Almost Like Being in Love

That's what I'm now reading, that sweet, funny love story Wave so highly recommended. I was sucked in by it at first. I laughed frequently; sometimes I wanted to cry. Then twenty years passed between chapters -- blammy! -- and the heroes, now a continent apart, were all grown up and involved in their respective lives and careers.

That wasn't a problem for me at first. Passages of time exist in most novels. Temporary estrangement of the central couple is also common. Still, as I read on, I started getting just a teensy bit irked and impatient. With the heroes apart, the author started dishing up too much clever-and-amusing just for the sake of clever-and-amusing. Every character that was introduced was clever-and-amusing.

I also realized I was getting bored with the baseball fetish and the lawyer-related stuff, and that without any significant plot involving the book's original couple, the entire narrative was being carried on the back of clever-and-amusing. Only ... the narrative didn't seem to be going anywhere.

Is that it? I wondered. Is too-much-of-a-good-thing dampening this reading experience for me?

Out of curiosity, I went to Amazon to check out other readers' reactions. The book was almost universally praised, but there were a few sniffy souls who gave it a 1. A freakin' 1. (I wasn't thoroughly surprised; there are grumblers everywhere, and they're often self-righteous types who take themselves WAY too seriously because they've had their sense of humor surgically removed.) But I perused their comments anyway, hoping to get a fix on my own small undercurrent of disaffection.

Sure enough, these negative "reviews" were generally hightoned and dry and pretty much beyond my comprehension, as if these people and I had read two entirely different books. But one of them did say something that struck a chord: there's no differentiation among the characters' voices.

Yup, that was it. Or part of it. A sudden plethora of players, all of whom have the same voice: the protagonists, their male and female friends, their gay and straight friends, their lovers, students, coworkers, parents, even a young boy. They all, and I mean ALL, were dipping from the same witty, educated voice-pot. I wouldn't have been able to tell them apart if the author hadn't made it obvious whose words I was reading.

What's more, their droll observations and snappy repartee had been substituted for any kind of storyline. The book just stalled out in the middle. The cast of characters bumbled around in a Three Stooges kind of way, saying and doing zany things. As much as I love humor, it started getting on my nerves.

Don't get me wrong. I'm still engaged by this book and still eagerly anticipating the reunion of the protags. If there's an HEA buzzkill, though, I'll be rip-roaringly pissed off.

I almost always learn something from the novels and stories I read, either through positive or negative example. In addition to providing me with hours of entertainment, Almost Like Being in Love has been an eye-opener, another object lesson in the craft of fiction.

New Day, Good Day

A lakeside summer idyll,

a budding romance . . .

and jealousy gone horribly awry.

(Available NOW at Liquid Silver Books. Click on post title to get there.)

Call Me...in The Back Passage

Finished Call Me by Your Name and am now reading The Back Passage. Wow, night to day.

CMbYN left me with mixed feelings. Although I ended up becoming engrossed in the protagonists' journey, and found Elio's character particularly poignant at the end (yes, I did tear up), I later got angry. Why? Because, unlike Brokeback Mountain, there was really no excuse for these men not to get together.

The story takes place from roughly 1985 to 2005. Both protags move in liberal artistic and academic circles, in Europe as well as on the U.S. eastern seaboard. The narrator's parents are seemingly accepting-- and the father, even envious--of his affair with Oliver. If each man viewed the other as his "heart of hearts," what kept them apart?

Not the time or the place(s), and surely not social or peer pressure. Not the men's sexual dynamic or a gross imbalance of feeling. Not parental disapproval. What, then?

I know from personal experience that the need to be with one's "soulmate" is not eroded by time, distance, or circumstance. I know this. So, ultimately, I felt manipulated by the author. I felt he'd thrown up completely illusory barriers to keep the men separated. Was this a case of angst for the sake of angst? Don't know.

Anyway, on to The Back Passage by James Lear (2006, Cleis Press).

