Category: Southern Gothic

eye in the sky

So it’s Monday morning and I took the day off from work, as I have to head out to Metairie for my pre-operation meetings and clearances and so forth. Woo-hoo. But at least today I expect to know what my recovery is going to look like, and how much time I will actually need to be out of the office. I didn’t sleep great on Saturday night, despite LSU’s big win over Florida, and was up before seven yesterday morning and not really feeling like doing much of anything. I did spend some time with Lou Berney’s delightful Dark Ride, which is like nothing he’s done before–something I always deeply admire with authors–and I really love the voice of his main character. There’s a reason Lou’s won every conceivable award from crime fiction writing; his work is exceptional and I only wish he were more prolific. Hardly is memorable, for many reasons that I cannot wait to get into when I’ve finished reading the book.

The Saints played abysmally yesterday, so I was glad I decided I was too drained already to expand any more emotional energy on watching the game. I was very low energy all weekend, which isn’t surprising, given that I’m kind of dreading the information I am going to be getting today even as I know it’s information that I need to have in order to make decisions that need to be made. Heavy sigh, yes, small wonder I was low energy all weekend. But that’s okay; I did actually think about writing this weekend, and did some of the mental groundwork and even wrote a scene in longhand in my journal, of all things. I also started coming up with names for characters for the next book, which is always fun, and started thinking about which direction to take the story. This is progress, and I will accept that gratefully without flagellating myself or wishing I had produced more and had written something on the computer.

I’m not going to lie, my anxiety is spiking this morning and so I am going to need to struggle a bit with it this morning. I know I’m just borrowing trouble, and being anxious or nervous about the appointments this morning will not change and/or affect what I am going to be told today, which is knowledge I am going to try to use as I sit here to calm my nerves and keep my adrenaline from spiking. I’m going to take Lou’s book with me this morning to read while I wait at the surgeon’s office, and thank God for good books with great writing from talented friends, right? It’s weird to think I’m having surgery next week and it’s also Thanksgiving week, too. I am not sure what we’re going to do for the holiday, since it’s two days after my surgery, but I can get some things over the weekend for it and hopefully it won’t be too big of a deal to make pulled turkey in the crockpot, but then how will I shred the meat with just one hand? A conundrum, for sure. I am going to probably be learning all kinds of lessons in these coming weeks about how imperative it is to have two hands–which is ableist thinking, I know; some people make do their entire lives with merely one hand.

The big news in college football is that Texas A&M went ahead and fired their head coach, Jimbo Fisher, triggering the biggest payout ever for a fired football coach. I thought, at the time, that the contract extension was insane; all he’d managed to do was take A&M to a one-loss season during a pandemic and a limited schedule. They finished in the top ten that year, if I am remembering correctly, but they still didn’t win their division or make it to Atlanta, so I thought it was presumptuous. Of course, this was also right around the time that it was becoming apparent that LSU was going to fire Ed Orgeron, and Fisher had been a target before Orgeron was hired….so A&M was preemptively moving to keep their coach from leaving for Baton Rouge. But A&M underperformed other than that one season, and it was a very bad deal–it’s costing them almost eighty million dollars to fire Fisher, which is also going to create a massive mess for hiring a replacement and for the replacement as well. Fisher was terminated immediately and not being allowed to finish out the season, so when A&M rolls into Tiger Stadium Thanksgiving weekend, they’ll be led by an interim coach. It’s not the first time the LSU-A&M game has had an interim head coach calling the game, either, nor will it be the last, most likely. I mean, seriously–how much money do the Aggie Exes have, for Christ’s sake?

Apparently, a lot. I would imagine the Longhorns are even richer, and they’ll be in the SEC next year.

We finished watching Karen Pirie last night, and it was on the third episode that I realized I’d read the book on which it was based–The Distant Echo, which I had greatly enjoyed. We also are watching the second season of the Jane Seymour crime series, Harry Wild, which is enjoyable–and applause for Ms. Seymour for allowing herself to age gracefully. There you see the primary difference between British and American actresses; Maggie Smith, Diana Rigg, Helen Mirren and Judi Densch have allowed themselves to age, and it’s a beautiful thing to see–whereas American actresses their age now have rigid faces filled with Botox and filler and with all their skin pulled back tightly. It always seemed to me that having a face incapable of movement or expressing emotion would be a negative for an actress, but their insecurities and fears are also predicated on generations of youth worship in Hollywood and sweeping actresses out the door once they’ve hit forty. (In All About Eve the age issue for Margo was turning forty; that same year Sunset Boulevard gave us fifty-year-old has-been Gloria Swanson. The irony that Jessica Lange and That Woman were twenty years older when they played Crawford and Davis in Feud–in which the two fifty-something women miraculously revived their careera–wasn’t lost on this viewer.)

And on that note, I am going to bring this to a close and start getting ready for this morning’s round of pre-surgery appointments. Have a lovely Monday, Constant Reader, and I’ll probably be back this afternoon for some blatant self-promotion.

Louisiana Saturday Night

There are few things more Louisiana than rooting for LSU…unless its rooting for the Saints, maybe. Southern people love their football, especially the college variety.

Paul and I have not been to a game since 2021, when our “never saw the Tigers lose in person” streak, which began with the Mississippi game in 2010, came to an end with the only loss to Auburn in Tiger Stadium this century. We managed to make it through twelve seasons without ever seeing the Tigers lose while we were at the stadium, which is a pretty good run.

Chanse was an LSU alum–he even played football there–and I think I’d idly mentioned in the first book that he’d been injured in the Sugar Bowl in the last game of his senior year, and never elaborated more than that on his past at LSU. I think there were some more reflections in the second book in that series, but I know I never brought it up again after the second book in the series. I have an in-progress Chanse novella, which is set on the LSU campus at his old fraternity, but I don’t know if I’ll ever finish the story of the fraternity murder. As for Scotty, his background was so vastly different from Chanse’s that I couldn’t really send him to LSU. Men in his family on his mother’s side all go to Vanderbilt; his sister Rain went to Baylor. Storm did his undergrad at Vanderbilt but went to Tulane Law. Scotty of course flunked out of Vanderbilt (his parents rebelliously chose UNO), but the whole family on both sides root for LSU.

