’m doing, and I hope to hear from some of you as well!

Well, Abigail Reynolds convinced me. I have two projects. First, I wish to finish A Touch of Cashémere, the third book in my touch series. Secondly, I need to produce a short story for Ulysses Press’s new project entitled, The Road to Pemberley. If I can accomplish both by the end of November, I will have had a successful month. Come on. Join in. We all can go crazy together.

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Borders eBook Reader

Posted on October 29, 2010 by Regina Jeffers

My latest book, The Phantom of Pemberley, is part of the promotion for Borders new eBook Reader, KoBo.

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Jane Austen and Zombies

Posted on October 28, 2010 by Regina Jeffers

Why are Zombies being mixed with my Jane Austen?

Most people seem to agree that zombies and other monsters are an open testament to a troubled time. Zombies found their peak in George Romero movies, and they reflect whatever we might fear. These monster stories cover everything from pure horror to campy humor. Bela Lugosi appeared in 1932’s White Zombie, based upon traditional Caribbean voodoo, which was followed in 1943 by I Walked with a Zombie, also a Caribbean voodoo story line. Zombie stories were very popular during the Great Depression. So what does this hodge podge of information say about “Zombies”?

It says that zombies and similar monsters represent different things in different times. Zombie stories in the 1950s symbolized the Cold War; in the 1980s, they represented pollution. Beth Accomando in “Zombies Invade NPR,” says, “Zombies are the blank canvas to reflect whatever scares us, be it racism, disease, or the end of the world.” She goes on to say, zombies “reflect the fact that people are currently in crisis mode.”

Unlike vampire stories, which have been found in literature for hundreds of years, zombie stories are a relatively new phenomena. Haitian folklore involving the raising of the dead by a voodoo master appears to be the basis of zombie stories; and, like the folklore, troubled times seem to raise the dead. Nowadays, zombies symbolize the global economic recession and a world in turmoil. Where vampire story lines touch on “divisive” issues, zombies satirize the demise of contemporary culture. 1994’s Interview with a Vampire reflected our country’s varied opinions on AIDS; 1968’s Night of the Living Dead demonstrated our angst during the Vietnam era, even going so far as to dehumanize the combatants. The Vietnamese were “a faceless people, who wished to do us harm” – such as portrayed by the zombies.

Currently, we are being bombarded by countless zombie stories: Breathers: A Zombie’s Lament, which is a novel turned into a movie and being produced by Diablo Cody of Juno fame; Zombieland, which starred Woody Harrelson and Abigail Breslin; World War Z, a novel by Max Brooks, which has been turned into a movie by Marc Foster, director of Quantum of Solace; Resident Evil 5, a zombie video game, and Michael Jackson’s “Thriller,” which is being made into a Broadway show. Zombies plus subgenre combinations seem to be the way of publishers. For example, Star Wars: Death Troopers is a mix of zombies and science fiction. In fact, a romance anthology, entitled My Zombie Valentine, exists.

One of the ideas, which I found very unique, came from Illogic Tree, which purports that American politics set the trends for zombie and vampire films. Quite simply, zombies are popular when a Republican is in office because “Republicans fear the revolt of the masses.” And likewise, vampire films are popular with a Democrat in office because “Democrats are often fearful of upper-class America and believe the rich are bleeding the country dry.” Illogic Tree even using statistics to prove their point that vampires are “blue” and zombies are “red.” According to the article, 183 zombie films were produced in the seven years that Bush was in office (beginning in 2000). During Clinton’s era, we saw Bram Stoker’s Dracula, Interview with a Vampire, Blade, and Dracula: Dead and Loving It, as well as many other less popular offerings. Who knows whether this idea is true, but is it not just fascinating?

Again, how do zombies fit in with my Jane Austen? Lev Grossman in “Zombies are the New Vampires” says, “Apparently no one is safe from the shambling, newly marketable armies of the dead — not even Jane Austen. The author of Pride and Prejudice and Zombies, Seth Grahame-Smith, tells a tale about a strangely familiar English family called the Bennets, who are struggling to marry off five daughters, while at the same time fighting off wave after wave of relentless, remorseless undead — since, as the novel’s classic first line tells us, ‘It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains.’”

Grossman continues, “It is surprising how easily Austen’s novel succumbs to the conventions of a zombie flick. Much of Austen’s work is about using wit and charm and good manners to avoid talking about ugly realities like sex and money. In Grahame-Smith’s version, zombies are just another one of those ugly realities. ‘What was so fun about the book is the politeness of it all,’ says Grahame-Smith. ‘They don’t even like to say the word zombie, even though their country is besieged by zombies. They’re everywhere, and people are literally being torn apart before their very eyes, and other than the very few, like Elizabeth Bennet, who face this problem head on, they would almost rather not talk about it.’”

Grossman goes on to say, “If there’s something new about today’s zombie, it’s his relatability. Sure, he’s an abomination and a crime against all that is good and holy. But he exemplifies some real American values too. He’s plucky and tenacious — you can cut off his limbs and he’ll keep on coming atcha. And he’s humble. You won’t find zombies swanning around and putting on airs like some other monsters. They’re monsters of the people. So, down with vampires. Long live (or is it die?) the zombie: the official monster of the recession.”

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Jane Austen and Vampires

Posted on October 27, 2010 by Regina Jeffers

What is a Mashup?

