Tuesday and back to what passes for normality around here. My eye appointment went very well; my eyes (despite their inability to see much) are very healthy and there’s no trace of either glaucoma or Stargardt’s disease; there is some slight cataract development but “nothing you need to worry about for fifteen or twenty years.” *Whew*, am I right? I feel bad still for my sister, of course, but it’s a relief to know that I most likely will not be losing my sight as I get older.
I also have to share this piece about my friend Mark. Mark and I have been friends for well over twenty-five years. I also knew his late husband Johnny; I remember when they first became a couple. Mark was my workout partner for about ten years or so; I had to abandon our workouts when I went back to work full-time. If you’ve been around this blog since its beginning all those years ago, I helped Mark and Johnny gut their house and remove all of its water-damaged contents; Mark was the basis for Scotty’s best friend David in Bourbon Street Blues and has appeared in numerous others of the Scotty books. And yes, it is deeply ironic that the Archdiocese of New Orleans let him go for the morality clause as they try to navigate bankruptcy and financial settlements for covering up all the child rapes committed by their priests. I first saw this on Facebook when Mark posted it; it was picked up by one of the news stations here; the Guardian on-line, but I frankly enjoyed the editorializing evident here by the Friendly Atheist newsletter; imagine my surprise when it dropped into my inbox talking about what happened to my old friend Mark! Mark was the one who took me to Charity Hospital when Paul was attacked because I was too upset to drive. (I miss Mark. I don’t see him as much anymore and that is mostly my fault.) Mark is a good guy, and this pisses me off–even more so because Johnny is dead and Mark is no longer in violation of his contract. I don’t think my opinion of this Satanic archdiocese could have gone any lower–and here we are. Maybe it’s time to write a book addressing the child rape cover-ups…if it isn’t already a cliché.
I proofed my short story for Crime Ink yesterday and sent the corrections back in; which also required me to reread the story (“The Rhinestone”) again for the first time since the copy edits, and of course, I’d pretty much forgotten all of it. It’s a good story, an excerpt from Never Kiss a Stranger in which I had to fill in a lot of the background…since it’s already established in the longer piece; I winced a bit at the background before remembering oh yes, you had to add all of this in because no one would have a clue what was going on without the back story, and of course I was worried that I was “telling” too much rather than showing. I’m not sure when I am going to get back to Never Kiss a Stranger since I want to finish the Scotty and Chlorine before I can give it my full attention, if then; there are some others that are itching to be written and finished as well and I always seem to get distracted from my planned schedule…I had wanted to get The Summer of Lost Boys done this year, but I don’t think that’s going to happen…and of course, now I want to write about the cursed lake, too.
Sigh.
But no more defeatist talk around here! It’s absolutely okay to have days where you need to take care of yourself and not get as much done. I did take care of the kitchen last night, and started working on the living room again (I also found a lost remote control we looked for everywhere; it’s been awhile since the ghost played a trick on us…and now I am missing something else entirely). I also made a to-do list, picked up my mail, and made groceries. So, yeah, I should have been tired when I got home! Cheers and applause for everything else I did, thank you very much. I also went to bed early; I was falling asleep in my chair and staggered upstairs for a lovely night’s sleep. I’ll go straight home from work tonight and finish everything I started last night, and hopefully do some reading and writing. (I did write a bit yesterday–not very much, mind you, but it was something.)
I have a severe lack of motivation this week, and that’s going on the to-do list; find my motivation and reawaken my ambition and my sense I can conquer the world.
And on that note, I am heading into the spice mines. Have a lovely Tuesday, happy July, and all that jazz. I’ll be back tomorrow.
The Hall of Mirrors at Versailles; something I’ve always wanted to see
Tuesday morning, which oddly is my halfway point of going into the office this week. It’s bizarre and will be mentally disruptive, but Thursday is a holiday and Friday my remote day, so when I leave the office tomorrow night I’ll be heading home for the weekend and not returning until Monday. Very weird, am I right?
Well, the first infusion went well. I was early (of course) but the slightly more than two hours wasn’t bad. It wasn’t bad; the chair I was in while getting it was a massage chair that also heated, so I had some nice heat into my back muscles to go with the vibrating. I didn’t have any negative reaction to it, but alas and alack, there was a crisis at work and I was trying to figure out how to fix everything for everyone by communicating through the Teams app, which also helped pass the time and also counted as work; I mean, I was having a medical procedure and was working remotely, you bet your ass I am counting that as work time! I was a bit tired when it was over and throughout the rest of the day, but if that is the only side effect I feel from this, I can live with it. I also treated myself to Sonic on the way back to the office, and it was pouring rain on me from the moment I left the hospital until I got back to the office–which was the cue for every stupid New Orleans driver who can’t drive in the rain to get on the highway. The way people drive, you’d think it never rained here. (Narrator voice: It does, in fact, rain frequently in New Orleans.)
