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When Werewolves Go Lit(erary) –

 

 

Author note:

This is a continuing conversation I’ve been having with an author pal of mine – Jayne Lockwood (who also writes under the pseudonym of Savannah Smythe) and is based in the UK. We started this as a means of exchanging ideas, listening to each others gripes and fears, sorting out what we do and why we do it, and how we can possibly market the damned things we produce. They are captured via a chat session on Yahoo so they are a stream of consciousness at the moment they happen. We realize that since we aren’t really editing for perfection, that we may “step in it” from time to time. We embrace that. We know we may mis-speak, may say something out of turn without much thought going into it. It is ALL part of the dialog. We want to look back at some point and see where this journey has taken us as we write what we write.

 

Jayne Lockwood: Okay, so you’ve had a few trials and tribulations recently with your work and the definition of the word “literature.”  How would you describe your writing?  I’m talking about in general, not just Angels of Mercy  (AoM) … and why?

 

 

SA Collins: I think actually that my recent release of the “fluff” piece I did was the most instructive on what kind of writer I am. I mean, it was supposed to be a “fluff” piece about werewolves. How much more fucking non-lit can you get, right? Yeah, well, it seems I can. I didn’t know my wolves would go all “lit” on me. It was quite the revelation. I think it is because I am wrapped up in their headspace (I tend to write first person), regardless of the work I do, with the human condition in it. I find the inner-monologue to be of vast interest. It is where the most grey in all of us reside (50 Shades of Crap aside…).

 

 

Jayne Lockwood: LOL, let’s not mention that…

SA Collins: Oh, can we? *shudders*

SA Collins: And in a real way the monsters in my werewolves really distilled that for me. I mean, it has always been the ultimate metaphor in literature (esp. in the gothic tropes) to use the monster as a representative of the monsters in all of us, whether we choose to let them out or not.

Jayne Lockwood: The examination of the human condition is a great one, but I don’t think it is just the premise of literature. What I’m trying to say is that examining the human condition can be done in lesser books …

SA Collins: Sure, but the transcendency of the work is what I think is the dividing line. It was what I was getting at in the summation of my last blog post. A lot of works examine the human condition but very few of them invite that deep dive into why they affect us so. Tom Sawyer gave us many more questions than Twain ever attempted to answer. That is what I think Literature does. And to be clear it isn’t the easy questions we come away with that I am speaking to – I mean it is the hard questions we often don’t want to look at.

Jayne Lockwood: True. And so did John Steinbeck.  To write great literature, you have to produce something of lasting artistic merit. And it doesn’t have to be a very long book to do that.

SA Collins: I don’t think the artistry is necessarily the key factor here though it is the art of prose that does ultimately sway an audience. I think that literature itself sort of brings the artist out more in the use of words. And to your point, that was also what I said in my summation – length doesn’t have anything to do with it. The Old Man and the Sea, for example.

Jayne Lockwood: I’m thinking of Of Mice and Men as a case in point.  A very slight book, but packs a powerful punch. So you’ve got your piece of literature.  It’s beautiful, perfectly edited, superbly crafted.  How do you market it in this modern age?

SA Collins: I used Look Homeward, Angel (LHA) on purpose as a point of comparison. Why? Because by many critics and literature scholars it is considered one of the greatest American literary works of all time – and it was one of the reasons why my husband drew the conclusion about my work in Angels. Because there was a segment of the literary circles that agreed LHA was a literary work but it rambled. It meandered. It didn’t do what it did concisely. It also took nearly a quarter of the book before you even got to the main character. So there was some give and take on how it was perceived. BUT what it did do was that it presented a complete picture of a complex family that showed all of the foibles and follies of humanity in it and it did it beautifully.

Jayne Lockwood: I’m thinking of a comparable work in James Joyce’s Ulysses.

SA Collins: Absolutely. To answer how I would approach AoM – or do you mean any modern work of literature today? Hmm, I’m not so sure what you’re probing at here …

Jayne Lockwood: I’m saying any form of literature.

SA Collins: Oh I get you … hmmm, that is a hard one. And here’s what I’ve learned from my own journey: when I wrote Angels I thought I was writing a bit of fluff, a simple M/M romance genre thing. The problem is while I was writing it – it was all I had in my head. I just heard Elliot’s voice (probably because he is so near to my own – even if he makes choices I never would). I didn’t say, “Oh, I am gonna write the gay Gone With The Wind now.” It’s just not how an author approaches something that becomes literature. That wasn’t my perspective. I just thought I had a cracking good story and I wanted to get it down before it left my little ol’ pea brain. That was the impetus to write what I did. I think most authors approach it that way. It is only when the work is completed can you look at it and go – well, fuck me, what did I just do there?

Jayne Lockwood: I totally agree.

SA Collins: I think that Wilde, Wolfe and the rest did what they did. It was for others to put that label on the work. I can totally see that now. I get that my work is “like” literature more than general genre fiction. Why? Because I do ramble. I let my characters ramble a bit – because we all do to varying degrees. That’s what makes it a character study body of work. I want it honest; I want it true. But I think most authors do – it is the depth of that character dive that I think that separates me from most general fiction writers. Think about it: if I wrote DaVinci Code (which I happen to have the movie on the TV right now), that book would be vastly different than the one that Brown released.

Jayne Lockwood: It might have been better… Although a lot of people dissed that book, I actually enjoyed it.  People seemed to get sniffy because it was quite “light,” but that’s okay. I had to laugh when you said on your blog that you had given yourself a month to write AoM.  I gave myself a year to write The Cloud Seeker (TCS)…

SA Collins: Aw, (regarding DaVinci) thanks for that! Well, that’s the funny part. When I dreamt it up I thought – oh, this is a simple little m/m romance thing with a bit of a thriller take on it. Simple enough.

Jayne Lockwood: Simple enough?  HAH!

SA Collins: But you see, that’s where I was when it all began. Isn’t that fascinating to ponder a bit on? I had no idea (when I started) that Elliot was going to mentally and emotively vomit all over me. What happened very quickly was that all of those pent up things in my past started to pour out in the course of distilling them and reliving them. Elliot seemed to begin to lead me through his story. I’ve read the sample you sent me of TCS and I was really loving the prose you put there. Truly.

Jayne Lockwood: Thank you! That means a lot. I’ve been accused of being too “wordy” and “not literary.” But I think a true writer (controversy alert) cares deeply for their characters.

SA Collins:  Sure they do. They are their creation. I would never assume that they don’t. But I think where I diverge from others is because of my theatrical training – as an actor I have to come up with why I would pick up that tea cup in a certain way and at a certain point in time (not just because the director said so – not good enough) … more of, was it because of an abusive grandmother who would slap my hands if I did it wrong? That sort of thing.

Jayne Lockwood: Got it. You self-analyse, so why wouldn’t your characters do the same?

