“So, let me get this straight, pardon the pun, but you went to second period Drama and the hottie twins were there. You said they watched you in class and after the pop quiz, you submitted yours and read their quiz for like a couple of minutes and then suddenly it was lunch?” Don asked Elliot as they all assembled at the top of the multi-tiered garden in the middle of the large quad that separated the various campus buildings.
Mercy High had once been a Catholic school, but two years ago the church deconsecrated the grounds and the facility converted to a secular high school serving Mercy and the surrounding unincorporated towns and villages along the Big Sur coastline. While parochial attendance had trended down over the years, the secular incarnation now held over seven hundred students.
Elliot took a bite of his egg-salad sandwich as he contemplated the best way to answer Don’s question. Don Garcia was his crew’s resident smart guy and avid surfer. There wasn’t much Don didn’t know or could gain a handle on. And the guy was quick – quicksilver, sort of quick – but in that Zen surfer boy way. He often presented the answers when the group needed them most, but with all the grace of a wise sage. With his shoulder length black hair, beguiling Latino looks, he wasn’t hard on the eyes or the spirit – he was always good for hang out with for a bit of a laugh, too. Elliot knew if there was anyone who might sort out what happened to him, it was Don.
“Well, see, that’s the thing,” Elliot began, realizing as he looked around that the entire crew appeared riveted to his reply. Some even stopped chewing their lunches altogether. “It all seemed to go like a few minutes at most. So how could two whole periods pass me by?”
“And why didn’t we see you when we left?” Terri added while deciding against finishing the cafeteria Spaghetti Surprise lunch he’d mistakenly purchased.
“Yeah, girl. We saw you get up and put your quiz in the tray and then left out the door before the bell even rang,” Randy added.
“Wait. What?” Elliot nearly choked on his bit of sandwich. “Okay,” he cleared his throat, “that never happened.”
“Girl, we saw you leave. We … as in Terri and me. Four pairs of eyes, unless you count Terri’s contacts then maybe it’s six.”
“Bitch! You said you wouldn’t spill my tea …” Terri gasped and slapped Randy’s arm for good measure.
“Ladies! We’re so beyond Terri’s less than stellar vision right now,” Elliot burst out. He wanted to know what Don was thinking and not this trip down Spilling Tea Road.
“So let me see if I have all of this right,” Don began as he wiped the last of his banana cream pie from his lips. “You two saw him clearly place his quiz in Mr. Ray’s inbox and leave the room but Elliot maintains he not only put his quiz in the box, he picked up the twin’s responses, read them without leaving the room, then heard the twins’ voices in his ear and when he reacted to them two hours had passed?”
“Yup, pretty much,” Els replied as he slipped the last of his sandwich into his mouth.
“Time and Spatial displacement. Wow … I’d read something about it in one of my science mags, but it was all theoretical. I mean, some of it has panned out from recent theory but like, whoa, that’s some serious shit.”
“Mmm-kay, before you go all science nerd on us and start techno-babbling shit we don’t have any way of understanding, are you saying that both can be true?” Elliot leaned in.
“It is possible; again, theoretically speaking. Perceptions are a tricky thing.”
“But that would imply that someone or something was the puppet master here, right?” Elliot pressed further.
“Okay, is it me? Or did we just enter Twilight Zone, now? What are you two going on about?” Cindy asked as she joined them from her trip to the cafeteria. She eyed Elliot and Don as she sipped from her Coke.
“Girl, you had to be there. Miss Thang thinks she stayed in the classroom reading quizzes when we clearly saw her leave,” Terri offered.
Elliot ignored Terri’s commentary because he could see Don was already onto something.
“What are you thinking?” he goaded Don a bit more.
“Well, the one odd thing throughout this whole scenario has been the twins. Anything else you can come up about them?”
“Wow, way to put the new guys into hot water,” Danny added.
“Well, think about it. Elliot told us that they kept staring at him. You two caught them doing it, right?” Don continued.
Randy and Terri both nodded but didn’t add anything further. The serious looks on everyone’s faces said that they’d definitely crossed over into the land of maybes. This was Don’s playground. He loved the possibilities in life and what’s more there was no one who could run down the number of possibilities as fast as he could.
