Joanna Trollope on Jane Austen

The Austen Project
Sense & Sensibility
A Q&A with Joanna Trollope

1. Sense & Sensibility is launching the Austen Project -  what was it about the idea of a modern re-telling of Jane Austen’s novel that caught your imagination?

My first – and I have to say, last – reaction when the idea of updating those novels was put to me, was: how brilliant! Jane Austen’s preoccupations – romance, money and class – are timeless, which is one of the main reasons that puts her at the head of the much beloved, as well as classic, category. She is also completely serious about any character or emotion that requires respect, while at the same time displaying a wonderful capacity for mockery and spot-on censure for folly and unkindness in any form. And so, while determined that any novel I wrote would be unquestionably a tribute to her genius, and in no way an imitation, I could immediately see that her characters and her narrative would translate absolutely seamlessly to 2013 – which, indeed, they have.

2. The characters that Austen creates are timeless but still, transferring them to current times must have been an enthralling task. Did you find the presence of an existing plot and characters liberating or limiting?

The whole process was a liberation. The characters almost felt that they were transferring themselves to recognisable modern people with very little help from me, so vivid are they. And being freed from the need to invent a theme, a narrative or a cast list for myself, I felt little short of exhilarated the whole time. Of course there were elements that had to be modernised since the characters in the original, a lot of them living on the proceeds of the slave trade (although that is never mentioned as it would have been such a contemporary commonplace) have the kind of leisure that is absolutely unthinkable nowadays. And the outrages – Willoughby’s impregnating of Eliza, say – have to be updated to convey the same level of shock. But these changes were really details in what was an extraordinarily engaging project.

3. In Chapter 5 Belle says: ‘Then he’d be at complete odds with my Marianne. And me for that matter. We believe in the love of a life, you see.’ Marianne really is the living embodiment of the sensibility that was so fashionable in the eighteenth century. How did you manage to update her romantic fervour and make her so likeable?

The thing is that Marianne is likeable, as well as close to impossible, in the original. We know that by the time Jane Austen came to write Sense and Sensibility, her own appreciation of the qualities of level-headedness that Elinor displays far outweighed the current philosophical vogue for sensibility. But Marianne is as much a child of her times – 1809 – as she is, with a slightly different modern interpretation, of ours. It’s just that we have a different way of describing, and of seeing, the same utter belief in emotional self-indulgence and the prioritising of individualism, as she does. What she would call sensibility, we recognise as entitlement. Her belief in finding the love of her life equates to our desire for a soulmate. She may exhibit an exasperating level of self-involvement which is very recognisable today, but she is also warm and welcoming and sincere in her attachments. And she loves her sister, Elinor, she really does. We can all look round our circles of friends and see people in it who are ‘Mariannes’ – maddeningly self-absorbed, and emotional, but also sweet and responsive and sympathetic. Jane Austen’s Marianne is a very modern girl, with all the plusses and minuses that that entails.

4. Sense and Sensibility is so much about how we declare our love, and how the public and private versions of love exist. How did you find writing this interplay? Do you think public declarations through social media such as Facebook and Twitter have changed our modern view on love?

I would guess that no amount of social media actually changes the way people feel, even if it might have enabled, rather than actually changed, the way they express those feelings. The desire to be loveable, and popular, and fancied is as old and as enduring as humanity is itself, and I would guess that the number of modern girls pressured by their peers or their own insecurities into making fools of themselves on Facebook and by Instagram, is exactly the same as it was before these alarmingly public fora existed. You can imagine very easily, can’t you, the Steele sisters taking avidly to Twitter! And I think the fact that I could insert a little modern media so effortlessly into Jane Austen’s narrative is the only proof you need that humanity doesn’t change, even if codes of conduct do!

5. Edward Ferrars is described in Chapter 2 as the ‘redeeming attribute’ of the Ferrars clan. But he has little direction and behaves submissively, at first, towards Lucy’s insistence that they are an item, in contrast to Elinor’s composure and intelligence. Did you find it hard when writing to see them as an equal match and can readers be fully satisfied that Elinor is to marry him at the end?

