A Jane Austen Conversation | featuring Collins Hemingway in discussion about his Marriage of Miss Jane Austen series

Posted Wednesday, 15 January, 2020 by jorielov , , 0 Comments

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Hallo, Hallo dear hearts,

I am not entirely sure if everyone who reads my blog is aware of my admiration for Jane Austen or the fact, I consider myself a #Janeite. I have loved the author’s style of narrative for many years, in fact, I wrote an Essay about it during 2017’s #AustenInAugust and couldn’t help but gush over the reading of the first novel in this trilogy as well.

What implored me truly to read this after canon selection on a theory of Jane Austen’s life is my affection for the author herself. I love reading after canon works based on her collective works but I also like to entertain readings of stories which relate directly to the writer, herself. Previously, I have explored this through the Jane Austen Mysteries a series I look forward to re-visiting, as I hadn’t had the time to re-read the first novel nor continue with the rest of the stories which followed suit. This was initially my goal whilst reading the first volume in this series – however, in the past few years, my readings of Austen Literature has taken a few interesting hiatuses.

Whilst noting this is a novel of an evolving theory based on what ‘could have been’ in accord to Ms Austen’s life, I felt it warranted exploring because after all, how much do any of us know about the Classical authors we love to read? In this, I had a curious thought – what if this novel had a foundation of grounding based on one of the author’s own works? This is something which came into better clarity as I read the novel directly and one in which, I had wondered if other readers on the blog tours had noted themselves.

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Directly though – I was dearly curious to continue reading this series due to these
ruminative thoughts I had shared after finishing Volume Two:

As I re-entered Jane’s life as a married woman, I was happy to find Cassandra was beside her, news of the Napoleonic War held good news for her family (especially in regards to her brother) whilst her new life was still one she was settling into accepting. Ashton provided a step-up in social standing for Jane, including how they lived and what they had within their environs. You can see her a bit uncertain how to handle the luxuries of this life compared to what she was used to previously with the Austens, who lived a humbled existence.

Jane is the newly minted Mrs Dennis in the household – a duty and station which comes with a litany of obligation, responsibility and a foresight of understanding for social trademarks for a hostess. It is here where we first start to notice how Jane’s own upbringing fell short of what she would have to endure as a married woman. How her mother-in-law wouldn’t hesitate to point out her faults and where her sister Cassandra would provide a moral anchour to her nerves. It is here we find Jane attempting to do the biding of her husband but without the fuller knowledge of what a disaster it could become if she would blindly follow his advice without taking into consideration the suggestions of his mother, the other ‘Mrs Dennis’.

It is interesting to see how Jane would approach married life – how she is open to discussing things with Ashton or of finding ways to engage him in the romantic gestures she endeavours to instigate. Nothing is seen as this was inspired by Jane Austen and thus, Hemingway happily kept her style of narrative intact without deviating out of the tastefulness of a romance which made her infamous for the genre; yet what was interesting is how he gave a bit of freedom of expression to both Jane and Ashton. They were happily enjoying their married lives – all facets of it but most importantly the ways in which they were endearing each other in their more intimate moments.

There is a bit of cheeky humour threading into the backbone of this installment – how Jane is reflectively musing about how she’s surprised at how natural being a married woman has come to her and how she enjoys being with her husband. There are other sides to Jane as well, such as the woman who is not yet ready to lead a household but of whom, is attempting to remain outside her comfort zone if it means improving her connection to her husband, her staff and her mother-in-law. This is a story of growth – of seeing Jane move away from her years of youth and of embracing this new chapter where she is writing the hours as they arrive.

As Jane started to see how marriage loomed ahead of her, her one regret truly was the lack of hours in which to be creatively engaged with her pen. She spoke of this to Ashton, of whom did not see why she was upset (not really, though he attempted to try) as she had chosen to be with him, to be a wife and to have responsibilities that would naturally come out of the union. Quite a typical response, except that it fell short of realising from a husband’s perspective, how sometimes a woman in a marriage was not realising they were sacrificing a part of themselves for the sake of being with the man they loved. I think in this instance, Jane had become caught inside the romance and hadn’t fully thought about how her life might become altered if she followed course.

