THE BRONTE SISTERS.....Out of Tragedy Great Literature...By Gail L. Jenner

It is probably safe to say that very few writers have not read Jane Eyre or Wuthering Heights.  Most writers are also aware that the three noted literary Bronte sisters suffered through their lives and died relatively young. But their combined story is even more stirring. Out of such tragedy arose such great and revered literature.

Born in 1816, Charlotte Bronte was one of six children born to Patrick Bronte, an Anglican preacher. 

When Charlotte was five, the family moved to Hawthorne, a small remote village located in the grim and gloomy marshy moors. That year Charlotte's mother also died, leaving Pastor Bronte with six children (five girls and one boy) to raise alone.

Charlotte, along with her two older sisters and younger sister Emily, were sent off to a school for the not-so-wealthy daughters of the clergy—but the institution was cold, the food was insufficient and poor and the discipline was harsh. 

Maria, Charlotte’s oldest sister (and thought, by Charlotte, to have been highly intelligent, lively and sensitive) fell ill and died from tuberculosis in May 1825. She was only eleven. Less than a month later, in June of 1825, Elizabeth, the second oldest of the siblings, also died from privation and illness--very likely tuberculosis. She was only ten years old.

At this point, Charlotte and Emily were brought home. There is no doubt that Patrick Bronte was devastated by the loss, especially since he had been advised that the school—although a charity school—was adequate, but, without money or prestige, he had few choices for educating his daughters. For Emily and Charlotte, the loss was traumatic. Most scholars assert that life at the Cowan Bridge School became a major inspiration for Jane Eyre’s story.

Back at home, Charlotte, Emily, Anne (the youngest Bronte), and Branwell, their only brother, spent much of their time fantasizing and creating stories. When Patrick Bronte brought home some toy soldiers to Branwell, it inspired the four children to create worlds of fantasy and stories, many of which they spent days composing. Some even turned into major stories as they grew older. The creative children gathered their stories into little books, the size of matchboxes, each one intricately woven together with colored thread, illustrated and lavishly embellished.

As they grew older, Charlotte took a position at a girls’ school and also worked as a governess for several families. Anne became a governess. Meanwhile, Charlotte and Emily began dreaming of opening their own girls’ school and in 1842, traveled to Brussels with their father where they studied languages and school administration. Emily learned to play the piano and also learned German; additionally, the two sisters learned to write essays in an advanced level of French. While in Brussels, however, young Charlotte fell in love with the married headmaster—Constantin Heger; this heartbreaking experience also found its way into Charlotte’s later writing, and letters she sent to him later on (to which he did not respond in kind) were later found.

 

Wuthering Heights

All three of the girls’ most famous novels—Charlotte's Jane Eyre, Emily's Wuthering Heights, and Anne’s Agnes Grey appeared in 1847 under psuedonyms. Jane Eyre was published by Smith, Elder & Co in London and soon became what we now call a bestseller. The stories by Emily and Anne were given to Thomas Cautley Newby. Both Wuthering Heights and Agnes Grey garnered critical acclaim, although Wuthering Heights was criticized for its violence and immorality. Some critics maintained that it had to be the work of a man with a depraved mind.

Charlotte returned to Hawthorne and helped care for her ailing father; it was at this time, she began working on Jane Eyre. Sadly, Branwell, who was also a talented writer and artist, began drinking and using opium. He declined rapidly as he went in and out of delirium and drunkenness. He died at the age of 31 in September 1848. Only three months later, in December 1848, Emily Bronte died. She was 30 years old. And five months later, Anne, the youngest of the Bronte clan, died on May 28, 1849, at the age of 29.

Alone, Charlotte continued to care for her father. She also married Arthur Bell Nicholls in 1854. Within the year, she became pregnant then contracted pneumonia and died on March 31, 1855. She was 38. Some have suggested that as heartbroken as she no doubt was through her life, that she "allowed" herself to die.

Incredibly, this family of gifted, talented writers and creative minds, appeared to have been stricken--or cursed--by illness and grief. Such tragedy--and yet, out of it or because of it--such brilliance. 

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Gail L. Jenner is grateful for being able to work with Prairie Rose Publishing, and her collection of stories published by PRP has grown since "joining the gang" in Dec. 2013 with the re-release of her WILLA Award-winning Across the Sweet Grass Hills.
For more about Gail, check out: www.gailjenner.com or http://www.amazon.com/Gail-Fiorini-Jenner/e/B005GHR47O

WHAT IS IT THAT TAKES A STORY FROM "GOOD" TO "GREAT???" By Gail L. Jenner

As writers of romance, each of us has a perspective on what makes the PERFECT romance, right?  For some, it’s all about characters. For others, it’s all about conflict. For others, it might be the setting or the history associated with western or historical romances...

