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Loading... Jane and the Unpleasantness at Scargrave Manor: Being the First Jane… (original 1996; edition 1996)by Stephanie Barron
 academichussy | Jul 15, 2010 | 
Jane (Austen, that is) is to stay with her friend Isobel, the new Countess of Scargrave, to celebrate Isobel's return from her honeymoon. Jane's stay at Scargrave Manor soon goes awry when the Earl dies suddenly. Worse trouble looms however, when a second death occurs and suspicion falls on Isobel and the old Earl's nephew and heir. Isobel begs Jane to discover the truth, and so Jane Austen turns detective. I really liked this book. Barron does a good job of imitating Austen's writing style and writing to suit her period setting. Real elements from Austen's life make their way into the story, as do quotes and paraphrases from Pride And Prejudice (I don't know Austen's other works well enough to spot quotes from them if they were there), which I thought was quite fun. The mystery is very well written and flows so well as a story that there are no 'info dumps'. It's refreshing that Jane, as the detective, is not infalliable and while some of the motives are a bit transparent Barron still manages to add a twist at the end. A number of the characterisations seem to draw from those in Pride And Prejudice but since I love those characters I didn't think this was a problem, especially since Barron did it well. In the forward Barron explains that Austen apparently did write a detective manuscript (which was never intended for publication) and how the manuscript eventually ended up with her to be edited and published. Initially I was reading out of curiosity, but I quickly found myself really enjoying the book for its own sake. I'd recommend this for anyone who likes a really good cosy mystery, and if you happen to be a fan of Jane Austen even better. (  )1  SouthernKiwi | Nov 19, 2011 | This should have been written and posted this past Sunday, but I was on a mini-vacation. So this week it takes the place of Wordless Wednesdays: As mentioned previously, Barron is well-known for her series which now consists of eleven novels, all pitting the beloved author, Jane Austen, as a veritable Jessica Fletcher. This first novel seems especially suited to a "Murder She Wrote" comparison, as Jane has gone to visit a friend (the wife of an Earl) and is present at the said Earl’s death. The mystery of who and why is as complex as any good murder mystery, though I must confess I harbor a preference for the arrogant Columbo style of already knowing who did it, almost before it’s done. This novel is centered on a young bride from Barbadoes (inexplicably a friend of Miss Jane Austen) who is being pressured by debts to give up her childhood home of Crosswinds by the villainous Lord Harold, one of the last men to see her good husband alive. No one, it seems, can escape the possibility of guilt. Even Jane was present in the Earl’s last illness, and it is she who discovers the novel’s second body, as well as a melee of clues. When it seems the Countess and the new Earl are to be tried for the murders, Jane and the rest of the Scargrave party travel to London, where Miss Austen gains the assistance of her relations – a thing that makes this historical fiction buff proud. Written in journal form (the novels are purported as seemingly “lost” manuscripts by Jane, sent to a niece of some sort for her amusement, and “never meant for publication”) the reader is saved from the boring third-person opinions of Miss Austen provided by other characters, and is instead installed in Austen’s head, as if along for the ride in one of her true letters, or in her novels. Austen is, of course, less omniscient in these entries than she is in her "known" works, where she is naturally all-knowing, but her wit and discernment are wonderfully characterized by Barron. There are footnotes here and there which explain historical curiosities, but also serve to point out “inspirations” in Austen’s “real life” for later illustrated episodes of her novels. It may not be a perfect way to explain of the missing periods of Austen’s life (we’ll likely never have that) but this is certainly an amusing way to do so. With ten more books in the series to go, my only hope is that Barron can keep up the pace of the first one, as well as her talented hand for colorful supporting characters. Lauren Cartelli www.theliterarygothamite.com (  ) laurscartelli | Sep 26, 2011 | Even after 15 years in print and 10 novels in the series, this first effort shines Imagine being present when Jane Austen’s unknown personal journals are discovered in an outbuilding on an ancient Maryland estate, Dunready Manor. Your friends the Westmoreland’s are distantly related to the authoress, and after restoration they place the