When I first became aware of the term “mashup,” I automatically thought of the music industry with its remixes and creative imaginings of oldies and the classics. By definition, a “mashup” is creating a new entity from two or more unrelated sources. Although some believe this subgenre has hit its peak, mashups still garner a substantial chunk of the market. That fact probably lies in the reality that a reader of paranormal would find mixing a Jane Austen classic with vampires intriguing. Many authors are finding a new market, whether they write science fiction, fantasy, paranormal, mystery, or humor. Recently, we have seen mixes of William Shakespeare, Mark Twain, Leo Tolstoy, and Louisa May Alcott. It is not just Jane Austen. There is a crossover appeal, very much like the steampunk genre. Think about Hemingway or Flaubert or F. Scott Fitzgerald; there are endless possibilities because the past is always in the process of being reinvented.

Is Jane Austen spinning in her grave because of all the sequels, variations, and mashups? Maybe, because I sometimes write the genre, I do not believe so. Austen wrote in an era when women could not openly express their imaginations without censure. We must not forget that Austen loved stories of all kinds, as well as a bit of gossip and scandal, and she possessed a “twisted” sense of humor. In the movie Becoming Jane, Anne Hathaway refers to it as “ironical.”

How does one mix together Jane Austen and Vampires?

Vampires first appeared in literature in 18th Century poetry before becoming one of the stock figures of Gothic fiction when Polidori published The Vampyre (1819), which was reportedly influenced by the life of Lord Byron. Dracula did not appear until 1897.

One finds the roots of vampire fiction in the early 1700s when the Serbian monarchy exhumed the remains of suspected vampires. In 1748, August Ossenfelder released the short German poem “Der Vampir,” which had strong erotic overtones. Goethë’s “Die Braut von Korinth” and Bürger’s “Lenore” followed, each with vampiric elements. In English literature, Robert Southey’s “Thalaba the Destroyer” (1797) was one of the first examples. Lord Byron’s “The Giaour” (1813) and Samuel Taylor Coleridge’s “Christabel” (1816) followed. Even in Emily Brontë’s Wuthering Heights, Heathcliff’s housekeeper accuses him of being a vampire.

Dracula remains the definitive description of the vampire in popular fiction. In it, Dracula’s “disease” is a contagious demonic possession, with undertones of sex, blood, and death. All of these elements probably struck a cord with Victorian England, where tuberculosis and syphilis were common fears. A decade before, in 1888, the British press had sensationalized Jack the Ripper’s reign in East London. Stoker’s Abraham Van Helsing became the model for all other vampire hunters. Some believe Stoker wrote Dracula to subtly criticize Victorian stuffiness, and others agree it was a social commentary on Stoker’s friend Oscar Wilde and his legal situation. Images, themes, and even actual phrases from Wilde’s trial for sexual inversion appear in the book. Count Dracula symbolizes an aristocrat, who socializes with middle and lower class people to survive – creating an image of the British aristocracy having to interact with the changes occurring in the wealthy middle class. Note how the middle class vampire hunters are the powerful characters in the book. Also, notice how all the vampires in the book are female, except Count Dracula. Vampirism allows Lucy and the others female vampires to dominant, and Dracula’s reign represents the British fear of being “contaminated” by an outside force.

Modern vampires have evolved from those repulsive figures: They are romantic and sexy bad boys, a stark contrast to Eastern European folklore. Christian symbols no longer repel them. Anne Rice’s Lestat De Lioncourt makes both a fanatically religious girl and a nun his victims. The moon does not influence them, nor are they only sustained by drinking blood. Modern vampires can fly, can feed off energy, and can “sparkle” in the sunshine. Modern vampires may possess unusual talents and may be very passionate about things other than blood. Bonnie Anderson says in “Vampire Showdown: Bram Stoker’s Count Dracula Verses Anne Rice’s Lestat,” that “The true fans of horror no longer want to be frightened by the mere fantasy of the fearsome. We want what scares us to our very core: Ourselves. We want to see ourselves dressed up and romanticized, satirized, and suffering and sinning. And then we want to see it again.”

There have been vampires in every film genre, even children’s works: the Count on Sesame Street. Exhibiting self-control is a recent trait of vampires. Modern vampires are more sympathetic to humans. Our current vampires are less monstrous – downright sexy, in fact, and infinitely more human. Contemporary vampirism is about desire. Romance with the undead is intense and forever and perfect. These are female-centered story lines featuring a powerful love, which surpasses the limits of mortality.

So, why is vampire literature so popular and in what way does Jane Austen fit? Beyond the broody, often lonely, male as a main character, vampire stories welcome anachronism. They are striking examples of the juxtaposition of past and present. Vampire stories of old were sources of terror, but contemporary vampirism is seen as desire. They are female-centered narratives, containing a powerful love that transcends the limits placed upon it. In a time after the World Trade Center disaster, we are less likely to make heroes out of those who hide their thoughts and feelings; so recent vampires must become infinitely more human. I mean, let’s face it, unless one is a vampire, there are no longer impediments to marriage. Today, Las Vegas is our Gretna Greene. Vampires who are sympathetic to humans, but whose goal is a relationship and respect are all the rage. As the majority of the readers of vampire literature are women, some believe it is a post-feminist way of taking on power: Women standing up and demanding respect. There is an allure of the forbidden, and the virtue of the individual prevails as a major theme. Now, look back at each of the boldfaced phrases. Are they not part of Austen’s Pride and Prejudice?

Teens embrace the concept of vampirism as an alluring idea – to be young and beautiful forever. Were women in Austen’s time not on the shelf by their early twenties? Remember that Anne Elliot had lost “her bloom” by age 27? Plus, teens think of themselves as immortal. They exist in a time of surging hormones, and they love the idea of power over another. And as a post-menopausal woman myself, the concept of being “hot blooded” appeals to me. Paranormal romance is about power. The females are tough chicks, who kill demons and hunt vampires.