“Okay, then we add to the fact that Elliot noticed how fast they finished the quiz and the sheer volume of what they wrote …”
“And how they wrote it … it was like Declaration of Independence quality script. Ya know, how people who wrote with feathers wrote.”
“Right. Okay. And where were they when you went down to spy on their quizzes?”
“They were busy chatting up Mr. Ray in his office,” Elliot replied.
“So, they hadn’t left yet.”
“No. And I was clear to watch that they didn’t see me reading their replies. They were definitely preoccupied with Mr. Ray. But it was their voices that sort of brought me out of reading those quizzes and when the lunch bell rang I realized I’d missed two whole periods. I mean, Mr. Ray had another drama class in period three. Then none for the fourth – it’s a free period for him. So when I snapped out of it I found myself all alone in the room. Why didn’t anyone see me standing there during the third period?”
“And the twins were nowhere to be found, right?”
“So, they could’ve pulled it off somehow. Hypnosis, maybe?” Don frowned at that simplistic, if slightly unusual idea.
“Okay, say they used hypnosis or something like it, but how?” Danny asked.
Don gripped some grass and tossed the blades into the bushes. Frustration was never a good thing for him.
“That’s the part we don’t have an answer for. And even the things that could be, are simply not plausible.”
“So, we keep an eye on them?” Elliot asked.
“We keep an eye on them,” Don nodded.
A shadow fell across the group.
“So, we heard this where all the cool kids hang out for lunch,” Pietro stated, making everyone jump.
“Mind if we join you?” Marco asked.
To say that lunch from that point out was a bit on the awkward side would’ve been the understatement of the century, at least, to Elliot’s way of thinking.
Everyone seemed welcoming of the twins. Most looked intrigued to have the boys so close to them for the first time. They just felt a bit odd with what they’d been discussing prior to the twins’ arrival. Elliot, however, became slightly tickled eyeing the grit to Danny’s jaw as he watched the brothers observe every move or sound Elliot made – almost as if they couldn’t get enough of whatever Elliot did. If anything, the brothers’ arrival was the perfect solution that just might get Danny to come to a decision if they were together or not.
Chalk one up for the twins, Elliot thought.
“So how are you liking your first day?” Don asked the brothers as he stretched back onto his bent elbows, his gaze intent on their answer. For all his amassed intelligence for a guy so young, Don’s questions were never as topical as they sounded. Don’s ability to suss out a person’s character from brief interactions was nearly legendary with Elliot’s gang. If you wanted a read on someone, you had them talk to Don for a few minutes.
“It’s interesting … for a small town like Mercy there are a lot of students here,” Marco commented, glancing around the quad at the number of students who called it their favorite lunch spot – choosing to sit out in the sunshine rather than the confines of the cafeteria.
“Mercy gets students from the surrounding areas – unincorporated towns and small villages and the random ranch or house along the coastline, which is sort of funny considering that it was once a parochial school but they couldn’t keep the attendance high enough to warrant this large a school.”
“You mean this was consecrated ground?” Pietro inquired, sipping from a thermos, tingeing his lips a darkened red color.
“What are you drinking?” Terri asked. “It’s making your lips go all red like. Almost matches my lipstick.”
“Borscht. We have a particular fondness for it from our time spent in Hungary. It’s a bit odd, an acquired taste, but I really like it.”
Elliot didn’t think that Borscht would be that particular red color but what did he know really about it?
The rest of the lunch period passed with pleasant, if a bit guarded, idle conversation. Elliot became quite surprised that in this setting the brothers seemed more inclined to share their personal stories about where they’ve lived and more importantly – at least as far as the crew was concerned – how rich they really were.
“We come from an ancient Italian family. We’ll just say that Pietro and I can pretty much acquire whatever we want, when we want, and not bat an eye doing it,” Marco offered, his eye moving to each of Elliot’s gathering to see how that little bit of information either intrigued or disgusted each of his friends.
Thankfully, nearly all, with the exception of upwardly mobile Cindy, took what Marco told them without so much as a single flinch. That made him proud of his gang. Rich kids or not, they had to score with his crew on their own merits. Cindy’s eyes just sparkled with the endless possibilities the brothers represented. The fact that there were two only seemed to double her chances on scoring.