SA Collins: Absolutely. Though I don’t think that your character question is controversial. I think it is germane to being a real writer. You have to care for the work and the characters in it. Just as in live performance, the audience will know the difference if you don’t (or as they say if you “phone it in”).

Jayne Lockwood: Absolutely. If you don’t care about your characters, why should anyone else?

SA Collins: Yes, it isn’t enough when the director tells you as an actor to cross to the left side of the stage on that particular line – you have to examine (or you should) why that moment in time evokes that response in your character. So it is those machinations and inner workings that I want to examine. I want to flesh that out for a reader in my works. I think this is the fertile ground for literature. The deep dive into the very essence of who and what we are as human beings.

Jayne Lockwood: I agree. If you want fluff, there is plenty of it around.

SA Collins: It is why Elliot revisits certain aspects in his life over and over in Angels of Mercy – to pulse check that he truly has the hottest guy on campus to call his own. To him it is beyond any hope he would ever have in life; therefore, it can’t be real. He has to keep mentally slapping it up on his emotive wall to see if the “experiment” he thinks it is will still hold true. He learns over time that Marco will never willingly stray from him. Marco is a fighter in their relationship. Elliot has never had that from anyone. Support, yes. Someone who will fight for his love? Not a chance (at least up until Marco enters his world).

Jayne Lockwood: It’s human nature to ask “why me” ?

SA Collins: I think it is, but I often ponder why more authors don’t really ask that question of their characters. Perhaps it is just me, but the “showing” gets rather banal after awhile. And let’s be honest, not many can actually do a good job of showing (which is why it is such an over wrought line used on newbie authors). As for my work, I couldn’t just leave it at that for the reader. I had to show by telling (through his inner-monologue) why Elliot felt that way. I had to lay it out for the reader why gayboys often deny themselves happiness outright.

Jayne Lockwood: Has the purpose of the book (AoM) morphed into an attempt to get people on the “outside” to understand the psychology of gay men?

 

 

SA Collins: To a very real degree, yes. I don’t think many authors tackle this (well, certainly not in the M/M Romance genre – it can be way too superficial for my tastes). There is so much speeding it along – and then, and then, and then. Jesus, why not explore why the “and then” exists in the first place and come away with a little more depth? For gay men, and I’ve spoken at length with my gay brothers on this topic many times over my half-century existence on this planet,  it (happiness) is unusual for us. We don’t expect it. We can’t believe it when it is. We distrust it out of turn. Society has taught us this. We grow up like other children only to experience that when we feel differently then we are the broken ones. Elliot has to do this (poll whether he’s okay with everything when it happens or not) to protect himself. It is Marco who must obliterate that by example. Marco realizes very quickly that he has to man up and show (and tell) and demonstrate that he is unwavering. Every time Elliot doubts, Marco shows him how deep his feelings run for Elliot. And teens do this to a great degree – EVERYTHING is heightened, over-dramatic. Now add gay teenboy angst on top of it and there ya are = ELLIOT.

Jayne Lockwood: Because at its heart is a cracking good read.

SA Collins: I hope it is. The work took on a life of its own. I mean, my work will always be about giving a non-gay reader insight into facets of gay men as I create them. No superficial walks in my world. That is a very good question you pose there because I’ve only just recently come to the conclusion that Marco is not really gay at all. He is really pansexual. For him it is truly the person inside he falls in love with. But (and this is critical here to properly understand his character) he says “gay” for Elliot because he knows, in his heart of hearts, that anything other than that would hurt Elliot. Elliot wouldn’t be able to accept it and allow them to move forward. It would be too tenuous to him. That is a big part of the self-deprecation and denial that is often inherent in gay men. We’ve been taught that by society. It’s getting better and more men are accepting of who they are and that they DO deserve happiness. But there is a VERY long way to go. My work still has relevance in that regard. At least I think so.

Jayne Lockwood: I think you’re right.  There is still a lot of homophobia out there as well. Define “pansexual.”

SA Collins: Pansexuals differentiate from bisexuals in that their attraction is inclusive of transsexuals – it is very pure in that it is the person inside that ignites and inflames – the sex/gender is almost irrespective of it all. I should add that there’s a lot of homophobia (self-hating) within the community believe it or not.

Jayne Lockwood: It isn’t a term I’ve heard before. Is it homophobia within the community, or snobbery?

SA Collins: No, there is an inherent homophobia (for lack of a better term) because they despise things within our own community, as if we’re all unclean. You only have to look at gays actively involved in the gay conversion therapy to see it. There is a gay friend of mine who is on FB (I am sure you know him or have seen him) but he holds himself up as a gay activist but he constantly berates others within the community that he thinks are unclean or not to the standard he holds for himself. I would say that it is snobbery but it transcends that because of the vehemence that he exhibits when he rants. There is a self-loathing if it doesn’t meet a certain degree of being perceived as normal or mainstream. And I find that troubling as a member of that community. As we strive for acceptance and equality, must we be so quick to cut others out or shame them into being like our heteronormative counterparts? I don’t think that is the way to go. We need to embrace all of it. The leather community, the people in the sex industry, whatever walk of life because let’s face it deary – those things exist in the straight community as well. In fact, the BDSM came from us and was adopted by the straight community (as we’ve seen – sometimes in the wrong way as with 50 Shades of Utter-Bullshit). But I digress. Getting back to your pansexual question, I think this is why Marco can have really deep seated feelings for Holly because it is who she is that he responds to – but when compared to Elliot, even she comes up short.

Jayne Lockwood: Which means, his love for Elliot is pure and true.

SA Collins: Yeah to your last about Marco and Els (Elliot). He comes to realize that it is truly who Elliot is that he can’t be without. I also think this is why Marco “lies” to Elliot about his being with a guy/girl at the same time in the first book. It isn’t true. He also isn’t wholly honest that the girl had no interest for him. We know in Marco’s book that isn’t true. He fucking loved being with Holly (literally, because he loved fucking her). It just wasn’t going to hold a candle to what he felt about Elliot. He knew he’d never be fully there for her in that way so he had to let her go. Elliot was more important to him. But his fear of rejection by Elliot (because he’s a jock) is what led Marco down a rocky road of questioning what his sexuality is all about. He gets his answer, and ultimately it doesn’t change his deep attraction and desire to bring Elliot to him.

Jayne Lockwood: To your last point, I have another author friend who says he isn’t popular with the gay community either because of what he used to do for a living.  He’s such a lovely bloke.  It’s a real shame. 

SA Collins: What did he do for a living? Work with politicos who voted against us?

Jayne Lockwood: He did something that many would perceive as unseemly, just to make ends meet.

SA Collins: ‘Cause I gotta say that that is about the one thing that I have issue with – those who work against us. Other than that, not much else gets under my skin. If he isn’t working against us as a community then it won’t be an issue for me – tell him to look me up … not that I am looking to step out on the hubby – let’s be clear! *laughs*

Jayne Lockwood: I didn’t think for one moment!