And let us remember that the Twilight series has its roots in classic literature. If you have not noticed the similarities before, let me point out that Twilight is Pride and Prejudice. New Moon finds its basis in Romeo and Juliet. Wuthering Heights becomes Eclipse, and Breaking Dawn mixes The Merchant of Venice and A Midsummer Night’s Dream. Vamplit has the allure of the forbidden. It is quite simply a love story. The current audience for vamplit is a mix of those who grew up on Dark Shadows, Anne Rice’s series, Buffy the Vampire Slayer, X-Files, and Harry Potter.

So, why is Austen so easy to adapt to these subgenres? I would say because her works allow modern authors to insert their ideas into Austen’s point of view. Jane Austen was a forward-looking writer, who wrote thematic masterpieces. Although she writes intriguing characters, Austen’s strength lies in how the theme permeates every word. And is it fair to parody Austen? We must remember that the Lady wrote her own parody of Ann Radcliffe’s The Mysteries of Udolpho.

Regina Jeffers speaks of Vampire Darcy’s Desire. In this book, I tried to keep certain elements of Jane Austen’s Pride and Prejudice. Wickham, the book’s vampire, still tries to seduce Georgiana, and he still takes Lydia to Northumberland (where Newcastle is located). Darcy, a dhampir, desires Elizabeth as a man, and he knows he must break the “curse” upon his family in order to make her his wife. When Darcy first meets Elizabeth, he is withdrawn from society, is generous and protective of his sister, and dutifully oversees his estate. Yet, to this mix of Jane Austen, I have added the folk elements of the Baobhan Sith (Scottish female vampires), a traditional Scottish folk song entitled “Lord Thomas and Fair Ellender,” references to Celtic gods, vampiric legends, apotropaics, and bits of Stoker’s Van Helsing.

Vampire Darcy’s Desire presents Jane Austen’s Pride and Prejudice as a heart-pounding vampire romance filled with passion and danger. Tormented by a 200-year-old curse and his fate as a half-human/half-vampire dhampir, Fitzwilliam Darcy vows to live forever alone rather than to inflict the horrors of his life on an innocent wife. But when he comes to Netherfield Park, Elizabeth Bennet captivates him as no other ever has. Uncontrollably drawn to each other, they are forced to confront the seductive power of forbidden love, while dark forces are at work all around them. Most ominous is the threat from George Wickham, the purveyor of the curse, a demon who vows to destroy each generation of Darcys.

Join us tomorrow for a look at Jane Austen and Zombies.

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Austen a Poor Grammarian

Posted on October 24, 2010 by Regina Jeffers

One of my former students who attends UNC-Chapel Hill sent me a notice on my Facebook page. It was an article about Jane Austen and her grammatical errors. Now, as I often jokingly called myself The Grammar Goddess in the classroom and as he knows I am a Jane Austen freak, the young man wished to point out the contradiction.

The Associated Press news article by Jill Lawless chronicles the work of Oxford University professor Kathryn Sutherland, who credits much of Austen’s style, especially in Emma and Persuasion, to her editor at that time William Gifford. Although this news may be upsetting to some Austen purists, Sutherland goes on to say that the study shows that Austen was better at writing dialogue than her edited pieces display.

To read the entire article, go to http://news.yahoo.com/s/ap/20101023/ap_on_en_ot/eu_britain_jane_austen.

There has been a push to bring Austen’s work into current media. To see her actual offerings go to the following website. Austen’s handwritten manuscripts will go online Monday at http://www.janeausten.ac.uk, the result of a three-year project to digitize the author’s unpublished work.

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A New Sherlock Holmes

Posted on October 23, 2010 by Regina Jeffers

I am very psyched because tomorrow evening one of my favorite British actors (Benedict Cumberbatch) will portray one of my favorite literary characters (Sherlock Holmes) in Masterpiece Mystery on PBS. Although his name may not be familiar, I am sure Cumberbatch’s face will be for he has been in several of my favorite period dramas:

Cambridge Spies (2003) played Edward Hand (starring with Tom Hollander, Toby Stephens, Rupert Penry Jones)

Starter for 10 (2006) played Patrick Watts (starring with James McAvoy, Dominic Cooper, Simon Woods, and Lindsay Duncan) – one of my personal favorites!!!

Amazing Grace (2006) – played William Pitt (starring with Ioan Guffudd, Romola Garai, Albert Finney, Michael Gambon, Rufus Sewell, Ciarán Hinds, and Toby Jones)

Atonement (2007) – played Paul Marshall (starring with James McAvoy, Keira Knightley, Brenda Blethyn, Vanessa Redgrave, and Romola Garai)

The Other Boleyn Girl (2008) – played William Carey (starring with Natalie Portman, Scarlett Johansson, Eric Bana, and Eddie Redmayne)

Appearing with Cumberbatch in Sherlock is Martin Freeman as Dr. Watson and Rupert Graves as Inspector Lestrade. There will be 3 episodes, one 90-minute episode showing on Oct. 24, 31, and Nov. 7. From the writers of Doctor Who, Sherlock is co-created and written by Mark Gatiss and Steven Moffat.

As every modern fictional detective is basically derived from Sherlock Holmes, I am looking for a more traditional Holmes than the one Robert Downey, Jr., portrayed in the recently released Guy Ritchie version (a sequel is due in 2011). I am a cozy mystery fan, and Sherlock Holmes’s stories have fascinated me since I was a child.

“Sherlock fever” has followed Cumberbatch to the National Theatre, where he was, until recently, appearing in Terence Rattigan’s After the Dance. Although the run was already sold out on the back of strong reviews, long queues for returns and day tickets began forming early in the morning once Sherlock started airing on BBC1.