A lot of truth in those worries of Jane as I readily observe how not all husbands are supportive of their wives (especially if their writers) and how it would appear that women are still even now needing to defend why they write or why they want to be economically engaged outside of their marriage. This was a moment of reckoning for Jane, as it wasn’t just putting aside her desires to write which plagued her conscience but certain aspects of marriage itself; which also acted as a conflict with how she was raised and the more sheltering views of being a clergy’s daughter.

Similarly, Hemingway was not shy to highlight the other tensions in their marriage – such as the blunderment Ashton made in deference to Jane in private conversation. It shows how he was effectively examining their marriage from an outside vantage point which had the pleasure of seeing the more intimate moments of their private hours. In thus, he pulled back the layers of what was shielding them from the outside world – drawing them out, letting them reveal their raw emotional thoughts and to speak plainly how they felt about not just one another but the topical issues of their era. They were together for most things but they struck a chord apart on deeper issues I think bemused both of them to notice they truly were two passionate souls who each had their own individual mind. To which end, there were some aspects of their disagreements which were worth owning and there were others worth realising they would never agree on the finer points which separated them.

They do remain united in their ability to draw back together after their differences are shed – for they have a strong marriage built out of trust and truthfulness. It is through their discussions they realise certain aspects of their business and their personal lives are coming to a head of discourse. They cannot continue to engage in partnerships which go against their own minds and hearts which reflect the current events – from slavery to the promise of war, they are keeping on the fringes of what is reflective in the papers. This causes disruptions for them naturally but at the heart of their marriage is a union sparked out of love and united in a fond respect for each other, the world at large and the auspicious emblems of living a life with ethical morals.

As we peer more into Jane and Ashton’s world as a married couple, we start to see how difficult it is for both of them – how they must learn to yield to one another and draw a closer circle of strength to tackle what is awaiting them. There is a joyful revelation in this installment – one that further enlarges our scope of understanding for how Jane is fully lit alive by her experiences as a wife and how by embracing these subtle changes she is finding herself radically new and altered. Jane is happily introspective throughout the story – owning to her pursuit to understand herself and her environment but also, to acknowledge how each new year of a life lived is a chance to see the milestones of the experiences you’ve gained.

This particular installment ends on a happy note but one which is guarded for the future – for not everything is certain and there are a few key reasons for Ashton and Jane to feel as if the future yet to come might prove to be far more taxing than the hours that they have just passed through. It is a keenly intriguing series and one I hope more Janeites discover as it truly is a unique testimony about how a modern writer can re-tap into the life of Jane and bring her out so wholly original and true of her person to give us a near-living testimony of how she would have lived had she taken the paths and passageways he’s explored in this trilogy.

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It is hard to put into words how much this trilogy has taken up a cosy niche of joy in my heart – as I first started reading this beautiful sequence of Jane Austen’s life in January 2018. The past two years has given me a lot of heartfelt joy to reconnect to Austen in a plausible and believable way of re-introducing myself into her world and the ways in which this sequence of her life could have been lived. I have felt from the start, Hemingway himself was channelling a special entreaty into her life and world – the ways in which he instinctively knew how to write about her innermost thoughts, the way he tucked in letters and correspondences into the trilogy and how he captured the heart of the Regency as an era and background to the story itself.

His capacity to tell this story has been a heartwarming experience for me and I am truly thankful I could close out 2019 with reading the finale installment which brings our experiences with Jane in this beautiful trilogy to a close.

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A Jane Austen Conversation | featuring Collins Hemingway in discussion about his Marriage of Miss Jane Austen seriesThe Mariage of Miss Jane Austen
Subtitle: Volume Three
by Collins Hemingway

The Stunning Finale to Jane Austen’s Saga

In the moving conclusion to “The Marriage of Miss Jane Austen,” Jane and her husband struggle with the serious illness of their son, confront a bitter relationship with the aristocratic family who were once their friends and face the horrific prospect of war when the British Army falters on the continent. The momentous events of the Napoleonic wars and the agonizing trials of their personal lives take Jane and Ashton to a decision that will decide their fate—and her future—once and for all.