And of course, Valerie’s twin sons go to LSU in A Streetcar Named Murder.

I also make the point that the murder victim–a cousin of Scotty’s–in Mississippi River Mischief, along with his wife and kids, went to LSU; the wife was even a Golden Girl with the marching band (the kids are current students there). I built an entire Scotty mystery around the kidnapping of Mike the Tiger, the live mascot who lives on campus (Baton Rouge Bingo) and while I’ve not really done a lot of referencing of LSU in the Scotty series since that particular book, that is probably going to change with one of the upcoming books in the series. I roughly have plans for three more–one set during the summer of 2019, while the boys are living in the dower house on Papa Diderot’s estate in the Garden District; another during the cursed Carnival of 2020, and then a pandemic shut down book…and that just might be the end of the series. It may not be–I will probably keep writing Scotty books as long as I can type and the synapses in my brain still fire–but I am not going to rule out ending the series, either. Depending on what happens with my surgery and my recovery, I hope to write the next Scotty this coming spring.

And there are some things from this current book I’ll have to deal with in the next as well–as well as Scotty’s grandparents and parents aging. I’m thinking the cursed Carnival book will deal with a death in the Bradley family and the fall-out from Papa Bradley’s will. (I’ve only really gone into the Bradley side of the family once; and there’s a lot to unearth and explore there.)

I’m also toying with the idea of writing a book from Taylor’s perspective, and there’s always that Colin book I’ve been wanting to write forever.

So, if you want the series to continue, it will help if you order a copy of it!

Dark Lady

The fortune queen of New Orleans, stroking her cat in her black limousine…

Ah, Cher’s 1970’s musical career. This one was always a big hit at Tea Dance at both Cafe Lafitte in Exile and the Pub on Sundays; there’s really nothing like a gay sing-along, is there?

I suppose being a fan of Cher as a child was kind of a sign? What is it about performers like Cher and Bette Midler and Liza Minnelli that draws young boys into their fandom who are going to wind up gay? Why was I drawn to actresses like Joan Crawford, Bette Davis, Barbara Stanwyck, Katherine Hepburn, and Doris Day before I knew I was gay? It’s something I’ve often wondered about–what is it about those women that draw us in like Formosan termites to a lit chandelier on a Monday night after Mother’s Day?

Ah, Formosan termites. That brings me around to today’s blatant self-promotional post for Mississippi River Mischief.

Isn’t this a cool, spooky looking shot? I took this out one of my kitchen windows one Sunday afternoon during a mighty New Orleans-style thunderstorm, and love how spectral and haunted-looking it turned out.

I still can’t believe that it took me this long to write about the swarming termites.

No one warned Paul and I about them, for the record. We had no idea that first May we lived here on Camp Street that the city was infested with swarming Formosan termites whose breeding season was the few weeks past Mother’s Day every May, and they are a scourge. We were swarmed, and had no idea what to do with them or how to handle the situation, or anything. We were running around the apartment spraying Raid everywhere, swinging at them with brooms, and they were everywhere. When the swarm finally passed, the apartment was filled with wings and corpses. It was horrible. We talked to the property manager, who apologized for forgetting to warn us–and the primary problem with the apartment on Camp Street (which was where Chanse also lived) was we had a very bright security light mounted on the front corner of the building–which drew them, and our apartment was right there. We learned to turn off everything that gave off light–including the television–when the first scout flew into the apartment, the mad dash around turning off everything, and then sitting there in the dark with maybe a couple of candles lit, waiting for the fury of the swarms to die down.

But that damned outside security light…ugh.

They are quite literally like one of the Biblical plagues of Egypt, and you see why the Egyptians constantly cried to Pharaoh to let the Israelites go.

But now that we live in the back of the house, we’ve been pretty insulated from dealing with them. Sometimes when I walk the garbage out in May, I can see a small swarm around one of the street lamps, but all the lights in the front of the house are off. We usually turn everything off if and when a scout flies into the television screen and immediately light candles and sit in the dark until we feel the coast is clear.

So when I started writing Mississippi River Mischief, I thought the best way to open the book was with the line It was the Monday after Mother’s Day and the termites were swarming. I posted this on Twitter, and local meteorological icon Margaret Orr replied “what a great opening line!” which kind of made my week (I am a big Margaret Orr fanboy) and helped me realize I was on the right track in writing something about New Orleans that rarely makes it into fiction. (Author’s note: That isn’t the opening line anymore; I added Scotty asking the guys a question about the renovation, and then after he talks, that’s where the line is. I just couldn’t get the prose to work with that as the first sentence; it read awkwardly, so I moved Scotty speaking up.)

Nature, and the natural world, is all around us here in New Orleans; the occasional alligator will sometimes lumber into the city limits; snakes and nutria and squirrels are all over the place, and of course there are the insects–the flying cockroaches (aka palmetto bugs), the swarming Formosan termites, the stinging caterpillars–peculiar to here. The tropical climate makes everything over-bloom and grow and expand and try to reclaim the natural balance of the region before it was settled. This is NOT the place for you if you have pollen allergies or have sinuses sensitive to the air pressure (I do); and I swear by Claritin-D for allergy and/or sinus relief (not the over-the -counter kind, but the kind you have to ask for at the pharmacy because you can make meth with it). OH–and the gecko lizards, always darting around and running up the side of buildings or fences or trees.

So, yes, since Scotty had finally bought the building he’s lived in all these years, I thought it was time to talk about termite swarms, as they would be an enormous headache for a property owner, and what better way to start a book where Scotty is now a landowner than with swarming termites?

And I remembered the buy link! Maybe I’m getting better at this.

