Jane Austin’s fourth novel, published in three volumes in 1815, tells the story of Emma Woodhouse, a prideful young heroine navigating the perils of misconstrued romance. Austen famously said about the character, “I’m going to take a heroine whom no one but myself will much like.”
In “My Dearest Miss Fairfax,” by Jeanette Watts, readers see the story from the perspective of Jane Fairfax, the only character whom Emma envies.
“I was in a Jane Austen chat group,” Watts said, “when a conversation got started regarding the character of Emma. While many people found her unlikeable, I defended her good qualities. As the conversation continued, I began to wonder what the story would look like from Jane’s point of view.”
A member of the Jane Austen Society of North America, Watts has tackled Austen’s novels before. Watts is also the author of “Jane Austen Lied to Me,” the story of a college student who takes Austen a little too seriously. She also published “A Woman’s Persuasion,” a twist on Austen’s famous 1817 “Persuasion,” that tells the love story as if it played out in present-day culture and the couple torn by social constructs was made up of two women.
“The point of view matters,” Watts said. “The hero in one person’s story is not the hero in someone else’s story, even among the same cast of characters!”
“My Dearest Miss Fairfax”
By Jeanette Watts
Paperback: ISBN 979-8-9857636-0-7
Ebook: ISBN 979-8-9857636-1-4
Available at Amazon
About the author
Jeanette Watts is a writer, adjunct professor, dance instructor, tailor, actor, and history buff. She graduated from the University of Wisconsin – Madison, with a bachelor’s degree in English & Communication Arts, Radio/Television/Film, and from the University of Southern California, with a master’s degree in the School of Cinema, Critical Studies. She is the founder of the Terpsichorean Delights Dance Assembly, Queen City Vintage Dance, Madame Gigi’s Outrageous French Cancan Dancers, Hard Core Vintage Dance, and Raks Devi, and is a member of the Charlotte Writer’s Club and the Atlanta Writer’s Club. Watts is an avid costumer, has worked with museums in Dayton, OH, and Charlotte, NC, and regularly appears in costume at book signings and events. For more about the author or her books, please visit: http://www.jeanettewatts.com/.
Author Interview
What literary pilgrimages have you gone on? So many! Usually I don’t intend to go on a literary pilgrimage, but I love to travel, and I’m an opportunist, so when I suddenly realize that we are half an hour from Laura Ingalls Wilder’s home in DeSmet, South Dakota, well, I just HAVE to make the detour! Besides the Ingalls’ home on the prairie, I’ve been to Louisa May Alcott’s Orchard House with a dear friend who gets to portray Ms. Alcott with re-enactor groups, to Mary Sidney’s tomb in England, all over Bath with a friend who is more devoted to Jane Austen than I am, and to Charles Darwin’s house with my husband the zoology major. The one that might have meant the most to me was when I went to Georgia for the Decatur Festival of Books, and I went into Atlanta to visit Margaret Mitchell’s house. I grew up loving Gone With the Wind: you can see that Margaret Mitchell was a journalist who did her homework. That’s why her historical fiction endures the way it does.
Tell us the best writing tip you can think of, something that helps you. I had a college professor who told my class that, when writing papers, just sit down and write. No editing, no crossing things out, no agonizing over every word. Just spit it all out. Then go back and edit. He even told us, “if your internal censor monkey starts interfering with just getting your ideas down on paper, give it a shot and a beer and tell it to go to sleep for a while.” Only in Wisconsin would a professor tell his students to drink… of course the legal drinking age was younger then. That advice changed my life. Not the advice about drinking - I’m a Polish girl, when I was 13 and walked into grandpa’s house, I got a highball like everybody else. But the advice about just getting everything down on paper without agonizing or second-guessing or starting over has been very useful. I don’t really get writer’s block. And it’s also made me a good editor. I fix a lot of my own problems before I go looking for my army of proofreaders and editors to find everything I’ve missed. And I can read the first chapter of someone else’s work, and let them know where they need work.
What are common traps for aspiring writers? Advice for young writers starting out. Don’t expect this to be easy. Don’t think you can edit your own work. Other pairs of eyes, other brains are there to keep you from making a fool of yourself. What is more important, your ego, or your characters? If you want people to really relate to your characters, listen to the people who read your stuff and give you useful feedback.
If you could tell your younger writing self anything, what would it be? Spend more money. On my first books, I tried to do everything myself, and not go to the expensive writers’ conventions, etc. A best-selling book happens when a writer hires an expensive publicist to help books and readers find each other. You just can’t do that alone.
