Tag Archives: novel

Hillary Manton Lodge on Jane Austen’s enduring appeal

Hillary Manton Lodge is the author of the critically acclaimed Two Blue Doors series and the Plain and Simple duet. Jane of Austin is her sixth novel. In her free time, she enjoys experimenting in the kitchen, graphic design, and finding new walking trails. She resides outside of Memphis, Tennessee with her husband and two pups. She can be found online at www.hillarymantonlodge.com. My grandmother read everything. Books about travel, antiques, architecture, mushrooms. She read murder mysteries by the stack until my grandfather passed; afterwards, her tastes veered into sweet romances, narrow paperbacks with titles like The Sophisticated Urchin and Destiny is a Flower. But she loved the classics best, Jane Austen most of all. When I was nine, she gave me a battered paperback Penguin Classics copy of Pride & Prejudice. I didn’t make much progress with at the time – I was an advanced reader, but not that advanced – so my first experiences of Austen were in film. First, with the 1940 Greer Garson and Laurence Olivier version, and later with the 1995 Andrew Davies mini-series for the BBC. When the latter aired on Masterpiece Theater, I visited my grandparents’ home every Sunday night for six weeks while we watched Jennifer Ehle and Colin Firth argue and make eyes at each other. My grandfather made us an English dinner – or rather, his interpretation of one – and asked if they were “dahn-cing yet?” As a twelve-year-old with two younger siblings, the dedicated time with my grandparents felt special and grown-up. But it wasn’t until I was an adult that I was able to read and appreciate Austen’s work. As a high-schooler, the subtext of Emma flew right over my head. But as an adult – and author – I was able to see the work, craft, and wicked humor just beneath the surface. I made my way with pleasure through Pride & Prejudice, Persuasion, Sense & Sensibility, and Emma – Mansfield Park and Northanger Abbey are next on the list. I read them in time to talk to my grandmother about the text; she passed away at the age of 100, and by then the one-two punch of dementia and hearing loss had made it difficult to converse on a specific topic for any length of time. But we were able to compare notes, and we shook our heads over what a pill Darcy could be. A deep dive into Austen for Jane of Austin, then, felt natural. My editor gave me the title and free reign over it, and after a little consideration I reached for Sense & Sensibility – after all, my last four books had featured self-contained women who navigated the world while keeping it arm’s length. Who better to buck that trend than a character modeled after Marianne Dashwood? But updating a novel set during the early 19th Century has its challenges. For starters, there’s the teeny fact that women can not only inherit both property and money, but can have jobs without being cast out of polite society. When necessary, I borrowed from other Austen novels, and gave my version of Marianne – Jane, in my own novel – depth that would have eluded the original 17-year-old character. There were challenges, but also pleasures. And it’s the pleasures that are why we revisit Austen’s work so often. Her books are populated with people we know. I’ve met Fanny Dashwoods and Mr. Eltons and Mary Musgroves – we all have. Her stories resonate because they’re inhabited by our own neighbors, parents, and co-workers. But the familiarity of Austen’s literary world should never be mistaken for simplicity. As I wrote Jane of Austin, I got stuck. A lot. And when I did, I returned to the text. Every time, there was something there. Whether it was a witty line or an insightful scene, I always found something to springboard off of and keep the story rolling. And that’s the beauty of Austen’s work. There’s always something there. There’s wit and romance on the surface. For the deep thinker, there’s sharp social commentary and character study. And no matter the novel, there’s the pleasure in knowing that there will always, somewhere, be dancing. Learn about the book here:

Congratulations to the 2017 Pulitzer Prize Winners!