Places to find the book:

Borrow from a Public Library

Add to LibraryThing

ISBN: 9781979472760

Also by this author: The Mariage of Miss Jane Austen : Volume One, The Mariage of Miss Jane Austen : Volume Two, The Mariage of Miss Jane Austen

Genres: After Canons, Historical Fiction, Historical Romance, Re-telling &/or Sequel


on 4th November, 2017

The Marriage of Miss Jane Austen trilogy:

The Marriage of Miss Jane Austen by Collins HemingwayThe Marriage of Miss Jane Austen Vol II by Collins HemingwayThe Marriage of Miss Jane Austen Volume 3 by Collins Hemingway

Converse via: #HistFic, #HistoricalFiction, #HistRom + #JaneAusten

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I wanted to have a conversation with Mr Hemingway as a capstone to my reading experience with his trilogy about Jane Austen and the life she ‘could have lived’ as he explored her life through a very intimately curious lens. The nuanced ways he was able to pull her character and personality through the eras of history and give us a plausible countenance of her character is beyond a brilliant stroke of writerly achievement – the fact he could maintain her essence and her spirit through the breadth of the trilogy is what endeared me to his interesting hypothesis on her life.

This is a conversation about an author who discovered the inspiration to bring back to life a beloved literary heroine from the book blogger whose appreciated the chance to get to know Ms Austen in a more interpersonal way due to his dedicated work to develop this series. I am truly grateful to Historical Fiction Virtual Book Tours for giving all of us whose hosted these blog tours the past few years a wonderful chance to re-visit a beloved author and truly feel inspired by a contemporary voice whose written the Regency in such an alive manner of authenticity it feels as if we truly lived a short spell in the company of Austen herself.

As always, brew your favourite cuppa and settle in for a lively conversation!

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How did you initially conceive of the idea for the series which has become a trilogy following in the footsteps of Jane Austen as we walk with her through her marriage? Especially considering that at the heart of this series is an authentic portrait of what her marriage might have looked like and what she would endeavour to get out of it?

Hemingway responds: I wanted to tell a story of a woman when everything was against her—society, law, biology. I wanted to put her through everything that life could throw her way, good and bad. I wanted to see how she would react. What she was made of.

I was well read on Austen, and I was a student of that period. I began writing an “Austen-like” character—intelligent, sensitive, passionate. At some point, I realized that the voice in my head was Austen’s. I went back to her biographies and realized that there was this seven-year gap in the record of her life where I could give her a new, serious backstory. Tell a story of what might have been. And—based on the lack of provenance in family stories about her romantic involvements, more disinformation than truth—I felt there was a good chance something like this might well have happened. Which is why all the letters and other records from this period were destroyed.

From the perspective of a Janeite – what I enjoyed the most are the little touches of familiarity with Jane herself – how you’ve brought her to life in a way which not only owned her life as we’ve come to realise it (through other sources) but of how we might have imagined her life to be (if we had devised a theory); how did you toe the line between theory, imagination and known history in regards to Jane herself?

Hemingway responds: First I came up with the overall story line. Then I mapped a timeline of her personal life against the major events of the period. I wove my story into and through her life and the big events. Sometimes there were personal matters that anchored a chapter, sometimes an outside event. Sometimes I had a list of optional things I wanted to include, but I would not torque the story to fit in something just because the event, personal or political, was cool. The result, I think, was a sequence of events that unfolded very naturally. Consequently, the tale reads like a true historical tale. The “little touches of familiarity” fit organically because I didn’t just jam them in. They were part of the fabric of the tale.

What did you feel was the most challenging role in almost acting as a biographer who is retelling a known portion of history about a very infamously beloved novelist?