Sexual Healing

Friday, but I am not working at home this morning. We have a department meeting, and then I am going to stay at the office until around two this afternoon to get things done. I am taking Monday off because all my pre-surgery appointments are that morning, and I don’t know how long that is going to take. As Monday is a paperwork and not-in-the-clinic day, it’s not a big deal as long as I get all of the work I would ordinarily do on Monday to get the clinic ready for the rest of the week done today. I am going to run a couple of errands on the way home, and then I am in for the rest of the day. I will have to run some errands tomorrow–post office, mostly–but hope to spend most of the weekend inside the apartment. I slept well last night, mainly because I had the “Thursday exhaustion” that hits me every Thursday since I started working this schedule, but that’s okay. I came straight home from work yesterday, and didn’t do much of anything once I was there. Oh, sure, I watched another episode of Moonlighting–and their lesser episodes are still charming–and later Paul and I watched the season finale of The Morning Show, which was a lot of fun. I did watch some Youtube documentaries about the Knights Templar and the Fall of Constantinople in 1204–which I never get tired of learning about, and will turn up in one of my books one day, just you wait and see.

I’m also looking forward to this weekend. I am going to get some books pruned to take to the library sale on Saturday, and I think I am also going to get the car washed. I do kind of want to see the Georgia-Mississippi game, and of course I’ll watch LSU play Florida, but that game worries me a bit; there’s always a let-down after losing to Alabama and having the pipe dreams of the season dashed finally, and LSU has beaten Florida four straight years, which is tied for the longest LSU winning streak in the rivalry. I also just remembered that this is the last season of the SEC as it has been since the initial expansion into two divisions thirty years ago; sure other teams have joined since, but the East-West divisions remained intact all this time. I don’t know how I feel about the expansion into a super-conference and the addition of Texas and Oklahoma, and the rotating schedule seems like a pain in the ass, but we’ll see how it works out. I suspect in about another decade realignment will be revisited and some teams may break off from their super-conferences and form a new smaller more manageable one…who knows?

I also want to read Lou Berney’s Dark Ride this weekend, and maybe start reading my next book, which I think is going to be Zig Zag by J. D. O’Brien, who was on my Humor panel at Bouchercon (that was probably one of the best panels I’ve ever moderated, and I want to read all of their books), because both have to do with stoners–Lou’s main character is a stoner, and J. D.’s book is about a dispensary heist, so they’re both what I call stoner noir–so they kind of go together. I also want to get to the new Angie Kim sooner than later, I am volumes behind on Laurie King’s marvelous Mary Russell series, have two Donna Andrews novels on deck as well, and then I want to really start making progress through the stacks and get things read.

I also need to do some writing this weekend. I’ve been really terrible this week about being organized, so there’s more of that to be done this weekend. I think I’ve started working on what submissions will go where, and I’d love to get a stronger handle on all of that by the end of the weekend. I know I want to get one of my stories submitted out again somewhere, not entirely sure where, but the worst thing they can do is reject it, right? And that just means my story isn’t right for them, that’s all, and that is fine. I need to get more zen about rejection, you know? And I also need to be easier on myself emotionally about the whole writing thing. Sure, it would have been great to get a lot more writing done before my surgery. No, I don’t know what the aftermath and recovery is going to look like–I am finding that out Monday at my pre-surgery meeting–so I won’t know for sure until Monday what I am going to be capable of doing in December. I think I’ll probably be back to work right before Christmas, but I also don’t know what I am going to be able to do once I go back. Will I be able to test people? How mobile will the next cast be? (I think I am going from rigid to flexible after the first three weeks.)

Uncertainty is not the friend of anxiety, but I think I am doing a pretty good job of not letting my anxiety take control of my conscious brain, at any rate. And this morning I’ve managed to unload the dishwasher already and start another load–and when I get home from my partial day at the office I’ll get started on the bed linens. I am running an errand on the way home, and then I intend to spend the afternoon mostly reading the new Lou Berney while doing some light picking up and pruning of the books, and maybe even get some writing done. Stranger things have happened.

And on that note, I am heading into the spice mines. Have a lovely day, Constant Reader, and I’ll check in with you again later with some blatant self-promotion. Tuesday is the official release date for the new Scotty, which is very cool, and then the next week we go into surgery. WHEE.

Sexy Drag Queen

Today’s blatant self-promotion for Death Drop image is of one of my favorites from the world of Drag Race–Manila Luzon. I fell in love with her during her initial run on the show, and wanted her to win. (She didn’t, alas, but I also like Raja, who did win that season.)

When I was a personal trainer, I always asked new clients what their fitness goals were. Straight women inevitably wanted to lose an average of ten pounds or so; gay men always wanted to look like underwear models or Olympic athletes; and lesbians generally just wanted to be healthier. I tried to educate the women on the fallacy and dangers of “dieting”, and that the best thing to do was restructure and rethink how and what they ate and when. I used to always tell the gays, “can you afford a personal chef and nutritionist, and can you exercise three to four hours a day every day? Because they don’t look like their photos most of the time…they usually maintain their bodies regularly but go on ridiculously limited diets that aren’t healthy and also dehydrate themselves to look more cut for pictures. And it’s also their full time job to look like that. Now, let’s realistically talk about a plan that can make your body fit and toned in a healthy way that will be easier to maintain.”

Jem, my main character in Death Drop, is a professional hair stylist and make-up artist, and also has a good eye for fashion. His job is to make women, as he says, feel beautiful and confident, and as a gay man, he also can see the endless pressures from every direction that are put on women. Part of his issue with Marigny Mercereau, whose fashion show he is hired to work in the book, is that he hates the clothes she designs because the silhouettes are unattractive and they don’t flatter women’s bodies. Add to that the fact that the last time he worked for her, her check bounced, and yeah, she isn’t one of his favorite people. But so much is going on that night of the fashion show that Marigny’s clothes–and his dislike of her–aren’t in the forefront of his mind.