manuscripts in your care before they are donated to a major library. They recount years of Jane Austen’s life and personal experiences that we know little of, the lost years after 1801 when she, her sister Cassandra and her parents move from their lifelong home at Steventon rectory in Hampshire to Bath. Filling in gaps in life events, missing letters thought destroyed by her sister after her death, and mysteries that she encountered and solved in her lifetime, you are mesmerized. You are allowed to study, edit and transcribe the journals. What unfolds is an intimate and highly intelligent account, blending Jane’s personal life and criminal observations as an amateur detective. In 1802, fleeing a broken engagement with Harris Bigg-Wither of Manydown Park, Jane seeks to forget her troubles in a ‘whirlwind of frivolity’ accepting an invitation to visit her newly married friend Isobel Payne, Countess of Scargrave. Isobel has recently returned from her wedding trip to the Continent with her husband Frederick, Earl of Scargrave, a gentleman of mature years. To celebrate their recent nuptials the Earl is throwing a bridal Ball in his wife’s honor at their estate in Hertfordshire. In attendance is the Earl’s nephew and heir Fitzroy, Viscount Payne, the only son of his younger brother. Jane observes, ‘As a single man in possession of a good fortune, he must be want of a wife.’ Decidedly handsome, but proud and aloof, she instead spends a good deal of the evening dancing with a young cavalry officer, Lieutenant Thomas Hearst, the second son of the Earl’s deceased sister. Jane learns from a young lady, Miss Fanny Delahoussaye, that Hearst has a bit of reputation having recently killed a man in a duel of honor. She also reveals that Hearst is also a rake, prompting Jane to proceed cautiously. ‘My wordless confession made him hesitate to utter a syllable; and thus laboured in profound stupidity, for fully half a dance’s span. But all things detestable, I most detest a silent partner – and thrusting aside my horror of pistols at dawn, I took refuge in a lady’s light banter. “I have profited from your absence, Lieutenant, to inquire of your character,”’ and so begins and tête à tête between the Lieutenant that must have inspired Jane in her later writing. ;-) Even though this is a festive and joyful event, trouble is brewing. Jane is concerned for her friend when Isobel is alarmed by the uninvited arrival of Lord Harold Trowbridge who is pressing her to purchase Crosswinds, her father’s troubled estate in Barbados. She also overhears an argument involving George Hearst, Thomas’ elder brother, and the Earl over a woman. Within minutes after the heated discussion, the Earl toasts his bride to his guests, downs his drink and doubles over in acute pain. He would never recover. Isobel is a now widow. A cruel twist of fate for a young bride, however, bereavement is the least of her worries after she receives cryptic missives accusing her and the Earl’s heir, Viscount Payne, of adultery and murder. Terrified of scandal Isobel entreats her dear friend Jane for help. Top on Jane’s list of suspects are the many guests in attendance at the Ball, a collection of characters that all seem to benefit from the Earl’s death. Like any good detective, Jane follows the clues which lead to Isobel’s former maid, Marguerite. Soon, she too is dead, her neck cut in one of the outbuildings on the Scargrave estate. With a second death, most definitely a murder, the authorities are also involved and Isobel is facing murder charges. The investigation will call upon all of Jane’s perceptive acumen leading her to the House of Lords and Newgate Prison, a place fit for no clergyman’s daughter, unless it is in pursuit of the real murderer to free her dear friend. It has been fifteen years since I first was introduced to Jane Austen detective when this novel took me quite unawares in 1996. The notion of “my” Jane as a sleuth is still surprising, even after reading ten novels in the series, but it only takes a page or two before I am smiling and in total awe of Barron’s skill at channeling my favorite author. And channel she does. I know of no other that can rival her skill at early nineteenth-century language and humor. Blending events from Jane Austen’s actual life with fictional narrative, this detective story is in itself a mystery as I hunt for clues to known facts from Jane’s life and allusions to her future characters in her novels. Anyone with a passing knowledge of Austen’s famous romantic icon Mr. Darcy will recognize Barron’s gentle nod to him in Viscount Fitzroy Payne. Possessed of aloof pride and haughty silence, ‘Everyone wants to know him, but few truly like him.’ Barron has Jane play her future heroine Elizabeth Bennet by taunting her Darcy-like character. “I detect a similarity in the turn of our minds, Viscount Payne,” I persisted, in some exasperation. “We are both of a taciturn, ungenerous nature and would rather be silent until we may say what is certain to astonish all the world.” There are several passages of dialogue that will send a spark of recognition with other characters too, but the story is entirely Barron’s own darling child. This is after all, an homage, a pastiche to Austen, her life and her works. In total respect and with perfect pitch, Barron blends our Jane with a cleverly crafted mystery, infused with historical detail and cutting wit. Jane Austen may have only written six major novels in her short life, but Barron can certainly be credited as the next best thing to perfection. Laurel Ann, Austenprose (  ) Austenprose | Jan 14, 2011 | I'm a big fan of Jane Austen, but that caused me to bristle a bit at the start of this pastiche with every allusion or near quote. I'm generally not a fan of the professionally published Austen fanfic, since they just doesn't bear comparison to the original. However, I have greatly enjoyed Carrie Bebris' mysteries with Darcy and Elizabeth of Pride and Prejudice as sleuths--they're like spending time with old friends, and set within an entirely different genre, the comparisons don't feel so invidious, so I gave this a try. Purported to be a lost manuscript of Austen's journals and letters, Barron's novel tells of Austen's sleuthing of a murder mystery at Scargrave Manor, where she is spending the Christmas holidays at the invitation of the newly wed Countess, who is about to become suspected of her husband's murder. Told with a stab at Austenesque style (characters are often "all amazement" at developments) the novel comes complete with footnotes about the life and times of Jane Austen by the "editor." Disgruntled as I might have been at the beginning, I confess the author gradually won me over. The mystery kept me guessing and I was impressed with the obvious research brought to bear on Regency England, that took in everything from the economics, politics and fashion of the time to the intricacies of its legal process (at the time no presumption of innocence, no cross-examination by the defense) to details like suicides being buried at the crossroads with a stake through their heart. Eventually I got sucked into a diverting world and mystery for a few hours that went by all too quickly. I still prefer Bebris though, because when reading her mysteries I often let myself believe I was reading about Darcy and Lizzie--while Barron's Jane never really convinced me. (  ) LisaMariaClark | Nov 1, 2010 | I love Jane Austen paraliterature. I love the idea of her stories being continued, of her unfinished books being completed and of the reinterpretations of her novels. Jane Austen paraliterature has been around for nearly 100 years, according to The Republic of Pemberley, with the publication of Old Friends, New Fancies in 1913, but it's been in the last 30 or so years that it has really skyrocketed to a whole new level. I knew, then, that finding materials to read for the "Everything Austen" challenge would not be terribly difficult. I discovered Stephanie Barron and her "Jane Austen Mystery" series when I was working at $corporate_bookstore a few years ago. The books were never HUGELY popular, but they did occasionally sell and the concept, I thought, was clever: Friends of Barron "discover" via happenstance letters/materials, secreted away in the family's cellar in the Colonies (America), apparently having been written by Austen herself. And lo' and behold! Austen is a sleuth! The family demurs to Barron, gentle reader, as the editor and keeper of the volumes instead of donating the material to Oxbridge or anyone of note. Each JA Mystery, then, is a portion of Austen's "diaries" that Barron has "edited" and published for public consumption. Like I said, clever idea. While the series has spawned 10 books, with the 10th one (Jane and the Madness of Lord Byron) coming out in September, I realise the first few books would be a little rough and that it would take a few books for Barron to get her writing chops in order. But there are some picayune points that kind of drove me nuts that I wanted to address: *Barron claims that she wrote Scargave Manor before any of the J.A. books were made into films - for someone who has an incredibly impressive resume and worked as a CIA intelligence analyst, apparently she forwent her research skills - JA material has been on the silver screen since 1938. There has not been a decade since when something of Austen's was not made in some capacity, so while yes, Barron's publication of her first book was timed well with the release of BBC adaption of Pride and Prejudice, she was not the first person to write paraliterature nor did she start the fires