Hemingway responds: Staying true to the voice. My research spanned twelve years (though my interest went all the way back to university). I had all this information in my head and in my notes. But as I began writing, I read only what Austen had written—her novels and letters. It was between her and me. I heard that voice in my head and I tried to re-speak it in my trilogy. Because I kept the voice in my head pure, after a while it felt very natural. If I felt stuck, I was as likely to go back to a chapter of mine that I liked as to go back to one of Austen’s.

How did you get the flow of intonation and of literary styling which is so dearly reminiscent of a Jane Austen novel inside your own series? It reads like a hidden chapter of her life and of a story-teller whose dearly close to the heroine of the story itself – I was curious how you sought to inflict this kind of awareness of thought and curious delight into your trilogy for readers who are attached to Austen’s own style?

Hemingway responds: Once I had the voice in my head, I tried to put it on paper as naturally as I could. Regency prose is more formal and elaborate than modern prose. If I wrote “perfect” Regency it would sound stilted because it isn’t my natural tongue. I tried to find a dialect that sounded enough like Regency prose to satisfy a reader but was not so formal as to put off a modern ear. If a section of dialogue, for instance, felt too formal, I would simplify it. Often, the next time I read that piece, I would find it too modern. I would go back and add a few formal structures, convert a modern phrase to a more traditional one. Eventually I would find a balance that I liked. But I had to go through the process with just about every scene.

Of all the secondary characters throughout the series – which of them truly became your favourite and why?

Hemingway responds: Jane’s sister Cassandra was my favorite. I knew Cassandra would serve as a sounding board for Jane, but it didn’t hit me until midway through the third volume just how much she remained in Jane’s life, and what her presence meant in stabilizing and supporting Jane through difficult times. She was there, as a good sister would be, before, during, and after.

Also, Mr. Collier. Primarily for his unexpected humanity at the most unlikely moment.

On Ashton’s side, it would be Mr. Fletcher, the estate steward. Ashton is a loner who seldom gives his trust to anyone. Mr. Fletcher is one of the few who has earned that trust.

At the cornerstone of the series is how well you etched out the trials of marriage between Jane and Ashton – how did you get those realistic moments etched into the series and what inspired them to become an inclusive thread?

Hemingway responds: This is the heart of novel-writing, and I hoped I did it well. I tried to make the plot as realistic as possible, based on how they treated each other from day to day. Their marital problems—and marital joys!—were ones that any couple might have. For example, I used medical issues that were true to the period and true to Austen’s family. I then asked how, given their characters, Jane and Ashton would handle the conflict that would arise. As any couple would do. I treated both sides fairly, giving each one equal time to make their cases.

I especially enjoyed the inclusions of letters and correspondences – as they took us into a different entry point of the character(s) lives and re-attached us to passages which were more intimately known through those Epistolary sequences. Did you study the Letters of Jane Austen to provide a stronger glimpse into how she would compose her letters used in this series or did you go off the cuff and try to provide a new window into how she might react and write her thoughts as necessary for the stories themselves?

Hemingway responds: Before I began, I wanted to pay homage to the epistolary style because it was a popular form of fiction then and because Austen experimented with it herself in her early writings. The letter style is simple and intimate and eliminates a lot of narration. But I also understood its limitation, which is that it becomes far too convoluted to support a complex plot. I used it in Volume I because the only way Jane and Ashton would fall in love was to be separated. Their surface personalities otherwise clashed too much. The letters enabled me to cover a long period of time quickly and enabled them to see directly into the other’s heart. I also used it in the third volume to shorten long and difficult stretches of text.

I had read Jane’s letters. I didn’t try to emulate them. I tried to keep her voice in my head and write a letter as she would write, based on the context and what she needed to say.

I made the comment after reading the second volume of this trilogy how you had the capacity to settle us wholly true into the shoes of Jane as if she were simply living her life and we were along with her for the journey. Did you feel this connection to her as you were writing the series or was it something you observed you had mastered after the final drafts were completed? It is a special gift you’ve given the stories… to authentically let Jane shine as we imagine she would in these circumstances.