Oddly enough, I thought that Edward Ferrars was one of the most modern characters in the whole book – or, at least, one of the most recognisable as modern. He has had a bullied and neglected childhood, despite material comfort, and is clearly what we would now diagnose as a mild depressive by nature. There is an unquestioned sweetness in his disposition, but his upbringing – thrusting new money and ambition – is not in the least interested in sweetness, but only in success. His overbearing mother has accustomed him to obeying bossy women, and his sweetness makes him anxious to oblige. So he is easy prey, as a lonely teenager whose family have written him off as hopeless, for a gold digger like Lucy Steele. And Elinor, interestingly, for all her intelligence and self control, is the family missionary. She has appointed herself the Sensible one, the Saffy from Absolutely Fabulous, whose task it is to steer her chaotic little family ship to a safe harbour. If she didn’t like sorting volatile people, she would not be so unbelievably patient with her mother and sisters. Sorting them all is her chosen role – so Edward Ferrars is a natural choice for her. He may not be completely worthy, but he is what she wants.

6. The novel’s themes of status and money imply that some things are never out of date and that men with wealth and power will always be more attractive to women. Would you agree and do you see this ever changing?

I entirely agree. In fact, I would go further and say it’s mainly money that gives both power and sex appeal – and of course, the latter is a form of the former. Looking back at history, emperors, statesmen, successful industrialists, soldiers and entrepreneurs may not have made a universal success of their private lives, but they have never not taken what they wanted – or what they thought they wanted! And to look at the present day, it is only money that stops Fifty Shades of Grey from being a novel about sexual abuse – and I see that the new Sylvia Day will feature ‘a young billionaire’ hero … Now, I wonder why that should be?!

7. What would you like readers to take away from this novel?

I would love readers to take away several things. First, obviously, a sense of pleasure and satisfaction. Secondly, a sense of having been in the company of people they can both recognise and believe in. But thirdly, and most importantly, I would like them to feel a renewed and enormous admiration for Jane Austen, and a strong desire either to re-read the original, or actually, to read it for the first time.

8. Do you tend to read when you are writing a novel and, if so, what?

I read all the time … And what I read is not particularly deliberate, but more often than not, whatever is next on the pile of books waiting to be read because I have been asked to read them or am longing to, anyway! This year, one of my huge reading joys was the entire shortlist for the Womens’ Prize for Fiction – six dazzling books. I can’t think when there has been a stronger shortlist – everyone a winner in my view!

9. Did you re-read Austen’s Sense and Sensibility and if so, did you refer to it as you wrote or did you prefer to keep a distance between you and the text?

I read and re-read it exhaustively, to the point of cannibalising several paperbacks of it to work out the scenes I was going to use, and where I would have to add scenes to bring the narrative circumstances up to date. So I ended up with a tattered re-configured sequence of the original, heavily highlighted. I have left one line of the original in the updated version – I wonder if you can find it?

10. As a hugely successful, bestselling novelist, would you have any guidance or advice for young writers starting out today?

The first thing I would say is that there is plenty of time. You can be too young to write – simply because you haven’t had time to live enough – but you can hardly be too old. Think of the wonderful P.D. James, in the bestseller lists at 94! I remain of the opinion that most people write better after 35 than before, for that very reason. So, don’t be in a hurry! And while you are waiting, train your powers of observation, because that is the hallmark of all successful novelists. Maybe even keep a notebook – not a diary, but a notebook you have with you in which you can record ideas or observations, or snatches of a conversation you overhear, or scraps of dialogue. No amount of noticing of other people is ever, ever wasted for a writer … Good luck!


Joanna Trollope, OBE, is the international bestselling author of 30 novels and has written historical fiction, contemporary fiction and non-fiction. When Joanna considers what has happened to her career in the last ten years, she often thinks, as her friend Jilly Cooper once said, ‘You’d believe it, wouldn’t you, if it happened to someone else‘.

Paullina Simons, author of Bellagrand, The Bronze Horseman and more, answers Six Sharp Questions

bellagrandThe Booktopia Book Guru asks

Paullina Simons

author of Bellagrand, The Bronze Horseman, Tully and more, answers

Six Sharp Questions

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1. Congratulations, you have a new book. What is it about and what does it mean to you?