So far, I love it! I love the narrator's insouciant voice and attitude and his self-indulgent carnality. He makes no excuses for himself. I love how the author plays fast and loose, in an affectionate, tongue-in-cheek way, with British "drawing room" character types and family intrigue and all the other norms of cozy mysteries. Although I'd expected this book to be raunchy, it's far tamer than most current m/m erotic romance -- mine included. But the narrator's sheer, unapologetic horniness, combined with the author's solid prose and delightful irreverence, have put back the happy in me that CMbYN sucked away.

I just need to get through this period of compulsive reading so I can return to writing! (I'll tell you about my new project within the week, as well as a development related to me and Samhain.)

Jude in Chains

My novella, Jude in Chains, is now sitting in a few publishers' computers. The fact it isn't laden with explicit sex scenes -- it's just erotic enough to suit the needs of the story -- sort of limited my options. I also found it a bit dispiriting, yet again, that certain outlets are closed to me, since I've never been "invited" to submit to them. (Reminder to self: must find out whom to blow; wouldn't hurt to remind them I know when to use "who" and "whom.")

I don't know how this one is going to be received. It's a contemporary, but it might strike some editors as heavy fare due to the theme -- the "ex-gay" movement. Don't know if you're all aware of it or not. It's a truly hideous effort that's been mounted by various conservative, homophobic organizations -- both here and, I think, in the UK -- to turn queers into straights. I tried not to be too ham-handed in my treatment, although it's difficult to underplay the seriousness of this situation, and I believe the protags are engaging. But ya never know with publishers.

So anyway, following is the blurb. Wish me luck!

* * * * *

Hoping further to expose the fallacy of "reparative therapy" for non-heterosexuals, writer Misha Tzerko has enrolled in a week-long program at the Stronger Wings Camp and Conference Center in Arkansas. He's already lost his long-term boyfriend to the ex-gay movement, and for the sake of his own closure as well as his job at Options magazine, Misha hopes to get an inside look at the nondenominational ministry established by C. Everett Hammer III.

Contentedly gay, Misha has always been a player -- except when he committed to his only real relationship. But when Robbie abandoned him for straight life complete with wife, Misha's promiscuity began to peak as his emotional landscape flattened.

That’s all about to change. Misha is shocked and dismayed to see another man from his past at Stronger Wings, a man with whom he’d had two brief but captivating encounters. Although Misha knows he can’t save every registrant in the Stronger Wings program, he becomes determined to save Jude Stone.

No matter what it takes.

Call Me by Your Name -- Round One

I am forty pages into Andre Aciman's acclaimed novel of homosexual awakening (for lack of a better succinct term) and waiting for several things:

• the formation of a timeline, since trying to determine which seemingly insignificant, supposedly revelatory event takes place two days, ten days, or two weeks into the story (So far, there's a lot of zigging and zagging.)


• some pruning of the lush prose and long and winding sentences, which often leave me breathless in an unpleasant way


• suspension of disbelief re. the narrator's age (I'm having trouble remembering this is a 17-year-old boy and not Michael Caine's character from the movie Educating Rita.)


• action and/or more than a few lines of dialogue at a time


• sex (God, popular fiction has made me one shallow and impatient plebe!)

I just read some reviews on Amazon to see if anybody else had begun to squirm, so quickly, under the weight of this novel's dense, obsessive, and repetitious introspection. Hell yeah; I'm not alone. In fact, there are some very literate and incisive 1-star reviews. A reader actually gave up right around the point I just reached.

I'm intrigued enough to keep going, though, and hope this book's saving graces do indeed save it. (Yes, it has many saving graces, but they're swamped by authorial self-indulgence.) I also hope I don't have to slog through one more dissection and microscopic analysis of the breezy farewell, "Later!" I'd never realized how nuanced it could be. But now that my brain is glutted on its nuances, I could use a break.

Stay tuned.

Is a Great Divide forming?