Elliot didn’t know how he felt about that.
“Well, that certainly has to be a comfortable place to be. I bet coupons don’t mean a thing to your lot,” Elliot commented as the bell rang signaling lunch was over and fifth period was right around the corner.
“You might think that, but Pietro got the ‘Vette during one of those year-end sales. Made a hell of a deal to get it, too,” Marco added.
“We like a good bargain just like anyone,” Pietro added.
Everyone started to get up and gather themselves together to move off to their respective classes. Cindy gave a quick kiss to Elliot’s cheek, with an eye to the brothers, and then scurried off to her gym class. Don and the two queens paused for a moment before Elliot nudged his chin up to signal he’d catch up with them later before they reluctantly moved on without him. Only Danny seemed to linger – occupying himself with something in his backpack to eat up the time. This pleased Elliot to no end that Danny didn’t want to leave him alone with the hypnotically handsome brothers.
“What do you have next?” Pietro asked Elliot as Danny picked up his backpack and skateboard, trying his damnedest not to look like he was paying attention when he totally was.
A devilish smile snaked across Elliot’s lips as he replied, his gaze moving from a disgruntled Danny to Pietro, “Civics. You?”
“Psychology. Or what this school passes off as Intro to Psych,” he replied mirroring Elliot’s smile. He seemed aware of Danny’s little jealous ploy, too. Elliot thought maybe they weren’t so good at hiding their affection for one another like he thought.
“Marco’s got Spanish,” Pietro added.
Elliot had to admit that the Sforza brothers were wickedly sexy no matter what expression they chose to share with others. Marco stood slightly behind his brother and pretended to look around the quad as people moved off to class. There wasn’t much time left.
Danny snorted and began to move off without saying anything further.
“Meet up after school like usual?” Elliot called out to him.
Danny paused and glanced at both brothers before nodding and moving on without saying a word. Nothing could please Elliot more than the brothers’ finding a way to do something others could not – leave firecracker Danny speechless.
Now, that is some kinda power, indeed, Elliot thought.
The brothers turned to watch Danny leave, though what they thought about that little exchange between him and Elliot they didn’t say.
“Well, thanks for letting us join your little crew for lunch. Being new here makes it a bit difficult to find our own group of friends at school. So, um, thanks.” Marco said as he turned to move off to his Spanish class.
“Sure thing …” Elliot called out to them as Pietro followed Marco off the plateau. “Anytime …”
They paused for a moment and both nodded before moving off, leaving Elliot to realize he had less than a minute to make it to class.
“So you seem pretty enamored with the newbie guys,” Danny muttered as he slowly rode the skateboard next to Elliot who had to make his way home on foot. They were taking their usual route from the school down a few blocks to Main Street. This way they could make their usual pitstop at the local Dairy Queen his grandfather ran and get a free sundae or something.
There was unease in the way Danny talked to him now. Elliot had to admit that there was a part of him that liked that the brothers’ presence was enough to rattle Danny’s perceived place in Elliot’s world.
Silly boy, no one can ever replace you with me, he thought to himself.
“I wouldn’t say enamored was the right word,” Elliot commented as he plucked a leaf from a tree that lined this part of the sidewalk as they turned onto Telegraph Road and the strip mall where the Q awaited them.
“Oh, no? What word would you use, then?”
“I don’t know. Intriguing, unusual, hypnotic.”
“Ah-ha! Hypnotic … you are smitten with them!”
“Not likely. Jesus, I have a word for you though …”
“Do tell, Donahey. I’d just love to hear this.”
“Oh, how about jealous.”
“Fuck you, Donahey.”
“And there we have it, folks. Supremely confident Daniel Lynn Jericho totally in freak out mode by a couple of rich dudes that don’t mean dick to me.”
Danny suddenly stopped with the back of his hand to Elliot’s stomach.
“Seriously. C’mon D-man. It’s always been you. You know that.”
Danny looked away. This is when Danny usually retreated. Anytime Elliot made their relationship more real Danny took to the hills. Elliot nudged Danny’s shoulder with his to hopefully lighten the mood a bit.
“I know what you want, Els.” He turned from looking down the road to have his eyes meet Elliot’s.