I mean, he does have to do drag for the first time that night–in front of a bunch of wealthy or upper middle class women he would love to have as glam clients. And Jem has stage fright.

That is one of the keys for me with Jem and the whole drag thing: he has stage fright, like I do. I’ve never really written about that much in my fiction–I know I’ve talked about it on here ad nauseum ad infinitum–but despite mining almost every experience I’ve ever had in my life into my fiction at some point, it’s kind of odd that I’ve never written about stage fright. I have it, bad. I am sure it’s a symptom of my anxiety–as everything is–but I have it, and I’ve always had it bad. When I was in plays in high school, it was torture. I liked being in the plays–I used to dream, as a kid, of being in show business, and yes, practiced award acceptance speeches in the mirror while clutching a shampoo bottle–but the actual performances? Absolutely not. I generally shake so much when on panels that I usually try not to use my hands when I talk–which I always do–because I don’t want anyone to see that I’m literally trembling in terror; I am also usually sweating a lot and my heart is racing and there’s a massive adrenaline rush…panels aren’t as bad as moderating one is; but now that I know it’s anxiety I try to handle it. Before I moderated that panel at Bouchercon this past year, I walked around a lot before the panel to burn off the adrenaline and try to get my heart rate down to something passing as normal. Also knowing it was based in anxiety gave me a handle on it; when I know what is going on I can try to cope with it better than what I did before–which was just grit my teeth and get through it.

Jem didn’t have stage fright while walking in the fashion show–and he also knew it was because of the lighting and it being after dark, he couldn’t really see the people in the audience. He knew they were there, but as long as he couldn’t see them it didn’t phase him. His fears of performing, of getting on stage, is going to be something he is going to have to work on in future books–of which I am hoping there will be at least three, if not more. He probably won’t have to deal with it in the second book either–because while he has graduated from drag school and performed in the graduation show, that was for friends and family and not the general public–because the second book takes place at a national drag pageant…which is being protested by a hideous hate group called Moms4Freedom…which I am having a lot of fun with, rest assured.

And on that note, I will bring this to a close–there will be more blatant self-promotion to come!

American Heartbeat

Well, I didn’t get my blatant self-promotion done yesterday, so I will have to work extra hard today to make sure it does get done; cannot go two days without any, after all. I do feel tired this morning, and I am going into the office tomorrow. I have appointments for the surgery all morning on Monday, so I am going to take the day off–which means staying at the office after the department meeting to get all the things done for the next week that I would ordinarily do on Monday. I keep hoping the dentist will call about my dentures; it would be so awesome if I could get them on Friday, but surely they will come in by next week. I know things have slowed down with deliveries to New Orleans thanks to the visibility issues we’re having down here in the mornings. There’s a swamp fire in the East (which is why the whole city smells like burning rubber), and that mixes in with the heavy fog and visibility is relatively non-existent. Yesterday morning every bridge into New Orleans was closed except for the causeway, and there were some bad accidents before the bridges were closed. I-55 still hasn’t recovered from that insane massive pile-up in the same conditions last week, and I think it still closed southbound. As you cannot get into New Orleans from anywhere else in the state (other than Metairie and Kenner) without having to cross a bridge, you can see how closing all the bridges1 could cause delays in deliveries to the city–which is also probably why the grocery stores all look so picked over all the time.

I did manage to do some chores last night when I got home–finished a load of laundry and started another; emptied the dishwasher and reloaded it to run again, with another load waiting to go–and I made groceries on Carrollton before heading uptown to get the mail. My new copy of Chris Wiltz’ The Last Madam2 arrived yesterday, along with shaving accoutrement that I’d ordered, which was lovely. I think I am probably going to come straight home from work today. I’ve picked up the mail every day this week so far, it can wait again until Saturday when I take books to donate to the library sale. I really need to get back to work on the book and some of the other writing I am trying to get done before the surgery knocks me out for a while. I don’t know how much writing I am going to be able to do during the three-week post-operative hard cast to keep the arm immobile period, but in a worst case scenario, I should be able to sit in my easy chair and read and watch movies, right?

I watched a documentary last night on Youtube about how Egypt survived the Bronze Age Collapse (which is a period which really interests me–all the civilizations crumbled around the same time but we don’t really know why), and I also watched another episode of Moonlighting, and it just so happened that my all-time favorite episode was on deck, “Twas the Episode Before Christmas”–which also is one of my favorite series Christmas episodes of all time. This was the episode where the show fully committed to breaking the fourth wall regularly (they’d flirted with it before, with the occasional joke about the run time of the show or the viewers), but this is the episode where Miss DiPesto finds a baby in her apartment right before Christmas, and from thus the mystery was sprung. I also absolutely loved that the three FBI agents looking for the baby were all named King (hence the Three Kings looking for the baby at Christmas), and other little clever touches like that. It’s also an incredibly well-written episode, anchored by a truly beautiful and sensitive performance by Allyce Beasley as Miss DiPesto–who was robbed of an Emmy for this episode. This also, along with getting the new Donna Andrews Christmas mystery (Let It Crow! Let It Crow! Let It Crow!) and David Valdes’ new y/a romance Finding My Elf, had me thinking about Christmas again, and my weird bipolar feelings about the holiday, and also had me thinking about how little I’ve written about Christmas in my vast array of work; as far as I can remember there’s one short story (“The Snow Globe”) and one book (Royal Street Reveillon), but that’s really it. I’ve written other Christmas short stories, but have never shown them to anyone or wrote additional drafts, because they were gushingly sentimental, and I despise cheap sentiment. (Oh yes, years ago I edited an anthology of gay Christmas stories, Upon a Midnight Clear, which has been out of print for at least fifteen years, if not more.) I am going to try to read more Christmas-set books this year during the holiday season, much as I read horror the entire month of Halloween.

I’m also thinking I should write more about Christmas, and another Christmas book isn’t a bad idea, either.

