Jane Austen Writing Lessons

Jane Austen Writing Lessons. With an image of the original cover page of Pride and Prejudice; a color image of Jane Austen; an image of tea and pastries with an open book, and an early cover of Sense and Sensiblity.

One of the best ways to learn to write well is to learn from the examples of great writers. Jane Austen Writing Lessons is a series of blog posts about creative writing principles from plot structure to character development to dialogue. This blog was selected by “The Write Life” as one of the 100 Best Websites for Writers in 2021.

Jane Austen Writing Lessons is now a book!

Jane Austen Writing Lessons has been expanded into a book! The book includes over 70% brand-new material that never appeared on the blog. The book is now available in ebook, paperback, and hardcover from all major retailers.

A 3D rendering of the book Write with Jane Austen: Masterclasses with the Master Storyteller

Read more about the book and find links to your favorite retailers.

Examples from Jane Austen

Each lesson looks to Jane Austen’s novels and her other works for examples of excellent writing. Quotes from her six published novels and an analysis of her craft–and how we can apply it to our own writing–is included in each lesson.

Writing Exercises

Writing Exercises - Jane Austen Writing Lessons

Each lesson includes 2-3 writing exercises that will help you practice the creative writing principle and apply it to your own writing.

Most Recent Jane Austen Writing Lessons

Jane Austen celebrating her birthday. Austen wears a birthday hat, holds a birthday present, and sits next to a birthday cake covered with candles.
Jane Austen Writing Lessons. #69: The Jane Austen Approach to Critiquing Writing
An intriguing snippet which has Jane Austen's portrait and a mysterious gray box with the words, "Cover Coming Soon"
Jane Austen Writing Lessons #68: Establishing Relationships and Character Connections in Fiction
Jane Austen Writing Lessons 67. Creating an Emotional Map: Making Interconnected Emotions
Jane Austen Writing Lessons. #66: Evoking Emotions through Objective Correlative (External Objects)
Mary Bennet and Mr. Collins. Why didn't they marry? Would they have made a good match?
Jane Austen Writing Lessons. #65: Different Character Approaches to Dealing with and Expressing Emotions
Jane Austen Writing Lessons. #64: The Size or Degree of Character Emotions

Jane Austen Writing Lessons by Category

Overarching Principles - Jane Austen Writing Lessons

#1: Make Your Character Want Something
#2: Combine Multiple Elements to Create an Engaging Premise
#3: Use an Inciting Incident to Set the Plot in Motion
#4: Create an External Journey for your Character
#5: Make Things Hard for Your Character
#6: Use a Character Arc to Make Your Character Change and Grow
#7: Create Multiple Relationship Arcs to Show Your Character’s Journey in Relation to Those Around Them
#8: Use Setting to Influence Plot and Character
#9: Use Dialogue to Create Dynamic Interactions Between Characters
#10: Use the Reader-Writer Contract to Create a Satisfying Resolution for Your Readers

Recognition for Jane Austen Writing Lessons

Jane Austen Writing Lessons: one of the

Jane Austen Writing Lessons was selected by The Write Life as one of the “100 Best Websites for Writers in 2021.” They wrote:

“[Jane Austen Writing Lessons] is filled with blog posts about creative writing that use Jane Austen’s novels and other related stories to share what good writing looks and sounds like. Whether you’re interested in plot structure or character development to dialogue, each Jane Austen writing lesson focuses on one principle of writing at a time.”

About the Author

In addition to writing Jane Austen Writing Lessons, Katherine Cowley is the author of the novels The Secret Life of Miss Mary Bennet, The True Confessions of a London Spy, and The Lady’s Guide to Death and Deception. She has taught writing classes at Western Michigan University and other universities and community colleges.

Her blog, Jane Austen Writing Lessons, has been expanded into a new book, Write with Jane Austen: Masterclasses with the Master Storyteller.

Jane Austen Writing Lessons. #18: Use Passive Characters Effectively

#18: Use Passive Characters Effectively

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In Pride and Prejudice, Charlotte Lucas makes the decision that Elizabeth refuses: she marries Mr. Collins. Molly Greeley’s recent novel, The Clergyman’s Wife, is a compelling story which features Mrs. Charlotte Collins three years later. Charlotte is rather unhappy in her marriage, and begins the story as a rather passive character: she suffers in silence, she struggles to know what to write in her letters to Elizabeth, and she follows the edicts of Lady Trafford and Mr. Collins.

Mr. Collins has never visited or shown real concern for those living in his parish, and neither has Charlotte. But Charlotte decides she wants to change—she decides she wants to do something for those around her, so she visits the elderly Mr. Travis, and then the solitary Mrs. Fitzgibbon. As a result of her visits, Charlotte is criticized by both her husband and Lady Catherine. Yet Charlotte holds her own, and justifies her actions in a way that does not allow them to prevent them in the future.

