Podcasts about Frances Burney

In 1748, Lord Chesterfield told his son not to expect much from women: they “are only children of a larger growth; they have an entertaining tattle, and sometimes wit; but for solid, reasoning good sense, I never knew in my life one who had it, or who reasoned and acted consequentially for four-and-twenty hours together.” In 1739, an anonymous pamphleteer laid out the case for Man Superior to Woman; or, a Vindication of Man's Natural Right of Sovereign Authority over the Woman, writing that even if a woman was educated, “if this Lady is a scholar she is a very sluttish one; and the much she reads is to very little Purpose.” This was the terrain, writes the Irish historian Susannah Gibson in her new book, The Bluestockings, in which Elizabeth Montagu dared to host weekly salons about the intellectual debates of the moment—among the hottest of which was whether or not women should even be engaging in such discussions in the company of men. At Montagu's table, Samuel Johnson rubbed elbows with the likes of the classicist Elizabeth Carter, the historian Catharine Macauley, and the novelist Frances Burney. Gibson's new book paints a group portrait of these varied women, the polite challenge they posed to the patriarchy, and the forces that would eventually lead to the unraveling of their power.Go beyond the episode:Susannah Gibson's The Bluestockings: A History of the First Women's MovementWe have too many links to the Bluestockings' own books, so visit our episode page for the full list!Tune in every (other) week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek and sponsored by the Phi Beta Kappa Society.Subscribe: iTunes/Apple • Amazon • Google • Acast • Pandora • RSS FeedHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Hosted on Acast. See acast.com/privacy for more information.

Jane Eyre and Shirley by Charlotte Bronte both refer to the unrest in Yorkshire which took place in the early years of the nineteenth century as new technology threatened jobs in the mills. Literary historian Sophie Coulombeau discusses parallels between the Luddites and concerns over AI now, and looks at what is real and what is fictional in the novels studied by Jonathan Brockbank of the University of York. Tania Shew shares some of the accounts of strikes outside the workplace which she has uncovered in her research. These include a charity worker strike and school strikes organised by pupils in 1911. How far do they strike a chord with more modern strike action? Dr Jonathan Brockbank is a Lecturer in Modern Literature at the University of York who is exploring Luddite protests and their depiction in literature. Dr Tania Shew is the holder of the Isaiah Berlin Junior Research Fellowship at Wolfson College, Oxford researching the women's suffrage movement. You can hear her discussing her work on suffrage sex strikes in this episode of New Thinking called Women's History https://www.bbc.co.uk/programmes/p0bsjyr8 Dr Sophie Coulombeau teaches literature at the University of York and has published articles on the writing of Frances Burney, Elizabeth Montagu, William Godwin and Jeremy Bentham. She is editing a volume of essays, Mary Hamilton and Her Circles, alongside colleagues working on the “Unlocking the Mary Hamilton Papers” project at the John Rylands Library and is a BBC/AHRC New Generation Thinker on the scheme which promotes research on the radio. This New Thinking episode of the Arts & Ideas podcast was made in partnership with the Arts and Humanities Research Council (AHRC), part of UKRI. You can find more collected on the Free Thinking programme website of BBC Radio 3 under New Research or if you sign up for the Arts & Ideas podcast you can hear discussions about a range of topics.

À l'occasion d'Octobre Rose, redécouvrez l'histoire de la femme qui s'est fait retirer un sein sans anesthésie !Auteure britannique aujourd'hui oubliée, Frances Burney gagne pourtant à être connue. Atteinte d'un cancer du sein au tournant du XIXe siècle, elle raconte sa terrible opération dans une lettre à sa sœur : une ablation totale du sein malade, sans anesthésie. Découvre l'histoire de cette romancière de talent, incisive et engagée, dans Chasseurs de Science.

What did the 18th Century smell like? You probably think of horses and chamber pots, but do you think of tobacco? How about sulfur? This week, we talk to Dr Emily Friedman about common scents in fiction from the Long 18th Century, mentioned by authors like Frances Burney and Jane Austen. We're talking snuff, smelling salts, taking the waters at Bath, bathing before showers, Queen Charlotte's bad habits, Marie Antoinette's perfume, and more! Dr Friedman's book is Reading Smell in Eighteenth-Century Fiction. Check out our Instagram for discount codes @dirtysexyhistory