Bellagrand is a story of a passionate, troubled love affair between Harry and Gina, who are the parents of Alexander, my hero in The Bronze Horseman books. Writing about them allowed me to immerse myself again in one of my favorite types of fiction: a personal and emotional story of real people against the backdrop of transformative historical events such as World War I and the Russian Revolution.
There is another reason: I love going back to the world of Tatiana and Alexander. I sometimes hear from my readers that they have trouble letting go of my characters. To them I say, tell me about it.

Click here to buy Bellagrand from Booktopia,
Australia’s No. 1 Online Book Shop

2. Times pass. Things change. What are the best and worst moments that you have experienced in the past year or so?

Best: My new renovated house.
Worst: Living in our unfinished basement for three months while the house was being renovated. I have a lifelong healthy respect (okay, dread fear) of basements. My husband and kids, of course, love the cave-like atmosphere—and there is my life in a nutshell.
One moment stands out. For Thanksgiving last year I cooked the family dinner on a stove set up in the wreckage of my demolished-to-studs kitchen. We ate on a folding table in the cold basement. Was that the best or the worst? The answer is yes.

3. Do you have a favourite quote or passage you would be happy to share with us? It doesn’t need to be deep but it would be great if it meant something to you.

“Oh, what a lucky man he was.” (Emerson, Lake and Palmer)

4. Writers have often been described as being difficult to live with. Do you conform to the stereotype or defy it? Please tell us a little about the day to day of your writing life.

I am a delight to live with. I’m hardly ever home. I spend my days in my studio, with my laptop, my piano, and my coffee machine. Oh, and I like to pretend that I defy all stereotypes.

5. Some writer’s claim not to be influenced by the needs of the marketplace, while others seem obsessed by it. Would you please describe how the marketplace affects your writing (come on, tell the truth!).

I don’t think in terms of the marketplace, exactly. More in terms of what my readers and I like best. Since I try to write the kind of books that I myself prefer to read, I hope that my readers will want to read the books I like to write.

6. Unlikely Scenario: You’ve been charged with civilising twenty ill-educated adolescents but you may take only five books with you. What do you take and why?

The Summer Garden, for the lifelong soul of a marriage.
A Song in the Daylight, for the unfathomable human heart (both of which make great Christmas gifts, by the way).
East of Eden, for the Pandora’s box of good and evil.
Macbeth, because it has the best lines.
The Bible, for everything under the sun.

Paullina, thank you for playing.

Click here to buy Bellagrand from Booktopia,
Australia’s No. 1 Online Book Shop

Matthew Reilly chats to John Purcell about his latest book The Tournament

Grab a copy of Matthew Reilly’s The Tournament here

The Tournament by Matthew Reilly

(Review by John Purcell)

Bestselling author Matthew Reilly is one of Australia’s most reliable writers. Every couple of years he delivers his fans quality popular fiction and every couple of years he can be counted on to break Australian sales records. But till now, all of his successes, Ice Station, Seven Ancient Wonders, Temple, The Five Greatest Warriors, Scarecrow, to name just a few, have one thing in common, the breakneck speed of their narrative.

The Tournament is a departure for Reilly, gone is his trademark breakneck speed. Instead we find a narrative with gravitational pull. Enter The Tournament’s orbit and you cannot escape, you must read on to the final page.

That said this book still jogs along. You don’t get to where Reilly is without learning a trick or two. He has chosen a point in time, 1546. He has given us a narrator, Queen Elizabeth I, no less. He has booked a stage, a chess tournament in Constantinople held by Sulleiman the Magnificent, Sultan of the Ottoman Empire. And hired only the best talent to walk his boards, St Ignatius Loyola, Michelangelo, Ivan the Terrible, and a 13 year old Elizabeth Tudor, who is accompanied by her teacher, Roger Ascham, the real hero of the story, a Renaissance Sherlock Holmes.