The look Lady Catherine bestows upon me puts me in mind of the looks she used to give Elizabeth, when my friend dared to speak her true thoughts to her ladyship upon visiting me in the early days of my marriage.

Charlotte’s action is small but it feels heroic, and it shifts her from being a rather passive character to becoming a more active one.

Cover of The Clergyman's Wife by Molly Greeley

As discussed in the previous post on active characters, there is no true dichotomy between active and passive characters, but rather, it is a spectrum, and many characters shift to different points of this spectrum throughout the course of the story. At times it may even be useful to keep a character relatively passive for the entire story.

Character Scale: Passive to Active Characters (Jane Austen Writing Lessons)

Yet choosing to write a passive character—whether for a portion or the entire novel—is challenging: it is easier to effectively write an active character than a passive one, because interest and empathy is automatically given to active characters, and must be gained in other ways by passive characters.

Jane Austen’s novel Mansfield Park features a generally passive character: Fanny Price.

As a young child, Fanny is brought to live with her aunt and uncle, the Bertrams, at Mansfield Park. Now that she is older, the Bertrams decide Fanny will live her terrible Aunt Mrs. Norris. Fanny is surprised, and this reaction shows, but she does nothing to try to change her situation. She complains a little to her one confidant, her cousin Edmund, but she does nothing active to change her fate. She is saved by outside forces: Mrs. Norris does not want her.

Later, the old horse she uses for exercises dies. This is something that happens to Fanny, and Fanny does nothing—in fact, because of her precarious situation as someone who has been taken in by the family, there is nothing she can do without risk of losing her home.

Edmund eventually notices what this loss has done to Fanny, and he takes it upon himself to put things to right. He is the active character in this situation, not Fanny.

Illustration of Fanny Price in Mansfield Park by C.E. Brock in 1908

1908 illustration of Fanny Price by C.E. Brock (in public domain)

After the arrival of the Grants and the Crawfords in the area, the narrator even comments on Fanny’s passivity:

And Fanny, what was she doing and thinking all this while? and what was her opinion of the new-comers? Few young ladies of eighteen could be less called on to speak their opinion than Fanny.

The number of people who claim Mansfield Park as their favorite Austen novel is a smaller number than those who love her other novels, and many readers find Mansfield Park a challenging book to read. I would argue that this is in part because Fanny is a passive character for much of this novel, and this makes it less accessible for some readers. Fanny also does not have a strong, forward-moving want or desire: at the beginning of the novel, Fanny wants to be left alone—she wants peace. And she does not take decisive actions to achieve this. Yet the novel is brilliant on so many levels, and Fanny’s character is an essential aspect.

In general, readers like forward motion and are drawn to characters with strong desires who reach for them. Readers can lose patience if it feels like the characters or the story is stalled.

One approach is to make passivity a part of the journey, as Molly Greeley does in The Clergyman’s Wife. By page fifty, Charlotte has taken a number of steps to being more active.

In Mansfield Park, it is much longer before Fanny becomes an active character, yet Austen uses other techniques to maintain interest and forward movement.

One of the ways Austen does this is by making Fanny’s character needs so great. At the beginning of the novel, some of Fanny’s basic survival needs are not being met: the Bertrams do not even allow her a fire in her rooms during the winter. (I am still pretty angry at Fanny’s relatives for this!) She also needs basic security: at any point, she knows that she could be thrown out of her home without warning, and this is threatened by her aunt Mrs. Norris even when Fanny expresses distaste for acting in a play.

If we move further up Maslow’s hierarchy of needs, which I discussed in lesson 15, Fanny’s needs continue. Her psychological needs are great: she needs kindness, she needs acceptance, she needs friendship. (At the start of the novel, Edmund is her one friend, but plenty of his behaviors throughout the novel cause her further anxiety). Finally, Fanny needs love.

Fanny’s needs create sympathy from the reader: we want her situation to improve.

Writing Excuses Podcast

In the long-running (and Hugo award-winning) podcast Writing Excuses, author Brandon Sanderson talks about an approach to characters that he calls character sliders. For him, there are three sliders, or components of character:

  • Sympathetic/Relatable/Nice
  • Active
  • Competent

These sliders are like sound mixing: the three combine to create characters. One slider may be set low and then move higher; another slider component may stay at a certain level; one of the sliders may start high and then lower over the course of the novel. If one of the sliders is really low—for example, a character is very passive—then the character should probably be higher at one or both of the other sliders. Typically, the sliders do move up and down throughout the course of the novel.

In Mansfield Park, not only do we sympathize with Fanny because of her situation, but because she has competence in a particular area: her sense of morality and her innate goodness. Because she is sympathetic and competent in a particular area, we like her as a character even though she not often active.