More and more I've been noticing a marked difference in my reactions to blogs that center on romance fiction. The well-established, high-profile sites I used to visit regularly, like Dear Author and Smart Bitches, have begun to seem stagnant and are starting to bore me. It's the laidback "upstarts" toward which I've recently been drawn, like Reviews by Jessewave, Well Read, Kris 'n' Good Books, and several others.

I'm sure the shift in my reading and writing tastes has something to do with this -- I've developed a deep appreciation for m/m fiction, little of which is explored by the major blogs -- but there's also something of the "Old Guard" versus the "New Guard" at play here.

Frankly, I couldn't care less about Harlequin's various lines. Category romance has never appealed to me. Even a lot of the non-HQN romance print titles have a category "feel," which means I'm not interested in those, either. E-book publishers have, as far as I'm concerned, been putting out the most compelling fiction.

Yeah, okay, there's plenty of derivative material issued by e-publishers, as well, and quality can be hit-or-miss. But I find so much more variety in their output, so much more explorative risk-taking, whether serious or lighthearted, that reading an e-pubbed book has become much more of an adventure than reading the safe and predictable stuff that's sandwiched between two paper covers.

Ever more frequently, I find myself groaning and beating a hasty retreat whenever I click onto a post that has to do with some Harlequin or Big NY Print Publisher release. I'm sick of seeing the same names turn up, sick of the whole RWA/RT mindset that lauds workmanlike (i.e., boring) writing, cardboard-cutout characters, and connect-the-dots plotlines. I'm REALLY sick of standard heroes and heroines, including and especially the new breed of chick who's sexy, sensitive, and self-assuredly violent, all at once. ("Oh shit, do I want to be Paris Hilton or Vin Diesel? Guess I'll be both!")

Spare me, forever, the kickass heroine, whom I find just as revolting as the TSTL heroine!

Anyway, I can't help but wonder if there's a division forming in Romanceland, if certain bloggers/reviewers will continue to give more space, time, and credence to works originally published in print rather than works originally published in pdf, or to m/f fiction rather than other types of pairings/groupings. Will the lip service they pay to e-publishing and to GLBT romance ever be accompanied by genuine respect (for publishers other than Samhain, that is)? Or is the mainstream becoming increasingly more distanced from its tributaries?

Are we going our separate ways?

JMHP (just my humble puzzling)

M/M Fiction Elements that Piss People Off - Update

Elements in M/M romance fiction that infuriate readers and writers alike -- gotta be a million of 'em! I first posted this list on September 3, 2008, when I'd just begun venturing into the genre. Time for an update.

Wow, the stuff I've learned over my nine-month gestation period! There are far more pisser off-ers than I initially realized. So here's the original list, with an addendum below in color.

(And the picture? That's for all the pastors who secretly desire Adam Lambert. You know who you are. Now get back to your stalls in those rest-area and park bathrooms. And say hi to Bill O'Reilly for me.)

• Emo characters (The term emo has become WAY more inclusive than it should be.)


• Exceptional endowment (The pink torpedo is out; the pink Twinkie is in . . . as far as it can go, that is.)


• Too much sex


• Too much swallowing of the salty snowball during sex


• Too little sex


• Too little swallowing of the salty snowball during sex


• "Odd" positions during sex


• Too much talking during sex


• Too little talking during sex


• Too much BDSM


• Not enough BDSM


• Blue eyes (!)


• A history of abuse as a child (Guess that's old news. YIPPEE! Child abuse no longer exists!)


• Tension or plot conflict that involves homophobes (Guess they're old news, too. YIPPEE! Vicious, mindless sexual prejudice no longer exists!)


• Love at first sight (Well, yeah, that's baloney--eHarmony be damned.)


• Arousal at first sight (Come on. Denying there's such a thing as arousal at first sight is like denying there's such a thing as stupid or ho-doggy presidents.)


• "Gay for you," i.e., protagonists who claim to be straight and only get bent with and for each other. (It's the "I swear I have always been and will always be straight" part that makes this oxymoronic. But I don't know of too many writers who try to peddle gay or bi heroes as hardcore het's.)