What other authors are you friends with, and how do they help you become a better writer? It’s funny, I’ve recently found out more than once that a friend of mine is also an author. But all of us are mostly helping each other to become better marketers, not better writers. Marketing is the thing that we all struggle with in this algorithm-driven world. It’s my friends who all help me become a better writer. I have fearsomely smart friends, and when I give them a copy of my manuscript and a red pen, they never fail to help me grow as a writer.
Can you give us a quick review of a favourite book by one of your author friends? See above...
How did publishing your first book change your process of writing? After I took ten years to write my first book, I spent five years trying to find an agent and a publisher. When Kindle first came out, people advised me to go straight to Kindle. I didn’t listen. “No, no, I want to do this the RIGHT way, with a traditional publisher. Self-published works frequently deserve their bad reputation, I stand by the quality of my writing.” That was at the beginning of the publishing revolution we are currently in. After five years of rewriting books for agents and publishers who loved my work, but wanted me to change it….and then when I rewrote it the way they asked, they didn’t like my book anymore, I learned to trust myself, and trust my friends and their red pens. Every book after the first has taken less and less time. Now I get a book written in a few months. Which is good, because it takes more time to market a book than it does to write it.
What was the best money you ever spent as a writer? I recently hired an assistant to help me navigate the world of social media and marketing. Sheila keeps me sane, finds resources I didn’t know about, does beautiful graphics, and cheerfully helps me get through my To Do list. She helps me get better organized, to see the questions I need to be asking, and find the answers.
What was an early experience where you learned that language had power? I was the editor of the editorial page of my high school newspaper. The teacher who gave me that position said he wanted me there because “I knew how to think.” Well, I’m what? fifteen or sixteen years old, I don’t know what he’s talking about. But I just looked for things to talk about, and wrote my editorials, and begged my fellow students to write in contributions. I was pretty sure no one bothered to read anything I wrote. Then, for one of my editorials, I wrote an essay about our class motto. “Party More in 84.” It’s nice that it rhymed, but it was a terrible slogan for us. We were by and large a serious lot. We went to class, we studied hard, a lot of kids had an after school job, the athletes were serious about athletics, the drama department put on three plays a year, the band and choir were large, and good. When exactly were we partying…? Well, when I wrote that essay, I found out that students actually did read the editorial page. Most kids didn’t get my point, and took it as an attack on the CLASS. I even had a moment in one of my classes where all the students confronted me about what I said. Several kids spoke their piece. I encouraged as many kids as possible to say what they had to say - and then I demanded that they ALL write it down and turn it in to me, and I would print it in the next issue of the school paper. I also went to the class president, and asked HIM to write a commentary on my editorial. Even HE got it wrong. Instead of proving that “Party More” was an appropriate slogan for our class, he took my essay as an attack on the CLASS. He wrote a response talking about how serious we all were, and studied hard, and several of us had jobs… thus, proving my point. I didn’t care that the students didn’t like me and my opinion, I didn’t even care that they missed my point entirely. What I learned, to my astonishment, was that they were actually listening. And I was able to make them speak up. This is a funny story, in that they didn’t actually GET the message. But in terms of the idea that language has power - I tend to see things in terms of the big picture. For me, the important thing wasn’t the message that our class motto wasn’t very good. I just wanted my fellow students to speak up, to get involved. I didn’t deliberately set out to irritate them by attacking the class motto (only a high school student would think that would be a good idea…) but I did find a way to get what I wanted. Students were now reading and responding, and participating in discussions about what mattered to us.
What’s the best way to market your books? Vigorously. Before they are released. To a large network of like-minded interested parties.
What kind of research do you do, and how long do you spend researching before beginning a book? I know there are those who research to find out what is a hot seller, and then write more of same hoping to catch the wave of sales. For me, the research starts AFTER an idea has taken hold, and the characters start forming inside my head, and I feel like Zeus giving birth to Athena. These characters develop inside my head, banging at the inside of my brain, demanding to be released. I mostly write historical fiction, and the research started long before I knew there was a story to tell, because I’m a history buff. I love touring old mansions, and historic battlegrounds, and reading biographies. Once the story has a time and place, then I have to focus on the details, which keep getting finer and finer. What were people eating in 1878? What were people wearing in 1814? How did women curl their hair to get those lovely ringlets in all the portraits? Research has changed drastically over the years. for my first novel, I used to travel to Pittsburgh and Johnstown and sit in the libraries and archives with the primary source materials. Now, so many things are just a matter of going online. I can just type in “Census, Pittsburgh 1880,” and there it is. For this last book, I was able to email the historical society in Weymouth, and they helpfully pointed me at a book that answered so many of my questions. When I had some more questions, one gentleman nicely sent me a scanned copy of the street directory for Weymouth for 1816! When I talk about all the shops in Weymouth in “My Dearest Miss Fairfax,” that’s because I got them from primary source material, and I simply HAD to put that information to work!