Despite having to deal with a work crisis, I was also able to spend some time reading Summerhouse, which I’m enjoying and is also making me think. It’s a very interesting take on long-term queer couples and relationships1, and the cultural differences between Turkey and the United States–they are discreetly and deeply closeted, but even that aspect of the story makes me think, and there’s also some interesting thoughts bubbling up about gender roles and gay couples that might make for an interesting essay in and of itself; the book is definitely engaging my mind. Thanks again to Kristopher Zgorski, whose review of the book brought it to my attention; I’d have probably missed it otherwise. (He is such a good source for great books!)
I also got to write a guest post over at Christa Faust’s newsletter, and the topic was Sex Workers in Crime Fiction. I wish I had done a better job, but she asked me to do it before I got sick–and then came the sickness, followed by the recovery process (still in it) and my writer brain might not have been engaged enough? I suppose I am not doing a good job convincing you to go read it, am I? But I definitely have strong opinions about sex, sexuality, and sex workers, and I do get some of those across in the guest post. Also, big thanks to Christa for inviting me–and if you’ve not read her work, what the FUCK are you waiting for? Seriously, get thee hither to your local bookseller and if they don’t have them in stock, order them and DEMAND they stock them from now on.
I also got a lovely shout out for Pride from ‘Nathan Burgoine. It’s so hard for me to register that Bourbon Street Blues came out twenty-one years ago…both Scotty and Chanse can legally drink now. Yikes, indeed. I guess I have been around long enough to be considered a sage? Ha ha ha ha, as if.
Also, I don’t know if you subscribe to Matthew Rettenmund’s Boy Crazy newsletter, but he recently wrote a great piece about Soloflex and their first model, Scott Madsen. Matthew does an excellent job of talking about celebrity culture of gay interest, and he also talks about things of gay interest from over the last four decades (he wrote an amazing piece for Esquire about Playgirl that is an absolute must-read). I may write about Madsen and Soloflex at some point myself, but more from a Gregalicious point of view rather than an overarching cultural one the way Matthew does.
Lots of links this morning, no?
The only effect to the infusion that I could tell was fatigue, which was one of the side-effects they mentioned, but not one of the serious ones. Fatigue is to be expected, so after I made groceries on the way home I was pretty wiped out. We watched some more Coyotl, which is becoming more and more fun as we go–although when our hero is the beast, he looks more silly than intimidating, which kind of spoils it a little bit. I do feel a bit tired and worn out this morning and didn’t want to get up, but my coffee seems to be kicking in right now so I am going to ride that wave, hopefully through the rest of the day. The LSU game was also rain-delayed (which is why we were able to watch Coyotl) until this morning with the Tigers up 5-3 in the fourth.
And it’s into the spice mines I go this morning! Have a lovely Tuesday, Constant Reader, and I’ll check in with you again tomorrow.
I’m not sure what it says about me as an almost 64 year old gay men but my first thought every time I see this image is “Sure, he’s hot but no one is going to be fucking on that sofa because those stains will never come out.”
Long term relationships are often missing from queer lit, as are gay men in their sixties as the focal point of the story. ↩︎
Saturday morning in the Lost Apartment, with a trip to Metairie looming for an eye appointment. Yesterday was a bit more hectic than I would have liked, beginning with having to go in to the office on what is usually my remote day (meetings, mostly, and some catch up on work I didn’t get to on Thursday), and then I had errands to run all afternoon. It was a gloomy, off and on raining kind of day, so when I got home I was very happy to be safely back into the Lost Apartment so I could do my chores and do some work. I was very tired last night when I was finished with everything, so just kind of zonked out in my chair. We spent the last few nights getting caught up on our shows (we’re now watching Agatha All Along, Bad Monkey, Only Murders in the Building, Grotesquerie, English Teacher, and American Sports Story), and I am hoping to get to watch the new ‘salem’s Lot movie aat some point this weekend, and I’d like to watch Fall Guy, too.
And I need to write this weekend, big time.