When first starting out, I wonder how many of us believe we must follow a prescription or formula. Critics of the genre always seem to point to this as a “weakness” or flaw. Of course, writers of mysteries or thrillers are no less subject to a similar criticism. In truth, stories of any sort contain certain patterns that attract readers; eg: as in romantic films, the audience expects happy endings vs. tragic endings. 

But as we explore the genre, we all develop a broader range of understanding of what makes a good romance a great romance...not that we achieve it with every story we write! It’s that element of writing, however, I want to look at: what is it that takes a story from “good” to “great?”  Or, what elevates a story?
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According to Author Elizabeth Sims, “There are subtle differences between fiction that’s passable and fiction that pops—fiction that shows that you know what you’re doing. Consider agents and editors your über-readers. If you win them over, a larger audience won’t be far behind.”

I think focusing on a specific audience such as that is probably a powerful tool. At Prairie Rose, we are—of course—quite lucky in having our publishers eager and ready to consider our writing for publication, so focusing on THEM is a great “first step” in upping the ante, so to speak.

There are other elements, too, that can ramp up a story. For me, one is secondary characters. These individuals can provide comic relief or act as catalysts. They can provide a harsh and/or curious perspective on our main characters through their dialogue and actions and perceptions. Think of great films whose secondary characters increase the attraction of the audience: eg: R2D2 and C3PO or Chewbacca in “Star Wars!” Think of the sidekick characters in western films or comedies, and, more provocatively, Shakespeare or Dickens or Jane Austen. Sometimes these characters will take a film or story out of the realm of the ordinary into the realm of the delightful or powerful.

Another element is incorporating all five of our senses, eg: more than just sight or sound. Romances incorporate the beautiful people, but that is a visual. What about using more of our senses in describing our characters or settings? Incorporating the sense of smell—either good or bad—will flesh out our characters. Things to consider: what does a mountain lake smell like? What smells or feelings does the desert evoke?

Does our hero smoke, or chew? Is he a field hand or cowboy who will definitely “reek” at times? Or is he a more refined hero--and how does that affect the senses?

On a personal note that often lends itself to my western heroes:  My cowboy/ranching husband rarely walks in the door without bringing a definitive smell with him, whether it’s from cutting hay or working cows or wallowing in the mud...  And, contrary to some opinions, those smells remind me of the very physical nature of his work and life and can be alluring. YES, alluring!

Along with broadening our use of the senses, we can broaden our perspective on what makes a character attractive...Again, according to Author Elizabeth Sims, she noted that she had a student who shared, ““I once had an art instructor say, ‘If it didn’t have to be pretty, what would you draw?’”

GREAT question! What a challenge for us as authors. Of course, we have the template of Beauty and the Beast and that template has been used many times over. But it is a successful kind of storyline to study. Can our hero be beautiful on the inside, even if he’s rugged or damaged on the outside? Realistically, a soldier returning home from the Civil War would very likely be damaged—if not physically, certainly emotionally—and that might well be reflected in his walk, his talk, his demeanor.

And perhaps the last element to consider is two-fold: let’s make our readers either laugh OR cry. Not all at once, of course, but that notion takes us from the realm of a pleasing story line to a powerful one. What has happened in our characters’ lives that can be incorporated into their internal or external conflict? How can we raise the stakes of their potential love affair—and the potential failure or success of their relationship?

Again, develop secondary characters that can weave their own magic into the story and provide a comic relief or heavy-handed insult that revs up the drama. This is emotional suspense at its core: providing realistic (not caricature-like) emotions that rise and fall as the action and conflict grows. But it takes time to let these emotions develop, whether from past disappointments or failures to unfulfilled dreams or heartache. 

At the same time, we must avoid or eliminate the superficial or “cheap” emotions that are really only plastered onto the exterior surface of our characters! They must rather come from a heart-felt and deeply embedded aspect of DEEPER character.

Of course, other writers may have other kinds of ideas about what takes a good story to the level of great. The above “list” reflects some of the things I value when I read a story and sigh, “Wow....loved it!” I think about classic novels, but also novels I have read more recently, eg: Sarah’s Key or Nightingale or Widow of the South.  With each of these stories I was left with a full heart—not wanting the story to end.  

And isn’t that our goal—to affect our readers so deeply they want to come back to our stories time and again????

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Gail L. Jenner has enjoyed working with Prairie Rose Publishing and her collection of stories published by PRP has grown since "joining the gang" in Dec. 2013 with the re-release of her WILLA Award-winning Across the Sweet Grass Hills. 

"Prettiest Little Horse Thief"  and "July's Bride" are two of her other favorites.....and then there are the boxed sets and anthologies!  For more about Gail, check out: www.gailjenner.com or http://www.amazon.com/Gail-Fiorini-Jenner/e/B005GHR47O