Do you view writing as a kind of spiritual practice? I guess I find it creative, and personal, and an artistic outlet, I don’t really find it spiritual. I am also a dancer, and I would call dancing more my spiritual outlet.
Have you read anything that made you think differently about fiction? I have certainly read things that have shaped my opinion of what I think historical fiction should be! To me, it is absolutely imperative to have my facts straight. There is more to a fact than a date in a list of historical facts. Just because Alexander Graham Bell invented the telephone in 1877, that doesn’t mean in 1878 housewives were getting on their home phones to gossip with the neighbors. I have seen this. In books that were published with traditional publishers. To me, it’s disgraceful. If you want to have a historical setting, do your homework.
What are the ethics of writing about historical figures? To me, it’s important to have your facts straight. Be true, be respectful. Now, if you’re doing something fanciful like “Abraham Lincoln, Vampire Hunter,” no one is going to mistake this for history. But otherwise, readers are putting their trust in you as a writer to have done your homework. This is not to say you have to write idealized versions of anyone. I will just say it, Ulysses Grant was a alcoholic. He was NOT “just a drunk.” He fought a lifelong battle with a devastating illness. To me, that makes his accomplishments all the more heroic. On the flip side, Clay Frick was demonized by labor unions, but his daughter adored him. So there’s another story there, too. Whatever you say when using historical figures, just be as honest as you can.
Do you read your book reviews? How do you deal with bad or good ones? Reviews are always thrilling! I will say, mine are usually very good, but it’s always wonderful to see how a reader responded to my story. My first-ever bad review made me laugh with delight. The reader had not liked my protagonist, and gave some reasons. It showed me that I got it right. I had written into existence a fully-formed person. In real life, there is no one whom everyone is going to like. Same is true for a well-crafted fictional character. So many readers had written how they loved my first hero, and what they loved about him. This one reader had a very different reaction.
What is the most difficult part of your artistic process? Finding that last misplaced punctuation that eluded me and fourteen editors and proofreaders! After polishing, and polishing, and polishing, it’s so annoying that, after finally going to print, that’s when I, or someone else, finds that blemish.
Tell us about your novel/novels/or series and why you wrote about this topic? This book is a careful retelling of Jane Austen’s “Emma," from the point of view of a character I can best describe as her frenemy, Jane Fairfax. I have two other books that are inspired by Jane Austen, and because of that I am in a lot of Jane Austen chat groups. I was in one of those chats, writing a defense of the character of Emma. A lot of people don’t like the character. I was writing about her good qualities. But by the end of the discussion, I was inspired to write a book that sees Emma through not-flattering eyes. But, since I like to be thorough, it was important to me to be absolutely faithful to every detail that is given to us in Jane Austen’s text. Upon digging deeply into the text of “Emma” to pry out every last bit of information about Jane Fairfax’s engagement to Frank Churchill, I came to realize that Jane Austen had written something akin to a murder mystery…where the protagonist fails to solve the crime. The clues are sprinkled throughout the book. There are significant glances, there are unconscious revelations, there are easily-detectable lies. There are many times, for multiple characters, where actions speak louder than words. There are correct suppositions that are firmly ignored or denied. I can only picture Miss Austen chuckling to herself as she wrote her brilliant manuscript: the tongue-in-cheek observations that only make sense once the secret is out are every bit as lightly cynical as her famous opening line of Pride and Prejudice. I like to think she would be chuckling while reading this tribute: while the Janes in Miss Austen’s books tend to be perfect, idealized women, this Jane Fairfax tells the truth behind the facade. The true woman isn’t perfect. But she’s a whole lot more fun.
What is your favourite line or passage from your own book? It might be the actual proposal scene. It’s terribly romantic, if I do say so myself.
What was your hardest scene to write? The proposal scene. I was completely on my own for this. Jane Austen gives us no hints as to what was said, or where, or how. What did Frank Churchill say to convince Jane to agree to this scandalous secret that society very much frowned upon? The Jane in “Emma” is such a fine, upstanding, perfect, good-two-shoes sort of person. And yet she is involved in this thing that society soundly disapproves of? This was terrifying. Oddly, when it came it to write the scene, my fingers just started typing, and like magic, there it was. It felt natural, logical, comfortable, like dancing with a good dance partner. My subconscious had apparently long since figured it out, while my conscious brain was worrying about what I was going to do about the proposal.