• The deep end of the sensitivity pool: too much crying, too much schmaltz, too much angst (Where's the line and when is it crossed?)


• The shallow end of the sensitivity pool: too much hard-nosedness, too much glibness and flippancy, too much insouciance (Ditto the above comment.)


• Too many cops/detectives/cowboys/firefighters (For me, at least, they are getting stale. I have a hard time being engaged by characters who remind me of the Village People, although some authors can pull it off.)


• Lack of alpha traits and a plethora of "womanish" traits


• Too much cussing (See above.)


• Unrealistic dialogue (See above.)


• Obligatory HEA (I agree with this one.)


• Too much pondering of emotions


• Too little attention to emotions


• Lack of chemistry (How published authors can produce a lack of chemistry between two protags in a romance is beyond me.)


• Use of animal similes/images/metaphors/sounds (Kind of difficult to steer totally clear of them, especially when it comes to dialogue tags . . . those repetitive buggers.)


• Menages that involve two gay men and a woman (I must admit, this plot device does bewilder and annoy me.)


• Pointless drama (I'm not entirely sure what that is.)


• Female characters who are a.) villains/foils, b.) goddesses/Earth Mothers, c.) ignorant of their men's true sexual preference or orientation, d.) you name it.


• Infidelity, for any reason


• Various terms for the prostate, including "prostate"


• Various terms for the glans
• Self-lubricating anuses (I had no idea such a thing existed in m/m fiction. But I read about it on a blog -- Emmy's, of course -- so it must be true.)


• Too many public displays of affection between the protags


• No public displays of affection (thus implying shame)


• Not enough older heroes


• Promiscuity


• Promiscuity treated as a moral or emotional deficiency


• Too little incorporation of real-world gay issues


• Sexual activity involving women -- any sexual activity, regardless of context


• Too much world detail


• Too little world detail


• Twincest, or any kind of incest (I'm all with this one.)


• Twinks


• Meddlesome female friends, usually of the "fag hag" variety


• Yaoi derivation (Guess it's related to that emo objection listed above.)


• Heroes who are rotten bastards


• Heroes who are sugar cubes


• Handicapped heroes (not because they're handicapped, but because this device has become overused)


• A whole bunch of stuff relating to historicals (Somebody more versed in the subgenre than I am can ferret out and address those points.)


• Female authors of M/M fiction (Yup, every single last one of us, because we're clueless.)

I've added a whole separate category, which I call "Erection Objections."

• Erections with feelings (No, I don't mean emoboners; I'm referring to physical sensations, like aches and pains.)


• Erections that "leak" (Hey, you know the fuckers do. Maybe they don't weep copiously, but they do leak. I've seen it with my own eye. Uh, eyes.)


• Erections that appear too fast


• Erections that go south too fast


• Erections without protections
• Erections that are referred to as . . . erections (WTF? From now on, I shall refer to them as filing cabinets.)


• Erections that are unusually active and move in unnatural ways


• Erections that are far too large to allow for a recipient's physical comfort, even if he's anaesthetised


• Double/triple/quadruple -- well, hell, let's go for the whole bunch of bananas! -- penetration

Any others? Come on, I hate incomplete lists!

Bastards and Pretty Boys has a publisher!

Thrilled to announce that my contemporary m/m romance, Bastards and Pretty Boys, has been accepted by Liquid Silver Books. This will be my second book with them. (InDescent was the first, but the two stories are not related.)

I'm really growing fond of this company. Its incredible staff practically radiates professionalism combined with personal warmth, and they're all so very, very helpful. LSB is a real boon to the e-publishing community . . . and that ain't no bull.

A Really Naughty FREE Story

"A Cheeky Changeling" is Changeling Press's online magazine/newsletter. There you can find, among other things, free short fiction called Encounters. Mine, "Glories of the Blue Moon," is fourth from the top in the most recent issue. Click on the post title to find it.