for Austenmania. *Verbal anachronisms: Barron has the fictional Austen saying "fiddlesticks" a lot, which is more reminiscent of Scarlett O'Hara than of Austen (or of any Austen characters). Fiddlesticks, as an exclamation (according to the OED), made an appearance once in 1600 and was not seen again until the 1840s, decades after Austen dies. In addition to "fiddlesticks," Austen is doing a lot of "espying," which also according to the OED, has been long obsolete before Austen's time, this is not something she would have said. There were also a few others, but these stuck out in particular. *Repetitiveness of phases: In the book, Austen (or a minor character) cannot possibly have X issue because it cannot "be born." Fictional Austen is also running around doing a lot of "espying" (see above) on people (typically as "espied," so always in the past tense). *The servant's speech, regardless of where the servant is from, is ALWAYS Cockney. I hope Barron learns later that not all servants come from East London. *Barron uses a variation "It's a truth universally acknowledged" in some format, which drives me NUTS in paraliterature, particularly in materials that are spin-offs rather than rewrites or completions. *The killer is announced in the first paragraph, in the last chapter which to me signals a classic rookie mistake. You never announce who the killer is in the last few paragraphs because you're essentially telling the reader: "Hey, don't read my stuff! Don't use a few braincells to figure out WHODUNIT! Let me feed you the answer and save you the trouble!" *Unnecessary minor characters with similar names. This is nothing but filler, right thar. Barron suffers, at least with this book, from the delusion that more flowery the language is, the closer it must be to Austen's time. I also hope in future tales she calms down a bit on this aspect of the story. Many (not just Barron), it seems, think that JA's time is distant enough that Modern English was still in its infancy when in actuality, they are confusing Modern English with Contemporary English. ME has been around since the time of Shakespeare (Elizabethan - Late 1400s) but CE has only been around since the Industrial Revolution (1850s). The distinction is not so much how English is used but growth of vocabulary, verbal usage and structure. The older English gets, it seems, the more erudite it becomes. Okay, I'll stop pontificating. Overall: a decent read. Not fantastic, but not awful either. The story flowed, mostly, and despite my above criticisms, I did not feel bored or impatient with the book. I did, however, felt that the overlap between drawing JA out as a fictional character and Barron's attempt to emulate Austen prose kept swapping the driver's seat. I wasn't quite sure what voice Barron was attempting to write in and that did get confusing. The plot seemed to dip in and out of consciousness, some of the characters seemed weakly drawn while others were extremely vibrant. Barron DOES have tremendous skill at writing and what parts she was lacking in with creativity she more than made up for in talent. Would recommend with a caveat that it is the first book in a series and might be a little rough. Am extremely hopeful that book two will be much more fleshed out. (  ) academichussy | Jul 15, 2010 | Although the book got off to a slow start, by midpoint it really picked up and I got into it and was eager to finish and find out who the culprit was in the mystery. This is a worthwhile series if you like historical mysteries and particularly if you are a Jane Austen fan. The reader will recognize many lines and characters from her books, it's fun to spot them - as if we're in on an inside joke, although it is not a necessity to be a Jane afficianado in order appreciate the series, which I am told only gets better and better as it goes on. http://ktleyed.blogspot.com/2010/07/jane-and-unpleasantness-at-scargrave.html ( ) ktleyed | Jul 10, 2010 | I have very little experience in reading or reviewing mystery books, so I am not really confident that I know what makes a good mystery novel. That being said, I enjoyed reading Jane and the Unpleasantness at Scargrave Manor but did not feel that it created enough suspense or intellectual puzzlement (which I would assume to be important to the mystery genre). I love the Jane Austen period and loved the references to the dress and customs of the day. Stephanie Barron did a good job at imitating Austen's writing style which is probably why it was not very suspenseful. The story plods along and develops slowly and evenly. Austen's original works portrayed daily life in great detail and focused on the motives underlying her character's actions. I am still unconvinced that this style works well in a mystery where extraordinary events such as murder and