According to internet reports, Cumberbatch’s updated version of the fictional Victorian detective has even, apparently, become a fashion icon, as “Sherlock chic” (as it’s already been dubbed) hits the catwalks and fashion stores. Savile Row tailors have reported a jump in enquiries from gentlemen keen to copy the extra-long tailored coats sported by the actor, Debenhams menswear has announced a surge in enquiries for similar coats, and designer Paul Costelloe has already stepped up to meet demand, offering tailored coats and scarves based on the series. And for the women? Sherlock, it seems, is well in tune with the sartorial zeitgeist. “Capes are going to be massive,” says Emma Elwick, market editor of Vogue. “There is something elegant and dramatic in the swoosh of a cape.”

The series has even been raised in the Commons, with coalition Culture Secretary Jeremy Hunt telling the House: “It was a very good example of the BBC at its best, investing in new programming.” That’s music to an embattled BBC’s ears, and with such a wide cultural impact, not to mention the 7.3 million viewers who tuned into last Sunday’s final episode (in which we finally met Holmes’s nemesis Moriarty), it’s hardly surprising then that the BBC plans to re-commission Sherlock. No official announcement has been made yet – timings and availability have still to be thrashed out, and all that – but Sherlock producer Sue Vertue and her husband, Steven Moffat, appeared on the BBC Breakfast sofa earlier this week to say the words that fans had been waiting for. “There will be more,” announced Vertue. “We’re having a meeting to talk about how many and when really.” (From an August 12, 2010 article in The Independent entitled “The Ideal Holmes Show”)
http://www.independent.co.uk/arts-entertainment/tv/features/the-ideal-holmes-show-benedict-cumberbatch-is-a-revelation-as-supersleuth-sherlock-holmes-2049982.html

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Actions Speak Louder Than Words: Movie Discussion of Pride and Prejudice 1995

Posted on October 20, 2010 by Regina Jeffers

In reading Jane Austen, one can easily imagine the Austen children acting out a play created by the boisterous Jane. Her novels have all the elements of drama: a small cast, limited settings, and no special effects. In this manner, Austen writes cinematic novels – those easily adapted to the screen. We find in Austen’s works very precise stage directions (“Darcy shook his head in silent acquiescence.”) and characters who disclose their inner lives through dramatic interactions with others. Translation: Austen writes telling dialogue.

Today, we discuss Andrew Davie’s 1995 adaptation of Pride and Prejudice and, specifically, Colin Firth’s portrayal of Fitzwilliam Darcy. I do not wish to debate who was “the best Darcy.” What I wish to discuss is how Davie created the image of Darcy. Firth once said, “What Darcy doesn’t say” is as important as what he does say. As viewers, we observe Darcy looking disapprovingly at all the Meryton residents. He puts distance between himself and others. We watch Firth observe Jennifer Ehle’s character, and we have no doubt that as Darcy, Elizabeth Bennet’s disregard for him piques his interest. In reality, Firth has few lines in the first half of the series; yet, he “speaks” to us. He must convey Darcy’s thoughts and attitude with a raise of an eyebrow or a tightening of a jaw line.

Davie creates scenes and emotions (not expressed in the novel) to “flush out” Darcy’s character. In truth, Darcy is a major minor character. In the novel, he meets Elizabeth at Michaelmas (the end of September) and is at Netherfield until the ball (end of November). Darcy then does not see Elizabeth until Easter at Rosings Park. They are together a fortnight before the disastrous proposal separates them once more, leaving the suspense to build to the fateful meeting at Pemberley during the first week of August. In other words, he has been in her company three months spread over a year before his second proposal. Yet, Davie was smart enough to know that the dominant female audience would want to see Darcy fall in love with Elizabeth Bennet.

In the first half (up to the first proposal), Firth is invariably shown leaning against a mantle (usually with a mirror above) or staring out a window. Both stances are done in profile, indicating that he is shutting himself off from new experiences and new people – it is his distancing technique. Even at the Meryton assembly, Firth is shot in profile when he meets the Bennet sisters for the first time. Also, at the party at Lucas Lodge, Darcy remains in profile by a mirror. (Notice that he is seen reflected in an opposite mirror. I love those types of shots for they tell the story so well!) At Netherfield, Darcy remains in profile at the window as the Bingley sisters discuss Elizabeth.

We do not see Firth in full face until the scene about an “accomplished lady.” He stares at an unseen object/person, which we viewers assume is Elizabeth. This is a pivotal point in our definition of Darcy. He is watching Elizabeth, but we are watching him watch her. Immediately following this telling scene, Davie adds an unscripted Austen scene: Darcy is in his bath. When he steps to the window to observe Elizabeth with the dog, again we watch him observe her. Did you not develop an opinion of Darcy’s growing affections for Elizabeth without Davie telling you so in words? A simple visual effect told the story. From the bath scene onward, Darcy spends a great deal of time observing Elizabeth. This provides the viewer with characterization, but it was also a manipulative film technique to hook the obvious female audience. It was a glamorized framing of Firth as Darcy – offering him up to the feminine belief in true love. Even when Darcy returns to profile while he watches Elizabeth and Jane leave Netherfield, we know he observes her with growing interest. We automatically interpret his gaze.

From Elizabeth’s departure from Netherfield and up to the first proposal, Darcy retreats to the profile, indicating he is fighting his attraction for Elizabeth. At the Netherfield ball, we first discover Darcy in profile before he turns to look upon Elizabeth. At the Hunsford parsonage, he sits in profile when he visits with her and the Collinses, along with Col. Fitzwilliam. In the first proposal, he is back standing before a mirror; he moves in profile after the rejection and then returns to the mirror. All of this staring out windows and standing before mirrors is the filmmaker’s way of telling the viewers that Darcy’s character has never looked at his true self nor at Elizabeth as a true choice for a partner.