Thursday night, when I was working on the Scotty Bible and was marking pages in Mississippi River Mischief, I realized the murder victim in the book was a corrupt politician who goes by JD; prescience, perhaps? It also reminded me of something from a book I had read a very long time ago–Sarah Schulman’s Stagestruck. The thesis of the book was about the similarities between a very popular Broadway musical (Rent) and her nove, People in Trouble. Sarah had actually attended and reviewed Rent, and while it seemed familiar to her, she just dismissed it as being inspired by the struggling artist scene in lower Manhattan in the 1980s and thought it played very false, given her own experience; it wasn’t until later when a friend told her “you must be so mad about Rent”–and she went back and reread her book. (In all honesty, I went on to read People in Trouble and also watched the film of Rent and I also saw the similarities; she wasn’t inventing anything.) But the point of this particular story is that at the time, as an unpublished aspiring novelist, I found it a bit of a reach that she didn’t remember her own book…but doing the Scotty Bible–and talking with other authors–I realized that not remembering your own book isn’t that much of a stretch, and it does get harder the more book you have; the exponential possibility that you won’t remember your own books grows with each new book you write. that the piece of art basically ripped off her piece of art–and she couldn’t remember much I have been routinely shocked about how much of the Scotty series had slipped from my memory banks as I enter the information from each book into the master document; the huge plot points that are the most memorable things about them…but gone completely. I’d forgotten my villainous politician JD, and I only wrote that book last year. I’d forgotten a lot of the stuff in most of the books. I thought the one I’d really be able to temember was Bourbon Street Blues, and nope. I’d forgotten about the entire sequence in the swamp, the fire, and who the first victim was…and I also was able to remember, while going through it, what I was trying to do with him as a character as more time passed and he gained more experience with criminality and human behavior.
And given all those experiences, it was very important to me to ensure he remained a positive person who prefers to expect the best of people, not the worst, and never become cynical. Cynicism was one of the most powerful traits I wrote into Chanse, and I didn’t want to do that over again.
It was also rainy and dreary all day yesterday, and much as I love rain, it can damper your spirits a little especially when you’re already a bit fatigued. But I am feeling good today (I slept really late this morning) and like I can get a lot accomplished. I am going to make groceries on the way home from my eye appointment. I am going to run an errand in my neighborhood on foot when I get back from that, and I am going to try to get the house cleaned up and do some writing this afternoon while football games play in the living room. I also want to read some more of Gabino’s book and get more into it. Tomorrow morning I will run another errand that I don’t want to do much today–Fresh Market is close so it’s an easy thing to do…maybe I can run it later today and get it over with, but I suspect after getting home from the errands today I won’t want to leave the house so much.
And on that note, I am going to get cleaned up so I can get moving on the errands and the other things to get done around the house. Have a lovely Saturday, best of luck to your favorite team, and I am heading into the spice mines. I might be back later; I am itching to finish my review of Monsters, and the Menendez Brothers in general.
Friday after the storm and I am heading into the office in a bit to see what is the situation with our testing supplies, which have to be in controlled temperatures. The exciting day job responsibilities of a Gregalicious. These interrupted weeks are always a bit difficult to re-acclimate back from, especially these sudden and unexpected ones; the ones you plan for are disruptive enough. But I have to go in on a Friday after being home for two days, to then be home again for another two days, and then go back to normal, whatever that may be now. My mind and body clock are sufficiently scrambled now, and it may not be easy getting back into the old routine again–which may not be a bad thing, if I can perhaps establish a new one out of this chaos?
Always a plus!
We finished watching The Perfect Couple, which really didn’t stick the landing, but otherwise was a lot of fun to watch. I imagine the book was probably better. Yesterday was an odd day; it’s weird to have a hurricane day (let alone two in a row) and not have to worry about working at home and so forth; it was like having a weekend in the middle of the week and now I have a day to go into the office when I usually don’t before the weekend, which is very odd. I also started reading Jordan Harper’s Everybody Knows, which is phenomenal, and I also collected all the marked information from Who Dat Whodunnit for the Scotty Bible. The next book up is Bourbon Street Blues, and what’s interesting is catching the continuity errors I’ve made over the years, which points out the need for the Scotty Bible, which I should have done after the first three when I went back to write the fourth.
The Internet is out this morning–it survived the storm, but a day later goes down? Excellent service, Cox. Fortunately I have an iPhone hotspot so I can check my emails and everything before I head into the office. The email communiqué yesterday afternoon about the office being open this morning mentioned that we’d be using generator power if Entergy was still down; which means limited access to the Internet and so forth. It could make for an interesting day, but I kind of think Entergy might have the power back on across the city by now? There are, per the outage map, still some parts of the city that are without power, but most people have it. It does look like the office is still down, but there was so little red on the outage map I doubt it will be out for much longer.
The aftermath of a hurricane–no matter the size, whether’s it’s a tropical depression or a Category –always feels like awakening from a disorienting dream. The release of tension–because no matter how calm you feel, you’re super tense waiting for the unknown–and once the storm is past, you just kind of let all the internal pressure out and feel exhausted. I didn’t work on cleaning up the house much; I have a sink full of dishes to do and bed linens to launder today, and I should probably stop on the way home to get something to make for dinner, as there is very little of anything in the house. I got a pizza for us last night (I was starving), and have to do some writing tonight when I get home. I think I am going to take some of the Bible information and put it into the first four chapters, and I may even go ahead and do second drafts while I am in there. There’s a lot of “riding the storm out” bits and pieces I can add in–the tension, the worry, the hurry-up-and-wait of it all; how the day before is simply stunningly beautiful, the howling of the wind and the steady downpour of rain. Figuring this book out isn’t going to be easy, but the time frame I was originally looking at does work–so the entire book will take place over about thirty-six hours, from start to finish, with some flashbacks to the past. I am still excited about this book, and compiling the Bible, to be honest. I don’t know why it took so long; the post-it notes have been in volumes of the backlist since before Royal Street Reveillon was published–the last two books don’t have post-its in them.