mayhem are the topics. It seemed to lack emotional intensity which I would expect from characters under such strain. It is written in first person by Jane under the guise that she recorded the story in her journal as well as in letters to her sister Cassandra. As a guest at a bridal ball being held at Scargrave Manor in honor of her close friend, Jane becomes entangled in a murder case. Her friend, Isobel is accused of murdering her new husband who is found to have been poisoned, but Jane never wavers in her faithfulness to her friends innocence. Though Isobel is secretly in love with her new husbands nephew she is not the type of person to commit a murder. Jane finds important clues, overhear suspicious conversations and uncovers a lot of financial difficulty amongst various members of the family. She is amazingly strong in every circumstance, such as when faced with the horror of discovering a body, when required to testify in court, when visiting the notorious Newgate Prison and when under personal threat. In the nick of time Jane figures out who the real murderer was and saves her beautiful friend from being sentenced to death. Jane and the Unpleasantness at Scargrave Manor is the first in a series of Jane Austen mystery novels by Stephanie Barron. She captures the style, time and setting very well. Her characters are interesting but not very deeply drawn. The mystery held my interest but did not grip me. I would certainly suggest it to readers who enjoy old-fashioned mysteries. ( )1 Jemima79 | Jul 21, 2009 | Jane Austen tackles 19th century English society and manners in her novels; Stephanie Barron’s Jane Austen tackles society, manners, and murder. In Barron’s Jane Austen mystery series, she attempts a daunting task—to mimic Jane Austen’s literary style with all its gentility, formality, elegance, satire, wit, and meandering. Jane Austen’s penetrating observation of those around her that is so apparent in her novels makes plausible the premise of her succeeding as an amateur sleuth. In Jane and the Unpleasantness at Scargrave Manor, Barron realizes this premise. Jane Austen, the novel’s protagonist and intrepid narrator, applies her keen observational skills to investigating murder. Jane’s prosaic visit to her friend Isobel’s mansion turns sinister. Isobel’s homecoming party to establish herself as the new Countess of Scargrave turns sinister when her husband, the Earl of Scargrave, falls ill and dies suddenly of an enigmatic ailment. Shortly thereafter, Isobel receives an incriminating letter suggesting she was involved in a conspiracy with Fitzroy, her purported lover the Earl’s nephew and heir, to do away with the Earl. Isobel pleads with Jane to ferret out the true murderer. Jane’s investigation takes on increased urgency as Isobel and Fitzroy are whisked away to dwell in despair in the depths of Newgate prison. Each day brings closer the House of Lords trial upon which a guilty verdict and a hanging will follow. Purportedly the story has been pieced together from selections of Austen’s personal journal and letters to her sister Cassandra. Barron’s research into Austen’s life, letters, and fiction shines through clearly in her fiction mysteries as she incorporates true facts from Jane Austen’s life such as her nullifying Jane’s agreement to marry Harris Bigg-Wither and her close relationship with her sister Cassandra. Barron also includes quotes from Jane Austen’s novels as if suggesting their origin to be in Jane’s experiences at Scargrave manor. Jane and the Unpleasantness at Scargrave Manor is but the first of Barron’s comedy of manners and a cozy mystery series; the ninth, Jane and the Barque of Frailties, was published in 2006. For readers who enjoy period detail and mystery, Barron’s series should be an apt one to suggest they try. ( )1 eagletlab | Jun 7, 2009 | I have purposefully shunned all of the fake "jane" books out there until I saw this one. I was looking for something light and fun and this fit my need. I really liked this book. The characters were well drawn. I loved the bits of humor. The author really has captured the essence of the real "jane". I will be reading on in the series. ( )1 shaunnas | May 27, 2009 | Can you ever get enough of Jane Austen? Since her library is so small, many of us have to go elsewhere. This novel is fun, just because we get to pretend we are getting to know Jane herself. I enjoyed the sprinkling of references to Jane's novels, as well as footnotes about history and culture. I wish I knew for sure what is real and what is fiction in that regard - but not enough to go searching it all out. ( )1 tjsjohanna | Apr 5, 2009 | In the end I really enjoyed this book. It is not the first time that an historical mystery is told in the form of supposedly found lettes and documents. The one that does this