Davie displays Darcy’s sexual attractiveness, revealing the character as a sensitive man, as well as a physically fit one. Sensitivity is shown when he embraces a distraught Georgiana after her aborted elopement and with his distress when he discovers at Lambton Elizabeth’s grief over Lydia’s actions. Physically, this Darcy rides, hunts, fences, fishes, and swims. Although Darcy disappears from the novel for some time after the first proposal, Davie keeps the sexual tension by showing us Darcy fencing to fight his growing need for Elizabeth and then cooling his desires in the lake. Note that the fencing scene comes right before we first see Pemberley. It tell us who Darcy is, not what he owns.

When Darcy writes Elizabeth the letter of explanation (the beginning of the second half of this series), his anger and mortification is conveyed to the viewers through a man in shirt sleeves, with disheveled hair, and a grim countenance. He labors over the writing. This second half of the series creates a “new” Darcy. Even the opening shot (his leaving the parsonage) shifts the focus from Elizabeth to Darcy. Davie’s adaptation follows Austen’s book faithfully in most respects, except with Darcy. Those visual images to which we are introduced emphasize Darcy’s emotional rollercoaster. We are teased with an image of Wickham’s debauchery followed by the section of the letter where we shift scenes from Darcy’s writing to Elizabeth’s reading, creating sexual attraction.

Davie created an image of a determined Darcy, seeking Wickham and Lydia in London. Darcy is kept in our mind’s eye with images of this calculated search. Darcy buys information on the street from a penniless waif. He nearly forces his way into Mrs. Younge’s home. Later, we see Darcy standing up with Wickham at the church. Davie keeps Darcy’s character in the viewers’ minds even without Austen telling us these things. Note how Davie alternates between Elizabeth’s staring at Darcy’s portrait and Darcy’s dip in the lake. This alternation builds tension for their meeting.

When Darcy returns to Longbourn, he reverts to that stiff, proud character. Again, he is seen in profile before he stares out the window. However, it is not just Darcy who reverts. Think how Elizabeth is once again embarrassed by her mother during Bingley’s proposal, during Lady Catherine’s visit, and with their first walk out together. Returning the characters to an earlier behavior builds suspense.

At the Netherfield ball (one of 15 different dances in this adaptation), there is a sense of challenge between Darcy and Elizabeth. Firth actually said of the scene, “We see an honesty and a playfulness in Elizabeth, while there’s something slightly comical about Darcy’s trying to maintain his formal manner while holding up his end of the repartee. She’ll say something that stings him, and he has an entire eight-step circle to do before he is permitted to respond.” (pg. 102 of The Making of Pride and Prejudice by Sue Birtwistle and Susie Conklin)

So, what did you think? Did you learn something new today? Are there similar secrets you might share with the rest of us? I could go on and on, and we will discuss other facets of this adaptation later because it is one of the most successful ones. One thing you will find about me is that I love movie trivia!!!

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An Internet Reputation

Posted on October 17, 2010 by Regina Jeffers

As an author, I accept the fact that not everyone will enjoy my books. I feel the same way about other writers. But what some of us are finding are people who purposely set out to destroy another author’s standing. If I write a review of a book, I am very honest about its strengths and weaknesses. I point out where it failed, but I also discuss the author’s successes, and I never do it in a mean spirited way.

However, other reviewers we see on sites such as Amazon, Barnes & Noble, Goodreads, etc., are not that responsible. Do you know, for example, about Amazon’s Vine program? It is a wonderful way for readers to receive advanced copies of books to be reviewed by them. However, one of the drawbacks of this program is a system of rating the reviewers. You know how it is. On Amazon, you can mark “yes” or “no” if a review is helpful. Some Vine reviewers are reporting that others are marking all their reviews with a “no” because there is some sort of competition among the reviewers to get into the top 1000. Those top 1000 reviewers get a symbol beside their reviews to indicate their status. Even a recent message board discussed this problem. There are also online groups who play a game of targeting a particular author with poor reviews; therefore, destroying the writer’s chances of another book deal.

Then there are those who write a review for the purpose of showing how clever they are.
There are those who criticize any book with sexual content or the amount of profanity found within. I agree that there should be some sort of rating system to warns a person about the sexual content or the use of curse words, but if that was all upon which one bases his review, then it is too narrow in scope. And then there are those from aspiring authors who wish they thought of the idea first, but tear it down, none the less.

What I am saying is that just because a person puts up a blog or adds a review to online book sites, that does not mean he knows how to review a book. I have seen some of late that accuse the writer of plagiarizing his/her own work. First, that is not possible. The definition of plagiarism refers to using another’s work and passing if off as one’s own.

I was trained in journalism and there is an issue of Fair Comment and Criticism that protects the reviewer from law suits for giving his opinion. Yet, that is for the professional reviewer, and he/she must adhere to certain guidelines in writing the review. Any time someone writes an accusation that affects a person’s reputation, then it is libel and can be prosecuted as defamation of character.

Recently in the USA Weekend Magazine (which I love because I have referred to it previously), there was an article entitled “Protecting Your Online Reputation.” (Oct. 15-17, 2010, pg. 19) This piece outlines steps for a person to be sure of what is written about him on the internet. For those of you in the job market, this is very important. Prospective employers will have access to the same information, and many human resource programs are turning to the internet to screen interviewees they prefer.

The article suggests that a person sign up for google.com alerts to get an email notification of when his name appears online. It even suggests that people go one step further and add technorati.com to their programs. It finds articles that Google does not. Then a person can create his own positive press with a blog or website set up to show him in a positive light. It suggests a networking site called LinkedIn, of which I am not familiar, but plan to check out myself. And then we have all heard the warnings about social networking. Check your privacy settings, and take control of your reputation.