The weekend is going to be fun, methinks. A plethora of college football games to watch; LSU plays at eleven, so that will free up the day later. I am going to try to do some writing tonight when I get home from work, and I definitely am going to read more of Everybody Knows. I have errands to run and some things to get done this weekend, and I definitely need to clean the damned house. Sigh. Stop being lazy, Greg!
And on that note, I am heading into the spice mines. Have a lovely day, Constant Reader, and I may be back later; one can never be entirely certain!
Monday, and back to the office with me this morning! I didn’t want to get up, of course–I never do when I have to go back to be woken up by an alarm, but my brain is waking up and my body’s little aches and pains are starting to fade as my heart rate increases. I feel rested this morning, which is nice, and always a good way to start the week. The Olympics ended yesterday, which means I can get back to writing again now and so we’ll see how that goes tonight, won’t we? I have an errand to run after work tonight, and a to-do list to make, and dishes to take care of. I made pepper steak for dinner last night, and it turned out pretty well; with lots left over for lunches this week. We are also not, apparently, in a heat advisory for the day; the high will be 95, and there will be rain this afternoon. How heavenly! It hasn’t rained in several days. The storm that may become Tropical Depression (and worse) Ernesto is out there in the middle of the Atlantic heading this way. Eight days from tomorrow is my birthday, so I have a long weekend in store for me coming up. (I am taking my birthday and Monday off next week, for a four day holiday for me. Huzzah!) Soon enough it will be football season–my first one with medications to handle anxiety–so I am curious to see how that will go, too. School will also be starting soon, so there will be more traffic in the morning and in the evening, and more busses to deal with. Yay.
I am kind of excited to be able to write again, and I think letting my batteries recharge on the creative front during the Olympics (as well as giving myself permission to not write) had helped me somewhat. I’ve noticed my brain going off in creative tangents over the course of the weekend, and scribbling a lot of notes in my journal. We did manage yesterday to watch American Fiction (superb) and Kingdom of the Planet of the Apes, which was interesting. I used to be, a long time ago, a Planet of the Apes fan; I watched the original series and enjoyed it very much. I had read the (very) short novel by Pierre Boulle that the original film was loosely based on; it was very different from the movie as they basically took everything out except the conceit of American astronauts landing on a planet where apes were the dominant species and humans animals who couldn’t speak or think. It did occur to me that I could write an essay on Planet of the Apes, but I’ve also not seen many of this new series. I saw the original film remake, with Mark Wahlberg and Helena Bonham Carter, and I think I may have seen one or more of the sequels1, but am not entirely sure. I did find it interesting–I am always interested in dystopian futures for Earth and humanity–and it was quite visually stunning. We also finished streaming the new season of the Rob Lowe show (Unstable), which was enjoyable, and started the Lou Pearlman documentary.
Obviously, we did very little yesterday. I did make the pepper steak and did a load of dishes (the dishwasher needs emptying this morning), and I did head over to Midcity for a minor making groceries run. I feel good this morning, and capable of getting things done today, which is always a rather nice feeling. It’s been lovely not feeling any self-imposed pressure on myself to write; plus I’ve been sleeping really well, which is great. I’ve also got some medical things to get taken care of–a dermatologist and an arthritis specialist (I don’t remember what kind of doctor that is) to see if there’s anything that can be done about this wretched eczema/psoriasis, which is, granted, better than it used to be; I had those dry flaky patches all over my body while now it is limited to right elbow patch and a few very small flaky parts in places like toe and finger joints.
I also like Monday mornings because it’s not a clinic morning so I don’t have to get there as early as I do the rest of the week, so I can take my time and not rush, which is always nice. I have a lot of Admin duties to get done today, and so I need to really plan my day so I can be as productive as possible. I think I have a training to go to this morning to plan around as well–a long overdue training, I might add–but that shouldn’t be an issue. I also have to get my desk at work figured out; I changed desks on Friday (well, I had IT move my computer stuff to a different desk) so I have that to get used to; all these years I’ve sat on the right side of a two cubicle space, so the wall is right there to my immediate right…and being right-handed, that’s always bothered me, as does sitting right in front of the printer. Being moved to the desk beside puts the edge of the desk to my left while the space spreads out to the right. We’ll see how that adjustment goes today, won’t we?
