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Austen Canon Project: Speak Now Ellie Engquist 4/29/15 Dr. Eberle

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Austen Canon Project: Speak Now Ellie Engquist 4/29/15 Dr. Eberle Austen Canon Project: Speak Now Ellie Engquist 4/29/15 Dr. Eberle ENGL 4505 When assigned this fan fiction project, I instantly thought of drawing a bridge between Jane Austen and Taylor Swift, of whom I am a massively huge fan. My first ideas centered on comparing Swift to Austen herself (her recent single “Blank Space” just feels like the kind of direct satire that st Austen would create if she were writing in the 21 ​ century). However, I do not feel very attached to ​ fictionalizing the Tom Lefroy romance that most Austen fan fics extrapolate on. I decided then to anchor Taylor Swift in one of Austen’s stories. Much of Taylor Swift’s songwriting and public persona centers around relationships, much like Austen’s fiction. I decided to cross Pride & Prejudice with a ​ ​ real life Taylor Swift love affair, her brief stint with John Mayer. I saw the parallels almost instantly – John Mayer is widely known for being egotistical and proud, but handsome. Taylor Swift is smart and sharp­tongued, a great Elizabeth Bennet figure. And as Mayer is older than Swift and a more established artist, it mirrors the social divide between Darcy and Lizzie. In crafting my story, I decided to stick more to the thematic issues of P&P than to a strict arc. ​ ​ A major difference between the two stories is that Taylor does not end up happily ever after with John, as we are to believe that Darcy & Lizzie do. My piece was also a much shorter retelling, therefore I focused on a few key scenes in the arc of P&P: the first ball where Darcy insults Lizzie, Lizzie’s arrival ​ ​ at Netherfield to visit Jane, and the proposal scenes – using awards shows as balls/social occasions in the modern context. I also left the ending open, hinting at a future relationship rather than changing the actual events. However, the story is not fully canon for either story; I do not have any details of John and Taylor’s relationship, and therefore chose to heavily fictionalize the events – the song mentioned is a real song, but the events surrounding it are of my own creation. I also chose to play with point of view, alternating between the John and Taylor’s voice, as a reimagining of free indirect discourse. Where Austen would employ the free indirect discourse voice with a third person narrative, I wanted a more personal voice to the story as both of my characters are known for their first person confessional songwriting. Speak Now The second he locks eyes with her, she feels her heart begin to race. Effortlessly smug, tattooed and slightly tortured, his “don’t look at me” energy pulls all of the focus and oxygen out of the room. She’s been around this scene for a few years now, and she’s still not quite used to being in green rooms with people that exude this kind of effortlessly famous energy – it makes her feel very small, and she hates other people making her feel small. He’s surrounded by women, of various degrees of stunning beauty. As often happens to Taylor in moments like this, a new lyric pops into her head: “But you always know a boy like that with money and power/is just on an endless quest for one thing.” Okay, maybe a couple of rewrites needed on that one... He seems to take up the whole room, but Taylor manages to step unseen across the room to the snack table – she needs a Diet Coke, her anchor in tough times – and ends up close enough to hear his conversation to the business suit next to him: “I hate coming to these things – you know that. If I have to hear another blonde country pop princess misuse Shakespearean allusions, I’m going to leave. It’s not real music, and it’s not even worth the stage time.” Taylor clutches her silver can so tight it might crumple. Who does this guy think he is? Not real music? Are we not literally nominated at the same awards show? And I know how Romeo and Juliet ​ ends, it’s just an iconic image of teenage romance that totally serves “Love Story”! It was then and there she decided that people were right: John Mayer was a handsome, proud, pompous jerk. Taylor took a deep breath, another sip of her drink, and started planning all the snarky things she’d say to Allison about this guy on the phone tonight. John stands in the wings, Fender in hand, waiting for his turn in the lineup. Another day, another giant entertainment industry snooze fest. If only there was a way to make his music and not be dragged to these things. The crowd is wailing in the arena, a deafening wall of teenage screams. A tall girl in a sparkly dress comes bounding offstage, hugging her band and proclaiming, “That was so awesome! You guys are the best!” He’s seen her before, on every magazine cover, but there’s something different now that a picture never captured. There’s a glistening in her eyes, an exuberance that only comes from throwing yourself into a live performance. As she bounces about, offering hugs and celebrations to anyone she can throw her arms around, John can’t keep his eyes off of her. A female voice next to him starts talking ­ a model friend who has been making not­so­subtle moves on him for weeks ­ “Can you believe her? It’s like she was just named prom queen or something.” John, not even looking at the speaker, replies, “I think she’s captivating.” “I’m sorry, what?” the girl replied, in a whiny affect that made John cringe. “Her set was great, and I don’t know, she’s just the most captivating girl in the room!” “John, warrior of musical authenticity, you cannot be celebrating her right now!” But John didn’t hear that; for in that moment he and Taylor locked eyes; he tried to offer a smile but was met with a look of cold disdain that replaced the vibrant glow that had been there before. Not once looking away, she declared loudly: “It may not be real music to some people, but I think our set was awesome.” John had never felt like that before; humiliated, belitted, and called­out in public. It took all he had to keep his face together. “Mr. Mayer, you’re up next!” called the stage manager. Grateful for the salvation of the stage and the comfort of his guitar, John stepped into the light to the roar of the crowd. It had been weeks since the awards show, when she’d caught John’s dark, handsome eyes across the room. They’d had run­ins since, stilted and awkward. They both knew what had transpired betweent them, but neither of them knew how to fix it, or if they even could. Taylor had never wanted to let someone else’s words affect how she felt about her music, but John’s jab came on the heels of some very public and fiercely cruel criticism. Her skin was a little thin at the moment, and an egomaniac whose music she actually super respected only added to the pile. Plus, it didn’t help that he was crazy good­looking, with that bad boy energy that made Taylor’s heart race and Taylor’s mom look into boarding schools for her daughter. She’d never seen someone wear tattoos so well, and she’d caught herself more than a few times listening to those amazing lyrics on Continuum and thinking about ​ ​ them…. As if summoned by her daydreaming, an email pops up in her inbox. It’s from her manager Scott, and the subject line just reads: “You’ll never guess who wants to work with you.” In disbelief, Taylor read on. Pompous jerk himself, Mr. “Real Music” Mayer (good one, Tay!), wanted her to guest on a new song. He wanted to meet for dinner to talk over the details, and included his number at the bottom so she could contact him. Taylor was floored, and could feel the stabbing humiliation from that first encounter coming back into her chest. But she also knew she couldn’t pass up the opportunity to hear what he had to say. With a nervous quake in her fingers, she dialed the number – but was entirely unprepared for the gruff, smoky voice on the other end. “Hello?” “Hey, it’s um, it’s Taylor. Swift. And um, I heard you wanted to work with me on something?” – Subtle, Swift. “You called. Cool. Yeah, I have a song that needs a female vocalist. And I think you’d be a good fit. I was wondering if I could take you to dinner, talk over a few things, maybe get to know each other better?” The cliche ending did it. Before she could help herself, Taylor blurted out: “Really? You want to get to know me? It’s just that, you’ve made it very clear how you feel about my music. Would you really want someone who is not a real musician on a song with you?” John took a moment, and then replied: ”Well, I’m as surprised as you are. But I can’t get your sound out of my head. I’ve heard your voice for this since I wrote it and I can’t shake it from my brain. I've tried a hundred different singers on this song, people you could never even imagine being stacked against.
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