A few other points to consider when working with passive characters:

  1. If your main character is passive, other characters and events must create forward movement in the story. For example, in Mansfield Park, forward movement is created by the visit to Mr. Rushworth’s estate, the decision to stage a theatrical, and the engagement of Maria Bertram.
  2. Everyone has moments when they are passive. Consider how you can use this to help your character on their internal and external journeys.
  3. If the main character is externally passive, their thoughts and interior emotions can be revealing and insightful. For example, as her cousins their friends began to plan the theatrical, Fanny’s internal thoughts engage the reader and provide additional insight.

Fanny looked on and listened, not unamused to observe the selfishness which, more or less disguised, seemed to govern them all, and wondering how it would end. For her own gratification she could have wished that something might be acted, for she had never seen even half a play, but every thing of higher consequence was against it.

  1. Finally, a passive character can be a thematic choice or provide social commentary. Fanny is a woman who has almost no choices, and whose situation makes it impossible for her to be truly active. Yet through it all, she does find inner strength, and she does ultimately assert herself, sometimes with dire consequences. Many readers who love Mansfield Park see part of themselves in Fanny; they admire her quiet strength, and find her slow resistance both inspiring and empowering, for there truly are many life circumstances where we have no control, no power.
Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Draft a short scene using one of your characters you’ve already developed, or an entirely new character. Have the character change how passive or active they are throughout the scene. They could:

  • Start the scene active and become more passive
  • Start passive and then become more active
  • Start passive and then become even more passive
  • Move back and forth several times between passive and active

Exercise 2: Choose a character from a book or a film that you typically think of as an active character. Find at least three examples in their story where they are more passive than normal or become a completely passive character. What is the impact of these moments on the story?

Exercise 3: If you are outlining, plan a point in the story where you want your character to be passive. If your character is generally active, one common place to make your character more passive is at the moment before the climax, where it seems like all is lost (this is also called “the night of despair”).

If you are revising a story, find a point where your character is passive (or more passive than in the rest of the story). How can you increase sympathy for the character at this point? Is there still a sense of forward movement in the story? What do we learn from the character’s thoughts and emotions? Is the character’s passivity a conscious choice or forced upon her? How could this passive scene be used to strengthen the theme of the story? Revise the scene to strengthen the impact of using a passive character.

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Jane Austen Writing Lessons. #17: Make Your Characters Active

#17: Make Your Characters Active

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Jane Austen Writing Lessons. #17: Make Your Characters Active

In 2012 I created a daily video blog, where every single day I posted a five to thirty second video of something interesting. As I worked on this project, I discovered that only certain categories of things would work for the project:

  1. A still shot (the camera not moving) with something moving inside the frame
  2. A moving shot (the camera moving) with something moving inside the frame
  3. A moving shot (the camera moving) with still objects

The only other option—a still shot with nothing moving—was not actually an option. Because that would be a photograph, not a video.

I quickly discovered that the best videos fit in categories 1 or 2. If something was moving in the frame, it attracted interested, regardless of what I did with the camera. (As a side note, my main claim to internet fame is that Day 119 of my blog—which features a DVD screensaver hitting the corner of the TV screen—has been viewed over 50,000 times.)

TV Screensaver Hitting the Corner of the TV

Our eyes are drawn immediately to things in motion. Our eyes, and often our hearts. This is the power of using active characters.

Readers are drawn to active characters. Active characters are doing. Outside things may happen to them, but they are not just observers or reactors. They do not let themselves be pushed around or be determined by others. They go, they do, they strive.

Making your protagonist an active character creates a powerful story. This propels them on an external journey, through the plot, with all its outward struggle and growth. It also propels them through an internal journey, facilitating character development, with its inner struggle and growth.

Both of the female leads in Sense and Sensibility—the two oldest Dashwood sisters—are active characters. The eldest sister, Elinor, is active—she steers her mother away from renting too expensive of a house, and she does much to ease the pain of others and make their cottage a home. The middle sister, Marianne, is active in a different direction.

Marianne refuses to let others play matchmaker with her future and is guided by her own opinions and philosophies. (Unlike Elinor, she is unafraid of offending others, and not held back by a strong sense of decorum.) She is energetic, and attempts to find and make beauty in the world.

Their cottage is in a beautiful countryside, and on a somewhat blustery day, Marianne encourages her younger sister Margaret to walk with her:

They gaily ascended the downs, rejoicing in their own penetration at every glimpse of blue sky; and when they caught in their faces the animating gales of a high south-westerly wind, they pitied the fears which had prevented their mother and Elinor from sharing such delightful sensations.

“Is there a felicity in the world,” said Marianne, “superior to this?—Margaret, we will walk here at least two hours.”