Tell us your favourite quote and how the quote tells us something about you. The thing people hear me say all the time is, “I’d rather be lucky than good.” Lefty Gomez, pitcher for the New York Yankees in the 1930s. I suppose it’s kind of a cynical quote. But it sort of mixes the two halves of my personality. Part cynic, part optimist. I am a good writer - but no one is going to know that if I don’t get lucky. On the other hand, what is luck? Being at the right place at the right time? Benjamin Franklin says "Diligence is the mother of good luck.” Seneca said “Luck is where opportunity meets preparation.” But now, what is opportunity? The cynic in me says opportunities are hard to come by. But the optimist in me can dream that with enough hard work, I will get the opportunity to find my readers, and get the chance to introduce them to my characters.
BOOK EXCERPT
Excerpt from Part 1, Chapter 11
“Of course!” Mr Dixon’s forehead furrowed with a concerned frown. “Or, better still, since it is not on the way, Churchill, would you mind seeing Miss Fairfax home? I would be remiss to force Miss Fairfax beyond her endurance.”
“I am completely at Miss Fairfax’s disposal,” Mr Churchill answered gallantly.
“Thank you,” Jane answered gratefully. “If it is not too much trouble.”
“Not in the least!” Mr Churchill answered. “I have finished with my aunt’s errands. A longer walk before I return will do me good.”
“Thank you, Churchill! You are a good sort.” With a nod to him and Jane, Mr Dixon took his wife’s arm, and they turned in one direction, while Mr Churchill and Jane turned in the other.
Mr Churchill offered her his arm. “Shall we?”
The Esplanade was almost completely deserted. The skies were distinctly grayer, and the breeze, which had been brisk that morning, was blowing with greater determination than before.
Without a word, simply understanding each other and enjoying the chance to walk together, they walked down the steps to the beach, and strolled down the sand where the bathing machines were parked in a row, waiting for better weather.
“When do you leave?” Mr Churchill asked her, his steps getting even slower than the slow pace necessitated by the sand.
“The Campbells and I are staying two more days, after the Dixons leave for Ireland. Then I return to London with the Campbells.”
Their steps slowed to a halt between two of the bathing machines. “I will not be far behind you. My aunt and uncle are thinking of leaving within the fortnight. My aunt has not entirely made up her mind yet on a particular date. But the servants have been folding our clothing to make it ready to put in the trunks. At least the both of us will be here for the ball tomorrow night. I am glad I shall have the opportunity to dance with you again before we part ways.”
Mr Churchill caught the end of one of the long ribbons from her bonnet, which were flying madly in the strong breeze. He toyed with it for a long while, then looked up into her eyes. “Do you believe in love at first sight?” he asked.
“No, I don’t suppose I do,” Jane answered. Her heart started beating harder. That was a lie. Maybe her breath was catching in her throat because she was lying: she fell in love with him the moment she saw him, rescuing the poor store clerk. Or maybe it was because he was standing so close to her, just on the other end of her bonnet ribbon. She felt her cheeks growing warm, and tried to talk herself out of blushing. He was not standing any closer to her than when they danced together, or sat on the same bench at the pianoforte. Why should it fluster her that he was wrapping the end of her bonnet ribbon around his fingers like that?
“Neither did I.” He tied a knot into the very end of the ribbon, then caught the other flying ribbon, and did the same to its end. “I thought love requires mutual respect and understanding, and complementary temperaments that can only be discovered with a judicious application of time and conversation.”
Jane hid her trembling hands inside her muff. She wished there was a way to hide the fact that she was trembling all over. “I understood you from the first moment I saw you,” she admitted, her voice little more than a whisper.
Mr Churchill looked up from her ribbons, and she was bowled over by his beautiful, soul-piercing, intelligent eyes. “And I knew from the moment you looked at me, that you understood me like no one has ever understood me before.” Now he had both her bonnet ribbons in his hands, and he gently tugged on them. She was not even sure which one of the two of them took a step forward, but the distance between them was shorter. She thought he was going to kiss her. If he did not, she was going to have to be the one to kiss him. The thought made her blush harder.
But he did not kiss her. His eyes stared intently into hers. His eyes were dark brown, but being so close, she could see that there were actually several different shades of brown. The outside edge was darker than the middle, and there were flecks in his eyes that seemed almost black. “Please tell me you understand me, now,” he whispered.
“I think I do,” she answered as softly as he asked.
“So, as soon as I can get permission, you’ll marry me?”
“What?” Jane asked, stupidly.
“I told you how it is with my aunt and uncle. I am not a free agent. Will you wait for me, will you agree to a secret engagement, and as soon as I can get permission, we can make our engagement known?”
Jane’s head was spinning. She was shaking, she was hot and cold at the same time, she was frightened, she was elated. He wanted to marry her!
“Yes,” she answered. “Yes, I will.”
There was no telling who kissed whom. They met in the middle.
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