Hemingway responds: Thank you very much for your kind words, because letting Jane shine authentically is what I had hoped to do. Actors talk about not trying to mimic an historical person but to inhabit them. Try to understand who they were, and then act naturally. Because Austen’s voice is so pure, I felt I knew her from many careful readings. I felt that I was telling her story. I tried to tell it as honestly and as feelingly as I could. I had a twin objective, which I understood fully only after I was well into the story. The first was to have Austen experience what almost every other woman of her age experienced and see how she would respond. The other was to have her write that story without the limitations imposed on her by the social and literary mores of that day.

What was your hope for the trilogy in regards to attracting the readership of Jane Austen readers? What were you hoping their takeways would become as the series progressed and what have you seen as the collective reaction after the trilogy concluded?

Hemingway responds: I hoped that the Austen community would want to read a serious story based on Austen’s life. I hoped that they would feel that they knew her better after reading the trilogy than they did before. Not because this was her life but because it was a life she might have lived if one or two decisions had gone another way. I showed her under pressure. I showed her dealing with important issues. With pleasure and disappointment. I think most Janeites appreciate the trilogy for what it is—the story of an intelligent woman of passion and character living a real life in Regency times.

How was the trilogy outlined to be written – if you work on an outline? Or did the whole affair simply evolve rather organically from the time you set out to tell a story of ‘Jane Austen’ and this is what manifested through those writings?

Hemingway responds: Before I began, I outlined the trilogy in about thirty pages from the 100,000-foot level. I found the story developed in three- to five-chapter cycles. As I approached each one of these mini-cycles, I would flesh out the chapter outlines in great deal. As I worked each of these sections, I would insert notes on future chapters based on the events I was telling here. So a chapter “outline” might ultimately include a page of overview, notes about particulars, things that needed to be resolved, snatches of dialogue. When the chapter was done, I would replace all the notes with a short summary. As a result, the outline expanded and contracted as I went. By the time I was done, I had a forty-five-page outline.

I generally followed the original outline, though two or three major things did change along the way. Based on what the characters learned and on what I learned about them.

At the conclusion of writing the trilogy – what can readers expect to see next from you? Will you tackle another well-known author’s life in fictional form or will you stay in this universe of Austen? What comes next for those who wish to seek more of your style of stories?

Hemingway responds: I am writing a collection of essays on Austen’s development as a writer. In many ways, the essays will cover everything I’ve learned about her that didn’t fit in fiction. In writing my own trilogy, I broke down and analyzed Austen’s novels. I learned quite a bit about what she learned as she progressed through her six novels. I hope to bring something new to Austen criticism by showing how she learned her craft and built on it, book by book.

I never tried to copy Jane’s characters or situations directly. I started from my own and had the story develop on its own power. However, over a thousand pages, I was bound to have some parallels. A few times, when I had worked my way through the process of bringing a scene to a believable conclusion, I would think “Ah! That’s why you did what you in that book of yours.” I never copied, but I came to similar solutions while solving similar technical problems.

A second note on the conclusion of the trilogy – how did you conceptionalise the ending which I felt was the most thought-provoking way a series such as this could end as it left the rather interesting question to the reader about what is real and what is imaginary and where does reality crossect with what can be imagined? It was a clever ending and it was one that lends itself to re-examine the series as a whole; was that your intention all along or was the ending writ closer to the time when you were composing the passages of the third installment?

Hemingway responds: I knew from the first how the series must end. Many details altered. One or two major things changed. The fundamental moral decision shifted for Jane. The last volume changed more as it went along than either of the first two. I originally envisioned several additional chapters along the way. Instead, they compressed into a few sentences. Other things I thought would be a few sentences expanded into full scenes or chapters. That’s part of novel-writing, but more of this occurred in the last volume than in the first two. As I approached the last cycle of four or five chapters I knew exactly what needed to be said and how Jane would react. There were one or two bits of “business” I had to figure out, but they were fairly minor.

When you’re not researching and writing your stories what uplifts and renews your spirit the most?

