Darcy in Wonderland Cover Reveal, Plus Austen and Contractions

Darcy in Wonderland Cover Reveal, Plus Austen and Contractions

My next book, Darcy in Wonderland, will be published this summer – assuming I can focus long enough to get the final draft to my editor! The book is part Pride and Prejudice sequel, set twenty some years after the Darcy’s marriage, and part pure mashup with Alice in Wonderland. I’m super excited because this project has given me an opportunity for which I have long yearned: to work with my incredibly talented little sister, Katy Wiedemann, who has created beautiful illustrations for the book. It is with great pleasure and enthusiasm that I am able to reveal the cover, featuring one of her drawings, here today. She based her image of Darcy on David Rintoul, who played the role in the 1981 BBC mini-series. Isn’t she incredible?

One of the great challenges I’ve encountered in writing this story is trying to combining the styles of two very different writers. This proved a particular problem when it comes to the thorny issue of contractions.

Over the years, I’ve been told by more than one person that Jane Austen never used contractions. This is not exactly true, though her use of contractions is very limited. Lewis Carroll, on the other hand, uses contractions nonstop. I compromised between the two by limiting the characters from Austen’s world to her contractions, letting Carroll’s characters pretty much run wild (it would have been impossible to fight this, as that is just what Carroll’s characters do), and I split the difference on Alice. As a result of this process, I produced a rather handy list of contractions Austen did use in her six major novels and those she did not (several do appear more frequently in her earlier works). Let’s start with those she definitely never uses:

aren’t, couldn’t, could’ve, didn’t, doesn’t, hadn’t, hasn’t, haven’t, he’d, he’ll, he’s, how’d, isn’t, it’d, it’ll, it’s, let’s, mightn’t, might’ve, mustn’t, must’ve, needn’t, oughtn’t, she’d, she’ll, she’s, shouldn’t, should’ve, that’d, that’ll, there’s, they’ll, they’re, wasn’t, we’ll, we’re, weren’t, we’ve, what’s, where’s, who’d, who’ll, who’s, wouldn’t, would’ve, you’d, you’ll, you’re, you’ve

Now let’s discuss what is far more interesting: those contractions Austen does utilize and why.

There are only three she uses fairly regularly: don’t, ’tis, and won’t (note that ’tis never occurs in Persuasion, while making a regular appearance in all five of the other novels).

There are a three more that appear a handful of times in the novels: can’t, I’ll, and shan’t/sha’nt (note that the latter is only ever used by Mrs. Jennings, Mrs. Bennet, and Miss Bates).

Then there are those that appear very infrequently. Word geek that I am, I find this highly compelling. Usually, these contractions reflect a character’s lack of education or refinement. Let’s take a look at them in context.



This archaic contraction occurs a bit more frequently than the others on this list, but really only in Sense and Sensibility, in which it is used five times.

Anne Steele (she uses it twice – also see notes below on “I’m”):

“Lord! my dear, you are very modest. I an’t the least astonished at it in the world, for I have often thought of late, there was nothing more likely to happen.”

Mrs. Jennings:

“Mind me, now, if they an’t married by Mid-summer.”


“The Colonel is a ninny, my dear; because he has two thousand a-year himself, he thinks that nobody else can marry on less. Take my word for it, that, if I am alive, I shall be paying a visit at Delaford Parsonage before Michaelmas; and I am sure I sha’nt go if Lucy an’t there.”

And, curiously, Fanny Dashwood:

Perhaps Fanny thought for a moment that her mother had been quite rude enough,–for, colouring a little, she immediately said,

“They are very pretty, ma’am–an’t they?” But then again, the dread of having been too civil, too encouraging herself, probably came over her, for she presently added,

“Do you not think they are something in Miss Morton’s style of painting, Ma’am?–She does paint most delightfully!–How beautifully her last landscape is done!”

Fanny is a far more socially elevated character than the other two, and I think Austen very deliberately puts this contraction into her speech in order to display Fanny’s internal coarseness, despite her fashionable trappings.

The only other time “an’t” occurs is in Emma, where it is used by Mrs. Elton when speaking to Jane Fairfax. She is a character rather like Fanny, when you stop to consider their personalities. Both are petty and self-absorbed. It is also possible that both ladies saying ‘an’t’ is some kind of affectation, perhaps a modish slang. If so, I think it is clear Austen does not approve of such verbal laziness.

“Now I say, my dear, in our case, for lady, read—-mum! a word to the wise.–I am in a fine flow of spirits, an’t I? But I want to set your heart at ease as to Mrs. S.–My representation, you see, has quite appeased her.”



Toni Collette as Harriet Smith, 1996.

Used four times, and in a rather broad set of circumstances. Anne Steele, who uses more contractions than any other character in Austen, says it once:

“Good gracious! (giggling as she spoke) I’d lay my life I know what my cousins will say, when they hear of it. They will tell me I should write to the Doctor, to get Edward the curacy of his new living. I know they will; but I am sure I would not do such a thing for all the world.–‘La!’ I shall say directly, ‘I wonder how you could think of such a thing? I write to the Doctor, indeed!'”