extremely successfully is Elizabeth Peters in her Amelia Peabody series, which happens to be be a huge favourite of mine. Jane Austen in the role of sleuth is not that big a stretch since we already know that the lady was intelligent and had a keen wit. I enjoyed the way Ms. Barron portrayed her in this book, and she was interesting enough to make me want to read more in this series. There were a few loopholes in the plot though, and some "flights of fancy" that seemed to come from nowhere. The historical detail is also not perfect, but these small flaws don't destroy the story. I think the genre for this book is more historical cozy than historical mystery, so keeping this in mind, the flaws do not seem so important and the story is lots of fun. ( )1 Romonko | Feb 23, 2009 | After rejecting an awkward marriage proposal, Jane Austen decides to visit the country estate of her good friend Isobel, the new Countess of Scargrave. Her visit, however, is marked by tragedy. The Earl himself falls prey to a suspicious illness, and soon a letter arrives accusing Isobel of both adultery and murder. Now it is up to Jane to investigate in order to protect her friend from scandal and possible execution. The idea of Jane Austen as a sleuth was intriguing, but I have to admit I expected the mystery to take a back seat to an homage to Jane. That was definitely not the case. The mystery flows very organically. Jane's snooping was subject to the mores of the time, and it never felt like there were staged infodumps or handy coincidences that led to receiving key information. I was really impressed by how well the period detail and the mystery were intertwined. Plus, while Jane was witty and quite sarcastic at times, she was never overly cocky, and we had no 'elementary dear Watson' moments. The villain, once exposed, didn't even monologue! I think this was a very successful cozy mystery in its own right with an added bonus of a convincing evocation of Jane Austen as a main character. More at my blog ( )2 Caramellunacy | Nov 18, 2008 | January 10, 1999 Jane and the Unpleasantness at Scargrave Manor, Being the First Jane Austen Mystery Stephanie Barron Wonderful new series, with Jane Austen as a detective in her spare time. I like the Regency era, and Barron does a great job of utilizing Austen’s writing style without overdoing it. It’s mostly done in the form of journal entries of Jane’s, all in the first person, of course. It’s warm and natural. In this, Jane goes to visit her friend Isobel in the country, who has just married a wealthy Earl. He dies suddenly, and the maid accuses Isobel and the Earl’s nephew – and heir – of murdering him so they can be together. Jane sets out to prove them innocent. I liked it so much I ordered the others from Amazon.com, and I’m taking this one with me to California to read through again! ( ) victorianrose869 | Aug 8, 2008 | I was pleasantly surprised by this book. I thought the writing was well done and the story believable. The fact that it's supposed to be Jane Austen was not even noticed. There were some lines that came right out of Pride & Prejudice that I did notice but as the book progressed, either it was toned down or I didn't pick up on it. All in all, a fun book to read and I'm looking forward to reading more in the series. ( ) jannief | Mar 2, 2008 | I'm not very fond of using Jane Austen as a fictional charactere, but once I got beyond that it was a good mystery. ( )1 mplreference | Oct 9, 2007 | Please see my review here.  fortrixenigma | Jun 18, 2007 | I didn't finish this one. I'm not sure why but it just didn't engage me in the first 50 or so pages. ( )1 lnlamb | Mar 4, 2007 | Jane Austen solves mysteries and comments on her contemporary world, what could be better? ( )1 justine | Oct 7, 2006 | Written in the style of Jane Austen. Fun mystery. ( ) bookheaven | Sep 12, 2006 | I like this book so much, I want to review it in my mystery book discussion group. I plan to read the whole series. 1 mysterybooklover | Dec 31, 1969 | |
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I discovered Stephanie Barron and her "Jane Austen Mystery" series when I was working at $corporate_bookstore a few years ago. The books were never HUGELY popular, but they did occasionally sell and the concept, I thought, was clever: Friends of Barron "discover" via happenstance letters/materials, secreted away in the family's cellar in the Colonies (America), apparently having been written by Austen herself. And lo' and behold! Austen is a sleuth! The family demurs to Barron, gentle reader, as the editor and keeper of the volumes instead of donating the material to Oxbridge or anyone of note. Each JA Mystery, then, is a portion of Austen's "diaries" that Barron has "edited" and published for public consumption. Like I said, clever idea.
