Shortly before she died, Jane Austen started working on a new novel. Never finished, it was bequeathed to her favourite niece and remained unknown until 1871, when her nephew referred to it in his Memoir of Jane Austen. While her nephew did not consider it worthy of publishing, novelist and critic E M Forester firmly disagreed, stating that the work would undoubtedly "throw light on the last phase of the great novelist" if published. There have been a few attempts to complete this work, but non have captured the true magic of an Austen novel until now. Originally named The Brothers by Austen and dubbed Sanditon by her family, this 'new' novel promises to bring to life another Austen heroine worthy of keeping company with the likes of Elizabeth, Emma, and Anne. Her name is Charlotte.

Charlotte Heywood, a young woman from the country, encounters a sophisticated, if cynical, world in the rapidly developing resort town of Sanditon.

'Jane Austen practising' Virginia Woolf Three notebooks of Jane Austen's teenage writings survive. The earliest pieces probably date from 1786 or 1787, around the time that Jane, aged 11 or 12, and her older sister and collaborator Cassandra left school. By this point Austen was already an indiscriminate and precocious reader, devouring pulp fiction and classic literature alike; what she read, she soon began to imitate and parody. Unlike many teenage writings then and now, these are not secret or agonized confessions entrusted to a private journal and for the writer's eyes alone. Rather, they are stories to be shared and admired by a named audience of family and friends. Devices and themes which appear subtly in Austen's later fiction run riot openly and exuberantly across the teenage page. Drunkenness, brawling, sexual misdemeanour, theft, and even murder prevail.

The Watsons is an abandoned novel by Jane Austen, completed by her niece. The story tells about the widowed priest and his six children, four of which are daughters wishing to get married t a rich man. Although one of the daughters, Emma, was raised by their rich childless aunt. As a result, she is better educated than her other three sisters and has different values. The pursuit for love and wealthy admirers and the opposition between sisters lead to mingled affairs, romantic love stories, and exciting adventures.

Just when one had started mourning the demise of avant-garde and postmodern fiction . . . here comes David Markson's latest 'novel' which is anything but a novel in any conventional sense of the term. Yet it manages to keep us enthralled . . . and even moved to tears at the end. And what a thrill it is to witness the performance, a real tour de force.''

Kathryn Sutherland presents an edition of the fiction manuscripts of Jane Austen (1775-1817) in this five-volume set. Scholars have pored over this much-loved novelist for decades, yet there are still more riches to be uncovered by the careful presentation of the texts in this fully annotated new edition. Jane Austen's fiction manuscripts are the first substantial collection of autograph writings to survive for a British novelist. They represent every stage of her writing life, from childhood--aged 11 or 12--to the year of her death. The manuscripts represent a wide variety of physical states: working drafts, fair copies, and handwritten publications for private circulation. Where the juvenile, handwritten notebooks have long appeared to scholars to be finished artefacts, most of the other manuscript writings consist of pre-print or working drafts in various stages of development. There is no evidence to indicate that Austen saw the bulk of these working drafts as anything other than provisional. Hence the stark situation that no manuscripts remain for works which saw publication in her lifetime, the assumption being that these were routinely destroyed once replaced by print forms. There is only one exception: the two cancelled chapters of Persuasion, which represent an alternative ending to the one that made it into print. The manuscript evidence therefore represents a different Jane Austen: different in the range of fiction they contain from the novels we know only from print; and different in what they reveal about the workings of her imagination. Because of the variety of their pre-print states, because of their experimental range, and because of the way they extend the time span of her writing life (far longer than the single decade of the printed novels), these manuscript writings can claim a special place in our understanding of the evolution of the famous fictions. The edition presents full transcriptions of the texts based on a fresh examination of all the extant witnesses in Austen's hand, with facing facsimile images of the manuscript pages, and commentary on revisions, over-writings, erasures, and other features of the manuscripts.