I just wish I could get my mind to focus on something, you know? But I suspect that has to do with the looming surgery. This weekend, LSU plays Florida on Saturday night, and I am not sure I’ll watch much else–I’ll have the games on in the background but fully intend to get shit done around the house, and read, and write. I am not going to be able to do much around the house for at least three weeks, which has me a little concerned about the laundry–but I’ll cross that bridge when I come to it. One nice thing about football season is that once LSU is out of contention for anything, I don’t really have to pay much attention to anything else other than them for the rest of the season. I do love football, but not enough at this point to justify wasting an entire day watching games.

And on that note, I am heading into the spice mines. Have a lovely day, Constant Reader, and I am going to try to get some more blatant self-promotion out today, too.

  1. Ironically, I talked about how you always have to cross water to get into or out of New Orleans in Mississippi River Mischief; and here we are. ↩︎
  2. More research into gay prostitution and the history of sex work here. ↩︎

Lady Marmalade

He met Marmalade down in old New Or-leenz, strutting her stuff on the street, she said “hello, hey Joe, you want to give it a go?“

That classic song by Labelle came out while I was in high school, during the early to mid-1970’s, and there was a lot of prurient young teenager thrill in knowing that the French lyrics translated to “do you wanna have sex with me tonight?” But the song–essentially about a hooker in New Orleans and a man’s experience with her–was an introduction to another side of New Orleans–one you wouldn’t find in the World Book Encyclopedia.

It was very important to me, for a variety of reasons, to make Scotty someone who embraced his sexual orientation and sexuality. I wanted to write someone who LOVED having sex, loved beautiful men, and felt no Puritan-American based shame about enjoying sex. Those kinds of characters were few and far between in gay fiction, let alone in gay crime fiction. After writing the typical miserable cynical bitter gay man with Chanse, I didn’t want to do that again. I wanted Scotty was to be the obverse of Chanse in everything, except their mutual love of New Orleans.

(This was, in part, in response to being briefly dropped by Alyson when I signed the Scotty series with Kensington, being told “two mystery series set in New Orleans would be too alike.” I took that personally, as an insult to my talent, ambition, creativity, and abilities…and I think I proved my point. Once Murder in the Rue Dauphine and Bourbon Street Blues were released–and Rue Dauphine sold super well for them and was nominated for a Lammy–Alyson changed their minds. I’m still mad at myself for not asking for more money.)

But while Scotty was highly sexually active, he never got paid for it. He also never did porn–although I did consider that at one point as an option; I thought a murder mystery built around a porn shoot would be interesting and kind of fun. And of course, in this book he mentions that he and the guys have recorded themselves having sex, and have sexted each other.

Scotty always preferred to keep his status amateur–but he was a go-go boy (stripper, exotic dancer, dick dancer, whatever you prefer to call the guys who dance for dollars in gay bars wearing various kinds of male undergarments), and he was certainly someone who was not averse to having a sexual encounter with a handsome stranger. (There’s a joke about this in Mississippi River Mischief where Frank comments after they’ve met someone, “I’ve been with you for almost twenty years. If you think I can’t tell by now that you’ve recognized someone but you’re not sure from where, which means you’ve probably slept with them, think again”–a paraphrase, but you get the gist; Scotty is often running into men who look vaguely familiar, and that usually does mean he slept with them a long time ago.)

New Orleans, despite it’s rather prim-and-proper high society set (on the surface, anyway), with the Pickwick Club and the Boston Club and the mysterious Mystick Krewes of Rex and Comus and so on, has always been a city of loose morals and freewheeling attitudes towards sex and sexuality. We had a zone where prostitution was legal for three decades or so (Storyville) and I wouldn’t be surprised if there were several bordellos operating within the city limits as we speak. There was the arrest of the Canal Street madam; and of course local author Chris Wiltz wrote The Last Madam, a biography of notorious Norma Wallace–the last well-known madam in the city. (Which I need to reread…) Bourbon Street was known for its strippers and vice for decades; there are still strip clubs on the infamous strip running from Canal downtown to Esplanade–and there are usually men in bikinis or something equally scanty on the bars of the gay clubs down down around the St. Ann/Bourbon queer nexus of the Quarter. When I was starting my deep dive into New Orleans/Quarter history, I wasn’t surprised to find out there were “stag” bars down along the riverfront along the levee; and if someone at one of the fancy houses in Storyville had a predilection for the Greek vice that needed scratching, the madam would send one of her bouncers down there to find someone willing to turn a trick, with a fair share going to the house, of course.

I think that’s fascinating, really; and something I want to explore in a story. I’ve started the story (it’s “The Blues Before Dawn” which I’ve mentioned from time to time) but can’t quite nail down the crime part of it. The set-up is great, though, he typed modestly.

I didn’t intend for Scotty to wind up in what is now known as a throuple–a three way couple, or a relationship of three people–on purpose. I wanted to create the dynamic of two men being interested in him at the same time, and have some fun with that in the first book. I absolutely did, and when I sent Colin away at the end of the first one, that was deliberate. I couldn’t decide who Scotty should wind up with, and I wanted Frank to be really who he logically should end up with–but this bad boy with a mysterious background who was so hot and sexy? I couldn’t NOT bring him back, and so I decided I had three books to wrap up the romantic dilemma. I wasn’t certain what the backstory of the dilemma would be, or how it would turn out, or how it would go–but when I was writing Jackson Square Jazz I found the perfect place and perfect way to bring Colin back. That book ended with them deciding to try a throuple to see how it works out. It was going pretty well until Mardi Gras Mambo–and I tried really hard with that book to not end the romantic story the way it ended in that book…and finally decided, since the series was actually turning out to be popular, that I would finish it by the end of the fourth book.