ReillyBefore the first page there is a warning from Matthew Reilly stating that this is most definitely an adult book with adult content. And what I think he means is that there is sex in it. Because sex was the only thing missing from his other books, all which contain violence aplenty. In The Tournament the sex is illustrative, designed to show the decadence of the Sultan’s court and we, the readers, are observers only, never participants as is the case with erotic fiction. Any 15 year old with an iPhone has seen much, much worse. And besides, the sex and violence are the carrot which keeps us turning the pages. The Tournament is essentially a didactic tale, with lots of discussions about morality, religion, philosophy, history and politics. Ascham is the future queen’s teacher and he is convinced that she must know of the world to rule it well. Matthew Reilly, a great fan of Star Wars, has created a pair to rival, Obe Wan and Luke Skywalker.

This is a book which will entertain thousands of Australian readers this summer holidays. It is not too heavy, not too light, just right.

Grab a copy of Matthew Reilly’s The Tournament here

Kathryn Heyman, author of Floodline, answers Ten Terrifying Questions

floodlinesThe Booktopia Book Guru asks

Kathryn Heyman

author of Floodline

Ten Terrifying Questions

 ———————-

1. To begin with why don’t you tell us a little bit about yourself – where were you born? Raised? Schooled?

I grew up in New South Wales, mainly in Lake Macquarie, where I sailed, kayaked and swam – pleasures that continue to sustain me. I was the youngest child of five, in a single parent household and I was both the wild one and the precociously studious one, which must have been an infuriating combination for those around me.  As a student I headed off to the UK and stayed for well over a decade, studying, writing, falling in love, getting married and then, later, having babies. The wildness had been massaged out of me by then. Most of it, anyway.

Continue reading

Meg Cabot, author of The Bride Wore Size 12, answers Ten Terrifying Questions

The Booktopia Book Guru asks

Meg Cabot

author of The Bride Wore Size 12

Ten Terrifying Questions

 ———————-

1. To begin with why don’t you tell us a little bit about yourself – where were you born? Raised? Schooled?

I was born, raised, and educated in Bloomington, Indiana, known world wide as the “Gateway to Scenic Southern Indiana.” Continue reading

BREAKING NEWS: 900-Page Debut Novel Fetches Nearly $2 Million

Garth Risk Hallberg

Is the big fat novel back?

Donna Tartt’s exquisite novel The Goldfinch has 771 pages. Eleanor Catton won the 2013 Man Booker Prize for her 834 page masterpiece The Luminaries. And now City on Fire, the 900-page debut novel by New York writer Garth Risk Hallberg, has been acquired for nearly $2 million.

In a two-day bidding war that took the industry by storm last week, 10 publishers bid more than $1 million for the work already being compared to Michael Chabon and Thomas Pynchon.

According to Hallberg’s agent Chris Parris-Lamb, “[the events] revolve around a central mystery: what exactly is going on behind the locked steel doors of a derelict townhouse in the East Village, and what might it have to do with the shooting in Central Park in the novel’s opening act?”

Scott Rudin

To add to the hype even more, the film rights have already been bought by Scott Rudin, the award-winning producer of The Queen, No Country for Old Men and The Social Network.

“The scale of it, the vision of it, the big political ideas, how tightly knitted all the stories are to each other and how densely and pleasurably plotted it is, made me feel like, for the purposes of a movie, he had done the lion’s share of the work that anyone would have to do,” Rudin said. “It doesn’t need to be massively reinvented to be a movie.”

REVIEW: Monkey Business by Kathryn Ledson

Last week, after a slight (okay, six week) reading hiatus, I guiltily reached for my pile of advanced reading copies, looking for something that would entertain and delight, without asking too much of my poor out-of-use brain. I picked up Monkey Business by Kathryn Ledson, and boy am I glad I did. Much like the hypercolour cover,  Ledson’s latest proved to be the perfect pick-me-up for my greyer-than-usual grey matter.  Monkey Business is the second book in the Erica Jewell series (a series I now realise I heard about at this year’s Romance Writers of Australia conference, but only just now made the connection with) and, while the series is very closely linked, the book does not suffer from being read in isolation. Having said that, after reading Monkey Business, I now want Kathryn to hurry up and write more books so I can devour them. Continue reading

GUEST BLOG: Sulari Gentill On Imaginary Friends

sulariYasser Arafat is notoriously credited with having said that a war about religion is like having a fight over who has got the best imaginary friend. As provocative as the statement is to people of faith, it cannot be denied that human beings have long been capable of intense personal relationships with figures who have no objective existence. Whether such a person is called devout or insane depends often on the social acceptability of the said imaginary friend.