Hemingway responds: Reading great books! And getting out in nature for a walk. Much as Jane would have done. …

About Collins Hemingway

Collins Hemingway

Whether his subject is literature, history, or science, Collins Hemingway has a passion for the art of creative investigation. For him, the most compelling fiction deeply explores the heart and soul of its characters, while also engaging them in the complex and often dangerous world in which they have a stake. He wants to explore all that goes into people’s lives and everything that makes tThe hem complete though fallible human beings. His fiction is shaped by the language of the heart and an abiding regard for courage in the face of adversity.

As a nonfiction book author, Hemingway has worked alongside some of the world’s thought leaders on topics as diverse as corporate culture and ethics; the Internet and mobile technology; the ins and outs of the retail trade; and the cognitive potential of the brain. Best known for the #1 best-selling book on business and technology, Business @ the Speed of Thought, which he coauthored with Bill Gates, he has earned a reputation for tackling challenging subjects with clarity and insight, writing for the nontechnical but intelligent reader.

Hemingway has published shorter nonfiction on topics including computer technology, medicine, and aviation, and he has written award-winning journalism.

Published books include The Marriage of Miss Jane Austen trilogy, Business @ the Speed of Thought, with Bill Gates, Built for Growth, with Arthur Rubinfeld, What Happy Companies Know, with Dan Baker and Cathy Greenberg, Maximum Brainpower, with Shlomo Breznitz, and The Fifth Wave, with Robert Marcus.

Hemingway lives in Bend, Oregon, with his wife, Wendy. Together they have three adult sons and three granddaughters. He supports the Oregon Community Foundation and other civic organizations engaged in conservation and social services in Central Oregon.

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I am hoping you have felt as inspired as I did whilst reading Mr Hemingway’s responses – the fact he is working on new stories is an encouraging sign of things yet to come and listening to how he’s created this trilogy was a pleasure of joy now I have concluded reading it. I love finding these ‘behind-the-book’ secrets – of seeing how a writer lays his idea for a plot and a series against the unique path in which a series begins to develop organically from the original idea.

I am full of gratitude for the author’s time and the wonderful way he pulled us into his writing life by giving us a wonderful insight into how he writes the novels which encourage our curiosity about a formidable writer whose stories still have something lovely to say to us all. What a beautiful way to end my time within ‘The Marriage of Miss Jane Austen’!

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For those of my readers who haven’t had the chance yet to read my thoughts on behalf of this trilogy or of how I felt at the conclusion of reading the 3rd installment – let me conclude this interview and the final blog tour of the series with an excerpt from my review:

A complicated story truly because so much lay between them that could not be unsaid or left undone. They were prone to society’s inflicted observations on their life, their marriage and even the choices they made as parents; yet, when left to themselves, you saw a loving couple, full of equality for each others choices and with a respect for their minds to ring true of their hearts. Why they would consistently allow themselves to be affected by society or by other people’s prejudicial views is unknown but they were at their best when they tucked closer to Hants and to each other. When they were not privy to outside influences and outside speculations, Ashton and Jane made a winning team.

And, yet this trilogy ends as you might have suspected it would begin – where a fictional version of Jane begins to meet the real-life variant of herself in a timeline which makes sense to what is known of her actual lived life. Hemingway merges the two expertly at the conclusion of this series and gives you a striking pause for thought about how the series was developed and the central arc of focus therein as you reconsider everything you’ve read and what it all meant – to you, to Jane and to Hemingway. That dear hearts is a interesting ending indeed because it makes you question what was real, what was imagined and what fittingly was simply fodder to chew about an author so very little was publicly known about her life.

The realistic honesty [within marriage] Hemingway has given Jane is what has held me anchoured into this trilogy the most – the fact he can re-address the changes in her life and the moments of what she has experienced through the series is what makes it so dearly relatable to be read. In this finale, Jane is questioning her fatigue to mother her infant son George, whilst she fondly reflects upon the advice of her own Mum – who told her the truer truths of mumhood; how it changes your perspective of time and the ways in which time can lengthen or shorten for all mothers. In this intrinsic manner of approaching Jane’s newfound married life with a burst of truthful humility, I felt Hemingway gave us a fitting entry into the final installment as we re-align ourselves with Ashton and Jane.