I have finally decided how to use this blog as well as the Substack. I am going to continue to cross-post my longer, single issue essays/posts here for a while, as well as there, until I grow the audience there more. After that happens, I will make this the blog still while the other stuff–reviews, essays, etc.–will go there. That’s the plan, at any rate. It’s growing nicely, I think; “I’m the Only One” has been seen by more people than the previous entry, and my subscribers doubled since July 15th (well, from five to ten). I’m going to give it until next summer to decide whether or not to start making it paid or not; any income is income, after all. I also need to start focusing more on raising my profile and getting my name out there more, and selling/moving more books. I also have to get the ebook for Jackson Square Jazz going, and possibly both it and Bourbon Street Blues to print-on-demand. It’ll be nice having the entire series available again, won’t it?
And maybe, I don’t know, start taking myself more seriously, as a writer and (dare I say it?) an artist.
And on that note, I am heading into the spice mines. Have a great Monday; I may be back later, and if not, I’ll be here again in the morning.
Although I am not sure if they are, indeed, sequels to the remake. ↩︎
Oddly enough, the second Chanse was the fourth novel I published, and therein lies a tale.
Funny how with these earlier books there’s always a story, isn’t it?
So, I sold Murder in the Rue Dauphine to Alyson in September of 1999–but the pub date wasn’t until February 2002. I saw no point in writing a sequel to the book immediately; primarily because there was a nearly two and a half year wait between signing the contract and when they were able to schedule me in. So, I figured I had about a year and a half before I needed to get it finished (everyone told me it would be released a year after the first, and in all honesty, what was the point of writing two or three books while waiting for the first to come out so the others could be scheduled?), and so, with time to spare and a lengthy period of time to “waste”, I decided to start thinking about the “what ifs”–what if the book sells super-well and is popular? What if this isn’t just a one-off standalone and could be turned into a series? The more I thought about it, the more I liked the idea and I liked letting my mind roam.
So, what would I do if the series took off and I needed to write more?
Being creative and full of energy in my late thirties, and thrilled to death that now I wouldn’t die without having published a novel, I reread the manuscript and my analysis of who Chanse was and why he was who he was, and I started mapping out a personal journey for him, that lasted several books. He was a cynical loner, with a couple of friends, and he was still really not adjusted to being gay when the first book opens. He was estranged from his immediate family of younger sister and brother and his parents; he never returned to Cottonwood Wells after leaving for LSU. He’s ashamed of his family but he also knows they will never accept his sexuality, either, so it’s very easy for him to cut them off almost entirely. So, his journey was going to be like that of the main characters of the show Moonlighting; each case would teach himself something about life and himself, and he would grow from the lesson learned in each book. Each book going forward would have a life lesson for him (Rue Dauphine did as well; the lesson was ‘you can’t just trust someone automatically because they’re queer.’); and the one he’d learn in the second book would be about love and trust (the third would be about sacrifice, the fourth would deal with his family, the fifth would have him fall in love with someone else, the sixth would deal with him dealing with losing his best friend to her husband and realizing he does need other people, and the seventh, the swan song for the story, would find him ready to finally commit to someone and live with them, so the series would be seven books long).
Shortly after I sold the first book, I again learned that lesson myself–the case in the first book was inspired by a gay con artist who’d gotten involved with a non-profit here in the city and then blew out of town overnight, having stolen/embezzled a shit ton of money and leaving a pile of debts behind. I had written to a local color magazine for the gay community (I can’t remember the name!) about writing for them. I wrote something for them, and they hired me to be editor of the magazine, as the business was expanding and it would free up the founder to focus on the new directions while I ran the magazine. It was fun, I got to work with a lot of fun new friends, and…then it all blew up in our faces. It was very similar to the earlier situation–a gay con artist blows into town, makes a lot of promises, runs up a lot of debt and then it just blew up completely. Turns out the guy was a con artist with a record of credit card fraud, and he was on the FBI watchlist so yes, I did get interviewed several times by the local office of the FBI.
The second book, which had the working title Murder in the Rue Royal, was based on that story, but I had already been playing around with a stalker storyline, and then I realized how I could cross the two stories into one seamlessly and write the book. I managed to get another first draft finished when a two-book deal to write the Scotty series for Kensington and Alyson dropped the option for the second book, saying “two mystery series with a gay main character in the same city by the same author are too similar to each other”–which I took as a challenge to make Bourbon Street Blues and Scotty as different as I possibly could to prove them wrong. So, the manuscript went into a drawer and I started happily working on Scotty instead…and again, it was a stand-alone that morphed into a series.
This was the Insightoutbooks edition cover of Murder in the Rue St. AnnThis is the new cover the book got when Bild Strokes Books republished the book as an ebook.
I took a streetcar named St. Charles down to Canal, crossed the street and walked down to Royal.