A stand-alone novel of magic and adventure by the renowned fantasy author Diana Wynne Jones, who also wrote Howl's Moving Castle and the Chrestomanci books. Almost finished upon her death in 2011, the manuscript was completed by Diana's sister Ursula Jones, an acclaimed novelist and actress. Publishers Weekly called The Islands of Chaldea "a story to cherish" in their starred review. Aileen comes from a long line of magic makers, and her aunt Beck is the most powerful magician on Skarr. But Aileen's magic has yet to reveal itself, even though she is old enough and it should have by now. When Aileen is sent over the sea on a mission for the King, she worries that she'll be useless and in the way. A powerful talking cat changes all of that—and with every obstacle Aileen faces, she becomes stronger and more confident, until her magic blooms. This stand-alone novel, by the beloved and acclaimed author of such classic fantasy novels as Howl's Moving Castle and the Chrestomanci books, will be welcomed by fans old and new. "Jones's imaginative vigor is unabated in this last, picaresque novel; her deft, fluid style and penchant for precise, characterful description are amply present," proclaimed The Horn Book.

Stories by: Lauren Willig • Adriana Trigiani • Jo Beverley • Alexandra Potter • Laurie Viera Rigler • Frank Delaney & Diane Meier • Syrie James • Stephanie Barron • Amanda Grange • Pamela Aidan • Elizabeth Aston • Carrie Bebris • Diana Birchall • Monica Fairview • Janet Mullany • Jane Odiwe • Beth Pattillo • Myretta Robens • Jane Rubino and Caitlen Rubino-Bradway • Maya Slater • Margaret C. Sullivan • and Brenna Aubrey, the winner of a story contest hosted by the Republic of Pemberley “My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” If you just heaved a contented sigh at Mr. Darcy’s heartfelt words, then you, dear reader, are in good company. Here is a delightful collection of never-before-published stories inspired by Jane Austen—her novels, her life, her wit, her world. In Lauren Willig’s “A Night at Northanger,” a young woman who doesn’t believe in ghosts meets a familiar specter at the infamous abbey; Jane Odiwe’s “Waiting” captures the exquisite uncertainty of Persuasion’s Wentworth and Anne as they await her family’s approval of their betrothal; Adriana Trigiani’s “Love and Best Wishes, Aunt Jane” imagines a modern-day Austen giving her niece advice upon her engagement; in Diana Birchall’s “Jane Austen’s Cat,” our beloved Jane tells her nieces “cat tales” based on her novels; Laurie Viera Rigler’s “Intolerable Stupidity” finds Mr. Darcy bringing charges against all the writers of Pride and Prejudice sequels, spin-offs, and retellings; in Janet Mullany’s “Jane Austen, Yeah, Yeah, Yeah!” a teacher at an all-girls school invokes the Beatles to help her students understand Sense and Sensibility; and in Jo Beverley’s “Jane and the Mistletoe Kiss,” a widow doesn’t believe she’ll have a second chance at love . . . until a Miss Austen suggests otherwise. Regency or contemporary, romantic or fantastical, each of these marvelous stories reaffirms the incomparable influence of one of history’s most cherished authors.

The new hit movie Love and Friendship starring Kate Beckinsale is based on two early works by Jane Austen, Lady Susan and Love and Freindship - both of which are included here. Fans of the movie will find the bulk of the plot has been taken from Lady Susan and the title from Love and Freindship.

For real lovers of Jane Austen "s work, a completion of her unfinished Sanditon as she might possibly have envisaged it herself. No zombies or other anachronistic gimmicks, but a number of interlaced love stories set against a gently satirical picture of the fads and fancies of the times, above all the rising fashion for sea bathing and the greed and folly that accompanied it.When Charlotte Heywood leaves her large and conservative family of Kentish landowners to stay with the Parkers in the new resort of Sanditon, she expects nothing more than a tranquil seaside holiday. She soon however becomes involved in the life of the little town, and is challenged to measure her own traditional values and tastes against those of financial speculators, affected social climbers, fashionable hypochondriacs, and followers of the new romantic ideas in the arts and human behaviour. Her initial attitude is that of an amused spectator, but soon, to her own surprise, she finds herself falling in love with her host "s younger brother, the witty and fascinating Sidney Parker. Sidney however leaves Sanditon abruptly in the company of Charlotte "s beautiful and enigmatic friend Clara Brereton, with whom Sir Edward Denham, penniless nephew of the town "s patroness and Sgreat lady , is in love, to his avaricious aunt "s displeasure, and the town buzzes with rumours of an elopement Anne Toledo has taught English Literature at university level for many years, specialising in the nineteenth-century novel in general, and in Jane Austen in particular. She is a devoted Janeite, and hopes that this story will appeal to those who share her love and appreciation of Jane Austen "s work at all levels “ as romance, as humorous observation, and as moral satire, and also as a fascinating picture of daily life in middle-class England in the years immediately following the Napoleonic wars.