While the series has spawned 10 books, with the 10th one (Jane and the Madness of Lord Byron) coming out in September, I realise the first few books would be a little rough and that it would take a few books for Barron to get her writing chops in order. But there are some picayune points that kind of drove me nuts that I wanted to address:
*Barron claims that she wrote Scargave Manor before any of the J.A. books were made into films - for someone who has an incredibly impressive resume and worked as a CIA intelligence analyst, apparently she forwent her research skills - JA material has been on the silver screen since 1938. There has not been a decade since when something of Austen's was not made in some capacity, so while yes, Barron's publication of her first book was timed well with the release of BBC adaption of Pride and Prejudice, she was not the first person to write paraliterature nor did she start the fires for Austenmania.
*Verbal anachronisms: Barron has the fictional Austen saying "fiddlesticks" a lot, which is more reminiscent of Scarlett O'Hara than of Austen (or of any Austen characters). Fiddlesticks, as an exclamation (according to the OED), made an appearance once in 1600 and was not seen again until the 1840s, decades after Austen dies. In addition to "fiddlesticks," Austen is doing a lot of "espying," which also according to the OED, has been long obsolete before Austen's time, this is not something she would have said. There were also a few others, but these stuck out in particular.
*Repetitiveness of phases: In the book, Austen (or a minor character) cannot possibly have X issue because it cannot "be born." Fictional Austen is also running around doing a lot of "espying" (see above) on people (typically as "espied," so always in the past tense).
*The servant's speech, regardless of where the servant is from, is ALWAYS Cockney. I hope Barron learns later that not all servants come from East London.
*Barron uses a variation "It's a truth universally acknowledged" in some format, which drives me NUTS in paraliterature, particularly in materials that are spin-offs rather than rewrites or completions.
*The killer is announced in the first paragraph, in the last chapter which to me signals a classic rookie mistake. You never announce who the killer is in the last few paragraphs because you're essentially telling the reader: "Hey, don't read my stuff! Don't use a few braincells to figure out WHODUNIT! Let me feed you the answer and save you the trouble!"
*Unnecessary minor characters with similar names. This is nothing but filler, right thar.
Barron suffers, at least with this book, from the delusion that more flowery the language is, the closer it must be to Austen's time. I also hope in future tales she calms down a bit on this aspect of the story. Many (not just Barron), it seems, think that JA's time is distant enough that Modern English was still in its infancy when in actuality, they are confusing Modern English with Contemporary English. ME has been around since the time of Shakespeare (Elizabethan - Late 1400s) but CE has only been around since the Industrial Revolution (1850s). The distinction is not so much how English is used but growth of vocabulary, verbal usage and structure. The older English gets, it seems, the more erudite it becomes.
Okay, I'll stop pontificating.
Overall: a decent read. Not fantastic, but not awful either. The story flowed, mostly, and despite my above criticisms, I did not feel bored or impatient with the book. I did, however, felt that the overlap between drawing JA out as a fictional character and Barron's attempt to emulate Austen prose kept swapping the driver's seat. I wasn't quite sure what voice Barron was attempting to write in and that did get confusing. The plot seemed to dip in and out of consciousness, some of the characters seemed weakly drawn while others were extremely vibrant. Barron DOES have tremendous skill at writing and what parts she was lacking in with creativity she more than made up for in talent. Would recommend with a caveat that it is the first book in a series and might be a little rough. Am extremely hopeful that book two will be much more fleshed out. (