It is a new world in which we live, where a person may put spiteful words about another, and it goes around the world in an instant. To prevent this happening to you, join me and others in finding ways to protect yourself and your reputation.

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My Interview from “My Jane Austen Book Club” on Oct. 7, 2010

Posted on October 16, 2010 by Regina Jeffers

Writing passionately comes easily to Regina Jeffers. A master teacher, for thirty-nine years, she passionately taught thousands of students English in the public schools of West Virginia, Ohio, and North Carolina. Yet, “teacher” does not define her as a person. Ask any of her students or her family, and they will tell you Regina is passionate about so many things: her son, children in need, truth, responsibility, the value of a good education, words, music, dance, the theatre, pro football, classic movies, the BBC, track and field, books, books, and more books. Holding multiple degrees, Jeffers often serves as a Language Arts or Media Literacy consultant to surrounding school districts and has served on several state and national educational commissions.

Could I miss a Talking Jane Austen session with such an extraordinary Janeite? Being a teacher myself and loving many of the things she loves, I invited Regina Jeffers and she accepted!!!

NOTE!! The Phantom of Pemberley was awarded 3rd place in Romantic Suspense in the 5th Annual Dixie Kane Memorial Contest, sponsored by the Southern Louisiana Romance Writers of America.

I’m always so glad when I find a great fan of Jane Austen and her works. Then, if she happens to be a teacher of English, as well as a period drama lover, I become very curious about her. We share so much that I have to discover more than this first evident affinity between us. So, my first question is linked to my job, which is also your former one. Have you taught Jane Austen and what do you think young people can learn from her?
I taught Jane Austen’s Persuasion or Pride and Prejudice at least once each semester for the past seven years. Before that I was in a middle school classroom for fifteen years. I spent forty years in the public schools of three different states.

Obviously, Austen’s novels serve as a transition between the 18th and19th centuries and between neoclassicism and romanticism and should be taught for that reason. In a modern classroom, we must emphasize the fact that England during Austen’s time had not embraced the Industrial Revolution. No railroads, few newspapers, no mass communications. What about the Napoleonic War? It had existed for twenty years, and the news of its progression was slow to permeate the country homes in which the populace lived. Quite simply, Austen wrote of what she knew. Austen’s novels reflect her rural and Anglican upbringing. Daniel Cottam in his “The Civilized Imagination: A Study of Ann Radcliffe, Jane Austen, and Sir Walter Scott” says that Austen subordinates the idea of marriage’s significance between individuals – rather emphasizing its significance between families. However, to convince a student in 2010 to read Austen is not easy. He has no experience – no knowledge – of Austen’s time. As she could not conceive modern ways, our youth lack a “speaking knowledge” of Austen’s time, so that is where I always began my lessons. Students must recognize the “connective tissues” between their current lifestyles and the past. It is not simply a nostalgic look at a “quieter time.” Students must comprehend their relations to the past and to a rapidly changing present.

I always taught my students the nuances of courtship, the lack of women’s rights, the business of marriage, a gentleman’s responsibilities, the social strata, an emphasis on morality, the significance of letter writing, the importance of dancing, the definition of an “accomplished” woman, primogeniture, etc., before we read the novels. We examined the characters’ inner lives through chosen passages, but, more importantly, we looked at themes. For example, look at the repetition of “first impressions” as a theme in Pride and Prejudice. Where do we, as readers, first see Elizabeth? What is our first impression of our heroine? Of Darcy? Of Wickham? Do these first impressions hold true, or are they somehow inconsistent? It is Austen’s intrinsic structure, which holds the story together.

Great, Regina! Thanks a lot! What precious suggestions! Now the most difficult task . I’ve asked this same question to other Janeites. Are there any tricks to convince boys to read Jane Austen’s novels? Not such an easy task to me with my male students.
I preferred a practical way to include what the students had learned by correlating that knowledge with modern cross-marketing tie-ins. I provided examples of the industry, which has developed around the social phenomenon known as Jane Austen: film/TV adaptations of Austen’s novels, house remodeling to capture a Regency style, action figures, “sequels” or “variation” novels, tourism to Austen-related places, music by which to read Jane Austen, sound tracks, Websites, tea houses, etc. Then in small groups the students develop their own creative tie-ins. Young men need to move beyond the concept that Jane Austen is a spinster who wrote simple love stories. Trying to come up with a “sales” plan forces them to see what has made Austen unique in the literary world.

Why do you think mash-ups of JA’s world and others have been so successful: JA and vampires, monsters or murder mysteries have started a new popular trend. What is you opinion on this matter?
When I first became aware of the term “mashup,” I automatically thought of the music industry with its remixes and creative imaginings of oldies and the classics. By definition, a “mashup” is creating a new entity from two or more unrelated sources. Although some believe this subgenre has hit its peak, mashups still garner a mysterious chunk of the market. That fact probably lies in the reality that a reader of paranormal would find mixing a Jane Austen classic with vampires intriguing. Many authors are finding a new market, whether they write science fiction, fantasy, paranormal, mystery, or humor. Recently, we have seen mixes of William Shakespeare, Mark Twain, Leo Tolstoy, and Louisa May Alcott. It is not just Jane Austen. There is a crossover appeal, very much like the steampunk genre. Think about Hemingway or Flaubert or F. Scott Fitzgerald; there are endless possibilities because the past is always in the process of being reinvented.

Is Jane Austen spinning in her grave because of all the sequels, variations, and mashups? Perhaps, because I write the genre, I do not believe so. Austen wrote in an era when women could not openly express their imaginations without censure. We must not forget that Austen loved stories of all kinds, as well as a bit of gossip and scandal (so noted in her letters), and she possessed a “twisted” sense of humor. In the movie Becoming Jane, Anne Hathaway refers to it as “ironical.”

