Tag: Stockard Channing

Killer Queen

So, Greg, you have a book coming out from a new press in October, and the main character is a drag queen? What the actual hell?

Well, therein lies a tale.

I never thought I would write about a drag queen, in all honesty. It’s not that I’m opposed to drag or anything like that; drag has always been an important part of gay culture (I really wish someone would do a history of drag that’s not academic in tone and therefore accessible to everyone without a PhD) and I’ve always appreciated it as an art form. Yes, some queens are better at it than others, and there are some who are just really tragic…but I admire and respect every single one of them who puts on the dress and wig and heels and make-up and goes out there to perform. My own anxiety manifests itself whenever I have to perform or speak in public (although I managed to successfully control it and get through Boucheron panels swimmingly; I don’t think my stage fright is a thing of the past yet but I’m getting better); I can’t imagine the courage it takes to do drag that first time.

I also never considered doing drag because of my vanity–I wouldn’t look pretty in drag and I would want to be pretty. Shallow, party of one, your table is ready. I’ve seen many performances over the year and even have friends who do it, but my primary interest in drag has always primarily been in it as an art form and political statement critiquing gender roles, masculinity, and femininity; and it holds a very important place in queer culture. I once did drag, for a Showgirls-themed birthday party–I looked like Stockard Channing, which isn’t a bad thing–but it was more of a costume than a real attempt at doing drag. My friend Mark always wanted to make me up for Halloween or Fat Tuesday as Joan Crawford–it was the shoulders, the eyebrows, the narrow hips, and the shape of my face more than any striking resemblance to Ms. Crawford, I think–and while I was interested in being transformed into Ms. Crawford, one of the things I hated the most about doing plays in high school was the make-up. I hated having that shit all over my face, and it never did what it was supposed to in the first place (I inevitably always played old men, so they had to try to age me, and it’s not like we had make-up artists who knew what they were doing in high school.). And the padding? The wig? The dress? Not to mention the lack of pockets and the difficulty in using the bathroom– yeah, not for me. Drag does show up in my work sometimes–not very often–and the most fun thing for me about that is coming up with drag names for the characters. I know I’ve used Floretta Flynn a number of times, to the point where in my New Orleans universe she’s probably one of the bigger and most successful queens in New Orleans. Two of the biggest names in drag came from New Orleans–Varla Jean Merman and Bianca del Rio are both from here. We used to go to Drag Bingo hosted by Bianca and Blanche Debris at Oz on Sundays before she left for New York after Katrina–and Bianca was just as funny and just as big of a bitch then as she is now. She always drew crowds, and of course I met her a few times out of drag (I am quite sure Roy doesn’t remember me).

And believe me, I was very careful not to attract her attention while she was holding a microphone.

I also once wrote a short story that opened with one character saying in the Clover Grill, “You sure see a lot of tragic drag in this town at four a.m.”

Paul and I also were fans of RuPaul’s Drag Race for awhile, too–but like Project Runway, we stopped watching one season when it was obvious that it wasn’t being judged fairly (it was fucking blatantly obvious) and that was it for us. Don’t serve me competition reality when the competition is obviously rigged for a particular competitor. I do love some of the queens we did watch on there–it’s been amazing watching Jinkx Monsoon’s star take flight–and I always liked Tatianna, and just to name a few–Ben de la Creme, Adore Delano, and Manila Luzon are all fabulous. Paul follows a lot of them on Youtube, and of course I do enjoy Trixie and Katya’s We Like to Watch on Netflix.

And naturally, we love Bianca because she’s a New Orleans queen.

But it never crossed my mind to write about one as a main character. It wasn’t my milieu, so to speak (and just typing that made me want to bang my head on my desk. Take risks! I should always take risks in my work!), and so while every once in a while I’d think “maybe I should write a drag queen into this story”, I never did.