Make or break time …
“And on some level, I want that, too. It’s just …”
“I’m not the one, am I? No matter how much we dance around it, no matter how much I want it, it’s just not meant to be, is it?”
“It’s not that.”
“Then what is it?”
Danny shrugged. “I wish I knew. God, Els, I really don’t know why I am so afraid of an us. Maybe because if something messes up then I’ll stand a real chance of losing what we have already. I … just can’t chance that.”
“So, what? You’d rather see me with someone else because you’re afraid we wouldn’t work out and I’d cut you out of my life forever? That’s a pretty shitty thing to throw on someone. And a pretty pathetic excuse for why we can’t be.”
“Nah, forget it. I got the message. I’ll see ya around.”
Elliot moved off, leaving Danny, and a piece of his heart behind him.
Two hours and two hot fudge sundaes later he made his way from the Q down the road that led to his house. Dusk had fully started to cloak the evening in darkened hues and magical light. It was Elliot’s favorite time of the day and yet, never had his heart been so heavy or so troubled.
He shuffled his feet as he turned onto Oak Ridge Way. His house was the last on this cul-de-sac. A few houses lined his side of the road; the other side was a bramble of blackberry canes and various bushes and trees that lined the sloping ridge his street straddled along the hillside in this part of Mercy. A slightly cool breeze billowed across his body, bringing goose flesh to the surface of his skin. Elliot couldn’t tell if the goose bumps were from the breeze or from something else.
For the past block or so Elliot couldn’t help but feel that he wasn’t alone. A few times he glanced around but the street was eerily empty except for him. Not even a passing car moved along the road with him. Maybe it was just his rambling thoughts over Danny’s commitment issues might be making him feel a bit on the anxious side of life. Maybe that’s what it was.
He glanced back to the corner and then across the street to the blackberry canes.
He started to walk toward his house again when some movement in the canes caught his attention. It could be anything. Deer often wandered the hillside in these parts, even coyotes and bobcats on occasion. Elliot was used to those things. But this, this felt different.
Like someone was there.
The light was almost gone now. Only a single porch light a few houses down glimmered in the distance, but otherwise there wasn’t much in the way of adequate illumination that he could count on to reveal what that sudden shift in the bushes could be.
Elliot took a few steps off the curb onto the street, his eyes squinting the tiniest bit, trying to sort out what was there. Another step brought him closer to what was on the other side of the canes. He could almost make out the shape. Whatever it was, it was big.
Bright headlights caught him standing in the middle of the street. The rumble from his father’s Ford pickup throbbed behind those brilliant beams. His dad leaned out the window.
“You wanna tell your old man what you’re doing in the middle of the road or is this some sort of school project?”
“Jesus, Dad! You fucking scared the crap outta me!”
“Uh huh. Get in, Son, before you turn into someone else’s road kill.”
Elliot spared a quick look at the bushes along the hillside before joining his father in the truck. Whatever it was no longer lingered there. No doubt startled by the massive pickup and the bright lights. He slumped into the seat next to his father as he closed the door not caring where his backpack ended up on the floor of the vehicle.
“Bad first day?”
“Jury’s still out. It was … shall we just say it was, odd?”
“Oh, yeah? How so?” He put the truck into gear and started to move the couple hundred feet to the end of the street and their house.
“Oh, nothing. Just new guys on campus.”
“They didn’t try to mess with you, did they? That’s the whole reason why I taught you how to …”
“What? No. It’s nothing like that. Just … I dunno. It’s all mixed up. Then, there’s Danny. He certainly didn’t help matters much.”
Elliot’s father, Nick, smirked the tiniest bit. He’d been watching his son and his would-be boyfriend go back and forth on making anything permanent in their relationship. He was slightly conflicted about Elliot’s woes with Danny. On one hand, he got why Danny kept doing the guy thing and being non-committal while on the other, he totally wanted to wring Danny’s neck for causing his son so much grief. But, on the whole, he knew it was best for them to sort it out. He accepted that Danny as one of the good guys. He didn’t think Danny would intentionally hurt Elliot, but being a good father, he was always keeping an ear to the ground whenever Elliot grumbled about their on-and-off status. So far it seemed just more of the same. Nothing too much to worry about.