SA Collins: I mean that I am very sex positive here. I have numerous friends who are IN the porn and sex industry (see Boomer Banks and Rocco Steele below – two prime examples of brilliant and dynamic men who have so much more going on for them – well beyond their porn star status), after all. I play fairly and respect (nearly – cause haters who are only about the hate don’t rate much in my book) everyone.

 

 

Jayne Lockwood: He’s happy with his partner.  Everything has turned out ok so far.  He’s an FB friend.

SA Collins: I treat them all as humans first and hope they love the crap outta me for it.

Jayne Lockwood: I don’t have a problem with anyone’s profession or sexuality either, as long as they’re not promoting hatred. Can’t be doing with that.

SA Collins: Totally on board with that. But yeah, to your point on literature, because it is our topic today, I think that when my werewolves started expounding or waxing on deeper psychological elements of what it meant to be a monster, then I knew I was using my Weres as something else altogether. I was actually calling back to what gothic horror really was – a proper examination of we humans.

Jayne Lockwood: Finally!  At least someone is …

SA Collins: Actually it’s like the cable show Penny Dreadful (here in the States). I want my Weres to evolve to that sort of story. I think I’ve begun to lift it out of the fluff stuff and go after real gothic pathos here. Like right now, book two is actually from Hank’s father’s perspective. He has quite a bit on his mind, it seems about everything having to do with his son now in the pack. It’s taken on a different mantle. It’s become a deep dive into fatherhood, monsterhood, and husbandhood – his plate is pretty fucking full coming back home.

Jayne Lockwood: There’s definitely a market for more intelligent lycanthropic books (did I spell that right?)

SA Collins: Yeah you got it.

Jayne Lockwood: Which one are you thinking of carrying on from?  Henry or Shrill? (Point of clarification – Amazon banned the original work HO’M,O – Henry O’Malley, Omega  due to a dark thread in the plot so SA re-released a watered down version of the same story as The Shrill of Sparrows)

 

SA Collins: What I love about (John) Logan’s work in Penny Dreadful is that it is the monsters who can cope with the harsh realities of Victorian England. The humans are the ones who struggle and make epic mistakes. I sort of like that.

Jayne Lockwood: Because they are human. 

SA Collins: Shrill will always be a standalone copy – the “werewolf-lite” version of it. So yeah, it is the human frailties that I think are really interesting to hold up to the monsters. I want my Sparrows series to examine that. I mean Cal is a father, a werewolf AND a husband whose wife has gone terribly long without her man giving her “what for …” in the bedroom.

Jayne Lockwood: So, in order not to descend into chaos or make bad choices, we need to be more like werewolves?  I haven’t seen Penny Dreadful yet, so I might be talking out of my arse.

SA Collins: Cal’s a busy boy in Quarrel of Sparrows (the follow-up to HO’M,O/Shrill). And no, you’re not talking out your ass (sorry, it’s the Yank in me) re: Penny. It is very well done. Full-on balls to the wall honest-to-God pathos going on in that show. What is interesting in it is that Logan takes side trips that you start in with – what the bloody fuck is this about now? Only to find out that the way ’round trip you just took for an episode informs you on the entire arc you’re on with the whole thing.

Jayne Lockwood: Getting back to your Weres, it sounds like he has his work cut out (in Sparrows Hollow, West Virginia – where the story is set), but does he think like a human or a werewolf?

SA Collins: Cal is most definitely human throughout. But he is constantly at war with his inner wolf. The whole cast of boys are, actually.  What I am doing that is drastically different – which book two will explain – is that I am introducing a new type of wolf into the genre.

Jayne Lockwood: Does he have any Were traits at all?

SA Collins: Oh yeah he will “wolf out” – no doubts there – mostly because he has to train his boy in what they are. They are the only two of their kind. In this, I introduce a new classification to the Were’s genre – a Gamma (as opposed to Alpha, Beta or Omega). It goes back to that spell that Ruth cast when she was pregnant with Hank that didn’t succeed in separating the wolf from Cal/Hank but redoubled and instead bound the magic to them.

Jayne Lockwood: THAT sounds like an interesting read.  When do you think it will be finished?

SA Collins: I want it out by the time the blog tour starts in mid-March, so I can promote the release of book two while I am talking up book one.

Jayne Lockwood: So they (Father and son – Cal and Hank) are unique?

SA Collins: Yes, the Gammas are not beholden to any pack law. They can be destructive as all hell and can go completely off the rails (Ruth, Cal’s wife and Hank’s mother (who is a witch), is the one who comes up with the term because of her cosmology studies when she was in college). So Cal and Hank are Gammas – they have a way to use their wolf talents and strengths and can even imbue that magic for a time into their pack to strengthen them. But it comes at a cost, as they shall soon see. BUT there is a wrinkle in this because Cade, Cal’s former lover in his old pack, has been doing his magical homework and has sort of created something like it himself during the intervening years since Cal disappeared and Hank was growing up.

 

 

Jayne Lockwood: Got it. Where did this idea come from?

SA Collins: The idea came because I wanted to do something about the heteronormative perception that the “bottom” was the weak guy in the gay relationship – believe it or not.

Jayne Lockwood: You have to have a wrinkle …

SA Collins: That was the impetus for my Gamma

Jayne Lockwood: Aah, now I’m getting it

SA Collins: Omegas in the gay Weres trope are the soothers of the pack life. They often are physical (to some degree) with most of the members of the pack – they ensure pack cohesiveness and common interests. The Alpha and Betas rely on the abilities of an Omega as they augment their strength in a pack. But Ruthie’s little mishap gave birth to something else in Cal altogether. And since she was pregnant with Hank at the time he also has the same trait now.

Jayne Lockwood: So is he the ultimate power bottom? Although I hate labels.

SA Collins: Yeah, kinda sorta. But the bottoms aren’t the weak ones. Think about it. It takes a helluva lot of courage to be there for your man in that way. A real top (that isn’t just trying to be a prick but actually gets that it is a mutual thing/pairing they’re after) understands that he wouldn’t get what he wants if he didn’t have a man who was willing to go there for him. Just sayin’… The thing is, I want to use the sex as a way for these boys to remain rooted in their humanity through all the gross bloodshed that is going to come their way.

Jayne Lockwood: I think people expect sex as part of the deal with werewolves. 

SA Collins: Perhaps, but in my world it is also how I will bind Hank to the boys emotively. He will assume the responsibility for each of them. Right now he doesn’t know how much that is part of the deal. He’s still reeling from the fact that he has eight boyfriends. Yeah, it’s very specific in my Weres world. And with Cal/Hank – it takes on a whole new meaning – remember Cade’s comment at the end of HO’M,O where he said that movin’ in that boy was like dippin’ his wick in a very powerful force? Or something like that, well magic is involved in their sex.

Jayne Lockwood: I just wanted to touch on book covers, whilst you’re here as well.

