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Tag Archives: metaphysical gay fiction

Since Friday I’ve had interviews and articles posted on fellow author blogs, part of my effort to get the word out about the release of The Companion.

Thinking that some of those posts might be interesting to you in the meantime, me and my 500-lb gorilla marketing buddy are sharing the links to a few of them.

Raine O’Tierney                       Vastine Bondurant                  Tara Lain

Thanks to Raine, Vastine and Tara for hosting me on their blogs.

It will probably be a while before enough reviews come in to give me a feel for the book’s general reception, but The Companion already has two reviews so far, with others scheduled to appear later in the week. Here’s the first, from Portia de Moncur at MM Good Book Reviews. Thank you, Portia! My gorilla thanks you, too!

Another interesting and very different review is at Sinfully Sexy Book Reviews, where I also …

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For years, I had a quote pinned up on the wall of my workspace attributed to congressional historian Daniel J Boorstin: “The greatest obstacle to discovering the shape of the earth, the continents, and the oceans was not ignorance, but rather the illusion of knowledge.”

With Mercury about to station retrograde October 4th, this is the ideal time for me to deliberately relax my grip on certainty, check my reality compass and make some room for discovery.

I’d like to share with you something of my respect for disillusionment – the loss of illusion. Discovery is an essential part of any plot, from clues in a murder mystery, to trust (misplaced, real or withheld) in a romance, geographic exploration in an adventure, or finding inner strength in the Hero’s Journey. While the need for profound discovery is always present in our stories, the context for the discovery is infinitely changeable. …

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So — picking up from Part One: a straight hero grows up in an automatic level of belonging—whether it’s the idyllic Shire, or some other culture in which the hero belongs to an identifiable majority—that a gay one does not. But there’s a great and powerful gift inside the pain of not belonging: it sets him free. The gay hero does not owe the same psychic allegiance to the heteronormative world and its cultural conventions that a straight hero does. He sees the culture in which he lives through a very different lens. As a result, he understands the familiar world from a perspective that is ideally equipped to bring outside-the-box thinking for change, insight, compassion and creativity. But it takes courage to do it.

In boyhood most gay males learn to be shape-shifters, which in itself is another kind of separation from the world. Generally speaking, he learns to …

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I’m developing materials for an online course to be presented this October under the aegis of the Florida Romance Writers, focusing on the differences in the Hero’s Journey for a gay protagonist. I’ve been fascinated by the Hero’s Journey since I read Campbell’s Hero With a Thousand Faces as a teenager. It wasn’t until decades later–after I came out–that I became sensitive to the heteronormative overlays in the Journey as it was usually described. At first I was offended, but I soon realized that those overlays were perfectly appropriate for straight heroes, and that “somebody” ought to get busy and examine the differences for a gay male hero. So here are some comments about how a gay Hero’s Journey might present unique opportunities for a writer.

Now before anyone asks about other queer heroes (other than a gay male), let me beg those who are qualified to contribute to this …

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Late last week I submitted my latest novel, The Companion, to Toby Johnson at Lethe Press. He’d said earlier this year that he wanted to see the full when it was ready, so off it went. I can attend GayRomLit in Atlanta next week with my desk clear (figuratively speaking only!)

Jim Frey, whose workshops I’ve attended for several years, is adamant about having a clear premise for a novel. I’m a believer. Somehow, having a one-sentence cause and effect statement describing the story keeps me on track while I’m writing. It’s my litmus test as to whether a scene is superfluous or relevant to the story: does it support the premise? If yes, then it belongs. If no, then I need to cut it out.

For The Companion, which is a metaphysical mystery/romance (how’s that for an obscure niche?! It seems to be the one I’m wired to occupy) …

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