Last summer, I am not exactly sure when (2022 was pretty much a blur of misery), I got an email with a request for a ZOOM meeting with two very dear friends, along with another friend of theirs I may have met once over twenty years ago, James Conrad. He wrote Making Love to the Minor Poets of Chicago back in the days when I was a reviewer/worked for Lambda Book Report, and the purpose of the call was they wanted to talk about a possible project for me. You know me, I am always up for a new project and a new possibility…so you can imagine my surprise to find out what they wanted was for me to write a cozy with a drag queen main character. James owns and operates the Golden Notebook bookstore in Woodstock, and decided to start a publishing company through the store and wanted this to be their first venture into crime. I pointed out that I a) knew next to nothing about drag and b) I’m not really a cozy writer (the Scotty series can be classified that way except for a lot of cozy rule-breaking; and yes, I did write A Streetcar Named Murder, which wasn’t out yet and I wasn’t sure if it was even any good), they pointed out that I am a writer who can write anything (this is true, but there are some things I can’t and won’t ever write–and yes, as I typed that I was thinking there you go limiting yourself again–maybe those are the things you should be trying to take on), and then I also remembered a few things–some of my co-workers at the day job do drag, and in fact, my former supervisor had attend a “drag school” here locally, started by a queen who’d retired here from San Francisco after a lengthy and successful career in drag; Paul even knows the queen who runs it. I sent James an early electronic uncorrected proof of Streetcar, so he could get an idea of my writing style, and waited to hear back.

While waiting, I asked some of my co-workers if they’d be okay with me asking them questions–which of course they were more than happy to do–and the more I thought about it, the more it made sense for me to approach this in the same way I approached writing Streetcar–I knew nothing about antiques, so I made my character the same. So, if I am going to write about a drag queen, I needed to write her origin story first–and I decided to make her an accidental drag queen; forced to step in when a queen doesn’t show for a performance. But how would that work? I realized my character had to already know about hair and make-up, so I decided to make him a glam artist, hired to do make-up for women on special occasions and styling them. How did he wind up doing glam? His grandmother, who was from New Orleans, used to have her own Uptown beauty shop on Magazine Street that was frequented by upper class New Orleans women, who would also hire her for special occasions to style them. He spent his childhood summers in New Orleans; his grandmother was the only family member who had no problem with his sexuality, and she taught him all about hair and make-up (and classic Hollywood). He went to cosmetology school instead of college (his grandmother paid for it) and he worked in a high-end salon in Dallas until his grandmother died, leaving him the house and most of her money.

I also had a great idea for the opening, which I quickly wrote up and James liked it…and so we moved forward with the plans for it. I had a Scotty book under contract, and I knew I could juggle the two and get them both done on time.

Of course, I didn’t realize how much work it would be to turn MWA over to my successor, I didn’t know Mom was going to go into the final decline ending with her death during this time, and….well, hindsight is twenty-twenty, isn’t it?

“I don’t know, Jem,” Lauralee Dorgenois said, frowning and raising a perfectly plucked eyebrow as she looked back over her shoulder into the three-way mirror set-up in her dressing room. “You’re sure that this dress doesn’t make my butt look big?”

Okay, I’m going to take a sidebar right here to give y’all some free-of-charge advice that is more than worth its weight in gold. There is only one correct answer to be given without pause or hesitation any time a woman asks you if something she is wearing makes her butt look big: “No.”

You always, always, ALWAYS say no.

If that is, in fact, a lie—you say “I don’t know if that cut drapes right” or “I don’t like what that color does to your skin”.

There are literally a thousand other options besides making the incredibly foolish mistake of saying ‘yes’ or the seemingly safe, non-comital ‘maybe.’ Marriages, engagements, friendships, and relationships have all ended over this question being answered incorrectly—and no, it’s not a trap question. Women are bombarded from childhood with images of what they are supposed to look like and what they are supposed to wear. They are taught to fear fat cells and fatty foods, spend millions on diets and gym memberships and personal trainers. They are gaslit into thinking that being any size larger than zero and not having big firm breasts and not having a wrinkle-free face aglow with the dewiness of youth means they are doomed to grow old alone and unloved. So, they try to fight aging—and the fear of being traded in for a younger model—by having poison injected into their faces, excess skin surgically removed, and their hair constantly colored and touched up. Centuries of societal and systemic misogyny, of telling women they don’t measure up, echo in those sad, simple words: does it make my butt look big?

My heart breaks a little every time I hear them.

However, I get paid to make them look good. My opinion must be honest, but I still need to be delicate. Why be hurtful when you don’t have to be?