SA Collins: Sure. Fire away

Jayne Lockwood: How do you decide on what to put on a book cover?  We had another discussion  about the cover for Angels, in which I said it wasn’t about American football, but actually, it is, or the game dynamics that can be applied to real life.  What makes a great book cover, one that “pops” on thumbnail and makes people want to click on it?

 

 

SA Collins: It was interesting for Angels because the whole series actually came from an image I think I’ve told you before, where I imagined a couple of boys on the Bixby Bridge (which is on my site) and cop cars on either side with lights flashing and the entire scene bathed in a heavy fog. There is another boy falling from the bridge with his arms outstretched and the fall has created a draft of “wings” behind him. That was the image I had in my head when it first came to me. I always thought that was the final book image. But now I am not so sure. I mean, it is a very indelible image in my mind about the books, but I don’t know if it would make a great cover. What was core for me was what will POP? What will stand out? And then I started to play with metaphors. The only one that mattered to me was football in and of itself – because all of the trauma these boys go through stem from that singular point. Just look at what’s happened with Michael Sam in the sport. So unfair on how he was not assessed because of his true talent, despite what the commentators say. But let’s say what if Marco was a painter, or a runner or some other damned thing, I don’t know it would be just as pointed.

 

 

Jayne Lockwood: Okay, but book one is from Elliot’s perspective, and he hates football …

SA Collins: Yeah so it was even more important to me that football be on that cover – weird, huh? But if you noticed I looked for a very specific image – that of a football player pointing to the reader, as if saying ”YOU.“ I’ll admit it isn’t everything I want in it, but it does the job. The color scheme is strong enough that it does standout against the other half-torsoed men on all the other covers. In a way – exactly – if someone thought I was being high browed from the get-go then I think they’d pass on it. Sad but true, that.

Jayne Lockwood: I get what you’re saying, and I LOVE the cover.  It’s been around a while now and it’s what I associate with the book.  If you changed it, I’d think WTF, but it got me thinking as to what the book is actually about.  And someone else said on the blog that the book didn’t immediately say “literature” but is that a bad thing?

SA Collins: And can I stop and just say – do we HAVE to have half-naked men on EVERY cover – oh for fuck sake! But in this way I sort of straddle all of those tropes and cover ideas.

Jayne Lockwood: Ha ha!  I do my eye-rolling thing when I see pecs and nips.  Like, here we go again … So readers know from the get go they are getting something different?

SA Collins: It has an athletic male on it, it is colorful (even though it is rather monotoned), and more importantly (at least to my way of thinking), it isn’t what everyone else is doing. Well that is the hope – first get them to click on the damned thing because it does look different, then the write up is my gig – that’s where I better do my damned work to “elevator pitch” them to hell and gone to pick up the damned thing and BUY it.

Jayne Lockwood: I don’t do pecs and nips either …  Just handsome men in suits.  If they want pecs and nips, they have to READ THE FUCKING BOOK …

SA Collins: Yeah. And I appreciate that perspective of yours, believe it or not. In a very real way it gives balance to your erotic works inside. It’s very much the “less is more” or “let your imagination wander” sort of thing.

Jayne Lockwood: That’s it.  The write up is crucial.  I hate the write up ...

SA Collins: It’s funny because I’ve decided that self-pub is my plan B to get Angels out there. But if I really want it to succeed or have a real shot at it, I think I’ll have to really try traditional pub by going for a real literary agent. I think that it is the only real way I have a shot to get it out there. Given with the resistance I’ve experienced with HO’M,O and Shrill, I don’t think the promo- blog tour groups would be able to handle the violent homophobia that is at the core in Angels very well.

Jayne Lockwood: Yes, I’m with you on the self-pub/trad thing.  You need backing.  Some people make lots of money by self-pubbing, but they are in the minority.

SA Collins: I need deeper pockets and a bigger marketing team for this type of work. Perhaps that is one of the greatest deterrents to writing literature – because you really can’t self-pub or market it very well. Not on your own.

Jayne Lockwood: And from what I’ve seen (not that I’ve delved extensively) the blog tour thing seems to be the premise of romance. The deep pockets thing veers dangerously into “vanity” publishing – which I won’t do. People will either like my book or they won’t.  The product is good, but spending ££££££ is not an option. Most people are scared rigid of Closer Than Blood when I’ve tried to pitch it … The trouble is, my books are too darned long (about 100,000 words) and it’s as if they are saying, “Oh, that’s so much time to spend on a book.  Life is too short.  Let’s buy a fluffy romance instead that I can read in a day …” Or as someone said, maybe my books just aren’t very good! Fuck that.  They are!

SA Collins: No I think it is that there is so much shit out there (which was the nature of my emotive rant on my blog) that the good stuff is being lost in the mix.

Jayne Lockwood: So much shit.  I agree.  It’s hard to wade through it all …

SA Collins: I think this steady diet of fluff, and badly written fluff at that, that I think that the well-crafted work is just being missed.

Jayne Lockwood: The trouble is, no-one really sets out to write a crap book, but some don’t understand the time and effort needed to make it good. That might make me sound like an arrogant cow, but it’s true.

SA Collins: I don’t think it’s arrogant at all. But the thing is while self-pub has been a boon to new stories making their way out there, the problem is we have people who have no business pubbing doing so and really making it difficult for those of us who really can do what we do.

Jayne Lockwood: Yup

SA Collins: And I am not being snobby about that. I’ve a shit load of books I got through the first page and it went right into the “fuck it” pile on my e-reader.

Jayne Lockwood: Yeah, I have a few of those as well.  I don’t review them because, well, it would be a bloodbath and it’s not up to me to squash anyone’s dreams.  Some people think the same about my writing!  Glass houses, anyone?

SA Collins: So many people don’t know how to craft a story or flesh a proper character out. Now I don’t toss something because it isn’t how I write. I mean, I’ve loved your stuff and Brad’s stuff and been totally fine with the characters and the plots in those just fine. So it doesn’t have to be anything like my work. But I do tend to write what I want to read. Don’t know if that’s how all authors write, but I know it’s what I do. There is one topic I did want to touch on briefly, if we can. Or we can hold off for a later time.

Jayne Lockwood: No, it’s cool.  Shoot.

SA Collins: So when you decide on a story, what is the singular thing you fixate on? As a content creator I am always fascinated by what sparks another author to write about. Is it the character, an image, a situation you want to explore? All of the above?

 

 

Jayne Lockwood: It can be. With Lexington Black, it started out from another story I have in the pipeline, called Madison Blue.  That hit the rails a bit, but I thought, why not do a series with those kind of titles?  So I had the title, then I had to write the book! With The Cloud Seeker, I always wanted to write a novel around 9/11, but I wasn’t sure if I had the writing chops to do it justice.  It took years for that to happen.  In the end, it seemed obvious to base the novel around my village and weave the story through it. Sometimes it can be a picture, a single line of dialogue.  Anything that creates a spark.