Vampire stories welcome anachronism. They are striking examples of the juxtaposition of past and present. Vampire stories of old were sources of terror, but contemporary vampirism is seen as desire. They are female-centered narratives, containing a powerful love that transcends the limits placed upon it. In a world after the World Trade Center disaster, we are less likely to make heroes out of those who hide their thoughts and feelings; so recent vampires must become infinitely more human. I mean, let’s face it, unless one is a vampire, there are no longer impediments to marriage. Today, Las Vegas is our Gretna Greene. Vampires who are sympathetic to humans, but whose goal is a relationship and respect are all the rage. As the majority of the readers of vampire literature are women, some believe it is a post-feminist way of taking on power: Women standing up and demanding respect. There is an allure of the forbidden, and the virtue of the individual prevails as a major theme. Now, look back at each of the Italicized phrases. Are they not part of Austen’s Pride and Prejudice?

Jane Austen’s works lend themselves easily to a “cozy” mystery because a cozy’s setting is generally a country house or a small town, and the characters simply wish to return to their former peaceful lives. A domestic crime is normally the basis of the story, and a clever amateur “detective” usually solves it. It was Colonel Mustard in the library with the candlestick! A cozy focuses on the mental aspects of solving the crime. It is a well-developed puzzle with all the pieces fitting together at the end.

So, why is Austen so easy to adapt to these subgenres? I would say because her works allow modern authors to insert their ideas into Austen’s point of view. Jane Austen was a forward-looking writer, who wrote thematic masterpieces. Although she writes intriguing characters, Austen’s strength lies in how the theme permeates every word. And is it fair to parody Austen? We must remember that the Lady wrote her own parody of Ann Radcliffe’s The Mysteries of Udolpho.

I love period drama and it seems you are going to post regularly about Austen adaptations on www.Austenauthors.com Any favorite ones among the Austen adaptations? What about period drama in general?
Period dramas allow the viewer to explore what we were, what we are, and what we what to be. They are life stories. Jane Austen’s works are readily adapted to the screen because the subject matter/themes are universal: marriage and social pressure. Austen proves ordinary life is interesting.

Among the Austen offerings, I have spent more time analyzing the modern adaptations. In fact, on October 20, I shall be discussing “The Making of Darcy” in the 1995 BBC series on the AustenAuthors website. I taught media literacy for many years, and I love to look at the less obvious in the filming. In teaching Pride and Prejudice, I used both the 1995 Colin Firth/Jennifer Ehle version, as well as the 2005 Matthew Macfadyen/Keira Knightley adaptation. For Persuasion, I have used both the 1995 and 2007 films. Realizing each director has his own agenda, I refused to compare and contrast the films, but instead taught my students to look at how the story is told visually. For example, in the 2005 Pride and Prejudice film, we join Elizabeth in a bit of voyeurism. We are always “looking in” on the family – through windows and partially closed doors and through the camera’s lens.

For period drama, in general, the recent films The Young Victoria, Mrs. Pettigrew Lives for a Day, and Brideshead Revisited spring to mind. Others I watch regularly include Atonement, Vanity Fair, Von Ryan’s Express, Enchanted April, The Golden Bowl, Amazing Grace, The Ideal Husband, The House of Mirth, Jane Eyre, The Duchess, and Little Dorrit. The list could go on forever.

Oh! I love all of them! I’ve got a huge DVD collection, you know. But we have to stick to our main concern here at Talking Jane Austen. When did you discover Jane’s world ? Has your approach to her work changed in time?
I first met Jane Austen when I was twelve. My mother, a voracious reader, encouraged me to read the classics, and Pride and Prejudice was my first Austen novel. In it, I discovered a balm for all that beset a too tall, too skinny, and too smart pre-teen. I found Mr. Darcy, who set aside his flawed impressions of Elizabeth Bennet to know true love, a heady idea for a hormonally-challenged girl with a “Cinderella” complex. Needles to say, I was hooked for life. For years, I have studied Jane Austen in meticulous detail for my own enjoyment and in order to teach my students. Jane has been my most faithful companion for as long as I can remember. Her works taught me the value of courtesy and of manners and of intelligence, with an ironic take on society that is delivered in a supportive sisterly voice.

When did you start writing? How did it come about?
My journey as an author has been of short duration. In 2007, a student in my Advanced Placement English Language and Composition class challenged me. He said, “If you know all this, why do you not do it yourself?” For the next three months, I frantically wrote Pride and Prejudice from Mr. Darcy’s point of view. With the help of a friend, I self-published Darcy’s Passions. I held no expectations for it beyond it being a “gift” to my class, a way of saying I met your challenge, now you must meet mine. I even had one of the students draw the cover. However, it rose quickly on the Amazon sales list, and Ulysses Press contacted me about publishing the book. The rest is history. I recently released my ninth book, The Phantom of Pemberley.

What books do you usually read? What is there on your nightstand at the moment?
I am a very eclectic reader. On my nightstand, one might find books such as Ken Follet’s Pillars of the Earth, Tom Stoppard’s The Coast of Utopia, Matthew Pearl’s The Dante Club, Jim Fergus’s One Thousand White Women, Thornton Wilder’s The Bridge of San Luis Rey, and many, many historical romances.

As for Mr. Darcy in your latest work, fill in the blank: In the “The Phantom of Pemberley,” Darcy is………
Darcy is complicated. He still remains the powerful charismatic Master of Pemberley, but with Elizabeth, he has achieved contentment in his life.