“You two have a spat?” he asked as he turned the truck into their driveway and up to the large two car garage that doubled as Nick’s workshop.
“Nah, not really.”
“Okay.” Nick knew to wait it out; eventually his son would cough up the goods.
“It’s just …”
And here it comes …
He turned off the truck, carefully placing a hand on his son’s arm to stall him from climbing out of the truck.
“Well,” he sighed, then in his usual slurry of verbal diarrhea it all came out, “there’s these new guys, right? Totally hot new guys and yeah, I get it that you don’t get that, but you gotta trust me on this. They’re the shit. And they’re nice, too. I met them. Well, we have Drama second period together. Oh and they’re twins, identical, too. Two hottie boys, total foxes and they keep looking my way. Why? I have no fucking idea. But they watch me … in a weird but slightly sexy way that’s completely unnerving but totally hot all the same time. So, of course Danny got all what the fuck about it and yeah, we sorta had a tiff about it and I ended up eating two hot fudge sundaes and now I think I’m gonna be sick and that’s why the jury’s still out on my epic first day of school.”
Nick ran a hand down his face, mostly to hide the small smile that threatened to consume his face over his son’s teen angsty hormonal boy troubles. Not that he was making light of them, but more of how much adjusting he had to do whenever he had these one-on-one father-son talks. He knew when Elliot was born that he was going to be gay. It just came to him in a dream while his wife was pregnant. But it never prepared him for the “boy trouble” talks. They still sort of amused him a bit.
“Okay, so no dinner for you, tonight? You know your mom’s gonna be a little cranky about that, spoiling your dinner and all.”
“So not the point of our conversation here.”
“No, I get that. So who are these boys?”
“Marco and Pietro Sforza.”
“Oh, those guys.”
“You know them?”
“Contract work. I did some modifications to their bedrooms and a few other rooms in that old abandoned mansion they purchased on the other side of town.”
“So you’ve met them?”
“No. I worked with I guess what could amount to their butler or house manager or hell, I dunno. Anyway, his name is Angus. Nice enough guy, easy to work with. So, I did the work and was out before the brothers took possession of the house. Never saw ’em.”
“Well, that’s probably a good thing. They’re way … well, just way.”
“Well, that’s evocative.”
Elliot smirked. It was so like his dad to pull out his literary genius with just the right word to catch his attention. He loved his dad and the fact that Elliot’s gayness didn’t seem to bother him at all even if he could sense his dad having to constantly play the translation card from girl troubles to the boy flavored variety.
He had to give it to his dad on how hard he tried to be there for him as he navigated this thing called teen life. It couldn’t be easy. Maybe he needed to cut his dad some slack.
“Look, I appreciate your taking the time to listen to my first school day woes, and boy troubles, which can’t be an easy thing for you. But I seriously need to just chill and take some Pepto-Bismol or something to settle my stomach and get some homework done sometime before sunrise.”
Nick pulled his son to him for a hug, mussing his hair the tiniest bit as he did.
“Love ya, Son. And don’t you worry about the whole boy trouble thing. Yeah, it’s different from what I thought we’d talk about when you were growing up, but I’ve settled that score inside a long time ago. We’re good. Okay?”
“Dad, the hair … really?” He smiled softly as he tried not to barf all over his dad. He really needed to get inside and do something about his stomach. He popped open the door to the truck and started to climb out. His father came around the other side of the vehicle and hugged his son.
“Alright, alright. Time out on the boy probs. Get inside and see to your stomach and homework. I’ll do my best to pacify your mom about you spoiling your dinner.” He moved off to the house while Elliot re-inserted a few things that slipped out of his backpack. After he closed the door his stomach gurgled.
Just as he reached for the back door to the kitchen he shivered from head to toe and he heard it. A soft rustle of leaves along the hillside caught his attention.
“C-a-s-s-i-e-l …“ a male voice he couldn’t quite place lingered on the air.
That shiver moved through him again as a small gust of air moved across the backyard, caressing his skin, a small trace of lavender scenting the breeze.
He looked from one side of the hill lining the backyard to the other. He couldn’t sort out where the voice or that scent came from. But something was there, something that had an interest in him.