SA Collins: For me it is our human fears that I want to explore. It’s really interesting because let’s step away from my Angels or Weres for a moment and let’s look at Fae Wars – Fear the Feigr (which I’ve set aside while I wrote Angels). It is REALLY about male sexual insecurity. And I am using a trope to examine that with by using the Norse Feigr (which aren’t all that well-known in mainstream society (save for the eye candy Thor movie series of late)) and decided to really explore what makes human (straight) males afraid of their own sex and sexuality. My Feigr are massively scary to heterosexual human males because they challenge what it means to be a man on many levels.

Jayne Lockwood: This is where writers are very different.  I don’t work like that, mainly because I’ve never had the schooling to think in that way. That came out all wrong.  What I meant was I need physical triggers to create a story. Rather than emotional ones.

SA Collins: I see. That’s really interesting … For me it’s headspace.

SA Collins: I know you just went “duh” about what I said

Jayne Lockwood: Nope, I’m just thinking that maybe that is what literature is all about … no, that wasn’t what I mean! I was just thinking that literature is all about emotions, and my stuff isn’t.

SA Collins: It’s a fascinating thing when authors compare what they do and how they do it. It’s almost a cracking story in and of itself.

Tags: Angels of Mercy | Bixby Bridge | Book Covers | Boomer Banks | Cloud Seeker | Cover Artwork | Ernest Hemingway | Gay Community | Gay Werewolves | GayBoy Angst | Gone With The Wind | Graphic Design | HOMO | Homophobia | Jayne Lockwood | John Steinbeck | Lexington Black | Literature | Marco Sforza | Mark Twain | Rocco Steele | Savannah Smythe | Self-Hatred | Self-Loathing | Sex Workers | Sparrow's Hollow | Storytelling | Werewolves | West Virginia | writing

The [D]Evolution of Cover Art

 

-OR-

Trying to find your place in the process whilst keeping a tight reign on your wallet when all you want to do is get the bloody thing done!

 

So I have a book completed. Yeah, there are still tweaks being done to tidy it up a bit more. I think it’s in a good place. It’s not a formulaic romance story. It’s a very deceptive work. I created it with that in mind. It probably means it won’t find much of an audience, but you know what? I don’t really care. Here’s the skinny on the whole Angels of Mercy project for me:

I was writing another series that was going to be my big ol’ Gay LOTR (and if you have to ask what the fuck LOTR is, then you need to come out from under that rock you’ve been occupying and take a look around for Pete’s sake). It’s that Fae Wars thing I got placed elsewhere on the website. But that fucker is huge. Epically huge. LOTR with a bunch of man on man action huge. But there’s a war so there’s destruction and mayhem abounding there as well.

Here’s the dealio with that – because it’s so big (I tend to think Cecil B. DeMille epic) I had to put off writing because I got caught up in the quagmire I’d been back building in that particular universe. I am still contemplating that story. A good friend (and beta reader) gave me some advice to simply write the back story as one big epic tome all by it’s lonesome and then spring into the one that involves Earth so it would, in effect, be like my Hobbit to the Lord of the Rings. One off leading to a series sort of thing. That’s handy. And I can definitely see the advantage to doing just that.

Anyway, so what does that have to do with the cover art of Angels of Mercy?

Well, I ended up setting aside the whole Fae Wars epic to ponder those things I’ve just mentioned, and was listening to Jay Brannan’s Rob Me Blind while bringing lunch back to the girls at home. It hit me. Two boys trapped out on the Bixby Bridge near Big Sur, CA. Police cars on either side closing off the bridge to through traffic. My boys clinging to each other as a third man’s body falls perilously to his impending death in the fog laden morning.

 

 

So yeah, that image stuck with me as I was listening to Rob Me Blind.  By the time I got home one exit down the freeway later, I had the story mapped out. It came to me that quick. I knew three things with absolute certainty:

1. The boys (Elliot and Marco – I didn’t have last names for them yet) would come together at the very first chapter. I was more concerned with the ‘what happens next’ and not so much about the whole “will they/won’t they” that permeates so much of the M/M genre. So yeah, boys fall in love first chapter – BANG!
2. The jock in the story NEVER wavers in his love and devotion to the boy he wants. I am soooo tired about the ‘straight’ appearing jock being the questioning one. My own Marco (my hubby) played football for Clemson back in the day and even played for Massillon (the birth place of modern football). And he has NEVER WAVERED once about what he feels for me. So yeah, Marco is deeply rooted there in my own life experience. If the hubby can be that strong – so can Marco.
3. The story would be deceptive in nature. I wanted to tell a story that from the outset was more introspective, more reflective rather than the standard romance fair. I also knew it was going to spiral into a murder mystery/thriller of sorts (I am a BIG HITCHCOCK fan).

So I knew those three things by the time I got home seven minutes later. The book was already shaping up by the time I picked up the food from the car, the walk from the garage up the flight of steps to the main part of the house.  Marco and Elliot were established. Their world already taking root and like a Morning Glory vine, they spread like wildfire. After lunch I told the hubby all about my new boys. They’ve been a part of us since (that was about 8 or 9 months ago).

I went through several boys as my inspirational source. Each of them though had to have a common thread or element that made them either Marco or Elliot.

Here’s the other thing – While my story does NOT involve the supernatural in any way, I wanted a strong Angel theme to thread its way in and around my boys and their world.  So four more things got added to my list:

1. The school was going to be big, an ex-Catholic parochial school that had been deconsecrated, but would retain its strong ties to its past by creating the high school mascot to be an Angel – and not just any, but an Avenging Angel. This was an important element as it established for me a thread to tug upon time and again with each of my boys.
2. The main characters of the story would all have Angelic names assigned to them and those names had to some how embody the emotive core of who they were as a character. For Elliot his first name (that he doesn’t use) is Cassiel (the angel of tears and regrets). Elliot is a quiet, and sad boy by the time we meet up with him. He’s out to the community but keeps a very low profile because he knows how small towns react to big news like a gay kid in town (say nothing that same gay kid has been around since birth – but when it’s all out in the open, it’s a tough thing to deal with). For Marco, Elliot’s boyfriend (the jock), his middle name is Rafael (the arch-angel) and all things in this trilogy point to him. Marco is the pinnacle and meat of the story. I always saw it that way. The last character (which I won’t go into here as it is a spoiler) has a middle name of Azreal (the real avenging angel in the story). It is he who metes out judgement in the trilogy. And he comes out of nowhere when he does.
3. The last reference to Angels and the town of Mercy is that the other Angels (the football team) play a part in this tale as well.
4. The sex will be blatant. No punches pulled. I can’t tell you how many times I read about sex between two men, written by women that completely miss the mark or “don’t go there” because they don’t want to really know what men think and feel when they are having sex. Which totally blows my mind on one level, but on another completely makes sense because women are always trying to influence men to think another way (their way). But they really don’t bother at all to understand it from a male perspective. So my boys are who they are when it comes to their sexuality. It is rooted in real life. It is how we are when we are together as a sexual couple (to varying degrees, I’ll grant you, but there nonetheless).