But be forewarned: Encounters are short. Really short. And Changeling is an erotic e-pub. Really erotic. So what you're going to get is a jolt of sexual YEEHAH! Plot and character development? Go read The Scarlet Letter. My story, by the way, is about a man taking a risk to make himself, or part of himself, happy. The ending is ambiguous . . . the way I sometimes like my endings.

So don't complain. I warned you. Besides, the bugger is F-R-E-E.

SEEKING SOMETHING WICKED now available

The long-awaited, much-anticipated (by me) sequel to Looking for Some Touch was released today and is now available at Loose Id. Seeking Something Wicked is Book 2 of the Utopia-X series. The itchy-in-the-pants and love-befuddled Coven of Three must identify, track down, and neutralize a truly bizarre female mutant who shares the philosophy of Templeton the Rat from Charlotte's Web: "Good things come to those who find 'em and shove 'em in their mouth."

By the way, Ridley Barron, one of the book's main characters, doesn't look like the dude on the cover. He looks more like the Prince of Persia -- if you can ignore the Prince's flamboyant outfit and focus on his facial features. So keep that in mind if you read SSW. (I wonder how many other writers get this goofy over how their characters are portrayed on covers. Really, I worry about myself sometimes.)

Bastards and Pretty Boys

Ex-wife, ex-boyfriend, ex-con, and one screwed-up psychotherapist. So who gets the pretty boy?

Moreover, who's going to end up publishing this m/m contemporary? That's not an issue . . . yet. I'm about two-thirds of the way through Bastards and Pretty Boys.

Edited to add: BaPB is completed and on the Submissions Train.

OBSESSED doing well, thank you very much.

I'm enormously grateful for the reception Obsessed has gotten. Bitten by Books and Rainbow Reviews gave it high marks. Raine at Joyfully Reviewed really, really liked the sex scenes (I'll spare you the rave, although it tickled me). She concluded with, "Do not miss out on Obsessed. I loved it!" and went on to give it one of these big, pink, recommended-read rectangles.

I was particularly moved by the following words from a reviewer at Literary Nymphs:

Obsessed surprised me. I wasn’t entirely sure what to expect, but by the end, I realized how deep a story it is. Adin is an admirable man -- very loving toward his [girlfriend], but unable to shake the growing love for his best friend. Jackson possesses more than just physical strength, especially at the end, but it’s Celia who shines, even if she doesn’t take center stage. As someone who understands Adin’s plight, I couldn’t help but adore Celia for her loving, trusting acceptance of who he is and what he feels.

The love scenes are amazingly hot, but it’s the ending that got me. The very last scene has a beautiful, tear-inspiring, sweet moment. You’ll just have to read it.

So, thank you one and all. That goes for ordinary readers, too. The saga of Adin Swift and Jackson Spey is far from over. The steam has not yet dissipated (well, hell, considering they only see each other for a three-day weekend every couple of months, small wonder their hormones go into overdrive when they're together!) And their unique arrangement is not getting easier as time goes on. The groove is getting rougher, not smoother, the longer they proceed on its track. Jackson, still the emotionally guarded one, is having more difficulty than he'd like to admit . . . to Adin or himself.

Once I finish my current contractual obligations, I'll be getting back to the big novel in which these men next appear together. Hope I'll be able to find a publisher for it. The story is the most emotionally intense and psychologically tangled one to date, and with some dark humor, as well. Celia will also be checking in at some point. Not sure when, though, or how.

There's fantasy. And then there's fantasy. And . . .

Long ago and far away, a man named Carl Linnaeus created a a system of taxonomy for classifying all living creatures. Remember it from your biology courses? The "kingdom, phylum, class, genus, species" -- and then some -- breakdown? Well, modern popular fiction has a taxonomy of its own. For example, there's no such thing as plain old fantasy anymore. I'm afraid I don't have the time to be as meticulous about categorization as Linnaeus was, but here are some distinctions I've noticed.

• Earthbound fantasy, historical. It takes place in the past, usually the distant (Arthurian or medieval) past, on our own planet.