Evelina, the first novel by Frances Burney, published in 1778, enjoys lasting popularity among the reading public. Tracing its publication history through 174 editions, adaptations, and reprints, many of them newly discovered and identified, Frances Burney's 'Evelina': The Book, its History, and its Paratext (Palgrave MacMillan, 2023) demonstrates how the novel's material embodiment in the form of the printed book has been reshaped by its publishers, recasting its content for new generations of readers. Kochkina vividly describes how during 240 years, Evelina, a popular novel of manners, metamorphosed without any significant alterations to its text into a Regency “rambling” text, a romantic novel for “lecteurs délicats,” a cheap imprint for circulating libraries, a yellow-back, a book with a certain aesthetic cachet, a Christmas gift-book, finally becoming an integral part of the established literary canon in annotated scholarly editions. This book also focuses on the remodeling and transformation of the paratext in this novel, written by a woman author, by the heavily male-dominated publishing industry, as well as alterations in the forms of Burney's name and the title of her work, the omission and renaming of her authorial prefaces, and the redeployment of the publisher's prefatorial apparatus to support particular editions throughout almost two-and-a-half centuries of the novel's existence. This book also provides an illuminating insight into the role of Evelina's visual representation in its history as a marketable commodity, highlighting the existence of editions targeting various segments of the book market: from the upper-middle-class to mass-readership. The first comprehensive and fully updated bibliography of English and translated editions, adaptations, and reprints of Evelina published in 13 languages and scripts appears in an appendix. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Evelina, the first novel by Frances Burney, published in 1778, enjoys lasting popularity among the reading public. Tracing its publication history through 174 editions, adaptations, and reprints, many of them newly discovered and identified, Frances Burney's 'Evelina': The Book, its History, and its Paratext (Palgrave MacMillan, 2023) demonstrates how the novel's material embodiment in the form of the printed book has been reshaped by its publishers, recasting its content for new generations of readers. Kochkina vividly describes how during 240 years, Evelina, a popular novel of manners, metamorphosed without any significant alterations to its text into a Regency “rambling” text, a romantic novel for “lecteurs délicats,” a cheap imprint for circulating libraries, a yellow-back, a book with a certain aesthetic cachet, a Christmas gift-book, finally becoming an integral part of the established literary canon in annotated scholarly editions. This book also focuses on the remodeling and transformation of the paratext in this novel, written by a woman author, by the heavily male-dominated publishing industry, as well as alterations in the forms of Burney's name and the title of her work, the omission and renaming of her authorial prefaces, and the redeployment of the publisher's prefatorial apparatus to support particular editions throughout almost two-and-a-half centuries of the novel's existence. This book also provides an illuminating insight into the role of Evelina's visual representation in its history as a marketable commodity, highlighting the existence of editions targeting various segments of the book market: from the upper-middle-class to mass-readership. The first comprehensive and fully updated bibliography of English and translated editions, adaptations, and reprints of Evelina published in 13 languages and scripts appears in an appendix. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Evelina, the first novel by Frances Burney, published in 1778, enjoys lasting popularity among the reading public. Tracing its publication history through 174 editions, adaptations, and reprints, many of them newly discovered and identified, Frances Burney's 'Evelina': The Book, its History, and its Paratext (Palgrave MacMillan, 2023) demonstrates how the novel's material embodiment in the form of the printed book has been reshaped by its publishers, recasting its content for new generations of readers. Kochkina vividly describes how during 240 years, Evelina, a popular novel of manners, metamorphosed without any significant alterations to its text into a Regency “rambling” text, a romantic novel for “lecteurs délicats,” a cheap imprint for circulating libraries, a yellow-back, a book with a certain aesthetic cachet, a Christmas gift-book, finally becoming an integral part of the established literary canon in annotated scholarly editions. This book also focuses on the remodeling and transformation of the paratext in this novel, written by a woman author, by the heavily male-dominated publishing industry, as well as alterations in the forms of Burney's name and the title of her work, the omission and renaming of her authorial prefaces, and the redeployment of the publisher's prefatorial apparatus to support particular editions throughout almost two-and-a-half centuries of the novel's existence. This book also provides an illuminating insight into the role of Evelina's visual representation in its history as a marketable commodity, highlighting the existence of editions targeting various segments of the book market: from the upper-middle-class to mass-readership. The first comprehensive and fully updated bibliography of English and translated editions, adaptations, and reprints of Evelina published in 13 languages and scripts appears in an appendix. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

Evelina, the first novel by Frances Burney, published in 1778, enjoys lasting popularity among the reading public. Tracing its publication history through 174 editions, adaptations, and reprints, many of them newly discovered and identified, Frances Burney's 'Evelina': The Book, its History, and its Paratext (Palgrave MacMillan, 2023) demonstrates how the novel's material embodiment in the form of the printed book has been reshaped by its publishers, recasting its content for new generations of readers. Kochkina vividly describes how during 240 years, Evelina, a popular novel of manners, metamorphosed without any significant alterations to its text into a Regency “rambling” text, a romantic novel for “lecteurs délicats,” a cheap imprint for circulating libraries, a yellow-back, a book with a certain aesthetic cachet, a Christmas gift-book, finally becoming an integral part of the established literary canon in annotated scholarly editions. This book also focuses on the remodeling and transformation of the paratext in this novel, written by a woman author, by the heavily male-dominated publishing industry, as well as alterations in the forms of Burney's name and the title of her work, the omission and renaming of her authorial prefaces, and the redeployment of the publisher's prefatorial apparatus to support particular editions throughout almost two-and-a-half centuries of the novel's existence. This book also provides an illuminating insight into the role of Evelina's visual representation in its history as a marketable commodity, highlighting the existence of editions targeting various segments of the book market: from the upper-middle-class to mass-readership. The first comprehensive and fully updated bibliography of English and translated editions, adaptations, and reprints of Evelina published in 13 languages and scripts appears in an appendix. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Evelina, the first novel by Frances Burney, published in 1778, enjoys lasting popularity among the reading public. Tracing its publication history through 174 editions, adaptations, and reprints, many of them newly discovered and identified, Frances Burney's 'Evelina': The Book, its History, and its Paratext (Palgrave MacMillan, 2023) demonstrates how the novel's material embodiment in the form of the printed book has been reshaped by its publishers, recasting its content for new generations of readers. Kochkina vividly describes how during 240 years, Evelina, a popular novel of manners, metamorphosed without any significant alterations to its text into a Regency “rambling” text, a romantic novel for “lecteurs délicats,” a cheap imprint for circulating libraries, a yellow-back, a book with a certain aesthetic cachet, a Christmas gift-book, finally becoming an integral part of the established literary canon in annotated scholarly editions. This book also focuses on the remodeling and transformation of the paratext in this novel, written by a woman author, by the heavily male-dominated publishing industry, as well as alterations in the forms of Burney's name and the title of her work, the omission and renaming of her authorial prefaces, and the redeployment of the publisher's prefatorial apparatus to support particular editions throughout almost two-and-a-half centuries of the novel's existence. This book also provides an illuminating insight into the role of Evelina's visual representation in its history as a marketable commodity, highlighting the existence of editions targeting various segments of the book market: from the upper-middle-class to mass-readership. The first comprehensive and fully updated bibliography of English and translated editions, adaptations, and reprints of Evelina published in 13 languages and scripts appears in an appendix. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Auteure britannique aujourd'hui oubliée, Frances Burney gagne pourtant à être connue. Atteinte d'un cancer du sein au tournant du XIXe siècle, elle raconte sa terrible opération dans une lettre à sa sœur : une ablation totale du sein malade, sans anesthésie. Découvre l'histoire de cette romancière de talent, incisive et engagée, dans Chasseurs de Science.