So there is a common thread regarding the metaphor of Angels in the story. But it isn’t a supernatural story. It’s metaphorical – in name and essence only.

So the first book is in the can and the second is about a third to half way written. Got beta-readers pouring through book 2 already and giving me valuable feedback. They’re loyal to the cause already so there is an audience out there. Don’t know who they are because the story sort of defies categorization.

But how do I create an eye catching piece of artwork that embodies all of that?

Part of me wanted to keep it simple. Not too involved – involved denotes a dated look. Just look at the covers from just a couple of years ago on some of these books and they already look dated. Mostly because they employed all kinds of Photoshop trickery that was all the rage at the time but no one is doing now. Honestly, the simplistic covers sort of really do it for me. While I think that the 50 Shades book was a right piece of erotic garbage, the look and appeal of the cover work was bold and definitive in my mind. It sent a strong message and played upon the whole ‘shades of grey’ theme from the title.

So here is how I came up with the whole cover concept:

1. I wanted angels or an angelic influence to be a part of the cover as it is a theme of the book (not the judeo-christian core but a theme of the story nonetheless).
2. I wanted it to be strong in it’s masculine appeal and statement (though I didn’t want some hussy to grace the cover because well, they’re gay – duh)
3. I wanted the football theme to come forward as well.

I got completely derailed on my first attempt but as you’ll see below – I think it came together quite nicely.

It all started late last night when I finally decided I’d let my book languish for far too long out there in the beta-reader ether. It’s time to get it out there. So to do that it needed a cover.

Here’s what I had going for quite some time – it was a placeholder:

 

 

The actual title artwork really hasn’t changed. I liked it from the get-go (as it were). I wanted the dramatic angel theme even back then. It was a place holder. Nothing more really. But I did have comments from the beta readers that they liked the look of it. They liked the dark tones and the brilliant blue white element. One person even said that if she saw it in a book store, the cover alone would have made her pick it up and investigate it further.

So yeah, even then I knew it had to be dramatic. And it was certainly duo-chromatic (mono would indicate one color but, even so, I got what someone said to me about that).

So last night I’d reached a tipping point. I couldn’t go further with book one until it had a graphic representation that I could call my own for it. That meant licensing. That meant (since I wasn’t a photographer) that I’d be relying on what was out there from other content artists and pay for the rights to use the material.

First stop was a google search (ha! It was actually a DuckDuck search but you get the idea) for LGBT book cover artists. I found a website that seemed, at first blush, to fill the bill quite nicely.

 

 

They even have a section dedicated to the LGBT market. Bingo! I was in like Flynn.

I just had to choose one to start with and play around with their little online designer:

 

Once I selected a cover – and paid for it, it would be mine to use for e-books and printed copies up to 250,000 in combined sales. At what I was planning was $4.99 a pop, that would be over a million dollars in sales. Yeah, I could agree to those numbers. They could come and ask for an extended license at that point. I could probably afford it.

So I picked a cover and started to play with it.

The nice part about all of this? Once I bought the cover, it was removed from the site (never to be seen/offered again). It was mine and mine alone to use as I needed to for the book. No one else would have it. It wasn’t free (prices start at $69 a cover and go up steadily from there).

So I found one that spoke to the angelic element – it looked like this:

I could’ve used their tool to come up with the logo, the author byline and any tag line I wanted but to be honest – I have a far more extensive font listing on my computer anyway (like over 10k fonts installed). I am a font whore, plain and simple.

So I bought it without any writing on it whatsoever. I was cool with it.

Now here’s the rub (as they say): It wasn’t everything I wanted in one pic. I loved the deco wing element – cause that was bang on with how I saw the logo emblazoned on their helmets at the school. So yeah, I was good with that part. The one element I wasn’t so pro on was the guy on it. Not that I didn’t like him – I did. He appears to be a ginger so yeah – got a Smokin’ Hot Ginger Stud section in the galleries so yeah, he works definitely on that level. I don’t know why I suddenly have this proclivity for gingers but it sorta sprang up on me all of a sudden – and one of my new characters in Angels of Mercy Volume 2: Marco has a new buddy of his that will prove to be pivotal to how Marco gets Elliot back on his feet after book one (spoiler – sorry). And Angus (Marco’s new ginger stud buddy) is a full on stud material – no bones about it but with a heart of gold that’s been stomped on repeatedly.

From that perspective, the guy (on the cover art I just bought) would work – just not on this book. Angus Carr (the ginger buddy for Marco) isn’t on the scene in book one at all. He doesn’t arrive front and center until book two. This whole buying on a whim was a knee jerk reaction to the studly ginger angel on the cover art I purchased. ‘Cause Angus has fast become my favorite character to write about. I get giddy like a school girl whenever he is in a scene.  I think if I continue with this world of my boys at Mercy, then Angus’ story will be the next one to tell. I love him that much. But, just not now. This was Elliot’s book, not Marco’s, and certainly not Angus’.

But I’d paid for the artwork so I had to use it somehow. Also, the color scheme was all wrong – while warm, bold and powerful, it was the wrong tone to take. The school colors are Blue and Silver (with white). So the golden hues of this picture just wouldn’t work. There was no tie-in other than his being an angel.

So the color had to be swapped:

Now I liked the logo work from the first book image I created (remember the placeholder?).

So that  got incorporated into it but I stayed with the whole duo-tone idea. For some reason I thought it would work, hence:

The feedback was rather instantaneous – a BIG OL’ “MEH…”

Cue face-palm moment on my end. Yeah, I wasn’t really thinking it through.

So I scrambled again when I got up at 7am this morning after reading the email responses from the beta reader/buddy crowd. I began to look through iStock Photo for a footballer (after I remembered to exclude soccer players from that search criteria) and found some fairly decent picts along with a decent price. The best part? Their license was greater than the one I got from selfpubbookcovers.com site. I could walk right up to the 499,999 sale mark before extended licensing came into play. Another cool thing! So yeah, I sorted out which pictures said the most to me. Finally settling on this one:

The hubby approved – all the other guys I had targeted as potentials were all holding the ball incorrectly and it rankled my ball playing hubby. Being a former Clemson player, I tended to listen to him on this one. This was the only one where the model sorta had an idea of how to hold the ball. It was the closest we came to the truth. It’s rather stark without any helmet logo (it’s just so damned WHITE), but I knew I could do something about that.

So now my thinking was to marry the previous version with this newer image I had going.

First off, strike the black background so my angel wings would be present in the background – if just a bit more muted than before.

Another thing sort of stuck in my craw a bit: he doesn’t have a jersey number. I might still take care of that – though that is a time consuming process, especially with the folds of the jersey in the picture and having to get it to match up. It would take some work to place a number there and get it right. I still might put in the effort but I’m cool with it without the number as well. I also liked the finger pointing toward the camera because Marco does make a definitive choice to be with Elliot from chapter one and that decision (while two years in the making for Marco) didn’t come easy nor were they ever aware of what a chain of events their coming together would cause in their small hamlet of a town.

