Posts tagged ‘prideandprejudice’

July 20th, 2011

Prom and Prejudice by Elizabeth Eulberg; Review

by Madeleine Rex

Title: Prom and Prejudice

Author: Elizabeth Eulberg

Published: January 1st, 2011

Number of Pages: 288

Rating: 3/5


After winter break, the girls at the very prestigious Longbourn Academy become obsessed with the prom. Lizzie Bennet, who attends Longbourn on a scholarship, isn’t interested in designer dresses and expensive shoes, but her best friend, Jane, might be — especially now that Charles Bingley is back from a semester in London.

Lizzie is happy about her friend’s burgeoning romance but less than impressed by Charles’s friend, Will Darcy, who’s snobby and pretentious. Darcy doesn’t seem to like Lizzie either, but she assumes it’s because her family doesn’t have money. Clearly, Will Darcy is a pompous jerk — so why does Lizzie find herself drawn to him anyway?

Will Lizzie’s pride and Will’s prejudice keep them apart? Or are they a prom couple in the making? Whatever the result, Elizabeth Eulberg, author of The Lonely Hearts Club, has concocted a very funny, completely stylish delight for any season — prom or otherwise. [From Goodreads]


It was bad enough to see friendship and love in terms of politics. But seeing it in terms of business was even worse.


DISCLAIMER: This book is based on Pride and Prejudice and should therefore be judged leniently and not critically compared to the work of Jane Austen. (Duh.)

Because, let’s face it, there’s no winning in a situation like this one. Some people would take one look at Prom and Prejudice and run for their lives. How can a book written in the twenty-first century and written for a teen audience ever compare to the epic Pride and Prejudice? Yet, somehow, my initial doubt faded as I read this book.

Elizabeth Eulberg must have a wide range of interests. I’ve read another of her novels, The Lonely Hearts Club, and it includes tons of references to Beatles songs. Beatles to P&P? Clearly Eulberg’s brain is an interesting specimen, and I admire her for it.

The most enjoyable part of this novel was identifying the parallels between Pride and Prejudice and Prom and Prejudice as I read. Which events correspond with each other? How does Eulberg take a nineteenth century character and shove them into the twenty-first? Does she give them an iPod, North Face jacket, and a vehicle with an engine? I loved seeing my beloved Pride and Prejudice reborn, but not recorded over. It’s evident that Eulberg respects Austen’s version of the story and didn’t want to violate it, but make it more light-hearted and easier for the teens of today to relate to. I’m definitely planning on recommending this to a friend of mine who would as soon read the original version of the story as pee her pants (Honestly. The other day she said to me, “I don’t do Jane Austen.”).

While Prom and Prejudice is a wonderful adaptation of the original, I did have some problems accepting it. For instance, I kept getting caught on the awkward phrases and vocabulary. The characters seem confused as to what time period they’re supposed to be in. Their way of speaking was unnatural. Their sentence structure and vocabulary was modern one second and then, jolt!, some nineteenth century lingo wiggled its way in. The mixture of the two time periods wasn’t as seamless as I had hoped. However, I don’t think many could have done better.

Additionally, there were a few events that are sadly missing in Prom and Prejudice that occurred in Pride and Prejudice. While I understand that this isn’t Austen’s book – it’s Eulberg’s – I did notice and miss the scenes that this book is lacking. There is no Catherine de Bourgh, for example. On the other hand, I was surprised multiple times by the way Eulberg tackled certain storylines. She managed to condense and/or twist things to fit her version of the story, and it all worked together brilliantly in the end. I admire her for the ingenious way she made the tale work for her.

I know that the entire experience was enriched by my prior knowledge of Pride and Prejudice, and I seriously recommend reading Austen’s version first (or at least watching the long movie). I had so much fun drawing comparisons and found much more to admire about the book because I know how difficult the plotting must have been. Eulberg had a lot to live up to, and ultimately, she did an impressive job of remodeling the classic love story and creating something fresh and appealing to both fans of Pride and Prejudice and those people who just don’t do Jane Austen.

November 15th, 2010

WW Asks

by Madeleine Rex

I don’t have much to update, writing-wise, so I figured I’d chop up Wannabe Writers a bit. I’ll only be answering the questions every week.

Is any idea really original?

NO… and yes.

It depends on what you’re really asking. Is any base idea original? The basics of the foundation of a story? I’d have to say nay. However, it’s the materials, framing, and choice of adhesive you choose (cement, glue, etc.) that make something unique. You can easily dissect any work of fiction and find something familiar, and likely, cliche, at the bottom of it.