But such friendships are not just the domain of the pious and the mad. Writers, too, can lay claim to relationships with people they’ve made up. Of course, the zealot, the deranged and the author, are not mutually exclusive conditions. The latter two may in fact be interchangeable.

For me, writing is a kind of glorious madness, a descent into the world in my head where it is me who is the figment, the ghost, the imaginary observer. It is a seductive world which I often leave only reluctantly to engage with the real world to which I was born.

The relationships between writers and their protagonists are intriguing, not for the least part, because they can be so varied in intensity and quality. There are writers who insist their protagonists are merely literary constructs, and others who set a place at the table for the hero/heroine of their latest novel.

I have known my imaginary gentleman sleuth, Rowland Sinclair, for five books now, two years of his life, four years of mine. In that time he has always stood in the periphery of my vision, regarding me with a kind of amused resignation, watching me as I watch him. We have an understanding, he and I.

With each book I have, admittedly, become increasingly involved with Rowland, to the point that he is now all but real to not just me, but also my family. My husband and I will often talk about Rowland as if he were an old friend with a tendency of finding trouble. You know the kind. We will argue about the rights and wrongs of Rowland’s actions, as if those actions were fact. Every now and then, I hear our conversations as a third party might, and find myself both alarmed and vaguely embarrassed by the extent to which this figment of my imagination has insinuated himself into our lives. But I reassure myself that I am a writer, and as such a certain level of delusion is not only acceptable but possibly necessary.

My personal writing process is quite instinctive and impulsive: there is no form or formula to my method, just a pursuit of story. I simply sit down and make things up, allowing the words of come out as they will. I write chronologically, beginning with the first word of the novel, and proceeding with little idea of what is coming until I write it. This is undoubtedly dangerous, and risks an outcome that has no structure or resolution or rambles interminably. Somehow though, my work seems to find a natural structure and rhythm, and an internal consistency with ensures it makes sense. I never work in a quiet or serene place, writing instead in the midst of my noisy family, or in airports or cafés, or half listening to the evening news or some late night television show. I used to think that was out of necessity—I was a mother with a demanding day job and I had to multi-task if I ever hoped to find time to write. But I realise now that there may in fact be a purpose to this insane way of working. Writing in the midst of noise and movement, where I am not completely focussed, allows me to engage my subconscious in a way that absolute concentration cannot.

It is not uncommon for a writer to gain new insight into his/her or own work through reviewers or readers, who point out nuances and themes which we ourselves hadn’t noticed. Of course, we’re usually quite happy to claim them after the fact! Because I write without plotting, I have always been surprised at the serendipity by which the details of my narratives fall into place, asides I wrote in chapter one on a whim, by chapter thirty prove crucial as if I had laid the thread on purpose. Both the above, I think, owe more to the storyteller’s subconscious than they do to chance or luck. There are many things we do as writers for reasons, about which we not consciously aware, but which have a purpose and a design nonetheless. Somewhere in our subconscious is stored everything we know and have read, every revelation of research, every image, every sound and every feeling. It’s not surprising then that this is cradle of our creativity, where stories are born. The writer’s trick is tapping into that and then trusting it.

Though I don’t consciously plan or plot, there probably is a subliminal design to my work. What I see as Rowland Sinclair leading me through his world and his story is possibly just my subconscious guiding a story it has planned without needing to bother the poor beleaguered and limited conscious part of my brain which has to deal with the realities of the world.

So what I’m trying to say is that we “pantsers”, we writers who just go with the story and allow our protagonists to do as they choose, are probably not as unruly and unstructured in our writing as we may seem.  It is just that we elect not to look too hard at what exactly is at work to produce our plots and our characters. We trust that part of ourselves which tells us “this is the way it was”.