Before he could become bait for something he wasn’t ready for he quickly opened the door and slipped inside. It didn’t stop him from looking out the back door window.
Not a damned thing.
Meanwhile, some 5,416 miles away …
London fog moved over Tower Bridge. At this early morning hour, very few cars moved along this part of the road. A formidable looking man in a dark suit with a dark overcoat stood along the east side of the bridge, his gaze focused on St. Katherine’s Dockyard in the distance.
He lit a cigarette, the soft blueish glow from his electric lighter as he lit the cigarette briefly colored his face in a cool light. He inhaled deeply, enjoying the taste of the tobacco as it snaked its way into him. A stiff breeze coming off the Thames blew his overcoat open. He relished the cold. He found it refreshing from the arid nights of Spain just twenty-four hours ago.
Two men, of similar dark suits and overcoats approached the man enjoying his early morning smoke. The sun still hadn’t threatened to rise just yet. He had about an hour or so if his calculations were correct. Plenty of time.
The men reached him as he took his third drag.
“Were you successful?” he asked his new companions.
“We were,” one of the two men replied.
The man turned to face them, a stream of smoke trailing into the men’s faces. They paid it no mind.
“They’ve relocated to a small Northern California town just north of Big Sur. A town called Mercy.”
He nodded, saying nothing further. He turned to face the docks again.
“So, the Sforza boys thought they could hide from me.”
“Shall we make the necessary arrangements?”
He nodded, taking another drag from the cigarette as the two men moved off.
If you like these characters in this web series you might want to check out the original Angels of Mercy series that has the same cast of characters but in a completely different setting and time.
Writing is a strange business. There are so many reasons why authors write. For some it is because they have this burning sensation to get a story out there. Something that has germinated to the point of festering that if you don’t put it down on digital or physical paper then you’ll very likely go mad.
Madness is often a trait all writers share. We’re quirky people by nature. Mostly because we eye the world in a very particular way. Whether your write fiction or not, you job is to chronicle what we see and what we experience and what is possible in this world. We are stewards and documenters of the human condition in all its varied expressions – factional and fictional alike.
Some write because they hope they’ll hit the motherlode, the big pay-off and will be surrounded by the wealth and recognition that burning desire to write demands of their work. Actually, thinking upon it, that doesn’t apply to just some writers. I’d go so far to say that it goes for nearly 2/3, if not more, of the writing community that’s out there.
Recognition is nice. Money is nice (hell, money doesn’t hurt no matter what line of work you take on). All of those are very good reasons to write.
But that’s not why I do it.
Oh, to be sure, I have a burning inside to put a story (or seven at my current count) down in digital bytes and bits. That part is true for me. Their pseudo-fiction, too. While I weave stories with heightened drama, operatic in scope against a mundane landscape, the human elements are deeply rooted in real life experiences of my queer brothers (and sisters) that I’ve collected over the years.
It’s no small revelation. I’ve said as much before on the podcast, probably to the point of ad nauseum for some of our listeners (I do try to curb that, honestly).
I’ve even said as much in an earlier blog post. So none of what I’ve stated is new. What I have been asked (either by articles about the craft of writing that posed this question, or by other authors in our discussions on the WrotePodcast), is “who is your audience?”
That’s an interesting question. For me, the answer is far different I should think than my author pals I’ve come to know and respect. I write for gay men who, for one reason or another, are isolated from our community. That took me a while to sort out, too.
It’s not that I don’t appreciate other people who love what I do, because I do. But they are not my intended audience. I write for a fraction of a fraction of a readership. I am not aiming at the “sky’s the limit” stratosphere of recognition or wealth. I’d be nice, but I don’t kid myself that it’s going to happen.
My husband said early on:
“You know who you’re writing to. You’ve already figured it out, even if it hasn’t made itself known to you.”
He’s a retired psychiatrist (as well as a quantum mechanics physicist that worked for NASA and JPL) so he tends to give me Gandalf-like tidbits of wisdom when I least expect it.
What is different with this blog post is that today is the birthday of my very first fan.