There are many common basic ideas. Here are some classics:

  • Love between the lowly and the super duper. Super, super basic. Somehow, authors manage to twist this idea around enough to make readers come back for more and more. (Think: Jane Austen)
  • Impossible love story. An angle falls for a mortal. A ghost falls for someone alive. A vampire falls for a mopey, pale girl with low self esteem…
  • Underdog triumph. Despite being poor, of unfortunate birth, and having terrible hygiene, she/he triumphs over the system/nasty politician/gang leader/people’s judgments.

So… Pride and Prejudice, Twilight, and The Blind Side. Alright, alright, so none of those three match the ideas perfectly, but…

That’s the point. If they did, they would not only be boring, but sickeningly cliche and corny. What made those books/movies special were the characters/plot twists/settings/what have you.

What writers and storytellers do is take the basic ideas that entertain and fascinate people and make them new. Shine them, bend them backwards, and give them a new paint job. Writers are the dog whisperers that teach old dogs (old ideas) new tricks.

No ideas are wholly original. We ran out of those. They were endangered creatures from the start. However, we are original. I am not you and you are not me and he is neither of us. We have unique takes on classic ideas, opinions of what should have happened, and character voices that are drowning our own voice in our heads.

These things bring The Blind Side from just another football movie to the sort of movie that makes men cry. Brought Twilight from just another YA novel to YA novel that mad fangirls out of people around the world. They brought Harry Potter from orphan underdog to boy wizard – and there’s an original story.

Basic ideas aren’t original. But people are.

February 26th, 2010

An Interview with Pamela Aidan!

by Madeleine Rex

I recently (well, it was a while back, but it took forever to write the reviews) interviewed Pamela Aidan, author of the Fitzwilliam Darcy, Gentlemen trilogy. (To read my reviews for all three books, click.) Aidan was wonderful and quickly answered all my questions. On to the interview!

ME: The back of my book says, “Pamela Aidan has been a librarian for thirty years and a fan of Jane Austen even longer.” How long would that be?

Aidan: I read Pride & Prejudice in high school so that would be about 40 years ago!

ME: How did you manage to juggle your own Austen world and the one already revealed in Pride and Prejudice without sacrificing either Austen’s view of her story, or your own?

Aidan: Actually, except for a few elements, I had no “view” of the story. I was writing it piece by piece and posting it on the web at the Republic of Pemberley and the Derbyshire Writer’s Guild at first, and later on my own website as well. The process was more like waiting for Darcy to reveal himself as the events in P&P unrolled. So, I wrote with P&P open next to me, and as Darcy’s true character became clearer and clearer to me, my story evolved. I call my method “traipsing after Jane.”

ME: When did you begin to seriously ponder the goings-on of Fitzwilliam Darcy’s mind? And when did your thoughts transform into An Assembly Such as This?

Aidan:The process began with my first viewing of the BBC/A&E 1995 production of P&P. Previous adaptations to film or stage had either re-interpreted the story to the point of making it unrecognizable or the Darcy character as stiff and unemotional as a poker. The 1995 version, however, gave us a Darcy via Colin Firth who communicated a man whose emotional control was imperfect and hinted at great feeling. The idea that there was more to this character than I’d ever thought before presented itself to me. Then, there is the sea-change of character or at least of understanding when we meet Darcy at the end of P&P after a ½ book or more of absence from the plot.  Why did he change? How did he change? I wanted to know!  So, as an experiment I wrote a short 5 page peek at what might have been going on in Darcy’s mind as he wrote and then prepared to deliver the explanatory letter after Elizabeth’s rejection and posted it to The Republic of Pemberley. It was so well received that I then decided I would try to write the entire story from his perspective and, in so doing, find out those answers. So, I started in 1998 and finished writing Assembly in late 1999.

ME: When writing Duty and Desire, you obviously found yourself in a predicament. The time during which the novel takes place is completely Darcy-free in Pride and Prejudice (the physical Darcy, anyway), and you were left to complete conjecture. Did you appreciate this chance to thoroughly create your own plot-line, or did you miss the guidance of P&P? How was the outline/writing process different when writing Duty and Desire than it was when you wrote the other two books in the trilogy?

When I began Duty and Desire I was both excited to step away from “traipsing after Jane” and very, very apprehensive.  Here, after all, was the second test of my writing ability. The first had been whether I could write well enough to capture Austen and her characters in familiar surroundings. The second was whether I could launch off on my own, take the characters elsewhere, and the readers would follow.
I found that the solid grounding in Darcy’s character that I’d developed in writing Assembly, my research and familiarity with the historical period, and the temptations and revelations I wished Darcy and the reader to experience gave me the framework. This freedom made D&D fun to write. I had no outline, but wrote as it “came” to me, listening to Darcy tell me the story as I placed him in the conflicts of Norwycke Castle.