In this week's episode of Spinsterhood Reimagined, I talk to TV Writer & Author, Gina Fattore. Not only is Gina one of the loveliest people I've ever met, (albeit via Zoom!) she is also super smart, interesting, extremely well-read, and has forged an amazing career as a TV writer in the most competitive of all TV writer environments - Los Angeles. She has written for a multitude of shows including Dare Me, Californication, Masters Of Sex, Gilmore Girls, Parenthood, Better Things and Dawson's Creek. Gina is also the author of The Spinster Diaries, a ‘semi-autobiographical, unromantic comedy.' In this conversation, Gina and I discuss her TEDx Talk - Become What You Believe - so entitled because of a quote by Oprah Winfrey, how she never thought of the word ‘spinster' as having negative connotations, her love of all things literature including her ‘instant bond' with Jane Austen, and her upbringing in middle America by her Italian-American parents.   Our conversation also includes her ‘best rejection ever' following an interview to write on Sex & The City, how she knew she wanted to be a writer from the tender age of 10, and how her book, The Spinster Diaries, was inspired by the eighteenth-century novelist and diarist Frances Burney who also happened to be the inspiration for Jane Austen. Gina can be found on Instagram @ginafattore. She can also be found on Twitter @GinaFattore. UK Link to Gina's book: https://www.amazon.co.uk/dp/B07ZRXY4D8/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1US Link to Gina's book: https://www.amazon.com/Spinster-Diaries-Novel-Gina-Fattore/dp/1945551739/ref=sr_1_1?crid=22LKBBRNX21S9&keywords=the+spinster+diaries&qid=1650298333&sprefix=the+spinster+diarie%2Caps%2C149&sr=8-1Follow me on Instagram: @spinsterhoodreimaginedFollow me on Twitter @LucyMeggesonEmail me: lucymeggeson@gmail.com

Venanzio Rauzzini, Fanny Burney, and Mr Foote are figures who come up in today's Free Thinking discussion as the hit period drama Bridgerton returns to Netflix for a second series and Shahidha Bari explores what kept the Georgians entertained, from a night at the opera to music lessons at home, strolls in the pleasure gardens, hot air balloons, chess playing Turks, and perhaps most of all - if Lady Whistledown is to be believed - gossip, intrigue, and scandal. Just what is it about the Georgians that we find so enduringly entertaining? Shahidha's guests are: musicologist Brianna Robertson-Kirkland who has written a new book about Venanzio Rauzzini, a scandal ridden Italian castrato revered by Mozart who fled the continent to become one of Georgian England's most celebrated singing teachers and a musical figurehead in the city of Bath. Writer and New Generation Thinker Sophie Coulombeau who has researched Georgian novelist Frances Burney and bluestocking socialite Mary Hamilton. Biographer, playwright and actor Ian Kelly who has played George III in his own play Mr Foote's Other Leg. And History Film Club podcast presenter Hannah Greig whose credits as a historical consultant in TV and film include The Duchess, Sanditon, and Bridgerton. Producer: Ruth Thomson Image: Golda Rosheuvel as Queen Charlotte in Bridgerton Credit: Liam Daniel/Netflix You might also be interested in previous conversations on Free Thinking exploring Harlots and 18th-century working women https://www.bbc.co.uk/programmes/m000rdfz Samuel Johnson's Circle https://www.bbc.co.uk/programmes/m000vq3w The Value of Gossip https://www.bbc.co.uk/programmes/m000fwfb 18th century crime and punishment https://www.bbc.co.uk/programmes/b040hysp

This week, we're thrilled to have Rebecca Romney with us! Rebecca is a rare books dealer and the woman behind The Romance Novel in English, a 100-lot collection of rare romance novels and other romance-adjacent paraphernalia. We had a great time talking to her about the collection, her motivation to develop it, her hopes for its future at the Lilly Library at the University of Indiana, and about how romance lovers can start thinking about collecting books! We hope you love this one as much as we did!Our next read along is Uzma Jalaluddin's Hana Khan Carries On. Find it at: Amazon, Barnes & Noble, Apple Books, Kobo, or at your local indie. Show NotesWelcome Rebecca Romney. She is the cofounder of Type Punch Matrix, a rare books firm based in Washington DC. She started out working at Bauman Rare Books in Las Vegas. You can also watch her in action from old appearances on Pawn Stars where she routinely broke people's hearts about the values of their rare books.Rebecca recently put together a collection that was purchased by the Lilly Library at the University of Indiana called The Romance Novel in English: A Survey in English 1769-1999. You can follow Lilly Librarian Rebecca on twitter; they sound like a great resource for romance, and for planning a visit! On the episode, we extensively discuss some of the general themes and specific items in the catalogue. Two authors that didn't make it into the catalogue because Rebecca couldn't find copies: Eliza Haywoodand Evelina by Frances Burney.The Elizabeth Lowell book about a gold dealer in Las Vegas is called Running Scared and is part of the Rarities Unlimited series. Gold books aren't really a thing, but gold leaf and illumiated manuscripts are. Here's an explainer on The Gutenberg Bible and a clip from Pawn Stars where an individual leaf is available, and here is a page from a 2021 auction site selling a leaf. But remember that bookmaking in China was far more advanced at that time. Or maybe you'd be interested in knowing more about Newton's Principia. Although I couldn't find an article about the history of Jewish booksellers, I did find an interview with Adam Kirsch, an author who wrote a book called The People and the Books, about the importance of books to Jewish people throughout history. On our Trailblazers episode with Radclyffe, she talked about the importance of queer bookstores. What is the difference between ARCs and first editions? Time to check and see if your copy of The Flame and the Flower to see if it's a first edition.Jen called it a garage sale and Sarah called it a Tag sale, which is exactly right considering where they grew up. Foxing isn't as sexy as you'd think when we're talking about rare books.The 2019 Rita ceremony included a video of romance firsts.In John Markert's Publishing Romance: The History of an Industry, 1940s to the Present, he discusses a series called Adam that failed because they were romances only from the hero's point of view.Time to shake all your Sweet Valley High books out of your closet, fellow Gen-Xers.

In the mid-eighteenth century, everyone who's anyone would attend salons at aristocrats' houses to drink, play cards, and gossip. But the Bluestocking philosophers had something else in mind. This group of women bonded over tea, enlightened conversation, and literary discussion. As an informal club made up of Britain's best and brightest ladies, the Bluestockings Society gives us a glimpse into the lives of women of Georgian aristocracy. Writers, actors, singers, artists, and housewives all came together to encourage and support one another's professional endeavors and build lasting friendships.  P.S. a few corrections from the episode: Erasmus Darwin IS Charles Darwin's grandfather (no greats needed). Jane Austen did subscribe to Frances Burney's novel “Camilla.”

