Jane Austen (1775-1817) is one of the the greatest novelists to have written in English. Her novels are still widely read and have been adapted into movies and television series. Jane Austen began writing as a child, and now, finally, some of these childhood writings have been adapted into movies. Whit Stillman’s 2016 movie Love and Friendship borrows its title from the work of the same name, written when Jane Austen was fourteen, but is actually based on Lady Susan, a novel that Austen probably wrote when she was nineteen although it was not published until much later. Both works are “epistolary” novels–novels written in the form of an exchange of letters. This form was common in the eighteenth century as the novel developed into a popular form of writing, and even one of Austen’s more famous works, Sense and Sensibility, began its life as an epistolary novel. Another famous novel of the period, Les Liaisons Dangereuses (1782) by Pierre Laclos, is also written in the form of letters, and in the end it is the discovery of one of the secret sets of correspondence that creates the climax of the story. That story, too, has been adapted into many theatre and movie versions including a version where the action is transported to a group of teenagers in New York City (Cruel Intentions, 1999). Today, with the resurgence in correspondence through texting and email, the epistolary story is a format that once again makes sense for young writers. One of the things that is exciting about a novel written in the form of letters is the scope it gives for the writer to unwittingly reveal themselves through the style and content of the letters the author has them write. There is no all-knowing narrator in the middle of the action ready to intervene to tell the reader who the characters really are, what the other perspectives might be, or what to look for. The writers of the letters (the characters) have to tell us everything themselves, without seeming aware that they are doing so. The characters who have to tell us, by telling the people they write to, where they are, what has happened, and how they feel–all of which might be different depending on who they are writing to (imagine: even if you are not inventing things, you would probably write a different letter to your best friend about how things are going and what you have been doing at summer camp than you would to your teacher or your grandparents). The skill of the author is, partly, devoted to giving the writers of the letters their own authentic voices, while at the same time making sure they (accidentally) give themselves away in the little hints they drop or the ways they tell their version of a story. It’s a form that you can really have fun with. Writing activity: Create a scenario with at least two characters and a problem, and choose a contemporary form of letter writing as your style: it could be text messages, emails, postcards, greetings cards, notes on school worksheets, or a combination of these and any other forms you can think of. Write at least 5 letters or messages from each of the characters to the others. Each one should reveal something about the action–carry it forward in some way–and reveal more information to the reader about the character, personality, and role in the action of the writer of the ‘letter’. Why not consult our pages on Juvenilia for links to some of the great authors’ juvenilia, and watch some clips of the movies we have mentioned. You can also read some stories published in Stone Soup, such as “Kisses from Cécile” based on a real correspondence; a piece of historical fiction, “Julius’s Gift”, where letters are both part of the action and part of the narrative, and more recent ones like The Red and Blue Thread which incorporate text messaging great effect. The full movie can be rented from Amazon.com and from Curzon Cinemas.
Teaching Writing
Writing Activity: working with stream of consciousness
Stream of consciousness can be an effective writing style to use when you have a character who sees and thinks very differently from the other characters. This project is inspired by the language of a very young boy. In the first years of Stone Soup, in the mid-1970s, we were fortunate to publish poems and stories written by an extraordinary child, James Lindbloom. The works published in Stone Soup were dictated by James to his mother, the author Nancy Willard, when James was between the ages of three and six. Watch a young child playing a fantasy game and you wonder, where is he? Where is she? What do those eyes see? At least from the vantage point of us older people, it can certainly seem as if very young children have the ability to dip into a world of seemingly magical happenings. As James simply spoke the words that follow, it was his mother who wrote them down and presented them in the form of poetry. There are some who say that young children can’t write poetry because poetry can only be created by writers who are in full control of the words they are choosing. So, perhaps it might make sense for us to think of these as “found poems” or “accidental poems.” But, what is not “found,” or “accidental,” is the obvious ability James has to use words to express powerful visions. The first work, “Make the Morning,” starts out with the very strong, “I want make it dark/I want it way, way dark.” As you read these two works by James let the words flow through you, and imagine the small child who is saying and feeling these words. Project: Write a stream of consciousness narrative, as a short story or as a poem. One thing writers do is explore ideas and problems and life itself through invented characters and invented voices. It can have huge impact to create a character whose unique way of seeing is expressed through a uniquely different way of talking. You can enjoy these two pieces by James as two expressive works of literature, but I’d also like you to think of them the next time you write a story or a poem. James’ style of writing fits into the literary definition of “stream of consciousness.” Create a character whose streaming thoughts introduce us into a different way of thinking and seeing. Read James’s poems Make the Morning Sheep Story