Their walk, however, is cut short by the driving rain. Marianne is an active character, in charge of her own destiny, but even she cannot prevent the weather. Yet even in reacting to the weather, she resists passivity:

Chagrined and surprised, they were obliged, though unwillingly, to turn back, for no shelter was nearer than their own house. One consolation however remained for them, to which the exigence of the moment gave more than usual propriety; it was that of running with all possible speed down the steep side of the hill which led immediately to their garden gate.

Marianne is delightful because of her energy, her joyous outlook on life, and her refusal to do things in a simple, boring way.

As a result of her action, she hurts her ankle on the hill, and is rescued by a charming gentleman, Mr. Willoughby, who carries her home.

Over the coming chapters, Marianne becomes quite attached to Willoughby. This worries Elinor, who actively encourages Marianne to be more careful with her affections, particularly with how they might be interpreted by others outside of their family. Marianne actively resists Elinor’s advice, and responds:

“You are mistaken, Elinor,” said she warmly, “in supposing I know very little of Willoughby. I have not known him long indeed, but I am much better acquainted with him, than I am with any other creature in the world, except yourself and mama. It is not time or opportunity that is to determine intimacy;—it is disposition alone. Seven years would be insufficient to make some people acquainted with each other, and seven days are more than enough for others. I should hold myself guilty of greater impropriety in accepting a horse from my brother, than from Willoughby. Of John I know very little, though we have lived together for years; but of Willoughby my judgment has long been formed.”

What are the marks of an active character?

An active character:

  • Reaches for their goals or wants

  • Engages in purposeful dialogue that attempts to have impact, persuade, or create change

  • Takes actions—large or small—with purpose

  • When reacting to outside events, asserts themselves and does things their own way

An active character can be bold or shy, outspoken or quiet, and their actions can be grand or minute. But something internal propels them forward.

Yet no character is fully active, and as writers, we shouldn’t consider it a dichotomous choice between active and passive characters. No character is active all of the time—nor should they be. This movement along the spectrum of active and passive can be powerful.

Later on in Sense and Sensibility, Marianne falls into a deep depression, and becomes a largely inactive character. Her moments of activity—like taking a walk in bad weather—do her more harm than good. She becomes ill, which forces further inactivity upon her: at this point it is the doctor’s treatment and fate which determine her future.

Yet the fact that Marianne is generally an active character both creates audience investment in her and helps drive the story forward. Then, in these moments of passivity, we still root for her.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: The following passage focuses on a passive character:

“You want vanilla?” asked George.

Rudy nodded at her brother. “Sure.” Vanilla was as good as any other flavor.

George ordered and paid. “My treat,” he said. “It’s been way too long.”

“Thanks,” said Rudy.

The server gave them their ice cream and they sat down to a table.

“How’s work going?” asked Rudy.

He told stories about his adventures as a plumber, and some of the crazy things he learned about people’s personal lives.

“How’s work going for you?” asked George.

“Same as always,” said Rudy.

George’s phone rang. He looked at the screen. “Mind if I take this?”

“Not at all.”

He stepped out of the ice cream shop.

Rudy looked around the restaurant at the happy families, happy couples. There was only one person sitting alone, a man about her age. He made eye contact, and she looked down, pretending she hadn’t noticed.

Rewrite the passage to make Rudy a more active character. You could make her more active throughout, or in just one section of the scene. Also, feel free to take the scene in a different direction.

Exercise 2: Read a book or watch a film and analyze the text for active and passive characters. Who is passive? Who is active? Are there moments when characters become more passive or more active, and what is the result? As you analyze, pay particular attention to the protagonist.

Exercise 3: If you’ve drafted a novel or as short story, analyze each scene/chapter for where your main character falls on the spectrum from active to passive. Assign each scene a number from 1 to 10 on a passive to active scale. For the purposes of this exercise, use 10 to mean a character is extremely active, a 7 or 8 for active, a 5 or 6 for scenes with both active and passive elements, a 3 for passive, and a 1 for extremely passive.

Character Scale: Passive to Active Characters (Jane Austen Writing Lessons)

What sort of arc or movement is created by the main character’s movement along the passive-active spectrum? Are there scenes where your character should be more active? Where your character should be more passive? Where your character should be wrestling with both active and passive tendencies in themselves?

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Jane Austen Writing Lessons. #16: Make Your Characters Multifaceted

#16: Make Your Characters Multifaceted

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Jane Austen Writing Lessons. #16: Make Your Characters Multifaceted

The only time when Mr. Darcy is a flat character is when he is a life-sized cardboard cutout in the film Austenland.

Mr. Darcy, Elizabeth Bennet, and all of Jane Austen’s other main characters are three-dimensional—they feel as if they come to life off of the page.

This is one of those moments that makes me love the film Austenland: in rage, a boyfriend walks out, punching the cardboard Mr. Darcy, which Jane Hayes then fixes. And kisses.