She was admired by Dr. Johnson, revered by Jane Austen, and referred to as "the mother of English fiction" by Virginia Woolf. In this episode, Jacke takes a look at the life and works of Frances Burney (1752-1840), author of the influential early novels Evelina (1778), Cecilia (1782), and Camilla (1796). Help support the show at patreon.com/literature or historyofliterature.com/shop. (We appreciate it!) Find out more at historyofliterature.com, jackewilson.com, or by following Jacke and Mike on Twitter at @thejackewilson and @literatureSC. Or send an email to jackewilsonauthor@gmail.com. New!!! Looking for an easy to way to buy Jacke a coffee? Now you can at paypal.me/jackewilson. Your generosity is much appreciated! The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you go to the doctor seeking help, you are at the mercy of the medical professionals sworn to protect you. We trust them with, quite literally, our lives. If the only cure to what ails you is surgery, your doctor is expected to guide you through a painless, effective surgery that does more good than harm. When under general anesthesia, we are at our most vulnerable - unable to move or react in any way. How does anesthesia interact with our brain chemistry to get us in such a state? What happens if it doesn't work? What did they do before the invention of anesthesia?This week, we talk about a brief history of anesthesia, novelist Frances Burney who survived unspeakable surgical horror in 1810, how anesthesia effects the brain, and Donna Penner, who survived unspeakable surgical horror in 2008, and we finish this week with a short scary story about a snake man.Email us your scary story at thehorrorcomedypotcast@gmail.com, or DM us on instagram! Don't forget to drink water!Sources for this week:Olde Tyme MastectomyA short history of anaesthesia: from unspeakable agony to unlocking consciousnessDecoding the Void

This week….welcome to Well-FED! Haha! Based on a listener suggestion, we’re discussing and cooking from some cookbooks we enjoy, along with our special guest, Halle’s boyfriend Jeremy! Plus what we’re reading this week. Books and other media mentioned in this episode: Episode 74 – Our Favorite Bookish Places Ann’s picks: Zahav: A World of Israeli Cooking by Michael Solomonov and Steven Cook (buy from Bookshop)– Jerusalem by Yottom Ottolenghi and Sami Tamimi (buy from Bookshop)– Zahav (restaurant) Chinese Soul Food: A Friendly Guide for Homemade Dumplings, Stir-Fries, Soups, and More by Hsiao-Ching Chou (buy from Bookshop)– @madhungry on Instagram– Martha Stewart Living– The Food of Sichuan by Fuchsia Dunlop (buy from Bookshop) Bravetart: Iconic American Desserts by Stella Parks (buy from Bookshop)– Bravetart (blog)– Serious Eats– The Food Lab: Better Home Cooking Through Science by J. Kenji López-Alt (buy from Bookshop)– @bravetart on Instagram Halle and Jeremy’s picks: Meals, Music, and Muses: Recipes From My African American Kitchen by Alexander Smalls (buy from Bookshop)– Minton’s Playhouse (restaurant) My Korea: Traditional Flavors, Modern Recipes by Hooni Kim (buy from Bookshop)– Daniel (restaurant)– Masa (restaurant)– Danji (restaurant)– Hanjan (restaurant) A Blissful Feast: Culinary Adventures in Italy’s Piedmont, Maremma, and Le Marche by Teresa Lust (buy from Bookshop)– The Great British Bakeoff (TV)– Marcella Hazan’s Tomato Sauce What We’re Reading This Week: Ann: Evelina by Frances Burney (buy from Bookshop)– Jane Austen books Halle: The Comeback by Ella Berman (buy from Bookshop)– Jennifer Lawrence filmography– Darren Aronofsky filmography Well-Read on FacebookWell-Read on TwitterWell-Read on BookshopWell-Read on Instagram

Min Wild on recent attempts to get to grips with that most slippery of beasts, the history of the novel (expect a lively cast, including Frances Burney, Daniel Defoe, Laurence Sterne and Jane Porter); Declan Ryan on where writing overlaps with boxing and the story of the eighteenth-century boxer Daniel Mendoza, known as The Fighting Jew, who made of the sport an art form BooksWithout the Novel: Romance and the history of prose fiction by Scott BlackRevising the Eighteenth-Century Novel: Authorship from manuscript to print by Hilary HavensPublic Vows: Fictions of marriage in the English Enlightenment by Melissa J. GanzBorn Yesterday: Inexperience and the early realist novel by Stephanie Insley HershinowCaptain Singleton by Daniel Defoe, edited by Manushag PowellTristram Shandy by Laurence Sterne, edited by Judith HawleyThaddeus Of Warsaw by Jane Porter, edited by Thomas McLean and Ruth Knezevich See acast.com/privacy for privacy and opt-out information.

Frances Burney's account of the civilian experience in Brussels during the Waterloo campaign