There was a moment where the welfare of a horse was in jeopardy and I liked how Hemingway showed how well Ashton and Jane make a winsome team to overcome difficult circumstances. They were having issues of martial variety prior to the horse and uniquely enough, of a similar topic of discussion as the horse was fairing themselves – as the horse was withchild, however, in this instance, it was how well they worked with each other to resolve this matter and how hard they held their right to protect the horse which I loved the most. It was one of those unexpected moments where you saw the strength of their bond, the conviction of their characters and the earnestness in Hemingway to show how even despite their difficulties recently, Jane and Ashton put the welfare of others (person or beast) ahead of their own troubles.

Hemingway has elected to show he mindset of the era in which Jane and Ashton lived when it comes to medical issues and special needs children in deference to George. It is not easy reading nor is it unjust of the era as if anything it points a spotlight on how some families choose to deal with these similar circumstances and how others react without thought to how their words will inflict heartache on those who have to listen to their senseless reactions.

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This blog tour is courtesy of: Historical Fiction Virtual Book Tours

The Marriage of Miss Jane Austen Volume 3 blog tour via HFVBTsPreviously I shared my book review on this lovely blog tour which concludes the series!

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NOTE: Similar to blog tours wherein I feature book reviews, book spotlights (with or without extracts), book announcements (or Cover Reveals) – I may elect to feature an author, editor, narrator, publisher or other creative person connected to the book, audiobook, Indie film project or otherwise creative publishing medium being featured wherein the supplemental content on my blog is never compensated monetarily nor am I ever obligated to feature this kind of content. I provide (98.5%) of all questions and guest topics regularly featured on Jorie Loves A Story. I receive direct responses back to those enquiries by publicists, literary agents, authors, blog tour companies, etc of whom I am working with to bring these supplemental features and showcases to my blog. I am naturally curious about the ‘behind-the-scenes’ of stories and the writers who pen them: I have a heap of joy bringing this content to my readers. Whenever there is a conflict of connection I do disclose those connections per post and disclose the connection as it applies.

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{SOURCES: Cover art of “The Marriage of Miss Jane Austen Vol. 1, 2 & 3”, book synopsis for Volume 3 of this series, author photo & biography of Collins Hemingway and the tour badge were all provided by HFVBTs (Historical Fiction Virtual Book Tours) and used with permission. Post dividers by Fun Stuff for Your Blog via Pure Imagination. Tweets embedded by codes provided by Twitter. Beat the Backlist banner provided by A Novel Knight and is used with permission. Blog graphics created by Jorie via Canva: Conversations with the Bookish banner and the Comment Box Banner.}

Copyright © Jorie Loves A Story, 2020.

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About jorielov

I am self-educated through local libraries and alternative education opportunities. I am a writer by trade and I cured a ten-year writer’s block by the discovery of Nanowrimo in November 2008. The event changed my life by re-establishing my muse and solidifying my path. Five years later whilst exploring the bookish blogosphere I decided to become a book blogger. I am a champion of wordsmiths who evoke a visceral experience in narrative. I write comprehensive book showcases electing to get into the heart of my reading observations. I dance through genres seeking literary enlightenment and enchantment. Starting in Autumn 2013 I became a blog book tour hostess featuring books and authors. I joined The Classics Club in January 2014 to seek out appreciators of the timeless works of literature whose breadth of scope and voice resonate with us all.

"I write my heart out and own my writing after it has spilt out of the pen." - self quote (Jorie of Jorie Loves A Story)

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Posted Wednesday, 15 January, 2020 by jorielov in #SaturdaysAreBookish, 19th Century, After the Canon, Blog Tour Host, Bookish Discussions, Christianity, Family Drama, Family Life, Historical Fiction, Historical Fiction Virtual Book Tours, Historical Romance, Inspired By Author OR Book, Jorie Loves A Story Features, Mother-Daughter Relationships, Pride & Prejudice Re-telling, Second Chance Love, Siblings, Sisters & the Bond Between Them, the Regency era, Women's Fiction, World Religions




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