And what about your Elizabeth?
Elizabeth is relatable, with her own quirks and flaws. She fulfills the archetypal role, while establishing her independence.

Are you more Elizabeth or more Anne Elliot?
Whenever I take one of those popular quizzes on the various Jane Austen websites, I am always Elizabeth Bennet. I suspect it is because of my biting wit, a streak of independence, and an above average intelligence, and we have already established my love of reading. However, my life is more like Anne Elliot. I have yet to find my “Mr. Darcy,” although for some time I thought a former love might be my “Captain Wentworth.” But it was not the right time. “All the privilege I claim for my own sex . . . is that of loving longest, when existence or when hope is gone.” (Vol. 2, Chapter 11, Persuasion)

Jane Austen’s fame has grown so much since her death and being part of a huge community of Janeites on line, I was wondering, do you haven any idea of the reasons for such a growing, long-lasting popularity?
Austen writes romance with biting humor, and let’s face it: Readers admire a well-written love story because it speaks to our potential and validates our existence. With delving insights, Austen expertly creates plot-driven fiction, which branches out like a broccoli stem; and although she writes truly memorable characters, Austen’s stories are built around a central truism, and as readers, we honor such universal truths.

Which one of your books do you imagine perfect for a screen version? Why? Any ideas for the casting?
This is the most difficult question for me. I minored in theatre in college and have trained students in theatre and dance. When I write, the manuscript plays in my head like a film. I stop and rewind a scene, not going as it should, making edits before I ever put pen to paper. Therefore, I have always felt each of the books could be easily adapted to a screenplay.

Captain Wentworth’s Persuasion and Darcy’s Temptation contain several action scenes, which could be translated to the screen. Vampire Darcy’s Desire contains a wonderful fight scene at the book’s end, and I have numerous fans, who would encourage me to choose this one. They are praying for a sequel. The Phantom of Pemberley would be more challenging for the filmmaker to not betray the secret until the ending.
In reality, Darcy’s Temptation is my favorite because I took Austen’s original concept and gave it a “good shaking.” Darcy loses his memory through a freak accident, and because Elizabeth is his wife, he must learn to love her again. Georgiana also claims love in this one, but her adventure is set against the backdrop of the Abolitionist movement. The novel was a finalist for The Booksellers’ Best Award.
For casting of the male roles of Darcy, Colonel Fitzwilliam, Chadwick Harrison, and Clayton Ashford, I would settle for Matthew Goode, Hugh Dancy, Henry Cavill, Alex O’Loughlin, Eddie Redmayne, Jonathan Rhys Meyers, or James McAvoy. I am not a greedy person. Any of these will do quite well.
For the main female roles of Elizabeth, Kitty, and Georgiana, I might suggest Hayley Atwell, Reese Witherspoon, Amy Adams, Emily Blunt, and Amanda Seyfried.

So far and so often, the final task for your fellow writers has been to convince our readers to read their latest publication. Do you mind doing the same for your The Phantom at Pemberley, you’ve got to use less than 50 words?
Happily married, the Darcys never expect tragedy, but a snowstorm strands a strange guest mix at Pemberley. When accidents and deaths plague the manor, everyone suspects a Shadow Man, a mysterious phantom. With a house full of possible culprits, the Darcys must unravel the murderer’s identity before it’s too late.

Did you change the fate of any P & P character in your book?
The Phantom of Pemberley changes Anne de Bourgh’s fate. I had addressed her previously in Darcy’s Temptation, but I despised the character rather than feeling sympathy for her. After all, Anne is well on the shelf by Regency standards. She has spent her life believing Lady Catherine’s mandate that Anne is to marry Darcy, but when Darcy marries Elizabeth instead, where does that leave Anne? She has never had a suitor, never experienced a Season, and has never had a friend. Anne has lived her life under her mother’s censure. I decided Anne would attempt a break from Lady Catherine and would “look for love in all the wrong places.” For the first time since Lady Catherine’s scalding condemnation of Darcy’s marriage, Anne’s impetuous decision brings Lady Catherine and her daughter to Pemberley, where true love waits in the most unsuspecting form.

How different is the beloved couple from the original Austen characters?
As far as Darcy and Elizabeth are concerned in The Phantom of Pemberley, they are more committed to each other than ever before. They have built a trusting and complementary relationship. But, they have been married a year, and I allowed them some sexual desire. I do not write torrid love scenes, but an heir for Pemberley would be expected, and I am of a romantic nature and would think Darcy would share Elizabeth’s bed rather than to sleep in the master’s bedroom. My love scenes are more like the ones we saw in older films, where the door closes and the viewer knows what comes next. However, a so-called “Purist” might criticize the rendering, although I see nothing untoward about a man and a woman expressing their love for each other.

What is there next? After The Phantom of Pemberley, I mean.

In the spring of 2011, Ulysses Press will release my first Regency romance entitled The Scandal of Lady Eleanor. It is designed to be the first in a 5-part series about a covert group known as the Realm. Books 2 and 3 in the series are finished and are awaiting editing. I am honored that Ulysses is taking a chance on me. It is the first time they have ventured into the romance genre.
We have also discussed another Austen mystery. My readers would like a sequel to Captain Wentworth’s Persuasion and to Vampire Darcy’s Desire. Both were left open for a continuation of the story line. I am also hoping for a collection of novellas, which continue the stories of some of the minor characters in my novels. “His Irish Eve” resolves the story of Adam Lawrence from The Phantom of Pemberley, and “His American Heartsong” tells of Lawrence Lowery from the Realm series. A third novella will address a female character, and the collection will be entitled His and Hers.

Thank you, Regina, for taking the time to answer my questions! Good luck with your The Phantom of Pemberley !

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