I tilted my head to one side and brought my eyebrows together as I looked her up and down yet again. “You’re curvy, Lauralee,” I replied finally, fluffing the peacock feathers on her shoulders to spread them out further. It was true. Lauralee was about five seven, and maybe could stand to lose a pound here and there. Her hourglass figure had thickened a slight bit once she hit forty, but it was barely noticeable. I’d picked out a green silk dress for her because the color made her green eyes sparkle like emeralds. It clung perfectly to her hips and was cut low in the front to shove off the ample bosom, highlighted by an emerald pendant handing from a gold chain just above the cleavage. I’d braided her long auburn hair into a French braid that dropped about half-way down her back. I’d woven some extra pieces of auburn into the braid to make it thicker. “And there’s nothing wrong with that, you know. We’d put Marilyn Monroe on a diet today.”

Several years ago, I tried writing a third series set in New Orleans with a gay male protagonist. It was a character I had already created; he showed up in a couple of Scotty books: true crime writer Jerry Channing, who’d gotten rich on a true crime novel about a child murder case in the Garden District in the 1990’s called Garden District Gothic, (which also became a Scotty title when he and the boys got sucked into that ancient cold case) and wound up solving it. I had wanted to write a fictional story based on the very real Jeff Davis Eight murders, and thought who better to center in the story than a true crime writer researching the case for an article or perhaps even a follow-up book than Jerry Channing? But as I started developing the character out from the sketchy details provided in earlier Scotty books, I suddenly realized what I was actually doing was combining Chanse and Scotty into a single person, so I shelved the story–or at least, the new series, because if all I was going to do was just merge two previous characters into one, there was no point in bothering. I had then gone on to create a new series with a straight woman as the main character (A Streetcar Named Murder), and I was determined that, with this new potential series set in New Orleans, the last thing I needed was to just rip-off previous characters.

So meet Jem Richard, twenty-something glam artist and New Orleans home owner. Jem lives in the 7th Ward (not far from my day job office, actually; over on St. Roch Avenue between Claiborne and St. Claude), and the house flooded during Katrina–Jem remembers coming down with his family to help work on the house for his grandmother, Mee Maw of sainted memory–and I gave him a pole-dancing roommate who also works at Crescent Care. (Another Easter egg is the book opens with Jem being enormously disappointed to be ghosted by someone with whom he had several dates –a Tulane grad named Tradd. Bury Me in Shadows readers may remember Tradd as the asshole who broke up with Jake and sent him into the alcohol/drug spiral that landed him in the hospital when that story opens. I also want to use Tradd again somewhere else…but that is indeed a tale for another time.) Jem does well for himself, but has no health insurance and never is guaranteed work–but he also really doesn’t want to go back to working in a salon again, either. (He also sometimes books gigs with film, theater and television companies.) He’s kind of a lost soul, not really sure what he wants or what he wants to do with the rest of his life–but he also is lucky: he owns his own home, for one, and has several marketable skills. He kind of feels like he’s been spinning his wheels and not getting anywhere since coming to live in New Orleans. Jem has considered doing drag before–he’s very into costuming, and has won the Bourbon Street Award for Best Drag Costume on Fat Tuesday the previous two Carnivals–but he (like me) is haunted by stage fright. He did a play while in high school and the stage fright was such a horrible experience he gave up his dream of being a performer and started working as the make-up and hair person for the school productions.

So, when he’s hired to be a back-up glam artist for a fashion show at Designs by Marigny, only to find out the models were drag queens. A little taken aback, he rolls with the challenge, and when one doesn’t show, Jem gets pressed into service (he can fit into the dress). The show is being managed by the same person who runs the local drag school–a sweetheart named Ellis, whose drag name is Mary Queen of THOTS. Jem has a bad history with Marigny the fashion designer–she’d hired him todo the make-up for a previous show, and her check bounced–so the friend who recruited him to do the show makes sure he gets paid in advance. Of course, since the models are drag queens, the show attracts anti-drag protestors–there’s a suspicion that the designer, Marigny, deliberately used queens hoping to attract a protest and more publicity. Throughout the course of the evening Jem overhears Marigny arguing with several different people, and the next morning wakes up to the news she’s been murdered–and somehow Jem is not only a suspect but he’s also a target.