It occurs twice in Mansfield Park, and always by the Portsmouth Prices. First by William:

“I should like to see you dance, and I’d dance with you if you would, for nobody would know who I was here, and I should like to be your partner once more.”

And then later in the story by his father, who uses courser language than any other character in Austen:

“But, by G–! if she belonged to me, I’d give her the rope’s end as long as I could stand over her. A little flogging for man and woman too would be the best way of preventing such things.”

It is also used once in Emma, by Harriet Smith:

“Will you read the letter?” cried Harriet. “Pray do. I’d rather you would.”



Austen only uses it three times, and just in her first two novels. Anne Steele says it in Sense and Sensibility: twice in the same sentence! Anne’s frequent use of contractions is definitely a reflection of her lack of education and low status, and this paragraph is loaded with them:

“Nay, my dear, I’m sure I don’t pretend to say that there an’t. I’m sure there’s a vast many smart beaux in Exeter; but you know, how could I tell what smart beaux there might be about Norland; and I was only afraid the Miss Dashwoods might find it dull at Barton, if they had not so many as they used to have. But perhaps you young ladies may not care about the beaux, and had as lief be without them as with them. For my part, I think they are vastly agreeable, provided they dress smart and behave civil. But I can’t bear to see them dirty and nasty. Now there’s Mr. Rose at Exeter, a prodigious smart young man, quite a beau, clerk to Mr. Simpson, you know, and yet if you do but meet him of a morning, he is not fit to be seen.–I suppose your brother was quite a beau, Miss Dashwood, before he married, as he was so rich?”

Lydia Bennet is the other character to utilize “I’m”:

“Oh!” said Lydia stoutly, “I am not afraid; for though I am the youngest, I’m the tallest.”



Elizabeth Spriggs as Mrs. Jennings, 1995.

Only used once by Mrs. Jennings, another great peddler of contractions:

“Oh, Lord! I am sure your mother can spare you very well, and I do beg you will favour me with your company, for I’ve quite set my heart upon it. Don’t fancy that you will be any inconvenience to me, for I shan’t put myself at all out of my way for you.




How d’ye

Bit of a weird one, and akin to our modern “how’d.” I definitely think she is representing colloquial speech with this contraction. It is always used in greeting. John Thorpe says it in Northanger Abbey:

“Make haste! make haste!” as he threw open the door– “put on your hat this moment — there is no time to be lost — we are going to Bristol. –How d’ye do, Mrs. Allen?”

It is how John Knightley greets his brother in Emma (love this quote, by the way):

This had just taken place and with great cordiality, when John Knightley made his appearance, and “How d’ye do, George?” and “John, how are you?” succeeded in the true English style, burying under a calmness that seemed all but indifference, the real attachment which would have led either of them, if requisite, to do every thing for the good of the other.

Miss Bates also uses it:

“How d’ ye do?–how d’ye do?–Very well, I thank you. So obliged to you for the carriage last night. We were just in time; my mother just ready for us. Pray come in; do come in. You will find some friends here.”

And Admiral Croft says it in Persuasion, when he is walking with Anne:

“But here comes a friend, Captain Brigden; I shall only say, `How d’ye do?’ as we pass, however. I shall not stop. ‘How d’ye do?’ Brigden stares to see anybody with me but my wife.”



Romola Garai & Johnny Lee Miller as Emma Woodhouse and Mr. Knightley, 2009.

This one is very interesting. It only occurs twice in Austen. Both times are in Emma, and both occur in the same chapter (12). I have to wonder if this wasn’t an editing oversight on Austen’s part, because instead of the “that’s” being dropped by side characters of questionable educational background, here it is used by our hero and heroine. The other theory I have is that both characters are flustered when they use the contraction. Perhaps it reflects their state of minds? First it is used by Emma:

“That’s true,” she cried—”very true. Little Emma, grow up a better woman than your aunt. Be infinitely cleverer and not half so conceited.

And then later by Mr. Knightley, when he is trying to redirect the dinner conversation away from the subject of Mr. Perry’s medical opinions:

“True, true,” cried Mr. Knightley, with most ready interposition— “very true. That’s a consideration indeed.—But John, as to what I was telling you of my idea of moving the path to Langham, of turning it more to the right that it may not cut through the home meadows, I cannot conceive any difficulty.”



Only appears once in Austen, in Sense and Sensibility. Servants don’t usually have much of a voice in Austen, but the Dashwood’s Thomas has quite a speech at the end of the novel, in which he drops the “they’d”:

“I happened to look up as I went by the chaise, and so I see directly it was the youngest Miss Steele; so I took off my hat, and she knew me and called to me, and inquired after you, ma’am, and the young ladies, especially Miss Marianne, and bid me I should give her compliments and Mr. Ferrars’s, their best compliments and service, and how sorry they was they had not time to come on and see you, but they was in a great hurry to go forwards, for they was going further down for a little while, but howsever, when they come back, they’d make sure to come and see you.”



Daisy Haggard as Miss Steele, 2008.