I’ve also not talked about it in the books or on this blog at all, but….they also have an open relationship. (Someone asked me about this at some point after the last book came out.) Nothing else would work for Scotty–he may not take advantage of the opportunities that pop up now the way he used to, but that’s because he has the freedom to make that choice. If he was forbidden from outside sexual relationships, he would cheat–and he doesn’t want to do that because that’s hurtful and wrong. He never wants to hurt Frank or Colin–but both of them are also away from New Orleans for long periods of time; Colin off doing his international agent stuff, while Frank is on the wrestling tour doing shows and promo events; so they are on their own a lot and temptation is always there–after all, all three of them are gorgeous–so while it is unspoken on the page, it’s an open throuple. And usually, Scotty finds outside sex to be kind of dull, unemotional, and not nearly as much fun as it is with one or both of the guys. That’s a character development arc. I also don’t show Scotty going out to clubs or waking up with hangovers with a stranger in his bed anymore, either. He does still go out–he loves dancing–but the gay bar scene has changed since he was younger and he doesn’t find it to be nearly as much fun as he used to.

Though he won’t say no to a hit of Ecstasy during Carnival or Decadence.

How subtle are the changes in Scotty as he has grown, aged and evolved? I think they are miniscule, but a revisit of the first two books in the series has shown a lot of change and growth over the years for him. He is definitely not that same flighty twenty-nine year old who booked a gig dancing at Southern Decadence all those years ago to make rent and wound up kidnapped by neo-Nazis deep in a swamp–I think he’s a little less flighty and a lot more responsible than he used to be…though he’s not as responsible as most people his age. Turning him into a property owner in the Quarter from a renter–and letting Millie and Velma ride off into the sunset in Florida as retirees–has also made him grow up, as now taking care of the property is his responsibility.

I will always be fond of my Scotty, though, and hope to keep writing him till I can no longer type into a computer or speak into a word-to-text app.

my neighborhood is so beautiful at night, isn’t it?

Born Naked

RuPaul likes to say we’re all born naked–everything else is just drag, and she isn’t wrong here.

Everything we wear is a form of drag. We always try to dress properly for whatever occasion, but yes–there’s work drag and formal drag and casual drag and gym drag and sports drag and around-the-house drag and pretty much any way you want to look at clothing…it’s all kind of a costume, really. And those costumes also depend on the time period.

I used to always think that I had no fashion sense–straight women and other gay men have often been astounded at how little I care about clothes or fashion or style. I have slight color-blindness, too–it’s hard for me to differentiate between darker shades; the darkest shades of blue and purple and brown and gray and green all look black to me. I also have some difficulty determining whether colors actually go together or not–which is why when it comes to formal/dressier clothing I tend to stick to black, white and red; I have so many red dress shirts, Constant Reader, you have no idea–so as I got older, I tend to go with what is easiest and less anxiety-inducing for me.

Of course, I also worked at an airport and had to wear a uniform for over two years: airline work drag. And after years of being a personal trainer, where all I wore was workout clothes or sweats, so yeah–my fashion sense has always been untrained and severely lacking for the most part.

Louis XIV, the Sun King–but those tights! That wig! Those shoes! More like La Reine Soleil, am I right?

I also always used to deplore the fact that men’s clothes gradually became so incredibly boring from the heydays of Beau Brummel-type male fashion icons. Look at the above painting of Louis XIV. Now imagine a man wearing that outfit to an awards show or a film premiere. Even our own Founding Fathers wore tights, powder, wigs, and heeled shoes.

But somehow, those clothing items became feminized and gender swapped–of course, women in the past also wore heeled shoes, wigs, powder and tights beneath their skirts and bustles and hoops. But even in the 1930’s and 1940’s, men’s clothes were far more stylish–trench-coats and linen pants, fedoras and other hats, spats and Oxford shoes, argyle socks. I hated the “traditional” styles of dress for men that developed in the post-war period. and the utter rejection of those same styles in the 60s and 70s. Men’s clothing began to evolve a bit more during this period–and some serious fashion faux-pas were prevalent during the last decades of the century.

As I said the other day (and as so many others have pointed out), men have always dressed as women for one reason or another that had nothing to do with gender expression or identity for years. The Sun King’s gay younger brother (he also had a gay bastard son by Louise de la Valliere; homosexuality was rampant at the Sun King’s court) Philippe duc d’Orleans (whose son was the namesake for New Orleans) had many male lovers and often dressed as a woman for appearances at court. I’ve always wanted to write about Philippe, who has always fascinated me–the young gay bastard son of Louis XIV, who died young, was Louis duc de Valentinois; I’ve also had some minor interest in writing about him as well, or just gay life at Versailles in general.

There is a long-standing drag tradition in New Orleans as well. The Red Dress Run, for example, may not be full drag as we know it, but it’s essentially all about men in red dresses for charity.

One of the things I really enjoy about the modern young generation is they don’t subscribe to the antiquated rules of fashion for men and women. I love seeing young actors and celebrities showing up at red carpet events in daring outfits instead of that tired old tux look. Yes, men look dashing in tuxedos; I’ve always wanted to go full tuxedo with hat, cane, tails and gloves–but again, not the ordinary or expected.

I wore a kilt twice when I went to the Edgars, and wore it again at Bouchercon in Albany for our Real Housewives of Bouchercon panel. I loved wearing it–skirts are sooooo much more comfortable than pants–and it was definitely a fashion risk; people who didn’t know me but saw me wearing it undoubtedly thought ah, that one must be gay. I love the way the Musketeers dressed in The Three Musketeers–I think the seventeenth century was probably my favorite era for men’s clothes; I also love a pirate look from the early eighteenth as well.

One thing I definitely need to explore more with Jem is not only his sense of fashion for his clients, but for himself–both in and out of drag. Those are critical decisions for a queen–because while a particular look or style for a queen can evolve over the years, it’s very unusual for them to do something radically different than their usual; again, it probably has to do with ease more than anything else; it’s much easier to fall back on a regular look and color palette than to reinvent yourself every time or to come up with something new every time. I do think I am going to have Jem do the Madonna constant reinvention thing–mainly because it’s more interesting that way for me–because it is part of who he is as a person; Jem thinks he’s boring but he’s actually quite adventurous. Jem has very little confidence in Death Drop, which is easy for me to write because I know how that feels. One of the goals of the series is to show him develop self-confidence and self-assurance and becoming more comfortable with himself, and part of that is going to come from performing in drag and another part from actually solving crimes…which makes him start believing in himself more.