It was eleven o’clock in the morning on one of those splendidly sunny September days that makes you glad to be alive. Taking the streetcar had been a good idea. The long heat of summer had broken, and the air was crisp and in the mid-seventies. The sky was that blue unique to New Orleans, with wispy white clouds scattered across its expanse. There was just a hint of cool moisture in the air. There were a lot of people milling around the sidewalks on Canal— a good sign for the tourist season. Canal used to be the main shopping drag of the city, with huge department stores like Maison Blanche and D. H. Holmes. Those were long gone. They had either gone out of business or fled to the suburbs— now it was mostly hotels, fast food, and Foot Lockers.
There were hopes that putting the Canal streetcar line back in place would stimulate a recovery for the street. So far, all the construction work had simply made the Quarter difficult to get to from uptown. Add to that the chore of trying to find a place to park that would get me a ticket in two hours or cost ten dollars, and I was kind of glad I was having car trouble—the streetcar down and a cab home was very simple.
Not that riding the streetcar didn’t bring its own set of aggravations. If the cars ran on any fixed schedule, I’d never been able to figure it out. You could wait for one for half an hour and then three in a row, all packed to the gills, would show up. The streetcar ostensibly operated as public transportation, but was also a de rigeur tourist attraction. There was no way of telling when you’d be able to catch one with a place to sit. But when you did, it was nice to find a window seat on a sunny day and enjoy the city clacking by.
So, when Alyson chose to drop the Chanse series after I signed with Kensington, Murder in the Rue Royal went back into a drawer, which was fine–it wasn’t a good book–and I moved on with my life. The advance for signing with Kensington paid for our move back to New Orleans from Washington, and moving back here was absolutely worth ending the Chanse series for, seriously. I still didn’t have an agent, but I’d been signed to book contracts by two publishers already, and I figured it might be easier now. We accomplished the move, get our new apartment set up on Sophie B. Wright Place, and started putting our lives back together. I don’t remember the timeline of how it came to be, but I was still working with Alyson on my first and second erotic anthologies (Full Body Contact and FRATSEX), so I was aware when my editor left and a new person, that I knew slightly, moved from assistant editor to senior editor. We were talking on the phone one day about Full Body Contact and she casually mentioned, “I don’t see your second Chanse book here on the schedule, what’s going on?” and I told her the story, “Oh for fuck’s sake, when can you get it done by?” and that became the second contract for Chanse.
So, after finished Jackson Square Jazz and turning it in, I broke out Murder in the Rue Royal (the title had already been changed on the contract to Murder in the Rue St. Ann; my new editor didn’t like the alliteration) from the drawer, blew the dust off it, and reread the manuscript. I looked at my timeline for the series, and saw that this was the one where he was supposed to fuck up his relationship, but I didn’t see it in the manuscript. I reread the first book, thought long and hard about Chanse and who he was at this point in his life and after several long days of musing it hit me, between the eyes: jealousy. Jealousy would be what fucks up his relationship, and it only made more sense to me that Chanse would be the jealous one. Paul had a loving, accepting family and was more secure in and of himself as a gay man and what he wanted out of life. Paul was considering becoming ground-based at the New Orleans airport so he could settle down and have more of a life with Chanse, which also has Chanse very alarmed and makes the jealousy even more intense….so what would be the thing that would set Chanse’s jealousy off? Something from Paul’s past that Chanse didn’t know but finds out about in the worst possible way?
I had had some issues, believe it or not, with stalkers over the years. I had always wanted to write about a stalker, so what if Paul had a stalker? Why would Paul have a stalker? And then it occurred to me that Paul had a past he wasn’t ashamed of, but had never mentioned to Chanse. Not out of a fear that Chanse wouldn’t understand, but mainly because he had no need to tell him because it wasn’t anything dark. He had done some nude modeling when he was younger and he had also done some soft-core wrestling fetish porn, which is where the stalker came from. And what if I could work the con man he’s been hired by was someone Paul knew from the soft-core fetish porn? What if the guy contacted Paul because he’d been getting threatening notes on top of everything else going on in his life? And what if Chanse ran into Paul when he was leaving the con man’s offices, which brings all this out about Paul’s past? What if it shook a jealous, possessive, insecure Chanse enough for them to fight about it? And what if Paul disappears after the con man is murdered?
That was something I could work with, and so I did.
I’ve always called Murder in the Rue St. Ann my most under-appreciated work. By the time the book had come out, Paul had lost his eye to the muggers and we were in recovery mode. I didn’t do much of anything to promote the book (other than a signing at Outwrite in Atlanta, where I signed all of my books until they closed), and it kind of came and went quickly. I felt it was the most unappreciated of all my books. Jackson Square Jazz had come out earlier in the year before Paul was attacked, and it sucked all the oxygen up that year intended for me–it was the Lambda nominee, not Rue St. Ann–and I didn’t pay much attention to the book after it came out, either. The ‘christians” came for me a few months after the book’s release as well, and then Katrina…so yeah, Rue St. Ann got no press, got no attention, but somehow still managed to sell well.