The lawyer in me feels the need to insert a disclaimer at this point.  I am telling you what I think I do. It’s my best guess… but I really can’t be sure, and I haven’t tested the theory in any way. Some part of me feels that examining a spell too closely, articulating it too precisely, will break it, rob it of its magic. And I can’t risk that. After all, I have got the best imaginary friend.

Sulari Gentill’s Gentlemen Formerly Dressed is a Booktoberfest title. Buy this book now to go in the draw to win Booktopia’s weekly giveaway – a $250 Booktopia voucher – AND order by 31st October 2013 to go in the draw to win the fantastic publisher prize.

Click here for prize details and to see the full Simon & Schuster Showcase

Gentlemen Formerly Dressed

by Sulari Gentill

After narrowly escaping Nazi terror, Rowland Sinclair and his companions land in London, believing they are safe. But they are wrong.

A bizarre murder plunges the hapless Australians into a queer world of British aristocracy, Fascist Blackshirts, illicit love, scandal and spies.

A world where gentlemen are not always what they are dressed up to be… more

REVIEW: Bittersweet by Colleen McCullough (review by Haylee Nash)

Romance Specialist Haylee Nash has her first taste of Colleen McCullough in Bittersweet…and finds herself going back for more.

I must confess something – prior to Bittersweet, I had never read a Colleen McCullough (I know, I know,  take away my romance specialist badge). So when the review copy for Bittersweet landed on my desk, I approached the book with an equal mix of excitement and trepidation. Continue reading

Caroline Baum Interviews Donna Tartt

Booktopia’s Editorial Director Caroline Baum interviewed Donna Tartt for Fairfax papers over the weekend. Here’s a glimpse of the wonderful article, don’t forget to click below to see the whole thing.

Don’t expect to find Donna Tartt on Twitter or Facebook. The author who became a recluse following the hype about her 1992 debut, The Secret History, at the age of 28, remains as private and enigmatic as ever. It’s been a decade since she last gave interviews about her second novel, The Little Friend. Websites buzzed with rumours of subject matter and slipped deadlines but Tartt remained off the radar, earning inevitable comparisons to Salinger and Pynchon.

Although she has agreed to a few interviews to promote her new novel, The Goldfinch, Tartt does not enjoy the process any more than when she found herself in the spotlight for her stylish, slightly mannish wardrobe and cool friends (including Bret Easton Ellis, whom she briefly dated) as much as her poised and polished prose.

When we speak by phone Tartt is in Manhattan, though she spends much of her time at her farm in Virginia, where she writes in the company of her Boston terrier, Punch. “Everything is improved by the presence of a dog,” she says.

It is 8am but Tartt announces cheerfully she has been up for hours and mentions it is Fashion Week in New York. Clearly her love affair with clothes has not abated. “Vintage is still my thing but it is much harder to find, though I just bought a Japanese embroidered coat at a flea market.”

Check out the rest of the article here.

The Goldfinch

by Donna Tartt

Donna Tartt, author of the phenomenal bestsellers The Secret History and The Little Friend, returns with a breathtaking new novel.

Aged thirteen, Theo Decker, son of a devoted mother and a reckless, largely absent father, survives an accident that otherwise tears his life apart. Alone and rudderless in New York, he is taken in by the family of a wealthy friend. He is tormented by an unbearable longing for his mother, and down the years clings to one thing that reminds him of her: a small, strangely captivating painting that ultimately draws him into the criminal underworld. As he grows up, Theo learns to glide between the drawing rooms of the rich and the dusty antiques store where he works. He is alienated and in love – and his talisman, the painting, places him at the centre of a narrowing, ever more dangerous circle.

The Goldfinch is a haunted odyssey through present-day America and a drama of enthralling power. Combining unforgettably vivid characters and thrilling suspense, it is a beautiful, addictive triumph – a sweeping story of loss and obsession, of survival and self-invention, of the deepest mysteries of love, identity and fate.

Click here to buy The Goldfinch from Booktopia,
Australia’s Local Bookstore

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