Several weekends ago, I did an on-line panel for Outwrite DC. The moderator was John Copenhaver (whom you should already be reading), and my co-panelists were the always delightful and intelligent Kelly J. Ford, Margot Douaihy, Renee James, and Robyn Gigl. The video is actually up on Youtube, if you would like to watch it. John’s questions were insightful and intelligent (as always), and the conversation was marvelous, inspiring, and fun; there’s nothing I love more than communing with other queer crime writers (or any writers, to be certain), and I always try very hard to not monopolize panels because I do have a tendency to talk too much–especially if and when I get going on a topic I am passionate about. So, I thought it might be fun to take John’s questions and turn them into a long form interview, for thoroughly selfish and totally self-promotional reasons.
The panel blurb claims that “queer characters are riveting and necessary material for crime fiction and how those stories can shape (and perhaps reshape) the landscape of contemporary crime fiction.” Do you agree with this statement—and why do the stories of queer characters have the potential to shape crime fiction?
I completely agree with this statement. Queer crime fiction has a very proud history that was never really recognized or appreciated by the mainstream crime writers, readers, organizations, and conferences. That is changing for the better.
New blood is always necessary for any genre–horror, romance, crime, literary fiction–because genres tend to stagnate after a certain period of time. The cultural shifts of the late 1960’s and 1970’s echoed in crime fiction, for example; you couldn’t write crime in those periods without addressing all the cultural and social shifts; Ross Macdonald’s later novels are a good example of this. The 1970’s saw a lot of anti-hero books being written. The private eye sub-genre had grown quite stale by this time, which was when the women really moved in and gave it a shot of adrenaline–Marcia Muller, Sara Paretsky, and Sue Grafton blazed that trail, and revitalized a sub-genre that had kind of lost its way. Queer writers and crime writers of color are currently doing the same to the entire genre. Voices and perspectives we aren’t used to seeing are now getting into print and changing how we see, not only our genre, but each other. Crime fiction has always given voice to societal outsiders and outliers; queer people and people of color are the ultimate outsiders and outliers in this country. Who better to tell stories of societal alienation?
Why did you choose your sub-genre? How do you think the sub-genre has influenced the types of characters you write?
Well, I write in several different ones. Chanse MacLeod was a straight private-eye series; Scotty Bradley was more of an amateur sleuth/humorous series, but he does have a private eye license in Louisiana. A Streetcar Named Murder was a cozy, with an amateur sleuth heroine who gets caught up in a family mystery. I’ve also done young adult and “new adult,” whatever that is (it’s been described as ages 16-25), and Gothics with a touch of the supernatural. I tend to write things that I like to read, and I have a varied reading taste. I started writing the Chanse series because I wanted to do a harder-edged private eye series with a queer twist and set it in New Orleans. I didn’t know about J. M. Redmann’s Micky Knight series when I started writing Chanse; would I have done something different had I known she’d already covered the hardboiled lesbian private eye in New Orleans? We’ll never know, I suppose. Scotty was meant to be a lark; a funny caper novel and a one-off. And here we are nine books later…
As for Streetcar, I had been wanting to try a traditional mystery with a straight woman main character for a long time. When the opportunity presented itself, I jumped in with both feet. I like trying new things and pushing myself. Having to follow the “rules” of a traditional cozy was a challenge–especially because I have such a foul mouth in real life. I love noir so am working on two different gay ones at the moment.
Why do you think amateur detectives are appealing? Do you think there’s a reason queer characters often find themselves in the role of amateur detective?
I think it’s because we all think we’re smarter than the police? We enjoy seeing a character we can identify with figuring things out faster than the cops, especially without access to all the evidence, interviews, and forensics the cops do. Murder She Wrote has been off the air for about thirty years and yet the books based on the show continue coming out every year. If we start out in mysteries reading the juvenile series–Nancy Drew and the Hardy Boys and Judy Bolton and all the rest were amateurs, so we always cut our teeth in the genre with them to begin with. Scotty is basically an amateur, even though he has a private eye license he rarely uses; he and the boys never get hired (although they kind of do in the new one, coming this November.)
Let’s talk about place. Greg, your books take place in the South. Why is place important to the crime novel—why is it especially important to the queer crime novel?
Place shapes who we are–not just as queer people, but as people in general. There are similarities between growing up in a small town in the Midwest and growing up in one in the South, but the differences are very marked. I’ve lived all over the country–pretty much everywhere but New England or the Northwest–and always felt, as a Southerner (despite no accent and not growing up there) like an outsider. Couple that with being gay in a time when it was still considered a mental illness, and you have someone always on the outside looking in. But I have that Southern pull to write about the South–although many would say that writing about New Orleans and writing about the South are not the same; like me, New Orleans both is and isn’t of the South, and I feel that very strongly. I’ve written books set in California and Kansas, even one in upstate New York, but I very much consider myself a Southern writer.