Gina Fattore is a television writer and producer turned novelist who just released her debut book The Spinster Diaries. The story centers around a writer, obsessed with chick lit, who is overcoming her anxiety to become unfrozen and have enough hope to move forward. Gina's TV credits include Dare Me, Better Things, UnREAL, Masters of Sex, Parenthood, Californication, Gilmore Girls and Dawson's Creek. Learn more about Gina. Learn more about The Passionistas Project. Full Transcript: Passionistas: Hi and welcome to The Passionistas Project Podcast. We're Amy and Nancy Harrington, and today we're talking with Gina Fattore. Gina is a television writer whose credits include, Dare Me, Better Things, Unreal, Masters of Sex, Parenthood, Californication, Gilmore Girls and Dawson's Creek. Her Ted X talk become what you believe has more than 16,000 views in her essays, reviews and comedy pieces have appeared to the Chicago reader, entertainment weekly salon, the millions and Mick Sweeney's internet tendency, and she just published her debut novel, The Spinster Diaries, a semi-autobiographical story, but a TV writer obsessed with chick lit. So please welcome to the show. Gina Fattore. Gina Fattore: Thank you so much for having me here. It's an honor… to be considered a Passionista is a big honor. Thank you. Passionistas: And we're excited to have you. We love the book and you have written some of our favorite television shows, so we can't wait to talk to you. What's the one thing you're most passionate about? Gina Fattore: My gut said to say writing, but maybe I need to be more specific than that because I write so many things, but it's always been writing. I am one of those people who I was 11, 10 or 11 when I, you know, first got, I guess praised for my writing. I went to the young authors conference when I was in the fifth grade with my first book, which, you know, remains unpublished because everyone's fifth grade book should probably remain unpublished. Um, but, uh, yeah, and I just, I always knew it's, it's the weirdest thing. It, it, I had a friend once say to me, a college friend who just, she called it a calling and especially when we had just graduated from college, and I believe everybody should sort of wander in their twenties until they land on the thing that is right for them. But I always had in the back of my mind, this idea of the calling, and I knew it was about writing. Passionistas: Talk about that path from that fifth grade book to becoming a television writer. Gina Fattore: (LAUGHING) Yeah. That was kind of a long journey. There aren't a lot of 11 year old television writers. I grew up in Indiana in this town called Valparaiso, which is in the part of Indiana. That's, it's like the Northwest corner of Indiana that's actually closer to Chicago than Indianapolis, but still like a small town, uh, sort of Friday Night Lights kind of place where people go to the football game or the basketball game every Friday night. And I was always that, you know, high school journalist person, you know, I did the yearbook, I did the newspaper, I did it all and I had this scheme or this plan that involved going to Columbia, which uh, was a funny thing in Indiana because nobody in Indiana actually knows what Columbia is. I know it's like this impressive school. It's in the Ivy league, but there's a lot of confusion with the university of Missouri at Columbia. So it's, it costs a lot of money and it's difficult to impress people. But somehow I got it and my parents were on board with this and I moved to New York and at 18 as all Columbia freshmen do and I was an English major. I always knew I was going to be an English major. There wasn't a film studies or film major or anything like that available to undergraduates at Columbia. When I was there and I, I wouldn't have, I don't know that I would've wanted to do that anyway. It really did not occur to me that writing was screenwriting. I loved TV, I loved movies, but I really hadn't thought of it that way. It was all books and magazines and journalism to me. And then the accident that changed my life. When I graduated from Columbia, I was an English major, as I said, totally unqualified to really do anything in the world. And I started applying for jobs at different places. And the one that I ended up getting was at the New York public library in the fundraising office. And I worked in major gifts and planned giving. I answered the phone, you know, we did research on the various donors we were trying to get money from. We would hold parties and events and my boss was this lovely, lovely woman named Judy Daniels and her son is a television writer. His name is Greg Daniels, and he created The Office, the American version of The Office and Parks and Rec and King of the Hill. And Judy Daniels, I always say was my first agent. She essentially said to me, I think you should move to LA and work for my son and he should help you be a TV writer. And he did and I became a TV writer. I was his assistant for two years when he was starting King of the Hill with Mike Judge back in the mid-nineties and that was how I got my start. He assigned me a freelance episode in the second season, which is a very traditional way for TV writer to get a break as you get to write one episode of a show. And based on that I was able to get an agent and the agent helped me get my first real job as a staff writer. You know, when I didn't have to answer the phone anymore. That was the biggest victory of my professional life. Passionistas: That's a pretty impressive person to land without in LA. Did you learn anything specific from him that sticks with you? Gina Fattore: The thing that sticks with me the most is always about story. You know, Greg is a comedy writer and you know, even before King of the Hill, he had worked on the Simpsons and on Saturday night live, but he was incredibly rigorous about story. So maybe it's not an accident that you know, I ended up being a drama writer more than a comedy writer, but I can remember him saying to me, you know about my own spec scripts and I was trying to write at the time, you know, to just make a beat sheet and go through every scene and you know, just ask yourself very, what is this scene doing? And if you can't summarize it in, you know, one short sentence with a sort of active sounding verb in it, then there's probably a problem with that scene. And that's advice that he gave me that I think about 20 years later all the time. Passionistas: Your book, The Spinster Diaries, is a semi-autobiographical story about being a TV writer. And I think it paints a really good picture of the fact that even though people may think it's a really glamorous life, it's a lot of hard work and not only the work itself but going from show to show, getting jobs is hard work. So can you talk a little bit about your experiences in Hollywood, some of the shows you worked on and what that lifestyle is like? Gina Fattore: I would say to start that, that is one of the revelations that people have read my book and come back to me and said, this actually explains what it's like to be a TV writer. And that wasn't one of the reasons why I wrote the book, but it's just the world that I live in. So I was portraying it really accurately. And many TV writers have actually said this to me that like this is almost given them flashbacks and stuff in weird ways because the system of TV has changed a lot. The book has said it actually in 2006 which was a time when there were a lot more network TV shows and a lot more shows where we would make 22-23 episodes a year, which is the system that I started in. And nowadays we have these really short orders for shows, which has made it even more pronounced. This nature of the job is insecurity and you know, you move from one thing to the next. I've been on many shows. I had to run and vibing three shows in a row that got canceled within those first 12 you know, so sometimes you make all 12 and you get paid for all 12 but one show we got canceled. You know, we were actually shooting episode eight and I don't think we finished shooting the rest of those. You know, you just stop when you're canceled. Everything just stops. I mean we're living through this weird moment now with production shutdowns for the virus reasons, but being canceled. It's odd. Cause I mean the great part about it is that everybody's in it together. But that's also the horrible part is that, you know, 200 people have lost their jobs in one day. But the funny thing about being on a show is that it is sort of more like a real job than I think people anticipate because there's this idea about movie writers, which is true that they kind of like sit by their pool or they're like in a cafe somewhere writing and you know, TV writers. Honestly, I think in some ways we're more like journalists. Like we have a deadline, we're working together to put something out. And sometimes I think that because I worked at a newspaper in my twenties I worked at an alternative weekly newspaper. Maybe that's why I view it that way, but it is what it is. You know, if you're making 23 episodes of a show, everybody has to be on board with what are those episodes about? So a large part of what we're doing when we're writing a TV show is just making sure that there's one story that we're telling that all the characters are behaving consistently. And the writer's room, which back in the day when I started was standard. Not all shows are written that way anymore, but that was what allowed us to just stay on the same page and we had to be flexible. And of course the showrunner had ultimate control over what the story would be. And so your job as a writer is just to spend all day thinking of pitches that will support what the story is. And there was one year I remember on Dawson's Creek, I season five I only wrote like two episodes and normally I would write first drafts more than that and I missed it. And I realized when you're in the room coming up with ideas, 80% of what you do gets rejected and that's a really high rate to, you know, keep yourself going at where you have to just keep pitching ideas and they might not be accepted. It's heartbreaking. So you have to have a pretty thick skin for that. How do you develop that thick skin? How do you not take it personally? I think you just said the exact phrase, which is not taking it personally. And I think it did take me a really long time. I think season three when I was working on Dawson's Creek was my first real immersion in one hour drama writing. And again that was a 23 episode season, which I don't know that I had done one of those yet. And I would use all these little tricks. Sometimes I would tell myself, you know, you're writing the first draft for free. The first draft is what you want it to be. It's all this stuff. What they're paying you for is the 10 offer drafts that you're doing, where people are saying, do it my way, do it my way, do it my way. And early on in my career I had this great moment with a friend who, he's a graphic designer and at the time he was maybe working at the New York times or something like that, but his own work as a graphic designer was constantly being, you know, noted and all this stuff like do it again and do it again. Do it again. And you know, it just becomes not what the person wanted and you just have to tell yourself over and over again that mantra I think because it's just not what they wanted. And when you're writing something for money, that's what your job is, is to give the person what they wanted. And in TV it's always very clear that person is the showrunner. And then once they're happy with it, they got to go and deal with the network and the studio. There's a whole other level of people who might not be happy with it. Passionistas: As a writer that's not the showrunner, you're kind of shielded from having those conversations. But last season you developed and executive produced and wrote the TV series Dare Me. So talk about how you became the showrunner of and what it was like to be in that position versus on staff. Gina Fattore:  It was kind of amazing to get to this place where this pilot that I had written with Meghan Abbott, based on her novel Dare Me, we made a pilot in the summer of 2018 really it was when we made the pilot and then all of 2019 was when we were making the, the nine additional episodes. And here I was finally doing this job that we, for a long time I had basically resigned myself to the idea that none of my pilots would ever proceed forward and become serious cause I had written so many of them and I knew how hard the job was. I mean frankly I was the showrunners assistant. So who knows better than the showrunners assistant, how hard the job is. And so I think what happens in TV a lot of times is that the person who becomes the showrunner is perhaps a novelist or a playwright or a screenwriter. Especially if you win an Oscar, they will just basically give you a TV show. So essentially that person is really overwhelmed just by the sheer idea of what it means to be a showrunner, which is that you're not just a writer anymore, you're a producer and you're the boss who's hiring everyone and who's also responsible for making sure that everyone's working well together to actualize the vision that you have in your head. So in a funny way, I have to say, I knew it was going to be hard, so it was hard, but it wasn't as hard, I don't think, as it would have been for someone who hadn't been working on TV shows for essentially 20 years at that point. I mean, I like to joke, and this is terrible, but I was like, you know, like the American presidency running a television show, it is a job that sometimes goes to someone who's never done it before, but sometimes that person has actually been the secretary of state, or sometimes they've been the first lady, maybe they've been a Senator, so that person might have a better idea of how this whole thing works than someone who's never worked in government before. And that's how I felt. I felt like I was that person and I ended up being so proud of the work itself. The episodes I think are brilliant, but also just really proud of all the people who told me how much they enjoyed working on the show. I mean, honestly, the costume designer, the, you know, the cinematographer, like all of the directors, like just knowing that they felt like they were in an environment where they were being heard and appreciated even when their ideas were rejected meant so much to me. Because looking back, I can see there were many jobs where I didn't have that and that was the hard part