But I digress. So back to my cover:

I had to marry the two images – but first I had to take the green tones out of the previous duo-tone image I had going before. This after my author buddy mentioned that “monochrome” covers tended NOT to sell – they get lost in the shuffle (which I supposed he was excluding black as a color in that arrangement, but having been a graphic artist in the DTP days of the 80’s/90’s, I knew better – it was duo-tone). Needless to say, since the blue in the jersey is quite strong I had to unplug the more teal elements from my previous angel incarnation.

So he went silver-blue:

So now the wings were set. I just needed to punch it up a bit and then put my footballer in it. I knew it was going to be one helluva visual break between my footballer (standing in for Marco in my story) and the angel wings in the background – but I was good with it. Those angel wings were symbolic for all of the angelic metaphors within their world (the football team, their namesakes, etc). So I was good with the break in texture. I think it fits. So now in PhotoShop, I had this:

The white was still too prominent but I wanted to see it with the title and my byline (I got all schoolgirl again and couldn’t wait it out) – I also toned down the bluish tint to the wings and made them more silver in appearance since those are the school colors. And I liked that the wings have a dream like quality to them. So now I had this:

But the white of the helmet was a bit too much – I needed to rough him up a bit – and beside that, the book goes dark in the end. Matthew Shepard dark – but with a twist. That action is what sets up Marco’s book (volume 2) which is told from his perspective.

My author buddy said to think long and hard (well not like that – head out of the gutter now, but you get my meaning) about how I was going to present my byline. I should be consistent with it. I happen to like Copperplate as a font. It can be both serif or sans serif because the actual serifs (the tiny ends on each letter that help to distinguish it from one letter to the next – those little flanges on a T or an A or even a W) are rather small and innocuous. So Copperplate Light it was. It went with the “of Mercy” in the title anyway. And thus, the title work was born and stands strong even now.

I was almost there.

All that white on the helmet and gloves was a bit too distracting. Say nothing that it I was missing an element that spoke of the darkness in my novel. So I needed to punch up the color a notch – something to get it noticed. As my author buddy said, you want it to gain attention when it’s on a grid of 100 other titles on Amazon’s site – that’s the goal. He’s right in that regard, even if sales are not the ultimate end game for me in this endeavor.

Angels came to me in a whirlwind. But it was more of an experiment in my mind that just germinated and took off like hell wouldn’t have it. But I needed to fold in that darker element that will carry the story forward.

Blood, that’s what was needed.

Not a lot, but enough that it’d leave pause for thought – “ooh, blood, that’s not normally on romance novels…” – that sort of thing. A M/M romance with blood on the cover would go against the grain. Mixed signals. Yeah, it’s what the story was calling for. Because the entire work is a series of mixed signals. It’s intended that way. From the first page you are in my protag’s head so you get to hear his random thoughts (even mid-stream in a conversation with someone), and he addresses you, the reader, from time to time. He knows you’re there with him. He talks directly to you. That’s intentional too. And gayboys are always bouncing around. We constantly have to keep rethinking our game. That game being just surviving in a world where you’re constantly reminded that you are not the same as the rest of the world. Your relationships are challenged, you have to keep coming out every single day of your life because everyone will try to assume you are one of them – part of the hetero-normative club. God, in sooooo many ways, I can’t tell you how happy I am not to be in that particular club. For me, being gay means I got lucky.

So yeah, blood was definitely called for here. The story gets quite bloody and quite deadly. But all is not lost – though by the end of the book you might well and truly think so. It’s one helluva ride. And you are having to put up with all of Elliot’s idiosyncrasies and mental ramblings. He is constantly stepping from one foot to another just to stay on top of things. When Marco enters his world it is turned upside down and things have never been so right. But it takes him off his game. Marco soothes and comforts, but he also stirs things in his wake – things he doesn’t want to admit, things that are conspiring to make them both pay for the love they feel for one another. And make no mistake, my boys feel it deeply, like a fever in their blood.

Blood.

Yeah, it needed blood.

Thankfully, I have the entire Adobe suite on hand and have spent a fair amount of time taking special effects courses at the college so I know how to manipulate these kinds of things. So off to After Effects I went with a bevy of blood splattering movies and clips I’d amassed over the years. There had to be some blood I could use somewhere. There was.

Here’s the end result:

My Marco now has it smeared on the helmet (both top and the face guard) as well as on the glove carrying the ball. It’s subtle but strong statement that all is not well within the small confines of Mercy, California.

But our boys do get their Ever After Happily, I swear. But that’s a discussion for another time.

So, what do you think of the process and the evolution of it all – or did I just devolve the whole damned thing?

 

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[NSFW] Men of Courage – Men of Colors

 

-OR-

 

Dealing with the internal emotive pain we men bear.

 

So my Human Sexuality class at school kicked me squarely in the rubber parts. I sorta love it when that happens. Not cause it causes emotive pain on my part – I am just not into S/M (not that there’s anything wrong with it – I get the whole endorphin release shit that comes out of the pleasure/pain dichotomy).

So a couple of blog posts ago I entered a small section regarding the (young) men in that class that went a little bit like this…

… the young men tried to project that they were über cool with it. They had it down. They were bonafied stud material.

Some of those young men walked in with no small degree of swagger – all tatted up and seemingly confident in their skins. Their body language professing their assumed comfortability with the topic and their prowess in the bedroom (or whatever room is at hand).

Yeah, normally I am trying really hard in a new situation to be a bit more open minded and accommodating as everyone in a new class room scenario gets acquainted.  It’s how I was brought up. Be warm and welcoming as you can be or as comfortable as they’ll let you. No need to be pushy about it. right? I mean, we’re all going to be spending quite a bit of time talking about (whisper mode):

S-E-X.

 

 

And for me, of course, that meant I was focusing on the man on man S-E-X.

Not so for most of the guys in that class. But here’s the rub: I got a little surprise from a guy in class – all tatted up with full sleeves and across the torso, up the neck to his jawline – complete leg ink work too. I didn’t think there was much of him that wasn’t covered in color. From his walk and demeanor he looked like he’d seen and experienced a helluva lot for his young years. He was decidedly young – except for the eyes. His eyes were weary already with a hard life. My heart sort of went out to him without realizing it.

He was the one I had commented before leading the straight male brigade in the classroom. A guy he buddied up with sat one aisle over from him in the next seat and they already started to form a bond. I always like watching two guys do that. Men can do this rather easily. We have to. That brotherhood thing is really something fierce. If we can find common ground and it clicks – it’s pretty fucking intense. I’ve written about this before, and there’s plenty scientific evidence to support this trait amongst males in general.

A part of me felt excluded but I came to realize I was the one doing the excluding. That became apparent when the professor broke us up into smaller groups and the two guys turned to me and asked if I wanted to be in their group. We gathered two other men and a single woman into our little discussion group.