And that is always fun to write–character growth and development.

Cover Girl

Drag is a part of queer culture I’ve always known about but has also been something primarily on the periphery of my gay life and world; I’ve only occasionally ever thought about perhaps doing it–as a gag or as a costume at some point; a very dear friend has always wanted to dress me up as Joan Crawford (narrow waist, big shoulders, enormous eyebrows), which is something I would consider doing if it wasn’t so much work–I am way too lazy to ever do drag properly and respectfully. I did a very poor attempt at drag many years ago, for a Showgirls themed birthday party for a friend; the result was far from pretty. I did sometimes used to use mascara and eye liner when I would go out; it emphasized my enormous and expressive eyes which most people have always considered my best feature (although aging has deprived me of my eyelashes). Drag was just another part of the community and culture, like leathermen, bears, and gym queens–another patch on the quilt that makes up our queer world.

My primary interest in drag has always been historical and cultural; drag culture has always been a part of the gay bar scene, since time immemorial, it seems. I have always been interested in every aspect of gay culture since coming to terms with my own sexuality and recognizing that not coming to terms with it meant a lifetime of guaranteed misery, and shouldn’t I really take a chance on being happy? There was always a lot, for me, of misunderstanding about drag culture and its place in the gay community; but that also primarily came from people outside of the community and therefore didn’t have the slightest grasp of it–i.e. ignorant slurs that all gay men dressed like women whenever they had the chance, you know–not “real men.”

But seriously, who wants to buy into the cult of toxic masculinity? No fucking thanks.

I don’t know the history of drag, but I did know–from the very beginning–that there was a significant difference between drag and the trans experience; there’s definitely crossover, but the Venn diagram of drag and trans is not a complete circle. I understood this always, even when I knew very little of either. This was always the issue I had with To Wong Foo Thanks for Everything Julie Newmar–the queens in the movie didn’t just do drag for performance or pageants, but dressed as women in their everyday life…which made them transwomen who also did drag. The failure of that film to define the difference between the two, I think and believe, has a lot to do with the current-day conflation by the Right of drag queens with transwomen. Likewise, was the Nathan Lane character from The Birdcage (and the French original) a transwoman or a drag queen?

And the fact that I, knowing as little about gay life and culture as I did in 1994, knew that the Wong Foo movie was conflating two completely different things as the same certainly means that other, better-educated people should have, as well.

But it’s also important to remember that the movie wasn’t made for the queer community–no Hollywood studio film with queer characters is intended for a queer audience, and thus there’s a falseness to them that rings hollow to me (don’t even get me started on Philadelphia); what Sarah Schulman once (paraphrasing) described as “the creation of a fake public homosexuality that will play in Peoria.”

There’s an essay in that, methinks.

The first time I went to a gay bar in Houston is my first true memory of seeing someone in drag performing on the bar in person. She was doing Liza as Sally Bowles from Cabaret, and as I walked in the door with some co-workers from That Airline, the first thing I saw was her up on the bar, with a musclebound dancer on either side of her in bikinis or thongs, and I can remember thinking wow this is decadent like Isherwood’s Berlin–but I liked it. I felt at home there, in a way I never did in gay bars in Fresno (or anywhere else I was able to sneak away and visit one), and felt like that night was when my gay life actually began: I was with co-workers, I was going to a gay bar openly, and the co-workers knew I was gay but had never really experienced being gay as anything but misery and depression and a curse. I don’t remember the name of the queen, but ever since then, “Mein Herr” always brings a nostalgic smile to my face.

But again, I didn’t go out much or do much during those two years in Houston as I still wasn’t completely comfortable being totally out. I moved to Tampa in 1991 and started living as an out gay man…and started spending more time in gay bars. A popular night for airline employees as Tuesday Nights at Tracks, where cocktails were only fifty cents and no cover before ten. There was also a drag show at midnight, with an actual stage in a show room, and that was my first real experience watching drag queens perform. There was a gay paper there–I cannot remember what it was called to save my life; I know the one in Texas was This Week in Texas, called TWIT by everyone–but it often had information about performances and other night life ads and so forth. I began to get a better understanding of drag, its place in the community, and its importance to gay culture, period.

And of course, once I moved to New Orleans, there was Bianca del Rio.

The mainstreaming of drag actually began in the early 1990’s, with RuPaul having a surprise hit record out of nowhere, “Supermodel (You Better Work)”, which started exposing more people to drag who ordinarily would have never seen one. RuPaul was everywhere in the early 1990’s, and even had her own talk show on MTV for a while. The Adventures of Priscilla Queen of the Desert and its homogenized American version To Wong Foo, Thanks for Everything, Julie Newmar were both incredibly popular. (I enjoyed Priscilla, and I’ve already touched on my issues with Julie Newmar–which will probably become an essay at another time.)

There were, of course, other successful queens out there before RuPaul’s big breakthrough and later, comeback with Drag Race, but few had as large a profile in the culture as RuPaul. Lady Bunny, Miss Coco Peru, Miss Richfield 1998, and Varla Jean Merman were all making a pretty decent living as performers before the drag explosion that followed the launch of Drag Race.

I’ve met numerous drag queens on the local scene both in and out of drag–I’ve always been fond of Princess Stephaney and Blanche Debris (who is retired now), and the drag community of New Orleans was always incredibly supportive of the NO/AIDS Task Force. I met Bianca out of drag a couple of times, but I doubt he remembers me…but Drag Bingo at Oz on Sundays with Bianca and Blanche (I just realized their first names both translate into English as white) was always a blast–and I made a point of never trying to get Bianca’s attention because she was always quick and that tongue was sharp as a scalpel always.