But why?

Jem also has a black cat named Shade.

As I said, while it had never occurred to me previously to write a drag queen character, the more I thought about it, the more I wanted to do so. Drag queens are currently under attack by the forces of bigoted evil. Part of this comes from the right-wing demonization of transwomen, spear-headed by hateful bigoted lying trash like Libs of TikTok (if you’ve ever retweeted the Axis Sally of the Proud Boys, know that’s why I blocked you and we will never, ever be friends again) and Moms for Liberty, who are both so fucking ignorant and clouded with hate that they think drag queens and transwomen are the same thing. The idea that children need to be protected from drag queens at all costs because it’s somehow sexualizing them is disgusting and ignorant and offensive on its face; merely rephrasing Anita Bryant’s vile claim that queers need to recruit children, i.e. all queers are pedophiles. They prove they’re liars on a daily basis and that it really has nothing to do with “concern” for children and everything to do with bigotry and hatred, because they never go after religious organizations, youth pastors, Boy Scout troop leaders, and Republicans–you know, the ones who are being convicted of child rape and child porn on a regular, almost daily basis –but only the queers are their primary concern. First off, not all drag queens are transwomen and not all transwomen were drag queens. Yes, some transpeople start their transition by doing drag, to get a better idea of whether or not they are more comfortable as a woman than as a man. I work with a lot of transpeople, and have for quite some time. I’ve witnessed people transition and evolve, and I’ve also seen the change in demeanor, confidence, and emotional well-being when they do.

What better way for a writer to fight back against ignorance than writing about it? And I loved the deliciousness of fighting homophobic and transphobic bigotry by writing a cozy series.

It releases on October 10th, and you can preorder it here, if you would be so kind. I am pretty pleased with it, to be honest, and here’s hoping it does well for James and the press.

Games People Play

My second fraternity novel went through two name changes before we found one the publisher liked enough to use–and it was their idea.

It was originally called beautiful, which is what I called it while writing the first draft. Kensington did not like that title, and wanted something that would tie it more to the first fraternity erotica novel I wrote for them. I tweaked the title of the first one and came up with What Every Frat Boy Wants, which isn’t really a bad title at all. But at some point Marketing came up with Games Frat Boys Play–which was not only a better title over all but also fit the story better–I didn’t fight the name change at all. (It rather bothers me that I’ve never been able to come up with a good title for a single one of the Todd Gregory novels, to be honest. I take pride in being good at titles…)

When I was very very young I saw a made for TV movie that I absolutely loved. It was a twisted and funny revenge tale called The Girl Most Likely To, and it was Stockard Channing’s first big break in film or television. She played an unattractive, overweight young woman who was also socially awkward and had no friends; she was lonely and made fun of and picked on her entire life. She spent all of her time studying and as such became extremely smart. But when she went off to college she thought she had friends and she thought she could be happy–only to wind up betrayed and humiliated by everyone publicly. She flees in tears and is in a horrible car wreck, which leaves her in a coma. When she comes out of the coma, it’s been months; they reconstructed her face and not knowing what she looked like, followed her bone structure and made her beautiful; and the liquid diet while in the coma had shed weight off her and now she’s gorgeous…

..and she decides to get even with everyone who fucked her over and humiliated her. Joan Rivers wrote the script, so it was twisted and dark yet funny at the same time; and Channing was amazing–I’ve been a fan ever since. I love me a good revenge story, so when Kensington wanted another fratboy book I decided to go for a revenge story–I love a good revenge story, like I said (the television series Revenge is one of my all time favorites) and I decided to do a The Gay Most Likely To, only making my main character remarkably sweet and innocent and charming; his father is a software millionaire and he spent most of his life at a boarding school in Switzerland where everyone was a snob and was shitty to him for not having a title or being old aristocratic money, and he’s decided he wants to have a normal life at a normal college before going off to Harvard–he’s also incredibly smart–and literally picked CSU-Polk out of the air as his choice. Also looking to explore his sexuality, he moves into a really nice apartment in a great (and expensive) complex, and across the breezeway from him lives Jeff and Blair from Every Frat Boy Wants It, who are the ones who get him to go to the Beta Kappa fraternity rush and…the story was off and running.