A flat character is simple, uncomplicated, does not change or develop, and is often uninteresting.

A round character, also known as a three-dimensional character, feels like a fully developed real person, with nuance and complexity, and the ability to experience real change and development over the course of a story.

A round or three-dimensional character is what I like to call multifaceted: she has multiple sides, aspects, or features, that fit together to create a character. Yet this is not just a collection of multiple elements squished together: like the facets or sides of a gemstone, these elements have been carefully crafted, cut, and polished.

Gemstones with many facets

Let’s look at some of the basic features and characteristics of our two main characters from Pride and Prejudice, Elizabeth Bennet and Mr. Darcy:

Elizabeth Bennet:

  • Plays the pianoforte
  • Likes reading
  • Likes walking
  • Good at dancing
  • Clever
  • Witty
  • Judgmental
  • Idealist
  • Has many friends

Mr. Darcy:

  • Rich
  • Good at letter-writing
  • Caring brother
  • Loyal friend
  • Likes reading
  • Expects much of others
  • Well-spoken
  • Proud
  • Unforgiving

These attributes, interests, skills, and personality traits are inherently interesting in combination, but in themselves they are not what make Elizabeth and Mr. Darcy complex, multifaceted characters.

You could assign a character dozens of attributes and personality traits, and spends months writing countless pages of the character’s backstory and history, and yet still not create a character that feels alive.

Then how do you create a multifaceted character?

In the craft book Story: Style, Structure, Substance, and the Principles of Screenwriting, screenwriter Robert McKee makes the argument that the core component in a round or three-dimensional character is “inner contradiction.”

Story by Robert McKee

As McKee writes, “Dimension means contradiction.” And dimensions are what fascinate an audience, riveting us to characters as we attempt to understand their complexities.

Real people are filled with contradictions, and at its heart, a powerful story is about a character wrestling with their inner contradictions and the world.

Here are five of the main types of contradictions that can create a multifaceted character:

  • Contradictions between a character’s wants and needs

  • Contradictions between the character’s inner self and the world in which they live

  • Contradictions between how the character interacts with some characters versus with other characters

  • Contradictions between the simultaneously-held ideals of a character

  • Contradictions between a character’s ideals and how they live

I’ve written a number of flash fiction stories—all less than 1000 words—where the main characters feel multi-dimensional. In one of these stories, you really only learn two things about the character: 1. She absolutely loves music and listening to vocal performances; 2. She applied multiple times to vocal performance degrees in college and was rejected each time, and has since given up on singing. Her love of music but her rejection of her own musical self as inadequate creates a contradiction within herself, which sets the stage for the story.

What contradictions has Jane Austen created in Elizabeth and Mr. Darcy?

A Few of Elizabeth Bennet’s Contradictions:

  • Critical of Mr. Darcy’s pride but holds fast to her own.
  • Wants to avoid Mr. Darcy, yet finds herself drawn to him.
  • Only wants to marry if it is for love, yet she is pressured by her society and mother to accept any eligible match.
  • Instantly trusts Mr. Wickham and accepts his story, yet distrusts and judges whatever Mr. Darcy says.
  • Wittily expresses views that are not always her own.

A Few of Mr. Darcy’s Contradictions:

  • Prideful yet kindhearted and generous.
  • Despises spending time with people he does not know, yet willingly goes to events with Mr. Bingley because he values their friendship.
  • Feels the need to save Mr. Bingley from a connection to the Bennet family, but unwilling to do the same for himself.
  • Expects Elizabeth to see and accept his virtues, yet says hurtful things to her.

Sometimes I consciously plan a character’s contradictions, yet often, these contradictions develop as I write. Either way, as I enter the revision process, I refine these facets and how they fit together: this is the cutting and polishing of a gemstone.

A few additional notes on characters:

  • The core characters should be the most multifaceted characters in a story. Any and all characters can have contradictions, yet if those of a minor character more compelling than those of the main characters, readers can lose interest in the main characters.
  • Supporting characters can help reveal the different facets of a main character. Robert McKee writes, “In essence, the protagonist creates the rest of the cast. All other characters are in a story first and foremost because of the relationship they strike to the protagonist and the way each helps to delineate the dimensions of the protagonist’s complex nature.”

Multifaceted characters are complex and three-dimensional. After all, it is our complexities that make us human, and it is unravelling and dealing with these complexities that makes a story.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Choose one of the following characteristics, attributes, or skills that could belong to a character:

  • Charitable
  • Athletic
  • Loves to read
  • Hates traveling
  • Good at cooking
  • Prone to procrastination

Create a contradiction that could relate to this characteristic or attribute. It could be aspects of this characteristic, how a character applies it in some situations but not other, how it combines or conflicts with another characteristic, or a contradiction between this characteristic and society.

Exercise 2: Choose one of your favorite characters from literature. What are some of their contradictions? If you’d like, share in the comments below.