to keep going. When you don't feel like you're being heard, it's one thing to be rejected, but it's another to be sort of ignored or dismissed. Passionistas: You're listening to The Passionistas Project Podcast and our interview with Gina Fattore. Visit GinaFattore.com to find out more about Gina and her book, The Spinster Diaries, now available at IndieBound, Amazon, Barnes and Noble, and more. Now here's more of our interview with Gina. Talk about The Spinster Diaries and why did you decide with your busy television schedule, why did you decide to write a book? Gina Fattore: Well, you know, I realized, I think I already set this up because I talked a little about the frustrations of being a writer who is on staff on a show, but you're not the boss. And at the time I started writing the book, I really did start writing the book around the time that it set. So like 2006, 2007 and I had been working on shows at that point, well, you know, I guess about eight years. So I was at the point where I was doing this job that was a dream job to me. And you know, it, it, I had far exceeded any dreams that I had, you know, as a young person in Indiana, I was living in LA and I was going from job to job, but definitely, you know, uh, making money and working with interesting people and it was all great. But the one thing I didn't have was any kind of control over what story was being told. I mean you're always rewritten when you're a writer on staff. Like it's very, very rare. When I was working on Dawson's Creek, I was genuinely, I don't know, I had been there for so long that by the time we got to the end, those were my episodes. Those were my words. Like especially the last one that I wrote, I did all the rewriting on them. They're my work, but that's very unusual. The more usual way is to just write and contribute, but you never have any say over the final product. And so I think I just started writing pros because it was, first of all, it was what I originally wrote when I was a young person and I was a high school newspaper editor and all of that. But also just because I knew I could control it and I didn't even know at first what I was writing. I think I really was just writing, you know, on the weekends I'd just be like, well, I have something I need to say. And then I just kept writing and went on this journey and it really did take me a very long time to get someone to publish the book essentially because it is a little unconventional. I think they were fooled by the opening of the book and they thought that it would be more of a conventional Bridget Jones's diary type book and then suddenly they're reading about this woman from the 18th century, like it's about TV writing and they think, I think that there was some confusion about what the book was, but I really persevered because I knew at that point I was like, well, I have my other job, which I never quit, which is my day job writing and producing television and I know that I'm good at that. Um, especially it's no small part of it is the producing part. Like that's a completely separate skill from writing. And now that I've done Dare Me and been a showrunner, I've done that on every level. So I figured my book didn't have to be something that was going to be a bestseller or a big source of income for me. I could just make it whatever I wanted to be. Just be playful with it and have fun. Passionistas: You say that it's some I autobiographical. So how much of it is based on you? Obviously the TV writing part is. Gina Fattore: Yeah, I'm laughing because like I really wanted to be one of those fancy novelists who's all like, ah, I made it all up, or whatever. That's what fiction writers do. But it's all, it's all true. Basically. Like all of it. It's true. I was interested in the idea of biography and autobiography. So if the narrator of my book is sort of this exaggerated unreliable version of me, and she's telling you a story though about this other writer from the 18th century, so how reliable is she? But if you read the book, I should make a disclaimer that it is actually a biography of the writer from the 18th century whose name is Francis Barney, and she was a novelist who wrote at the end of the 18th century. She's really the person who inspired Jane Austin in many ways. Her books were read by Jane Austin and Jane Jane Austin makes reference to Francis. Bernie's novels at like six different places within her own work. Passionistas: Why are you fascinated with Frances Burney and why did she become such a central character in the book? Gina Fattore: I was just talking about this with someone who I know from college because I did read Frances Burney for the first time when I was in college. I was an English major at Columbia. There was, I think looking back, I've now researched this like in the, in the eighties the feminist scholars in the English departments all over the country were looking for female writers, you know, trying to resuscitate them. And at the end of the 18th century was a time in England when there were actually quite a number of female novelists. And so I read her work and then it, but it wasn't in college. It was like later in my twenties I learned about her diaries. She kept them her entire life. They've, they've finally finished editing all of them and they are 24 volumes long. So it was really like a blog. I mean, I think when I first read her diaries, I didn't even know what a blog was. It was probably like 95 but it was like you're hearing the unfiltered voice of this woman who lived, I mean, she actually lived from 1752 to 1840 but the time period in her life that would most fascinated me was sort of, you know, her coming of age and her first novel was written when she was 25 and I think when I, the more I learned about her story, it was something that captured my imagination when I was that age in my mid-twenties and I knew I wanted to be a writer, but I didn't know how I was going to get there. I mean, I think it was even before I started working for Greg Daniels, I was 27 when I actually moved to LA and started working for him and ultimately became a TV writer. But all those years of my twenties I knew I wanted to be a writer and I was writing. But you know, you don't, you have a day job, you know, it's hard. You don't know really what you should be writing and what's the right format for your voice. And all those things. And I just kept reading about her more and more. And I was always just so convinced that there was something very modern about her life. Also in that anytime we hear about women from that era, they're generally very wealthy women. And so the stories, while they're these sort of odd princess stories about like duchesses and ladies and all that stuff, or think of Downton Abbey, right? Those three sisters are incredibly wealthy and aristocratic. And for instance, Bernie, her father was a music teacher, so she was the equivalent of what we would think of as middle class. And for me growing up, you know, as I mentioned, I grew up in Indiana, so I am not from aristocrats, let's just say, um, my grandparents are all from Italy. So yeah, I think I, I love this idea of a role model who had, you know, been a writer from the time she was in her teens. And also looking back, I can see where I think like maybe a role model who isn't, you know, isn't Jane Austin or George Elliot or the Bronte sisters is a little better. At least for me it felt better. Like I feel like there's the people who you admire so much that it kind of stops you. You know, like I've had that feeling before where you watch your all-time favorite movie, are you, you know, read your all-time favorite book for the zillion with time and there's a part of you that thinks I could never achieve that or I could never do that. Whereas I don't know. There was something about Frances Burney as a role model that I guess made me think, you know, she just did her best and kept writing and that's what you need to hear. Especially when you're 25 and you're just starting on your journey. Passionistas: What do you hope readers take away from reading the book? Gina Fattore: I've already gotten some feedback from people from what they did take away and it's been surprising, I guess I would say in a big way. I realized that the book is about anxiety and so it's very odd that it's coming out at this time where everybody is, you know, really just swimming and anxiety because anxiety is different than fear, you know, fear. The idea is that fear is like there's a lion about to come and eat you and you know what that is and you need to respond to what the lion that's directly in front of you. But anxiety is that more free floating feeling. I at a certain point, I did realize that like years ago, like years, you know, years before it was published, I thought, Oh, the book is really about anxiety and that's a valuable lesson right now. And also the journey of the character she goes on is about like just getting out of a paralysis and the paralysis is sort of, you know, people always talk about fight or flight, right? That idea that if you're in this stressful situation, either you'll lash out and you'll fight or you're flee, but the other thing you do is you just freeze. And that's a very real reaction. I mean I, I don't think I'm making that up. I think there is actual psychology to base that on, but it's always been my personal experience that you get frozen and the character is frozen. So the journey of the book is really to become unfrozen and to have enough hope to move forward. And I think that is a really vital message at this time. Passionistas: Is there a lesson that you've learned on your journey that really sticks with you? Gina Fattore: I was just thinking about this, like the idea of this journey cause I was talking, the thing that's been so great to talk to old friends and this time, you know, like there's, there's just been a little more of that. Like people reaching out, like high school friends, college friends, like let's do a zoom. And it was making me think about my younger days and I had this sense when I was very young, that little things made an enormous difference. I mean that a little bit in terms of writing, you know, that like precision and detail and all that stuff. Um, but also just, I don't know, this idea that things could change in an instant or that everything was kind of on a Razor's edge. And I think just what I learned this past two years in being the boss and making a show is that idea that not everything has to be perfect. And you think I would have known that earlier in life because as anyone who a writer knows, there's always a rough draft. There's always a first draft and it's a process to make it better. But I think this is a particular problem for women, which is this idea of perfectionism and how it holds you back because you're not willing to do the sloppy version of something. And one of the coolest things I learned when I was making the show was I was like, I've been doing this for so long. TV is a process and the process is not, you start with the thing that the people see when it's on TV streaming. You know, you start so far back from that, you know, you start with some note cards on a board, you know, you turn that into an outline, you turn that into a script. There's so many steps of the process and being the boss and doing that really made me remember that, that like you have so many other chances to, to do that, that thing and to make it right. You know, not that it's not important to meet your deadlines and be conscientious and all that stuff, but I do wish I had felt that a little more when I was younger. Just let yourself be wrong. Passionistas: What's your definition of success? Gina Fattore:  I guess in some way I do think it's, it's liking what you do for work because we all, almost all of us have to work. And uh, even people who don't have to work for financial reasons, you know, I guess that's the famous Freud quote, write about love and work. And I mean, my had a next door neighbor who lived next door to me for 10 years. Ever since I bought my house, my neighbor next door, he was elderly. He was 79 when I moved in and he passed away at 89 and he worked like three or four days a week at this job up until he was like 87 and the minute he wasn't able to work anymore, he just shut down and you could see it so clearly. And he got so depressed and he, this is a person of like, you know, the world war II generation practically. He, well, Korean war I guess is the one he fought in and people like that don't use the word depressed lightly, you know? And, and I could see that in him and I feel like it makes me so happy. You know, when people talk to me about their job and you can see that they're suited to the job and they get some kind of reward back from it, I think that is just a huge part of being successful in life. Passionistas: What advice would you give to a young woman who wants to be a writer? Gina Fattore: Sadly, right? Is the only advice that, I mean, I know there's all this stuff about, you know, uh, I don't know, networking. And there's a lot of classes now you can take and stuff like that. But you learn, you do learn by doing and you know, I think you just need to keep writing and that everything you write, you learn something from that. And you know the feedback. Showing it to other people honestly is the hard part. That to me is, is harder than the writing. I know some people have a problem with that, but you know, that's where the introverts win because the part of the job where you are alone in the room with the piece of paper, that doesn't scare me. And I think that it's got the main benefit of you can control it. You can try things out, you know, I mean, Oh, this is terrible. But like when I started, I had a typewriter in college. Like you had to do the whiteout, you know, you had to do all that stuff. Like nowadays, whatever, just try something and if it doesn't work, you know, uh, I was going to say delete, but don't delete, just save it and another file. You might need it again someday. Passionistas: Thanks for listening to our interview with Gina Fattore. Visit GinaFattore.com to find out more about Gina and her book, The Spinster Diaries now available at IndieBound, Amazon, Barnes and Noble, and more. Please visit ThePassionistasProject.com to learn more about our podcast and subscription box filled with products made by women-owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list to get 10% off your first purchase. And be sure to subscribe to The Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.    