• Otherworld fantasy, historical. It takes place in an alternate or parallel world, very much like earth, in a place and/or time period that has a feel similar to those on earth.


• Earthbound fantasy, contemporary, usually urban


• Otherworld fantasy, contemporary, usually urban


• Earthbound fantasy, futuristic, urban and/or interstellar


• Otherworld fantasy, futuristic, urban and/or interstellar


• Fantasies with and without epic battles


• Fantasies with and without female "heroes"


• Fantasies with and without dragons, faeries, elves, etc.


• Steampunk

Okay, I'm already tired. So which do you like best? I'm torn.

As I wrote my Galdeshian fantasies for Ellora's Cave -- Wing and Tongue, Cauldron of Keridwen, and Prince of Glacier Glas, I became immersed in the world. Even my authorial voice shifted, as if it had an automatic transmission, to reflect that world. These stories fall into the second category above, and they all have dragons. I adore writing about this "other-place" and its unusual society and inhabitants.

But when I wrote Hoochie Coochie Man, in the contemporary-urban category, I loved it, too. And I love InDescent, a work-in-progress, passionately.

But wait, there's more! Now I'm creating a futuristic urban fantasy series for Loose Id. The first volume, Looking for Some Touch, will be released in early November. And it features men with men, yet another sub-category of fantasy that's only recently begun to shine. Am I crazy about this series? Well, take a guess.

So, I repeat: Which type of fantasy do you prefer? Can you come up with other classifications?

Is it possible to write M/M fiction without pissing off 3,684,963 people?

Yikes-o-rama. Some months back I started compiling, in my head, a list of M/M fiction irritants and no-no's culled from various book reviews and blogs. My conclusion? Ain't no romance you're gonna create involving two (or more) men that won't trip somebody's trigger. I'm not talking about writers and readers who have an aversion to the subsubgenre itself; I'm talking about writers who write gay and readers who read gay.

Whoa, jump back, Jack. The butt bug is biting tonight!

I finally started jotting down all the stuff people have griped about. Here's a list of what they find laughable, repellant, tiresome, stupid, unrealistic, adolescent, and/or indicative of general cluelessness:

• "Emo" characters (This term has become WAY more inclusive than it should be.)
• Exceptional endowment (The pink torpedo is out; the pink Twinkie is in . . . as far as it can go, that is.)
• Too much sex
• Too much swallowing of the salty snowball during sex
• Too little sex
• Too little swallowing of the salty snowball during sex
• "Odd" positions during sex
• Too much talking during sex
• Too little talking during sex
• Too much BDSM
• Not enough BDSM
• Blue eyes (!)
• A history of abuse as a child (Guess that's old news. YIPPEE! Child abuse no longer exists!)
• Tension or plot conflict that involves homophobes (Guess they're old news, too. YIPPEE! Vicious, mindless sexual prejudice no longer exists!)
• Love at first sight (Well, yeah, that's baloney--eHarmony be damned.)
• Arousal at first sight (*Ahem.* Just take a gander at some of these photos http://www.model-book.com/nathan/flash/portfolio/index.htm and then start singing "How Dry/Soft I Am". Lesbians, by the way, are excluded from this challenge.)
• Protagonists who claim to be straight and only get bent with and for each other. (It's the "I swear I have always been and will always be straight" part that makes this oxymoronic. But I don't know of too many writers who try to peddle gay or bi heroes as hardcore het's.)
• The deep end of the sensitivity pool: too much crying, too much schmaltz, too much angst (Where's the line and when is it crossed?)
• The shallow end of the sensitivity pool: too much hard-nosedness, too much glibness and flippancy, too much insouciance (Ditto the above comment.)
• Too many cops/detectives/cowboys (For me, at least, they are getting stale. I have a hard time being engaged by characters who remind me of the Village People, although some authors can pull it off.)
• Lack of alpha traits and a plethora of "womanish" traits
• Too much cussing (See above.)
• Unrealistic dialogue (See above.)
• Obligatory HEA (I agree with this one.)
• Too much pondering of emotions
• Too little attention to emotions
• Lack of chemistry (How published authors can produce a lack of chemistry between two protags in a romance is beyond me.)
• Use of animal similes/images/metaphors/sounds (Kind of difficult to steer totally clear of them, especially when it comes to dialogue tags . . . those repetitive buggers.)
• Menages that involve two gay men and a woman (I must admit, this plot device does bewilder and annoy me.)
• Pointless drama (I'm not entirely sure what that is.)
• Female characters who are a.) villains/foils, b.) goddesses/Earth Mothers, c.) ignorant of their men's true sexual preference, d.) you name it.