Exercise 3:

Option 1: Brainstorm a new character that you might use in a story. First, write a brief physical description, assign them several personality traits, give them interests, decide where they live/their occupation, etc., and choose a few key moments from their history/past. Now decide on one or two key contradictions that can make them come alive.

Option 2: For a story that you’ve already written, figure out what the key contradictions are for each of your main characters.

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Jane Austen Writing Lessons. #15: Make Your Character Need Something

#15: Make Your Character Need Something

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Jane Austen Writing Lessons. #15: Make Your Character Need Something

In the very first Jane Austen Writing Lesson, I talked about how a character must want something. This drives the forward movement of the novel.

Yet in addition to wants, characters also have needs.

In the novel Emma, Emma Woodhouse wants to be a matchmaker, and she wants to exert her control on the community. This is her conscious desire.

Yet Emma is coming from a place of loss—she has lost her dear governess to marriage, previously, she lost her mother to death and her older sister to marriage, and now she is alone, with a perpetually-ill father.

What Emma really needs is friendship and connection. Despite being one of the richest members of her community, she desperately needs to feel like she is important and of value.

All characters have conscious wants and needs, things they are actively seeking for. But they also have underlying wants and needs, which are often subconscious. They may not be aware of these needs, but they still drive the character’s behavior.

Gif of Harriet Smith and Emma Woodhouse

Gif of Harriet Smith and Emma Woodhouse from the 2020 film Emma.

Early in the novel, Emma befriends Harriet Smith and immediately plans a match for her: to Mr. Elton.

But then Mr. Martin, a farmer, proposes to Harriet.

On the surface level, if Harriet accepts Mr. Martin’s proposal, Emma fails at getting what she wants: her matchmaking will have gone to naught.

But it is not just Emma’s overlying want that is threatened, but also her underlying needs, and we see this play out in the scene in which Emma, very manipulatively, encourages Harriet to refuse Mr. Martin’s proposal. When Harriet begins to come to the conclusion that she should reject Mr. Martin, Emma uses all her rhetorical powers to reinforce it.

At last, with some hesitation, Harriet said—

“Miss Woodhouse, as you will not give me your opinion, I must do as well as I can by myself; and I have now quite determined, and really almost made up my mind—to refuse Mr. Martin. Do you think I am right?”

“Perfectly, perfectly right, my dearest Harriet; you are doing just what you ought. While you were all in suspense I kept my feelings to myself, but now that you are so completely decided I have no hesitation in approving. Dear Harriet, I give myself joy of this. It would have grieved me to lose your acquaintance, which must have been the consequence of your marrying Mr. Martin. While you were in the smallest degree wavering, I said nothing about it, because I would not influence; but it would have been the loss of a friend to me. I could not have visited Mrs. Robert Martin, of Abbey-Mill Farm. Now I am secure of you for ever.”

Harriet had not surmised her own danger, but the idea of it struck her forcibly.

Emma’s need for friendship, connection, and self-importance drive this scene as much as her desire to be matchmaker.

As you construct characters, make sure they want something, but also make sure that they have deeper, underlying needs.

One way to think about character needs is through the lens of psychology. Abraham Maslow wrote about a hierarchy of needs, and any of these intrinsic human needs can be a need for a story character.

Near the bottom of his pyramid are needs for basic survival—food, water, sleep, shelter, safety, and financial security. Further up the pyramid are needs related to love and belonging, whether that’s a sense of connection or friendship, true intimacy or family, or being a true part of community. Then Maslow talks about esteem—this could be respect from others, self-respect and self-esteem, public recognition for one’s accomplishments, or a feeling of strength and wholeness. At the top of the pyramid is self-actualization—becoming one’s fullest self and achieving one’s potential.

Maslow's Hierarchy of Needs

Image by Androidmarsexpress, Creative Commons license

Typically, you want to choose one or two overarching needs which drive your character. These needs may conscious or subconscious, or a need may start as subconscious and the character may become aware of it throughout the story.

Other smaller wants and needs may be manifest in individual scenes and interactions with other characters, but if your main character has a core want and a core need, then this will shape the overall arc of the story, both in terms of their external journey and their internal journey.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Teresa wants to win this year’s chili cook-off. This is her driving want throughout a story. But what does she need? Choose one of the needs from Maslow’s hierarchy. Is she trying to get recognition—and if so, why? Does she need acceptance, friendship, love? Will the prize money help her pay her rent?

Once you have chosen a need, write a short scene—probably 2 or 3 paragraphs—in which both Teresa’s want and need inform her actions, dialogue, and thoughts. This scene could be when she signs up for the chili cook-off, when she’s buying ingredients, as she’s cooking, during the judging—any scene, because both her want and her need should subtly inform her.