I did have the next one planned, Murder in the Rue St. Claude, which there was a proposal in for, but Alyson was also going through other, deeply concerning changes that showed how little the higher-ups knew about anything, let alone publishing. But that’s a tale for another time, I think.
This is probably one of the most famous songs about New Orleans of all times, and of course, doing a deep dive into the history of the song–which began as an English folk song, of all things–was a pleasant way to spend a few hours. I heard the recording by the Animals when I was a kid, and honestly never cared very much about it. I always thought it was about a house of prostitution in New Orleans–Storyville, probably–but never gave it much more thought than that. But when I was looking for titles of songs about New Orleans to use for blatant self promotion for Mississippi River Mischief,it was kind of an obvious one. And when it came up on my list for this next post, I realized I didn’t really know very much about the song other than I didn’t care for it very much. It originated in the 16th century as an English folk song, and gradually evolved into an Appalachian folk song called “Rising Sun Blues” (great title, I may abscond with it, frankly) before finally becoming a folk-rock hit for The Animals in 1964 with its current name. (Musicologists suggests it’s thematically related to the old English folk song “The Unfortunate Rake,” per Wikipedia.)
I do find that kind of thing interesting, even if I don’t have any use for that information. (Although Barbara Michaels did a great job of using classic traditional folk songs and their history as the foundation for her underrated but marvelous novel Prince of Darkness–which I would love to revisit.)
If you were playing Family Feud and the question “what is New Orleans known for”, the top two answers would probably be Bourbon Street and Mardi Gras. This annoys the locals and the natives to no end; and it’s understandable. Boiling New Orleans down to those two things is incredibly reductive. But they are major facets of the city, and both are responsible for a lot of tourist revenue, which the parish, city and state desperately need because our state and local governments (all of Louisiana’s cities and parishes) are complete and utter failures. When we moved here in the mid-90s, New Orleans had a strong base of tourism, but it was nothing like now. Since Katrina the city’s primary focus has been building the city into a tourist destination, putting all of the proverbial eggs into that particular basket. The pandemic wound up killing businesses that Katrina couldn’t; the St. Charles Tavern at the corner at Martin Luther King didn’t survive COVID, as one example. (They had amazing fried mushrooms; we used to get them every once in a while as a delicious greasy breaded and deep-fried treat.)
When I first decided to start writing about New Orleans (much as I hate to say this, but New Orleans really IS my muse, and I love that I live in the neighborhood of the Muses here), one of the things I was determined not to do was use clichés about the city in my work. It wasn’t until my fifth novel that I wrote about Carnival/Mardi Gras, which is where most writers about the city inevitably start (cliché as it may be, you also cannot write about New Orleans without eventually having to write about it); I wanted to get more established as a writer before I went there. Part of the reasons the first two Scotty books were set around Southern Decadence and (to a far lesser extent) Halloween was because those were also important holidays for the gays here. I did address Bourbon Street with the first Scotty; I knew that title (Bourbon Street Blues) would tell anyone that it was a New Orleans story, so yes, I took advantage of a cliché there. But I also realize now that most of my New Orleans writings were very provincial in a way; I mostly write about the “sliver along the river”–the Marigny, the Quarter, the CBD, the lower Garden District, the Garden District, the Irish Channel, and Uptown. There’s way more to New Orleans than these neighborhoods–sometimes I send them over the bridge to the West Bank or out to Metairie; there was a very vivid post-Katrina scene where I sent Chanse out to Lakeview, but for the most part I’ve not done much about other neighborhoods here. The West Bank, City Park, the East, Gentilly; all of these rich and vibrant neighborhoods–as well as the diverse ethnic make-up of the city–are very fertile ground for someone writing about New Orleans. Generally, the neighborhoods I write about are the neighborhoods writers who don’t live here focus on because they are the better known ones.
And of course, I’ve rarely, if ever, touched the history of the city–and it is rich, compelling, and fascinating…and super dark.
That’s kind of why I wanted to move this recent Scotty out of the city and into one of the rural parishes not far from the city limits. I have fictionalized these parishes before–I try not to fictionalize New Orleans, but have no problem inventing parishes and towns in the rest of Louisiana. St. Jeanne d’Arc parish is loosely based on St. John the Baptist and St. Charles parishes, known as “river parishes” because they run along the river north of the city. Redemption, also an invention I’ve used in other books, is based on the “bayou parishes”–not along the river, but between the river and the wetlands/Gulf of Mexico; those are Terrebonne and Lafourche parishes. Louisiana is just as interesting as New Orleans, and also has an amazing and interesting history of its own. Of course, the next Scotty will be back in the city–his next few, if they go as planned, will all be within the city–but that doesn’t mean I don’t want to keep writing about Louisiana and my fictional parishes, either.
There really is so much material here I could never run out of ideas.
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?
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.
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.” ↩︎
As if you weren’t sick of my self-promotion already, now I get to start promoting Mississippi River Mischief!