TV writer and author Gina Fattore joins the podcast this week, while we're all socially distant and craving entertainment, to discuss her new book, The Spinster Diaries. We'll also get into Dawson's Creek, but you'll have to listen to find out why. In this episode we'll discuss societal structures around single adulthood, eighteenth-century novelist Frances Burney, and how television actually gets made. We'll also discuss who our society choses to tell stories about, and why. This is a great listen for single women of all ages, especially those who are fans of female-led novels, 1970s feminism, and anyone who's ever wondered why our heroes never seem to have anxiety. BetterHelp (link includes a discount code for 10% your first month, or you can check out more information in Shani's blog post)Gina's websiteGina's book, The Spinster Diaries 27 (Wrong) Reasons You're Single by Sara EckelThe Duchess starring Kiera Knightly shanisilver.comShani on InstagramA Single Serving Podcast Facebook Group*Some links above are affiliate links Support the show (https://www.patreon.com/shanisilver)

Nesse episódio, dou início a uma serie sobre escritoras lidas por Jane Austen, e falo sobre Frances Burney e seu romance Evelina (1778). // Minhas redes sociais: https://linktr.ee/blankgarden // Página do podcast: https://semclassepodcast.wordpress.com // Musica tema: Sinfonia n. 41, também conhecida como 'Jupiter', composta por Wolfgang Amedeus Mozart em 1788, executada pela Wiener Philharmoniker, com direção de Riccardo Muti --- Send in a voice message: https://anchor.fm/julianabrina/message