(Note: self-actualization is a really difficult need to write, and most of the time, we don’t hit the self-actualization stage unless all of our other needs have been met, so it’s often better to choose a different need for our characters.)

Exercise 2: Choose one of your favorite books or films. What is the main character’s driving want in the story? What is the main character’s driving need in the story? How do the want and the need interact with each other—does the quest for one ever interfere with the quest for the other? Does the want or the need shift over time? If you would like, in the comments share the title of the story, and the character’s want and need.

Exercise 3: Take a scene that you have written and analyze it for character wants and needs. Use one color to highlight lines or phrases that relate to the character’s want(s), and another color to highlight lines or phrases that relate to the character’s need(s). Some lines may be highlighted by both colors. How could you revise the scene with wants and needs in mind?

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Jane Austen Writing Lessons. #14: Incorporate Backstory Strategically

#14: Incorporate Backstory Strategically

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Jane Austen Writing Lessons. #14: Incorporate Backstory Strategically

What is backstory?

Backstory is history and information about what happens before the story. Backstory is typically related to the characters, the situation, and the world in which they live.

Most backstory is never mentioned in a story—there are thousands of details and past events that inform the character and their community, thousands of excess details that your readers don’t want or need to know.

Yet there are plenty of details which the reader does need. The key is deciding how to share them.

One of the primary purposes of exposition is to provide backstory, yet too much backstory weighs down the exposition. Anytime you dive into past events, situations, details, and information, there’s a risk of creating an infodump.

The Infodump (Jane Austen Writing Lessons)

An infodump is an excess of information that pulls us out of the narrative. Information is piled on the reader, who does not have direction, and who doesn’t feel any sense of connection to the information. When too much of this sort of information is given to the reader at once, none of the information has purpose or weight, and the reader often loses interest in the story.

Instead of creating a pile of information, consider the individual pieces, and how they could be incorporated. The soda can in this beach pile might not feel like garbage if we encounter it by itself, as we’re walking along the beach. We might see someone drinking it—it might bring up an interesting recollection of a past event or situation.

The author Jo Walton talks about the benefits of what she calls incluing, or “the process of scattering information seamlessly through the text, as opposed to stopping the story to impart the information.”

Backstory should be woven not just through the exposition of a story, but throughout the entire story.

Weaving in Backstory in Persuasion

In the exposition of Persuasion, Jane Austen establishes the Elliot family, the death of Lady Elliot, and the characters of the three daughters, including the oft overlooked Anne Elliot.

The heart of Persuasion is about Anne Elliot and her relationships, in particular her relationship with Captain Wentworth. Yet the crucial backstory about the relationship between them is not provided in the exposition of the novel, but is carefully woven throughout.

The Elliots have decided that in order to remain financially solvent, they must rent out their home, Kellynch Hall. In chapter 3, they discuss a possible tenant: Admiral Croft.

One line of dialogue gives us Anne’s viewpoint on the Navy:

“The navy, I think, who have done so much for us, have at least an equal claim with any other set of men, for all the comforts and all the privileges which any home can give.”

This is subtle backstory—it’s something she is saying in the moment, in response to her father’s prejudice. Yet it reveals her attitude towards those who serve in the Navy.

A few pages later, Anne is able to give specific details on what Admiral Croft is known for—that he fought in Trafalgar and has been stationed in the East Indies. Once again, this provides key backstory. As readers, we’ve learned that Anne knows much more about the Crofts than anyone in her family, yet we don’t yet know how she learned this information.

A few pages later, someone mentions that years back, someone had visited that had some connection to Admiral Croft, and after a pause, Anne volunteers a single detail.

“You mean Mr. Wentworth, I suppose,” said Anne.

Her hesitation, the lack of detail that she gives, all reveal things about Anne and her relationship with this family.

By the end of chapter 3 , Sir Walter Elliot decides that he will allow Admiral Croft to rent the estate. The chapter ends with this sentence.

No sooner had such an end been reached, than Anne, who had been a most attentive listener to the whole, left the room, to seek the comfort of cool air for her flushed cheeks; and as she walked along a favourite grove, said, with a gentle sigh, “a few months more, and he, perhaps, may be walking here.”

In this moment, we see Anne’s current emotions and thoughts, but backstory is also revealed: we are given a sense of love lost, and we see the agitation this creates for Anne.

Throughout this chapter, there have been plenty of opportunities where Jane Austen could have provided an infodump, even spots where it might be natural and not feel like an infodump. Yet by spreading the information, piece by piece, it allows the scene to build, it provokes our curiosity, it gives crucial insight into Anne’s character, and it prepares us for chapter four, when we are given a larger amount of backstory.

The first line of Chapter 4:

He was not Mr. Wentworth, the former curate of Monkford, however suspicious appearances may be, but a captain Frederick Wentworth, his brother.