Shee-it, see what I mean? I'm left asking myself, what the hell does qualify as getting it right? Damned if I know . . .

Two Excerpts ~ Same Scene, Different Viewpoints, Part I

First time I've done this. (Part II, by the way, is directly below.)

The following excerpt from Tormented features Rahenna, the diseased female vampire, lurking on the roof of Adin Swift's chalet at his 30th birthday party. She witnesses a tantalizing scene on the patio below. Although she can see what's going on, she can't hear what's going on . . . and it maddens her.

* * * * *

Rahenna was about to descend to the lawn when something caught her eye. Easing down, she alit on the roof of the house and peered into the backyard.

Adin had come out onto the patio. He turned off the grill. Jackson Spey rounded the corner of the house. Smiling, the two men immediately approached one another. Like magnet and steel, Rahenna thought, wondering why she had a sense of that kind of attraction. She waited to hear the words they spoke…and soon realized she couldn’t.

Normally, with accurately trained concentration, Rahenna would have been able to listen to their conversation. Her sense of hearing was as keen as her other senses. But their voices were silent to her ears. She suspected the wizard was shielding Adin and himself from any eavesdropping. But why?

The reason quickly became clear. Spey’s hand suddenly slid to the back of Adin’s head, into his hair. They looked as if they were about to kiss.

Magnet and steel indeed.

The air instantly thickened with sexual tension, with unfulfilled, long-festering desire. Like tongues of flame, it lapped at Rahenna’s cool skin. Her pussy creamed as she waited to see what would happen. Her respiration accelerated. The points of emerging fangs touched her lower lip.

By the gods, how she wanted to have both these men while they had each other! It required a titanic exercise of will to keep from swooping down on them. She knew she should stop watching—the temptation was unbearable—but the potential here for spontaneous, unbridled passion was riveting. Still, both men kept reining in that passion. The strain of their control was palpable.

Jackson's hand finally fell to his side. He and Adin again spoke in low tones. Rahenna again couldn’t hear them. She saw Adin raise a hand to the other man's chest. It was an intimate gesture, perhaps even covetous. He said something.

Within moments, Spey turned away. He dropped into a near-by chair, his legs parted, and grasped his head in both hands. Adin walked over and squatted before him, bracing himself on the other man's knees. They exchanged more words. Clearly, Adin was cajoling Jackson. Rahenna could only imagine why he was trying so hard to be persuasive. She felt Adin’s hunger for the man. It gripped her as surely as it gripped him. She felt the restlessness that shimmied through his loins and stirred his cock. It drove her to distraction.

Her mind shouted to Spey. Give in to it, damn you!

As if in response to her silent command, Jackson shook his head. Soon, he rose to his feet and Adin followed suit. A new feeling slammed against her—Jackson’s arousal. Adin’s closeness and Adin’s words had stirred him. He was struggling to ignore the lure of his friend. He wanted Adin as much as Adin wanted him. Each man’s hoarded desire seemed to bounce off the other’s, like two balloons bloated with water.