Welcome to Bonnets at Dawn University! This week, we’re getting a crash course in Frances Burney with the help of Dr. Jennie Batchelor. Jennie currently teaches at the University of Kent. Her work focuses on the 18th century and women’s writing. You can find her on Twitter @JennieBatchelor and @LadysMagProject.

Welcome to the Hidden Histories podcast. This week, Helen Lewis and our guests Sophie Coulombeau, Liz Edwards and Jennie Batchelor thrash out the impossible question: Who is the most interesting female writer of the Eighteenth Century? Liz chooses Hester Thrale Piozzi, Sophie makes the case for Frances Burney, and Jennie opts for the elusive Anonymous. See acast.com/privacy for privacy and opt-out information.

Melvyn Bragg and his guests discuss the life and work of the 18th-century novelist, playwright and diarist Fanny Burney, also known as Madame D'Arblay and Frances Burney. Her first novel, Evelina, was published anonymously and caused a sensation, attracting the admiration of many eminent contemporaries. In an era when very few women published their work she achieved extraordinary success, and her admirers included Dr Johnson and Edmund Burke; later Virginia Woolf called her 'the mother of English fiction'. With Nicole Pohl Reader in English Literature at Oxford Brookes University Judith Hawley Professor of Eighteenth-Century Literature at Royal Holloway, University of London and John Mullan Professor of English at University College London. Producer: Simon Tillotson.

Melvyn Bragg and his guests discuss the life and work of the 18th-century novelist, playwright and diarist Fanny Burney, also known as Madame D'Arblay and Frances Burney. Her first novel, Evelina, was published anonymously and caused a sensation, attracting the admiration of many eminent contemporaries. In an era when very few women published their work she achieved extraordinary success, and her admirers included Dr Johnson and Edmund Burke; later Virginia Woolf called her 'the mother of English fiction'. With Nicole Pohl Reader in English Literature at Oxford Brookes University Judith Hawley Professor of Eighteenth-Century Literature at Royal Holloway, University of London and John Mullan Professor of English at University College London. Producer: Simon Tillotson.

Wordquest-fm episode 10 featuring: Fanny (Frances) Burney, broadcast on 29th September 2011. Around the County of Devon (and perhaps beyond) you can pick up copies of our 'Literary Map for Devon' - but you can also explore the online map here for much more information. If you can't find one and you'd like one, please contact us and if they are still available we'll send you one. The project grew out of a love for words and a love for Devon. If you have anything you'd like to add to the project, just go here. Wordquest Devon is a project of Aune Head Arts, Cyprus Well, Devon Libraries (Devon County Council), and the University of Exeter. It began life as a response to the 'questing' themes of the Cultural Olympiad, and still retains many of these playful and game-playing aspects. The project's live presence began in June 2011 and continues until September 2012. For more info please visit, http://www.wordquestdevon.info http://www.auneheadarts.org.uk http://www.soundartradio.org.uk