Place is even more important in a queer crime novel because place shapes the queer people so much. As a writer, I think one of my strengths is setting and place, and I think that comes from being very much a fan of Gothics growing up. Gothics are known for place and mood, and I think those are two things I do well.
All of you write wonderfully flawed characters. Sometimes, as LGBTQ+ writers, we feel the burden of representation and the urge to write only positive LGBTQ+ characters as an attempt to undo history’s (the dominant culture’s) demonization of us. Unfortunately, that can be limiting—even flattening. Clearly, you’ve all struck a beautiful balance with your characters. Talk a bit about how you approached this issue.
The flaws, to me, are what make the characters seem real. Nancy Drew and the Hardy Boys always annoyed me because they were so perfect; no one is that perfect, and anyone that close to perfect in real life would be irritating and insufferable. I am am quite aware that I am flawed (one of my biggest flaws is believing I am self-aware because I most definitely am not), but I am not trying to be perfect; I just want to be the best version of myself that I can be. By showing queer people with all their facets and flaws and failures and blind spots, we’re showing the reader that we are human; despite what those who hate us say or claim, we are human beings just like everyone else, just trying to get through life and do the best that we can. The villain in my first book was a gay man–and the entire book was a commentary on how we, as queer people, tend to overlook flaws and red flags from members of our own community. Just because someone is queer doesn’t mean they are a good person–and queers with a criminal bent do exist, and often take advantage of that sense of camaraderie we feel with each other, especially when we don’t know the person well. I tend to trust a queer person more readily than I will a straight person, and that’s wrong–which is why I think we feel so much more hurt when queer people betray us.
Speaking of the demonization of LGBTQ+ folks … Ray Bradbury of Fahrenheit 451 fame said, “There is more than one way to burn a book. And the world is full of people running around with lit matches.” What do you think about the current tactics to ban queer books from schools, libraries, and even bookstores in places like Florida, Arkansas, and Texas? Why are they targeting queer books?
This is, I hope, the last gasp of the homophobes who’ve never updated their hate speech in over fifty years. What the hate group “Moms for Liberty” are doing and saying is no different than what Anita Bryant said and did in the 1970’s, what Maggie Gallagher and her evil co-horts at the National Organization for Marriage repeated, then came the One Million Moms…all too often it’s the cisgender straight white women who are the real foes of progressive politics who fight to uphold a bigoted status quo. They always claim they’re concerned moms worried about their children–but are perfectly fine with them being shot up at school; working in a meat factory on the night shift at thirteen (have fun in hell, Sarah Huckabee Sanders, when you get there and French-kiss your Lord and Master Lucifer); or shouldn’t have the right to vote…they know better than a child’s actual parents, you see, about what the child needs or wants. Maybe they should spend more time with their own children than worrying about everyone else’s? Phyllis Schlafly, queen skank of the conservative right, ignored her own family while she embarked on her crusade to strip women of their rights and autonomy–all the while shrieking like a hyena into any microphone nearby that she was fighting progress to save the American family while selling some Leave it to Beaver-like nonsense as reality. I always felt sorry for her gay son. Imagine that as your mother.
As for why, it’s about control and power. I actually respected Anita Bryant more, because she truly believed all the vile, horrible, unChristian things she said and espoused. Most of the others, including the unspeakably vile and disgusting Moms for Liberty, are working a grift for money, attention and power. Hilariously, they’ve sold their souls in the worst possible way in the guise of family, religion and God; if they’ve ever actually read their Bibles, they need to work on their reading comprehension skills as they are both apostates and blasphemers who will spend eternity doing the breast stroke in the lake of eternal fire. Hope they enjoy it.
Sorry your husbands and children don’t love you, but who can really blame them?
What are you working on next? What’s coming up?
I have a short story in an anthology called School of Hard Knox from Crippen and Landru (and somehow got a co-editor credit for the book with Donna Andrews and Art Taylor); Death Drop, the first in a new series from Golden Notebook press, drops in October; and the ninth Scotty comes out in November, Mississippi River Mischief. I am writing a gay noir, and may be writing second books for the new series I started with Crooked Lane last year as well as a sequel to Death Drop, and have a couple of short stories I want to finish to submit to anthologies I’d love to be in.
Queer and Loathing in America 