As we herald our newest Pulitzer Prize winners – in an unprecedented four of the five Letters categories – we celebrate all of the 131 titles published by a current or legacy imprint of Penguin and Random House that have been awarded a Pulitzer since the inception of the Prize more than a century ago.  They include some of the defining fiction, nonfiction, and poetry of the past 100 years, such as: The Brief Wondrous Life of Oscar Wao by Junot Diaz in 2008: Ghost Wars by Steve Coll in 2005: Lindbergh by Scott Berg in 1999; The Grapes of Wrath by John Steinbeck in 1940; The Road by Cormac McCarthy in 2006; The Power Broker by Robert A. Caro in 1975;  Promises: Poems 1945-56 by Robert Penn Warren  in 1958; Humboldt’s Gift by Saul Bellow in 1976; The Magnificent Ambersons by Booth Tarkingtonin 1919; and Common Ground by J. Anthony Lukas in 1986. Here are our four newest Pulitzer winners! Biography 9780812994827The Return: Fathers, Sons and the Land in Between by Hisham Matar. Edited by Noah Eaker. Pulitzer citation: “For a first-person elegy for home and father that examines with controlled emotion the past and present of an embattled region.” Susan Kamil, Hisham Matar’s publisher at Random House, said, “It’s thrilling to see Hisham’s work so recognized by the Pulitzer jury. The Return is about Hisham’s personal search for his father, but his art elevates it into a universal quest for justice.” The Return previously won the inaugural PEN/Jean Stein Book Award. Fiction 9780385542364The Underground Railroad by Colson Whitehead. Edited by Bill Thomas. Pulitzer citation: “For a smart melding of realism and allegory that combines the violence of slavery and the drama of escape in a myth that speaks to contemporary America.” Colson Whitehead commented, “I don’t even know what to say — this has been a crazy ride ever since I handed the book in to my editor. I’m incredibly grateful to everyone who picked up a copy and dug it, and to all the kind folks who championed it along the way — the booksellers, the reviewers, the awesome Oprah Winfrey, and the judges. It’s a nice day to put ‘New York, New York’ on the headphones and walk around city making crazy gestures at strangers.” The Underground Railroad has sold over 825,000 copies in the United States across all formats.  An Oprah’s Book Club 2016 selection, #1 New York Times bestseller, a New York Times Book Review Ten Best Books of 2016 selection and the winner of the 2016 National Book Award for Fiction, the book chronicles young Cora’s journey as she makes a desperate bid for freedom in the antebellum South. After escaping her Georgia plantation for the rumored Underground Railroad, Cora discovers no mere metaphor, but an actual railroad full of engineers and conductors, and a secret network of tracks and tunnels beneath the Southern soil. General Nonfiction 9780553447439Evicted: Poverty and Profit in the American City by Matthew Desmond. Edited by Amanda Cook. Pulitzer citation: “For a deeply researched exposé that showed how mass evictions after the 2008 economic crash were less a consequence than a cause of poverty.” Ms. Cook commented, “It’s been an honor for all of us at Crown to help bring Evicted into the world. Matt Desmond writes with great heart and intellectual rigor about America’s housing crisis. He follows eight families in Milwaukee as they struggle to keep a roof over their heads, showing us how a lack of stable shelter traps families in poverty and destroys lives meant for better things. Matt often says, ‘We don’t need to outsmart poverty; we need to hate it more.’ With Evicted, he has helped us do exactly that.” Evicted previously won the 2016 National Book Critics Circle Award for Nonficiton, the 2017 Andrew Carnegie Medal for Excellence in Nonfiction, the 2017 PEN/John Kenneth Galbraith Award for Nonfiction, and the 2016 Discover Great New Writers Award in Nonfiction, among other honors. History 9780375423222Blood in the WaterThe Attica Prison Uprising of 1971 and Its Legacy by Heather Ann Thompson. Edited by Edward Kastenmeier. Pulitzer citation: “For a narrative history that sets high standards for scholarly judgment and tenacity of inquiry in seeking the truth about the 1971 Attica prison riots.” Mr. Kastenmeier commented, “Heather is a remarkable historian who has spent the last ten years of her life working diligently to make sure she could do justice to this story before it is too late.  She has shown remarkable courage and fortitude in researching a story the authorities didn’t want told.  We need that now more than ever. In the years she’s been working on this book the issues it raises have become more urgent than ever. For all these reasons I could not be happier for her upon this news.” We thank and congratulate Hisham Matar, Colson Whitehead, Matthew Desmond, and Heather Ann Thompson, their respective editors Noah Eaker, Bill Thomas, Amanda Cook, and Edward Kastenmeier, and our colleagues at Random House, Doubleday, Crown Publishers, and Pantheon for continuing and building upon one of our proudest literary traditions. To view the complete 2017 Pulitzer winners list, click here. Learn more about the winners here:

Writing Tips from Mary Balogh, author of Someone to Hold

We know readers tend to be writers too, so we feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing!

Did you always want to write? How did you start your career as an author? 

Yes. As a child, when people used to ask me what I wanted to be when I grew up, I would say I wanted to be an authoress (that word certainly dates me, doesn’t it?). I used to fill notebooks with stories. When I grew up, of course, I discovered that I needed to eat so became a high school English teacher. Then I got married and had children. There was no time to write. I took a year’s leave of absence following the birth of my third child and worked my way through a suggested Grade XI reading list. It included Georgette Heyer’s Frederica. I was enchanted, perhaps more than I have been with any book before or since. I read everything she had written and then went into mourning because there was nothing else. I decided that I must write books of my own set in the same historical period. I wrote my first Regency (A Masked Deception) longhand at the kitchen table during the evenings and then typed it out and sent it off to a Canadian address I found inside the cover of a Signet Regency romance. It was a distribution centre! However, someone there read it, liked it, and sent in on to New York. Two weeks later I was offered a two-book contract.

What’s the best piece of advice you have received?