While I won’t go into the details of what was revealed (because we had an agreement in class that we wouldn’t) what I will say is that these young people truly astounded me with their candor. I’d like to think I engendered some of that as I made it clear about my family life and how my parents raised me that whatever topic was at hand at the dinner table – we talked about it. No subject too sacred. I think these guys got that. They liked the camaraderie.

But here’s the rub, here’s where my tatted new found friend (at least I’d like him to be for the duration of the class) kicked me square in the teeth (mentally, that is). In the course of our conversation he relayed how he discovered what sex was about, the abrupt way it was foisted on him at a very young age. The neglect and abandonment he clearly felt to be thrown into that heady adult world well before his teen aged years and mind could wrap his head around it. As if that weren’t enough to lay bare what he’d gone through in those very early years, he expressed how something traumatic had happened to him that relates to the course work (something we’ll study later on) and how his mother, rather than being supportive at a time when her son probably desperately needed it – she laughed at him.

Fuck. Me. Running…

I couldn’t imagine that sort of response to a child (even if by this time he was 13). For fuck sake he’s still struggling at that age to sort shit out – laughing is not going to give him  what he needs to feel like he’s safe to sort it out. The pain from that moment was evident in his eyes.

 

 

Gone was the impression I had of cockiness and swagger. I mean he could definitely put that essence out there. He had it in spades, but for that one moment, he laid it bare. The pain clearly there. Fuck me, that was courage, that was. I knew he’d done some time, even before he said it. I can usually tell those things. Incarceration does something to men that hardens them in a way that only serves to point out how fucked up our “rehabilitation” system is and how epically we’ve failed as a society to see to our own.

Yes, there are some truly bad seeds out there – chemically imbalanced from some sort of birth defect. But those are very, very rare. I think that a great deal of the men (and women) who have had to deal with that harsh aspect of life were put there by forces that were much bigger than themselves, and they were just trying to get along as best they knew how, and with what little support they had to do so.

But here, this young man, reset my every impression about him in those few brief moments. And in that he rose. He said everything very quietly, very intently, with focus. Laser like focus. He said he had a little boy on his way. He and his girlfriend (or wife – we never did clarify) were expecting. Those bright eyes focused and darkened a bit, and he said very pointedly that he was going to make sure he did right by his boy and that he’d never feel that way or that he would ensure that the boy would grow up know how to treat women right. Not make the mistakes that he himself had made (and clearly regretted).

Powerful. Potent. A part of me was humbled by his journey.

And let’s be clear – While I don’t have a single tattoo on my body, I admire those who do. These men of words and images. They fascinate me in ways that I can’t begin to describe. And it’s not the whole bad boy thing that used to accompany it. No, it’s more that they have the courage and fortitude to emblazon their thoughts and desires that are so deeply felt onto the fabric of their skin. They are emotively expressing what it means to be male in their lives with the single canvas they’ve been naturally gifted with – themselves. That’s bang on brilliant in my book. It’s not about the pain they endured to get inked up as much as my classmate did. It was that there was care or thought behind what they expressed and had etched into themselves. It’s a very beautiful thing.

 

I’ve had it far easier than he. Sure I had trials and tribulations to deal with on my own path to bring me to that moment in that class, but nothing quite like the path that this young man had endured.

I am gonna write about a character like that at some point. It might be skewed to fit into the worlds I write, but he impressed me greatly. His courage and fortitude to rise above what life had handed him, this man of colors, emblazoned on his skin, was awesome. And it was decidedly male. As a writer, nothing is headier than that to me.

In addition to this whole thing, my teacher has asked for assistance from a technical sort of level, and given that is my area of expertise, I offered to assist. Hey, I got out of an exam for my troubles – so what the hell, right?

One problem, the survey is a series of open ended questions on sexual experiences. Now, given that most scientific oriented surveys are stipulated and built upon common answer questions (Gender: M/F –  that sort of thing), this one seems to present a problem that could skew (at best) the results or (at worst) be nearly impossible to draw any real tangible evidence with which to adequately report. So yeah, while I think the idea of gathering other’s experiences is rather a treasure trove of ideas to mine from, obviously I will keep my eye to the task and our original agreement of non-disclosure of specifics.

But all of this got me to thinking about sex – and in particular – sex of the M/M variety.

In my stories, the men have already moved past the am I gay or not. That quest, while each journey can be rather interesting doesn’t always inspire me to write. I’d much rather come from the standpoint of – They’re together (already) – so then what happens?

Of course there’s gonna have to be forces that conspire to draw them apart. We humans love our drama (even when it devolves into melodrama) – no one comes to a happy Opera, right? What would be the point? We respond to strife. We respond to rising above adversity.

And part of me is just tired of all the straight pairings going on. I want a much more queer world. Jeezus, I’d like it to be come so common place that the social construct would just become inured to it like most straight couplings. See people for being people rather than the sex they’re having, ya know, sex with.

 

 

But sadly, my new friend in class is not the only one to bear pain. Despite how much we’ve progressed – we still have instances like this:

[NOTE: This video exhibits extreme violence against a gay person by HIS PARENTS – it is as horrid as it is reprehensible. BE WARNED!]

A gofundme.com fund has been set up to support this unfortunate young man (Daniel) and he has responded to those generous and caring people. If it truly takes a village to raise a child, then this village rose up and met that challenge. Daniel’s response to what has happened to him from the greater global community follows the horrific exchange between him and his parents:

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Please give what you can to this young man as he is truly alone at this point from what I can tell. Let him know that there are others in this world who will embrace him and give him the respect and love he deserves.

Gofundme.com account for Daniel

We must truly stamp out this abhorrent and reprehensible form of parenting and child rearing. If the village must rise to meet the challenge, then rise we must. I truly hope that Daniel (and so many others like him) find a helping hand in this world.

It is what has been burning within me – what has been pressing at my insides to help people like Daniel who are forced out of the only home they’ve known.

I truly want to find a way to contribute to that cause on a very personal level. I just feel this desire to let them know – I see you, I feel for you and I want to help.

While Daniel might be coming out of the worst part of his life over this, it won’t be the last time we hear of such a story.

It’s those poor souls I am terrified for. Those poor kids who don’t deserve what’s coming. It’s to them that I think about often.

I know it may sound cliche, that it might even sound trite, but if I won the lottery, I know I’d put a good chunk of it aside to do something about this. I’d want my legacy to be that I rose up and provided a path for others as unfortunate as Daniel.

For their sake, I’d like to think I’m up for the challenge.

Until next time…

Tags: Abuse | gay for pay | Gay Men | gay porn | Homophobia | Human Sexuality | Inked up | m4m sex | Male Erotica | Male Eye Candy | Men of Courage | Men of Honor | Misconceptions | Parents as Terrorists | Prejudice | Sex | Straight Men | Tatted Studs | writing