Jackson gave Adin a quick, fraternal pat on the shoulder. Then, shoving his hands in pockets, he turned away and sauntered off toward the woods. Adin watched him for a moment before re-entering the house.

~~~~~
Copyright (c) 2008 K. Z. Snow

Obsessed

After nearly 660 years, Adin Swift is dreaming again.

As a vampire, he slept like the dead. Now that he’s reverted to mortality, vivid dreams surface every night to torment him. And the most disturbing ones involve his best friend, Jackson Spey.
It was their "otherness" that drew them together ten years earlier—two extraordinary men living outside the mainstream, one a bright and beautiful vampire, one a cynical and handsome wizard. Their unique bond took on more dimensions than either was willing to acknowledge . . . until now.

Realizing he can no longer ignore the desire that’s been simmering for a decade, Adin must face the heart-wrenching fact he’s in love with two people: the woman to whom he’s committed and the man he can’t seem to live without. Two confrontations ensue over the course of one explosive weekend, and they will forever alter three people’s lives.

Coming Friday, July 11, from Changeling Press.

GLBT follow-up thoughts

Some damned well-thought-out comments to that previous post, and from some writers I truly admire.

As I wrap up my third exclusively m-m story (and, boy, let me tell you . . . it grinds my gears something fierce when authors cop out and throw a woman in at the end), I can't help but be aware of other characteristics of this niche genre. Based on what I've read thus far -- and I plan on reading much more -- there are distinct "tonal" differences between m-f and m-m romances.

When a hetero couple is on center stage, exploration and exposition of characters' emotions and blatant evocation of emotion in the reader seem more the rule than the exception. Character development is often internal and wedded to profound feeling. Authorial voice and prose style reflect this submersion. The drama of the heart rules.

However, when a gay male couple is the primary pairing, the author is more likely to distance her/himself from its emotional component, which is often, as a result, underplayed. In fact, strong emotion comes across as something shameful, an affliction to be avoided at all costs. Authorial voice is flip, wry, or even businesslike. World-building and plot/action take precedence over the soul-searching intricacies of bonding. Sex becomes either an eagerly anticipated theme-park destination (the impression I have of Manna Francis's stories) or an inconvenient detour (the impression I have of Ginn Hale's). I'm wild about both, by the way.

Maybe I'm exaggerating these distinctions between m-f and m-m fiction, but I have noticed them. And, depending on how skilled the author is, I honestly have no preference for one approach or sensibility over the other. I'm just wondering what other readers and writers think. I'm particularly curious if women who write m-m fiction find themselves "masculinizing" their styles when they fashion a romance between two men.

GLBT ~ Where are the men writing about women?

I'm in the process of collecting the names of M-M authors whose work impresses me. The list is growing by leaps and bounds. So far, I'm intrigued by, or flat-out admire, the output of Blind Eye Books authors (especially Ginn Hale), Joey Hill, Jordan Castillo-Price, Manna Francis . . . and others whose names I can't remember at the moment and am too freakin' lazy to look up.

But, as my list grows, a question nags: Why is the majority of manlove-themed commercial fiction (romance/erotic romance/urban fantasy/yaoi/slash fanfic/blah-blah-blah) written by straight women? Three answers immediately come to mind. 1.) That's where the money is; 2.) many of us have put in time as "fag hags"; 3.) we're straight women, for shit's sake, so this stuff turns us on!

Okay, going with the last reason . . . Then why isn't there hot lesbian fiction, and incredibly well-written lesbian fiction, penned by straight men? Or is there, and I'm just broadcasting my ignorance? (Wouldn't be the first time!) Seems all lesbian fic I've come across is written by . . . well . . . lesbians. Yet we all know -- at least, those of us who've regularly dealt with straight men know -- that women doing women is a turn-on for them. May not be for us, but it is for hetero guys. So where's the prose to prove it?

Truly, this discrepancy mystifies me. There's so much captivating and exquisitely written m-m fiction being produced by females, one would think an equal amount of captivatng and exquisitely written f-f fiction would be produced by males. But . . . no go. What's up with that?

Wait, I'm back. A logical answer just came to me. Women make up, by far, the greater portion of the book-buying public. Is that the key?