We wrap up where we began, with Anne Steele:

“Dr. Davies was coming to town, and so we thought we’d join him in a post-chaise; and he behaved very genteelly, and paid ten or twelve shillings more than we did.”

So what have we learned from all this? While some contractions are broadly used by all manner of characters in Austen, her use of them is highly selective, usually chosen to highlight lack of education or some other character fault. I hope this exercise is useful to my fellow writers, and that it provides a heightened awareness in readers of Austen’s careful choice of language.

Thanks for joining me on this exploration into some of the less obvious aspects of Austen’s writing style.

More information on Darcy in Wonderland coming soon!


30 Responses to Darcy in Wonderland Cover Reveal, Plus Austen and Contractions

  1. Me again! I happened to re-read your post and realized I did not click on the link to your sister’s work. Oh my goodness, is she ever talented. Her scientific illustrations are stunning. She is truly amazing!

    • Thanks for telling me, Barbara. I’ve been in awe of her since she was 13 and brought home a line drawing of three dragon heads from school, gorgeously done. We all knew right then that she was had an extraordinary talent.

  2. I do like the cover and I have the DVD with David Rintoul as Darcy. But the discussion about contractions is giving me a headache…11:24 pm so I am guessing my brain is too tired at this time of night to take it all in. I am amazed at your research. I would not have even thought to look into the number of times a contraction was/or was not used.

    • Sorry for the headache! That amazing resource, mollands.net, made the research easy. Katy first tried to copy Firth’s features, but found them too round for her purpose, so I suggested Rintoul as a model. He always looked so very Darcy to me. Thanks for the comment, Sheila!

  3. Very interesting! And thank you for sharing your research on contractions. You can definitely tell JA used them for a specific purpose. Good luck with the new book!

  4. Wow! I can only say… wow!! That art work was amazing. I clicked on her name and was… blown away with her talent. I know you are extremely proud of her and that cover is so good. It’s creepy as h… but beautiful and so clever.

    Of all the contractions that you listed, the one I liked best [and have heard all my life] was ‘how d’ye do’ in greetings. In my case, I always equated it to ‘how do you do’ as someone greeted another… ye being the plural form of thou. In any case, very thorough work on your part and what research. Well done. I so enjoyed this and never considered the mash-up with Alice In Wonderland. That should be a nightmare that Darcy would want to wake from. Man… blessings on the launch.

    • Yes, my sisters artwork is creepy, but her talent is undeniable. I’ve wanted her to illustrate a cover for me for years, but pretty regency ladies and gents just weren’t compelling to her. Regarding the Alice crossover, on the other hand, she was immediate enthused. There will be ten illustrations (I believe) in all. Thanks for checking her out!

  5. Alexa, the cover is awesome. Wow! your sister is so talented and her portfolio is impressive. I loved this story and I can’t wait to see how it all turns out. Best Wishes. Jen Red

  6. Brought words to our notice we probably would not have seen otherwise. Most of those who use contractions — except for the How d’ye- are people not in the first rank of society. People with out refinement.

    • Pleased you found it informative. The exceptions are what really intrigue me, like Fanny, Emma, and Knightley. It’s fun to surmise Austen’s intentions.

  7. Beautiful cover and interesting premise. I never noticed the use (or nonuse) of contractions in Jane Austen’s stories. I guess I need to learn to pay better attention to what I read. Great post!

    • It’s a very subtle aspect of Austen’s writing, and definitely the most important thing on which to dwell. Thrilled you enjoyed it! Just wait till you see the other illustrations. They’re great!

  8. Wow … fascinating and informative. I had of course noticed the lack of contractions in Austen’s work, altho’ I have to admit to not noticing when she did use them. Interestingly, the characters’ speech with no or limited contractions does not seem stilted, not even in the film versions. Many thanks for doing this research and looking forward to this curiouser mash-up! (Lovely cover too.)

    • Glad you like the cover! I’m so proud of Katy. You used the right word – curiouser. And curiouser. It was a lot of fun combing the worlds of two favorite writers.

  9. What an interesting post! You covered a topic I hadn’t (or should I say “had not”?) thought about before. Her contemporary readers probably saw Jane Austen’s use of contractions as a kind of instant character “tell” that we modern readers miss because contractions are part of our everyday speech. Great research!

    • Glad you enjoyed it, Nancy! It was one of those fortuitous times when my writing gave me the fodder for a blog post. It’s not usually quite so organic.

  10. That is so interesting. I wouldn’t have thought to look so closely at contractions. It seems, as with everything, Jane Austen used them consciously and to effect. Thank you for a fascinating article. Your cover looks great. Your sister did an amazing job!

  11. This mashup sounds like so much fun. Looking forward to reading it. I never realized Jane used contractions, even though I read her works. Thanks for rhe informative article.

    • You are very welcome! It’s a common assumption. I’m glad you enjoyed the info – I was a bit concerned the topic crossed the line into the too geeky territory.

  12. Fascinating, Alexa! Funny to see how Jane used these in dialogue, and also to see that more seem to appear in S&S than her later novels (though that could just be the impression I’ve come away with!) 😉

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