ME: I personally adored the characters you took more creative liberties with. Georgiana was intriguing and lovable. Lord Dyfed Brougham was mysterious and amazing. Did you feel you had a different author/character connection with these characters due to the fact that you had a chance to create their personalities?

Aidan: My relationship to Darcy and the characters I created or greatly expanded is very personal and akin to feelings for real people! Darcy started as the flawed hero/lover. By the end of Assemby he’d become like one of my children, a beloved son who I desperately hoped would overcome his flaws and turn out well. Some, like Fletcher, appeared full blown. Even I didn’t know how he’d come to be so fluent in Shakespeare until near the end of book three! Brougham & Georgianna are the major catalysts in the series after Elizabeth Bennet starts Darcy’s transformational process and thus had to be carefully constructed and revealed.  Their love for and frustration with Darcy mirror my own as he flails about trying to understand who he wants to be.
But their concern is compounded by their own difficulties in that quest as well. Their quests compel me to write.

ME: How many times would you say you’ve read Jane Austen’s novels, particularly Pride and Prejudice? Which novel, besides P&P, is your favorite?

I’ve probably read P&P around ten times just as a novel. When I was writing the series, it was always open next to me. So, I “studied” it almost daily. My second favorite Austen novel is Persuasion, and third is Mansfield Park, which I think has been largely misinterpreted, especially by modern readers, and therefore has never been dramatized correctly.

ME: Which is your favorite scene in your novels? If it is one of the scenes that is also in Pride and Prejudice, what would you say creates the different feel in your version, the one that entices you to love that scene so much?

My favorite scene takes place in book 3 at the Fox and Drake pub after Dy rescues Darcy from Sylvanie’s plot and coaxes a drunk and morose Darcy into finally confessing aloud the manner in which he has ruined his life. That scene explains the creation of the Brougham character. Who else could have called Darcy to account and force Darcy to listen; who else could Darcy bare his soul to but Dy?

ME: What response did you expect from readers when you packaged up your book and sent it out into the world? Were you worried your novel wouldn’t be appreciated or treated well because you’d based it on a novel so famous and beloved?

When my husband and I published our edition of Assembly we knew that it would do well enough to cover our expenses and make a little money. By that time I had developed my own website and was keeping track of the number of hits. There were thousands and from 101 different countries! I had a very loyal following on the internet and at the Republic of Pemberley and the Derbyshire Writers Guild, sites where fans will quickly tell writers if they are doing a good job or not. So, I knew it would be appreciated. What was stressful was when it appeared on Amazon and the non-fanfiction readers, janeites, and purists weighed in who had not read along during the years of posting bits and pieces online and seen the story develop. They did not tend to be amused by writers commandeering Austen. Although there were a few negative reviews, the response at Amazon was wonderfully positive. We sold around 10,000 copies of book one in a year! Duty and Desire did not fare as well in the reviews because of its divergence from Pride & Prejudice, but it sold quite well. These Three Remain is often referred to as the favorite of the three by readers. I believe that I’ve succeeded in extending Austen’s story and honoring her characters faithfully, which was always my intent, as presumptuous as it may sound—to me especially!

ME: Besides Darcy and Elizabeth, which character do you love most? Which do you think could use the most work?

Aidan: I love Dyfed Brougham the most. To be the friend that Darcy respects, the friend that can call Darcy out for foolishness or ill-behavior and be listened to is a man I want to know more about. The next book in the series will be as much his story as the Darcys’.  As for the others, having taken three books already to tell Darcy’s story, I think I’ve rounded out all the characters that need it.

ME: When writing, did you use certain objects or music to get you in the Austen/Darcy mind-set? How did you remain consistent with your voice, Austen’s, and Darcy’s?

Aidan: When I was writing the series, I often listened to Enya’s Paint the Sky with Stars album and Jerry Reed Smith’s albums of hammered dulcimer music (Strayaway Child is his first) to get me in the mind-set. A hot cup of Earl Grey tea and some buttered toast also helped! I’m a morning person, so the dark and solitude of early morning is very conducive.

As for consistency of voice, I couldn’t say. Mostly, I just waited to “hear” Darcy speak to me in the dark, quiet solitude of early morning.


You can buy all of Aidan’s books at (and a bunch of other places).

Thanks for taking a look!