Kensington also came up with a fucking smoking hot cover for the book.

This, reflected Police Detective Joe Palladino, is an awfully nice apartment complex for a college student to be living in. How the hell does he afford it?

The Alhambra Apartments, he knew, started at a mere $1500 per month for a studio, and went up—way up—from there. When they’d opened a few years earlier, his then-boyfriend, Sean, had wanted to take a look at them.  Joe had failed to see the point—there was no way they could afford the rents there, even with their combined incomes—but Sean had insisted and it was easier to give in than have an argument. And yes, the place was gorgeous—you had to be let in by security, there were fountains and tennis courts and swimming pools conveniently placed throughout the complex. Each building had a laundry facility, and near the clubhouse was an on-site laundry dry cleaner. There was even a fully equipped workout facility with state of the art equipment that put Joe’s gym to shame. The apartments themselves were large, full of light and luxurious—but after the tour, Sean had pouted all night long because they couldn’t afford to live there, as though it were somehow Joe’s fault. But everything had always been Joe’s fault, which was why he’d dumped Sean shortly after that. There was, after all, only so much complaining that anyone can put up with. Sean wanted everything but didn’t want to work for it—and Joe eventually tired of being compared to Sean’s previous, much older boyfriend and being found wanting. Sean was young and handsome—and so thought everything should be handed to him. He didn’t like having to work, and he didn’t like that Joe’s income wasn’t enough for him to live a life of luxury and idleness while being supported.

“I don’t know what you ever saw in him in the first place,” his older sister Margie had sniffed in her patented condescending way after Sean had left him. “He has about as much depth as a dog dish.”

He’d opened his mouth to answer her but had closed it again. There wasn’t any point in arguing with her because she was right. Sean had always wanted more than Joe could offer him. The three bedroom house in the subdivision on the north side of town hadn’t been enough for him. He always wanted the most expensive things—a car he couldn’t possibly afford, the most expensive clothes and colognes and vacations. Joe had practically bankrupted himself trying to please Sean—but nothing was ever enough. And besides, Margie wouldn’t understand even if he tried to explain how his heart had always swelled up whenever he looked at Sean—or that just touching Sean’s skin had gotten him aroused. It had taken him a while to understand it all himself, but the truth was he’d really loved the way Sean looked, and hoped his love would change Sean somehow.

But, he reflected again, people only change if they want to. And you can’t build a relationship on sex when you have nothing else in common.

It was a hard lesson to learn. And while he’d never admit to anyone—least of all Margie—he still hoped Sean might come back home someday.

I think unrequited love is something that most can identify with; I feel it is fairly safe to say that almost all of us have, at one time or another over the course of our lives, loved or liked or desired someone who would never be interested in us for whatever reason; whether they are out of our league or we aren’t their type or they just don’t feel the same way. It’s awful, it hurts and it sucks, but you really don’t have any choice but to move on and forget about it. I’ve certainly been in that situation, and that sort of rejection really stings; it gets to you on a profoundly painful level. But what if the person you had feelings for knew you had those feelings, didn’t reciprocate, but thought it would be fun to string you along and make you think you had a chance, that it would all work out at some point, just not now–and mocked you behind your back, and so forth. And what if you were a extremely lonely and sheltered (although rich and incredibly smart) and socially backward person, naïvely trusting and expecting everyone to be kind because, well, why would anyone want to be unkind?

(I was recently laughing about my own naivete with my dad. “I always think people are telling me the truth,” I said, “because it never occurs to me that people will lie even when they have no reason to.” I like to think I’m more skeptical now than I was when I was younger, but every once in awhile I get a reminder that people will lie sometimes even when there’s not a reason to do so)

I found myself really liking my character as I wrote more about him, and really absolutely hating his nemesis; he finds out he’s being made a fool of about halfway through the book, and that’s when he launches his scheme for revenge, which results in an accident that may not have been an accident, hence our police detective in the opening. And yes, there’s a lot of sex in the book; it’s an erotic novel, after all, so there needs to be some sex in it. The book did really well and I am also rather proud of it, because I think I did a good job with it.