Writing Activity: Bringing dreams to life with “Princess and the Island Stallion” by Christina Lynn Myers, 11
Introduction to this Stone Soup Writing and Art Activity An island of one’s own… fields and forests and streams… a well-stocked kitchen with stove and refrigerator… riding bareback on a stallion, powerful yet gentle leader of a band of horses… and best of all, three months alone during a beautiful summer to enjoy it all. For those who love horses, nature, and independence, Christy’s story describes the most wonderful of dreams. If you ask yourself, how original is this wonderful dream, I think you might say, not very. But originality of plot is only one feature that indicates whether a story reflects an author’s thoughts and experiences. Also important are the ways an author develops the plot—the accuracy and strength of the descriptions, the complexity of the characters, the truth with which characters are shown to act and to experience feelings. Judged by these standards, Christy did a terrific job, and through the care she took in writing this story, she succeeded in transforming a fantasy of a perfect summer into an original and interesting tale. Project: Making Your Dream Vacation Real Summer vacation is coming soon (or maybe just over). You may not be able to make your dream of the perfect vacation become a reality in real life, but, through the magic of words, you can create a story that will make it real. Christy does this with her story. In addition to accurate and moving descriptions of places and feelings and riding technique, she ties her fairy-tale island life to real things we don’t expect to read about in a pure fantasy. For instance, she discusses how much the island cost and where the money came from. Her parents, though not present in the dream vacation, stay in touch and do such useful things as provide electricity and food. Your dream vacation may be similar to Christy’s or very different. But whatever it is, unique or very common, do your best to include observations and feelings drawn from the world around you so that a stranger who reads your story will say, “Wow, what a lucky child that was to have such a wonderful summer.” Princess and the Island Stallion By Christina Lynn Myers, 11, Peoria, Arizona Illustrated by Heidi Hanson, 13, Florida, New York From the May/June 1986 issue of Stone Soup I could hear the hoofbeats of Princess as we galloped along. The cool air of the morning hit my face. The island made a perfect arena, yet the trees and bushes were the only spectators of a finely made running horse and its rider. I was very content to be with my horse. The island we were on was where I lived in the summer. It was fun to be here, and I looked forward to coming here every summer. Not many people knew about this island, and those who did never came. It was where Princess and a small band of beautiful horses lived. Since no one had ever wanted it, my parents had agreed to buy it for me, and I would slowly pay them back. They had bought it for only a small sum of money. The island was very beautiful, with green grass everywhere, trees, though not too many, and quite a few flowers. It also had streams, waterfalls, pools, and a very beautiful large pond. I sat back, and Princess obediently slowed down at my signal. We reached a stream I knew well, and Princess splashed through it with no hesitation. I rode bareback, with no bridle. I guided the powerful horse under me with legs, hands, and voice only. I pulled Princess to a walk as we neared the band of horses. The stallion gave a loud, shrill neigh at the approach of one of his mares. Princess snorted and sidestepped lightly. I put a hand on her neck and spoke softly. Then, I gently slid off. I laid my hand on her neck and then let her go. Quickly she ran back to her band, whinnying to me as she went. I watched Princess until she had settled down and begun to graze, and then, smiling, I turned toward my small cabin. I never felt crowded in it. It just seemed perfect. It had a small kitchen with a stove, oven, and a refrigerator. My parents had electricity brought to my cabin underground. It also had a table on which to eat. The table had a large window in front of it so that I could look out at the island, and often I would get a glimpse of grazing horses. The cabin’s other room held my bed, dresser, clothes, and a few other things. When I reached the cabin, I unpacked my clothes, for I had gotten to the island only that morning, and I had immediately gone out to see Princess. Later, I went out to watch the band of horses. I spotted different horses and found all the ones I knew, as well as several new foals. Then my gaze turned to the stallion. He was scarlet red, his coat a satiny sheen of elegance. He was extremely tall, although his long legs seemed almost delicate at times. His head was the head of a beautiful Arabian, small and finely shaped, also having the dished nose of an Arabian. But even with all those Arabian characteristics, he was too big to be pure Arabian. His whole body was the picture of complete grace, beauty, and power. I was now friends with the stallion; he knew me well. I had not ridden him, but I was someday going to try. Suddenly I thought, why someday? Why not today? What are you waiting for? You know he has complete confidence in you. So I decided to give it a try. That afternoon, I set out to find the band. It was not hard, for I knew their favorite pastures well. The stallion had learned to come at my call, so I whistled. An answering whistle came