Michael and I met via a website that was set up to foster those people, who, for one reason or another, felt disenfranchised or removed from the greater GLBT community (either by circumstance (they are still closeted or physically remote enough that finding others of our community is simply not possible). For the most part there are a lot of young people who populated the site. It’s a cool place and a valid resource as the moderators there try to keep people of our community connected to resources that can provide assistance and a place to congregate online so they feel a little less removed. This has always been a passion of mine, to connect with others who don’t feel connected. To say, “I see you. Let’s become friends.”
Michael was one of those men who joined the site.
I can’t say why I reached out to him. I think it was that I had reached a point writing Angels of Mercy where I wanted some feedback on the work and I opened it up in one of the forums on the site for queer people to inquire about it and to read it and give me feedback. Michael was the first to do so.
We struck up a casual conversation via the message board/forum and quickly migrated to email correspondence. Eventually this progressed to exchanging phone numbers because some of what we talked about just would’ve been easier over the phone rather than long winded emails.
When I met Michael he really felt the need to connect. To be honest, by his own admission, he hadn’t been a reader much in the years he spent in a hetero marriage, with kids, too. He’d gotten a divorce, moved to CA and spent some time getting to know some people in the GLBT community. Family matters brought him back to the country of Michigan (where he is when I met him and where he is now) and pretty much removed him from queer life. In many respects Michael needed contact. He needed to talk about stuff. But Michael was also intrigued by my work. So I gave it to him.
I waited and I sat on egg shells while he had it. He came back to me a couple of days later. I was on pins and needles (as the saying goes) to find out what he thought.
Because, you see, he was the first person outside of family and close friends who read the work as I worked on it. So his opinion mattered in so many ways. He fell in love with my boys from Mercy High. I was beyond elated. I’d made a connection. One that truly mattered because not only did he like what he read, but over time he’d progressed to reading quite a bit of queer fiction. I’d put books back into his life. That was truly the most awesome gift I could receive. Greater than any five star review, greater than all the blog posts and adulation my work could receive, that singular conversation after he’d read the work and wanted to talk about Elliot, Marco, Danny and the rest had me soaring for days after.
It was then that my husband’s words about the work before I’d handed it to anyone came back to me. I was writing for Michael. I write for those men who feel remote, removed and crave some reflection of their lives and loves.
I’ve been enriched by my continuing conversations with him. We’ve not had the pleasure to meet in person. It simply hasn’t been possible for quite a few reasons. But we stay connected. Whenever I am in doubt, I seek out his opinion on things. Over time he is not the only queer man who has come to me and said that Angels gave them something, made their world a little less remote. They felt connected to my boys, they talk about them as if they’re real. I know the feeling.
I even wrote a short story about werewolves during the NaNoWriMo event back in 2014, going so far as to write him in as one of the characters. Michael loves werewolves. It’s a series I started just for him. (Yeah, yeah, Michael, I know, I need to get the next one out there … I’m working on it!)
But Michael was the first. He is my goto whenever I want an opinion on something. I value his thoughts and his attentiveness to what I do.
So Michael, on your special day, I wanted to acknowledge that I see you, I am so proud to call you my friend. I am thankful for the conversations we’ve held – both book related and about life in general. I value each time you look my way and have something to say – even if it’s just “hey …”.
You’re a treasure, Michael. My first fan. My good friend. Happiest of birthdays. I wish you nothing but the best. And yes, one day we’ll find an Elliot to call your very own.
Count on it.
Until next time …
– SA C
So our first show is in the can and has been getting quite a few listens (not in the hundreds or thousands yet, but it’ll get there. Of that I have no doubt).
If you haven’t listened to it and you have a penchant for reading M/M (Gay) Literature Fiction, then why aren’t you listening to it? It’s all we talk about!
At any rate, one thing each of my co-hosts (Jayne Lockwood and Vance Bastian) and I wanted to do was post our thoughts after a given show is released. Sort of riffing on where our heads are at thinking back on it all. So this is the first of those types of sidebar postings about where my head is at (oh Lord, I hope this doesn’t put people off from trying my works – my mental ramblings are a constant source of humor for my husband – don’t say I didn’t warn you!).
So here is my first verbal stream of consciousness posting. I hope you enjoy it as an augmentation of what we did in the main podcast.
So what do I ramble about this time around?
Next week on 3M/Musketeers Podcast? BRAD VANCE! And we are simply over the moon about this! Please join us for that episode.