I also work with several co-workers who either did drag or have started doing it while I’ve known them, which indirectly helped me with the writing of Death Drop and my original story for a drag queen. Jem is sort of patterned in some ways on one of my former co-workers who actually went to a drag school here in New Orleans–and eventually quit his full-time job to do drag full-time. He’s been in Queer as Folk and numerous other shows filmed here, and has been booking gigs all over the country–check out his Instagram, isn’t he fucking gorgeous? So that gave me the idea to make the first book with Jem his drag origin story.

Learning about drag to write this book–and its sequel–has been an enjoyable learning experience for me. At some point I know I am going to have to do a transformation; I need to know how it feels to have the make-up and the padding and the wig and the dress and shoes on. I can imagine it all from doing theater in high school, but it’s not the same.

And yes, I will share the pictures when and if it does happen.

Born on the Bayou

Whenever I am writing or creating a character, the first step I need to accomplish in order to keep going with them is that I need to know what they look like in my head before I can start. The first step is for me to know what they look like. I generally use real people are models for a starting point for my characters–but they do evolve from that initial “how they look” base and extrapolate the rest of their appearance from there. I also don’t base characters on real people, for the record–because you can’t. You can never base a character completely on someone else because you can’t get inside their head or know all of their life experiences and the things that shaped who they are and why they do the things they do.

This is the base-line physical model for Scotty I used when creating him. Scotty’s evolved since then.

This wasn’t the base model for Frank, but you get the idea; he’s pretty close to what I pictured.
And this is where I started from with Colin.

I don’t base characters on real people because it’s impossible to do–you can only base a character on your perceptions of who that person is; you cannot know every experience they’ve had, every trauma, every event that occurred that shaped and changed and evolved them into who they are. This is why people–even ones you think you know really well–will always surprise you at some point. I’ve lived with Paul for twenty-seven years and he still surprises me. I didn’t know any of these men–all models for BGEast.com–at the time and of the three of them, the one I actually know is the one whom I didn’t actually use as the physical model for one of the three, and I didn’t meet him until the first three books were already in print and available.

But when I was creating Scotty, I wanted the readers to have fun with the books. I didn’t want to write anything dark or tragic or heavy; I already had the Chanse series to do that with. Chanse was a six foot four two hundred and twenty pound mass of neuroses, insecurities, cynicism, and bitterness; I really didn’t want to do that again because what would be the point of doing two series that were exactly the same? I wanted them both to capture the feel and spirit of New Orleans, but from very different perspectives. Chanse wasn’t happy about being a gay man; he was still struggling with it in the first book and slowly became resigned to it, rather than embracing it. Once Scotty told his parents and came out to them, he never looked back and started looking for his joy. Scotty’s family loved and embraced him as he was, and other than both sets of grandparents cutting off his access to his trust funds when he flunked out of college–which has nothing to do with him being gay; that was an attempt to get him to go back to school. The trusts were originally set up to become his when he turned thirty anyway, so he never really had to worry about the future–which is an incredible privilege. Even working as a personal trainer and some-time go-go boy for the money wasn’t that big of a deal; his landladies were family friends who’d never evict him in the first place and his parents would always come through for him anyway.

I also made his siblings the same as Chanse’s–I don’t know if that was intentional or not, but while Scotty is the youngest with an older brother and sister, Chanse was the eldest with a younger brother and sister he isn’t close to. Scotty’s family was tight, while Chanse’s was not. Chanse’s sister is married to an accountant for an oil company and lives in Houston; his brother still lives in their hellhole of a small city, Cottonwood Wells (small city, large town; I am never sure which is the right one) and I broached their relationship in the short story “My Brother’s Keeper.”

And I had Scotty live in the French Quarter as opposed to Chanse’s apartment on Coliseum Square; Scotty is that rarity in New Orleans–someone born and raised in the Quarter. Chanse was an import from Texas who moved to New Orleans after graduating from LSU; Scotty has always been here other than the two failed years in Nashville at Vanderbilt.

I wanted him to have absolutely no hang-ups or issues about being a gay man. I wanted him to embrace his sexuality and enjoy his sex life and have that Auntie Mame mentality of “life’s a banquet and most poor suckers are starving to death”; Scotty wants to have fun and enjoy his life. He doesn’t think he’s ever destined to find a boyfriend or life partner in the first book–he’s too unabashed a slut1 who loves getting laid and doesn’t want to tie himself down, plus most men he meets tend to be too serious for him. Scotty has no hang-ups or issues about his body, either. As a wrestler in junior high and high school his body became strong, muscular and lean; he never says whether he thinks he’s attractive or not–he says other people seem to find him irresistible in the first book, and he admits he doesn’t see what others see but they see it so okay. He’s become more serious as he’s gotten older and as he’s dealt with bad things–but he doesn’t go into a depressive state or withdraw from the world when bad things happen; he faces them head-on, and his motto (life doesn’t give you anything you can’t handle–it’s how you handle it that matters) is one we could all aspire to, really.

While taping Susan’s show last week I did say that Scotty was the idealized version of myself and the life I would love to have–sans the murders and kidnappings and shootings, of course–and naturally a lot of his traits have come from within my own mind; but while I find his mentality and life view aspirational, I often fall short. Scotty has a genuine kindness to him as his inner core that I don’t always default to, much as I wish I could and did. I am a lot more like Chanse than Scotty, even if they are kind of different aspects of my personality and who I am.

It’s sometimes hard for me to wrap my mind around the fact that I’ve been writing Scotty now for twenty years. Bourbon Street Blues came out on May 1, 2003. Twenty years of Scotty books, but only nine–like one every other year rather than every year.

And I also sometimes wonder if my subconscious somehow keeps track of Scotty, because I keep discovering things about him that I wrote years ago that were just kind of throwaways that now I can circle back to and create story arcs for these character traits and personal histories for the newer books.

  1. There’s also a scene in Bourbon Street Blues where he proudly states he doesn’t have sex for money because he “prefers to keep (my) amateur status.” ↩︎