It’s hard to believe that this is Scotty’s ninth adventure. Not bad for someone who was just supposed to be a one-off, a stand-alone comic madcap adventure that took place during Southern Decadence. The idea for it came to me at Southern Decadence in 1999; on Saturday afternoon I somehow managed to get a prime spot on the balcony at the Parade to watch the massive crowd of sweating shirtless men partying down below at the intersection of Bourbon and St. Ann. I noticed a really hot guy wearing sweats and carrying a gym bag fighting his way through the crowd to get to the Pub downstairs, and I recognized him as one of the dancers for the weekend. In that instant, I had a mental flash of a dancer being chased through a crowd of shirtless sweating men at the corner by bad guys with guns and the dancer only wearing a lime-green thong. I held that idea in my head, and sometime later that weekend Paul said to me, “you know, you should write a book set during Decadence,” and I grinned and replied, “I already have the idea.” I had started writing a short story called “Bourbon Street Blues” a year or so before this; but realized that would make a better title for the stripper crime caper during Southern Decadence, so I made a folder for it and kept it in my files and in the back of my mind. Several years later, when talking with an editor about something else when I worked at Lambda Book Report, I asked if that might be something he’d be interested in. He said send him a proposal, which I did–having no clue what I was doing–and they offered me a two book deal, turning my stand-alone into a series. Having no idea how to write the second book in such a series, the money was too good for me to say no or to quibble, figuring I’ll figure it out when I need to–which is really the motto of my career.
The Scotty series has always had a bit of a “pantser” feel to it for me because I’ve always pantsed it. I knew that the first adventure–Bourbon Street Blues–was going to be that Southern Decadence story, and I also knew I was going to fictionalize a governor race, basing it on a senate race that occurred when we first moved here and we couldn’t believe that one of the candidates was actually a serious candidate (sadly, he was just a harbinger of what was to come in Louisiana; now he’d seem like one of the fucking sane ones), and I kind of borrowed, a bit unconsciously, from the Stephen King character of Greg Stillson from The Dead Zone. Bourbon Street Blues was a prescient novel in so many ways–and I had no idea of that at the time, seriously. There’s a scene where the Goddess shows Scotty the potential flooding of New Orleans after a levee failure (in the book it was deliberate though) and of course I predicted the Right’s move into full-bore hardcore neo-Nazism as well in that book…never dreaming it would become a reality.
Scotty has always been a fly-by-the-seat-of-my-pants series; I’ve never really outlined or planned the books or the series in any way, other than an amorphous idea that the love triangle situation I created in the first book would take three books to resolve. During the course of the third book I realized I needed at least one more book to resolve that story, and so it went from stand-alone to trilogy to quartet…and then Katrina happened. Katrina created an unplanned gap in the series, and I never really knew how to do Katrina from a Scotty perspective. It struck me that they wouldn’t have evacuated, but Scotty wouldn’t have ridden the storm out in his apartment, nor would his parents have done so at their place; they would have all gone to the Garden District where Papa and Maman Diderot have a generator. I just didn’t see how I could write a funny Scotty book about the levee failure and the city’s destruction. Also, we learned something about Scotty in the second book (Jackson Square Jazz) that I meant to deal with in the fourth book. By the time I was ready and able and willing to write that fourth book in the series…well, I forgot that I’d planned on dealing with that issue from Scotty’s past in it, and never did ever circle back around to that resolution of something from his youth.
I did remember when I decided to write Mississippi River Mischief, though. I kind of wrote myself into a corner with Royal Street Reveillon, in which something happened in Scotty’s personal life that was tied into the case, but I couldn’t write another book and pretend that never happened, even though it would be hard to deal with in the text of the book and story. But then, as I was trying to work it out in my head, I realized now you can circle around back to that issue from Scotty’s teen years because this is the right place and time for him to be reminded of it because of what happened to Taylor.
And you know what? I think it made for a better story now than it would have almost fourteen years ago.
Scotty has grown a lot over the twenty or so years (!!!) I’ve been writing him, but who he is at his core has never changed. Scotty is a good person, with a genuine sense of kindness, and is pretty level-headed and never really lets things get to him the way I let things get to me–and God knows, he’s dealt with a lot more shit than I have in life. I like his sense of humor, I like his spirituality, and I like his untrained, he-doesn’t-know-how-it-works psychic abilities, and of course, I love his family. His parents are amazing, his older brother and sister are also pretty cool characters, and of course Frank and Colin are also fun to write. I also never knew how subversive I was being by creating a throuple long before anyone ever talked about these kinds of relationships within the queer community–and it’s lasted all these years. There have been ups and downs, of course, but they always wind up coming back together again no matter what happens–and a lot has happened. Both Scotty and Frank have been shot a few times, not to mention all those car accidents–and he’s also helped cover up a crime (no spoilers here, no worries!).
Queer and Loathing in America 