NOW available on iTunes (search for 3MMusketeers Podcast) or under Arts/Literature!!
Until next time …
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.
Okay, maybe it was my fault.
So I hit a BIG learning curve here. Epically so. Why, you might ask? Because my first work, a novel that was released to the world from several selling platforms, Amazon being just one of them, got BANNED! But since it all took place this past week I didn’t want to do a knee-jerk blog post about it. I wanted some distance from it to sort it out. I’m like that. I can be wordy and preachy when my ire is provoked, but at times, like this time, I was able to quell that rash desire to lash out and opted instead to think things through.
I’m glad I did. And while I might not like Amazon’s decision, I recognize it was theirs to make.
I mean, they’re the big guns in the literary world, like it or not. Even the big publishing houses have to play ball with them. So a little guy like me doesn’t have much pull. I haven’t brought enough money to the table. And I know that it is all about the money.
I mean, I think it is interesting that my book, with a rough sex scene (the hero in the story is raped physically by the bad guy in the series) near the end of the book, could be blocked/banned because of that scene when say EL James 50 Shades (of crap, if you ask me) gets a pass. Though to be fair, I guess rape wasn’t in the cards for that drivel. But what about the Bible? It has rape, pillaging and all sorts of violence spread throughout the work.
TO BE CLEAR: I don’t consider the Bible (or any other religious text, for that matter) to be holy or sacred. They are books like any other – written BY MAN. So yeah, I so won’t get into that debate ’cause to my way of thinking that’s just messing with 9 bags of cray-cray (as my granddaughter says).
But as a newbie author, doing the self-pub thing on my own, I know I have a learning curve ahead of me. I know that my works will stumble and I might make some epically bad moves. I get that it’s part of the process. I don’t expect to be “the next BIG thing” when it comes to literary works. Though to be honest, I do write literature. I write character studies. I find them infinitely fascinating to write from. I want to immerse the reader into the psyche of the character who is telling you the story. All of the inner monologue that we all have in our day to day lives that never gets said to the outside world.
Those monologues are deeply fascinating to me. At times I listen to my own mental ramblings as I interact with others. Not that there are voices in my head – well, okay there are, but they are my characters working out their upcoming scenarios that I need to get sorted before I write them down – I SWEAR!
Anyway, so my first work was out there on all platforms –
We’re contacting you regarding the following book:HO’M,O – Henry O’Malley, Omega: A Sparrows Hollow Lycanthropic Adventure by Collins, SA (AUTHOR) (ID:5629640)During our review process, we found that this content is in violation of our content guidelines. As a result, we cannot offer this book for sale. If we identify additional submissions with similar content that violates our guidelines, we may terminate your account or you may lose access to optional KDP services.
To learn more about our content guidelines, please visit our Kindle Direct Publishing Help page at:
Kindle Direct Publishing
Since the work was classified as Erotica, I assumed that the first two sections of this lack of direction was the Pornography and the Offensive Content areas of this little policy write up. But how was I supposed to work with that?
It could’ve meant that ANY of my sex scenes were objectionable, right? I had to question it all. So I went out and offered a “hey, I’m new – what do I do to address this so I can learn from it and not repeat it?” I just wanted something or someone to direct me to what was in violation of the policy.
All I got was this (the bolding and underlining of the email content are mine as I am just drawing attention to what stood out for me when I read it):
We’re contacting you regarding the following title:
HO’M,O – Henry O’Malley, Omega: A Sparrows Hollow Lycanthropic Adventure by Collins, SA (AUTHOR) (ID:5629640)
We’ve confirmed that your book(s) contains content that is in violation of our content guidelines and we will not be offering this title for sale in the Kindle Store. As stated in our guidelines, we reserve the right to determine what we consider to be appropriate, which includes cover images and content within the book.
If you wish to re-publish your book(s) with content that meets our guidelines, it will need to be submitted as an entirely new ASIN and go through our standard review process. Previous customer reviews, tags, and sales rank information are not transferable because the title will essentially be a different product.
Our content guidelines are published on the Kindle Direct Publishing website.
To learn more, please see: https://kdp.amazon.com/help?topicId=A2TOZW0SV7IR1U
We appreciate your understanding.