The narrator then describes Captain Wentworth’s situation years before, and how he and Anne met and fell in love. It tells us of their short engagement, and how Sir Walter and Lady Russell had convinced Anne to break it off.

This is a lot of backstory, but by this point, we care about Anne and this backstory has meaning for us as readers.

Gif of Anne and Captain Wentworth in Persuasion

A gif from the 2007 film version of Persuasion: Anne and Captain Wentworth

Incorporating Information on a Need to Know Basis

Backstory is something that I often don’t get quite right in a first draft—it’s something I finesse during revision. But how do you do it? How do you weave it?

What Jane Austen often does is provide enough context ahead of time so the reader is oriented, and then adds information and backstory as the character interacts with present, current things.

For example, Uppercross is mentioned as the residence of Anne’s older sister, Mary. Mary invites Anne to go to Uppercross and she agrees. That’s our context. That’s what’s going to keep us oriented.

A few pages later, Anne goes to stay at Uppercross. Now, as she’s arriving at Uppercross, we receive a brief description of the village.

More details are given on a need-to-know basis, as they provide context, unravel character, forward the plot, and provide insights into the emotions of the characters:

Here Anne had often been staying. She knew the ways of Uppercross as well as those of Kellynch. The two families were so continually meetings, so much in the habit of running in and out of each other’s house at all hours, that it was rather a surprise to her to find Mary alone…

Here, we receive backstory on Mary’s strong connection to Uppercross. We see how familiar she is with it. And we experience this as she enters the cottage and finds her sister (surprisingly) alone.

Using Backstory to Build Moments of Emotional Impact

Backstory can also build to moments of emotional impact.

Captain Wentworth comes to Uppercross, and soon becomes friends with Anne’s host, which means that Wentworth and Anne must interact frequently.

They had no conversation together, no intercourse but what the commonest civility required. Once so much to each other! Now nothing! There had been a time, when of all the large party now filling the drawing-room at Uppercross, they would have found it most difficult to cease to speak to one another. With the exception, perhaps, of Admiral and Mrs. Croft, who seemed particularly attached and happy, (Anne could allow no other exception even among the married couples) there could have been no two hearts so open, no tastes so similar, no feelings so in unison, no countenances so beloved. Now they were as strangers; nay, worse than strangers, for the could never become acquainted. It was a perpetual estrangement.

This is a powerful, emotional moment of backstory, in which it is revealed how similar Anne and Wentworth were to each other, and how perfectly suited they had been for each other: “there could have been no two hearts so open.” Their similarity and how well suited they are for each other could have been revealed at many points of backstory prior to this, but instead, this bit of backstory is foreshadowed and saved for this moment, when it can have the greatest emotional impact because it is placed in contrast with Anne and Wentworth’s current relationship.

When you are using backstory for large emotional impact, limit the amount of backstory used. If we didn’t find out until now that Anne and Wentworth had been engaged, and then, at this moment, we found out they had been engaged and that they had been perfectly suited, this scene would be bogged down in the amount of impact, readers would be focusing on the new knowledge that they had a broken engagement, and their similarity would no longer have the space to have the same emotional impact.

When I’m editing and I see a scene where backstory is supposed to create emotional impact, I often realize that I’ve saved too much backstory for these scene, and I have to find pieces of backstory that I can weave in earlier so they aren’t distracting the reader from the true purpose and weight of the scene.

In Conclusion

Backstory should be included not only in the exposition, but throughout the entire novel. The incorporation of backstory is particularly suited to written fiction—it is much more difficult to include in film or theatre—and it provides insight into the character’s mind, perspective, experience, and emotions.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Read the following paragraph.

Sandra stood at the edge of the dock, staring into the water. She could hear the other teenagers behind her, their laughter, their utter unconcern, as if this meant nothing. This meant nothing to them. They didn’t fear the water. She dipped her toe into the lake. She would be fine. She could do this. She closed her eyes, sucked in a breath of air and courage, and jumped.

Rewrite the paragraph, and as you do so, include 1 or 2 pieces of backstory.

This backstory could be about why Sandra fears water, what happened the last time she was in the water, or what happened to someone she knows, or it could be about the troubled history of this lake, a memory from this particular spot, etc. The type of information you choose to include will impact the emotion and direction of the paragraph.

Exercise 2: Take a novel that you have read at least once before. Skip the exposition, and now skim at least two or three chapters, looking for moments of backstory. Use post-it notes to mark these moments of backstory. Now analyze the author’s use of backstory:

  • When is backstory incorporated?
  • How is backstory incorporated?
  • Are there moments where backstory is used to create emotional impact?

Exercise 3:

Take a story you have written and choose a key emotional moment that doesn’t include any backstory. Revise the scene to incorporate an element of backstory—small or large—in a way that increases the emotional impact of the moment.

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