 Someone (I can’t even remember who) at a convention I attended once advised writers who sometimes sat down to work with a blank mind and no idea how or where to start to write anyway. It sounded absurd, but I have tried it. Nonsense may spill out, but somehow the thought processes get into gear and soon enough I know if what I have written really is nonsense. Sometimes it isn’t. But even if it is, by then I know exactly how I ought to have started, and I delete the nonsense and get going. I have never suffered from writers’ block, but almost every day I sit down with my laptop and a blank mind.

What clichés or bad habits would you tell aspiring writers to avoid? Do you still experience them yourself? 

You don’t have to know everything before you start. You don’t have to know the whole plot or every nuance of your characters in great depth. You don’t have to have done exhaustive research. All three things are necessary, but if you wait until you know everything there is to know, you will probably never get started. Get going and the knowledge will come—or at least the knowledge of what exact research you need to do.

Do you ever base characters off people you know? Why or why not?

Never consciously. I wouldn’t want anyone to recognize himself or herself in my books. However, I have spent a longish lifetime living with people and interacting with them and observing them. I like my characters to be authentic, so I suppose I must take all sorts of character traits from people around me. And sometime yes, I suddenly think “Oh, this is so-and-so.”

What are three or four books that influenced your writing, or had a profound affect on you?

All the books of Georgette Heyer would fit here. She was thorough in her research and was awesomely accurate in her portrayal of Georgian and Regency England. At the same time she made those periods her own. She had her own very distinctive voice and vision. When I began to write books set in the same period, I had to learn to do the same thing—to find my own voice and vision so that I was not merely trying to imitate her (something that never works anyway).

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Writing Tips from Nick Petrie, author of Burning Bright

We know readers tend to be writers too, so we feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking? I find that I do my best work at the beginning of the day, but I’m rarely in a writing mood when I sit down.  I’m usually somewhat sleep-deprived, and I always have a long list of other responsibilities calling my name. But if I can get myself into my chair with a cup of coffee, and start reading the last few days’ work, I find myself making a few changes here and there.  Then I’m adding a few new sentences at the end, and before I know it, several hours have passed, I’ve written a few new pages, and I’m in a pretty good mood. When I fall out of that flow, I get up and go for a walk, make another cup of coffee, and sit back down in my chair, just for another minute or two, and that’s another few hours gone, and some more sentences stacked up to reread tomorrow. Which is a long way of saying that the best way for me to get into a writing mood is to sit down and start writing.  And if I do it every day, it all gets easier. What’s the best piece of advice you have received? The painter Chuck Close said, “Amateurs sit and wait for inspiration, the rest of us just get up and go to work.” He didn’t say it to me, but I consider this good advice for anyone doing creative work.  Don’t wait for inspiration.  Learn to cultivate it.  Write your own writer’s manual.  Find the tools and mindset that help you move forward when things get difficult.  Because things almost always get difficult.  That’s not necessarily a sign that the work is bad, it’s just a part of the process.  Learning to understand and manage your own process is, for me, the secret to creative life. I’m still working on it, by the way.  But I’ve found that when I show up and do the work on a daily basis, inspiration will eventually perch on my shoulder and begin to whisper in my ear. What clichés or bad habits would you tell aspiring writers to avoid? Do you still experience them yourself? I love the beautiful distractions of the world – television and movies, video games, the internet in general.  But I try really hard to avoid them, because they don’t help me become a better writer.  They subtract hours from my day.  And a writer’s main currency is time.  Time to daydream, time to walk and think, time to sit and do the work. Reading good books is one distraction that will help you become a better writer.  And writing – that’s the thing – writing is what will really make you a better writer.  Write bad stories until you begin to write so-so stories, which might, if you keep at it, turn to writing good stories.  So put down your phone and keep at it. This is not a new idea, nor one exclusive to writing fiction.  The way to get good at playing the piano is to play the piano.  And play, play, play. I tell myself this every day. What are three or four books that influenced your writing, or had a profound effect on you? Cormac McCarthy’ Border Trilogy (All the Pretty Horses, The Crossing, and Cities of the Plain) had an enormous influence on me.  I love his prose, his use of place as character, and his vivid descriptions of character in action, but the most powerful effect of reading those books was that they freed me up to write about what really interested me.  At the most fundamental level, these are cowboy novels.  The fact that they also rank among the best of American literature somehow made genre distinctions irrelevant. Elmore Leonard had a profound influence on me as well.  There are a few of his books I really love – Freaky Deaky, Stick, Glitz, Bandits.  But I love his dialogue, his humor, his small-time hustlers, and the economy of his prose.  He does a lot with a little, over and over. The Writer’s Chapbook is a collection of bits and pieces of writers’ interviews culled from The Paris Review – a long list of great writers.  The book is organized by topic, so no matter what problem I’m having, I can find far better writers who’ve had the same problem.  It makes me feel better.   In addition to dipping in and out, I’ve also read it cover to cover about ten times in the last ten years.  I found it used in a clunky old cloth-covered hardback that makes me smile just to hold it in my hand. Ask me this question next week and I’d probably give you a different list. Learn more about the book below: