Vieux Carré Voodoo

Ah, the fourth Scotty.

I know I’ve told this story about a hundred times, but I think it matters to the entire Scotty canon review thing that I’m doing now, and it kind of does shape the rest of the series. One afternoon when I was heading to work at the old CAN office on Frenchmen Street, I always parked on Kerlerec Street, which was one of the few places in the Marigny neighborhood that wasn’t restricted to two-hour parking and a potential ticket (I didn’t get a parking spot until I went full time). I got out of the car, locked it, and saw some people riding towards me on bicycles. I said good morning and they said good morning back and smiled and kept going. I took a few more steps before realizing that was Brad and Angelina and a couple of the kids! I smiled to myself–one of the things I love most about New Orleans is the regular celebrity sightings–and of course, they lived not far from my office at the time. As I kept walking, some thoughts started riffing in my brain: Brad is blond and not all that tall; Scotty is also blond and not all that tall. Brad and Angelina live essentially right around the corner from Scotty. What if Scotty was walking home one night and when he’s in front of their house someone takes a shot at him, mistaking him for a Brad type actor living in the Quarter? Someone is trying to kill him and since Scotty looks like him, they hire him to get to the bottom of it as well as to run interference?

I really liked the idea–Hollywood South Hustle (keeping the “H” alliteration I was going for when the book was going to be Hurricane Party Hustle)–and when I got home that night I wrote the proposal and first three chapters in a fever…spent a few days refining and polishing it, and submitted it to my Scotty publisher–and they turned it down.

Womp womp.

Around the same time, my Chanse publisher–who had yet to make an offer on the next book in the series–suddenly made an offer but gave me a two month turn around on the book. It was do-able, of course, but I thought I deserved something in return for that insane turnaround and so asked for a two book contract and more money; they were clearly desperate since they agreed to both. And I thought, Hmm, I can just turn that Scotty book into a Chanse book and thus it became Murder in the Rue Ursulines (and it wasn’t as easy as I thought it would be but that’s a story for another time).

And then one day, I was walking from the parking lot at my old office to where the Gay Easter parade was lining up (my office had a carriage and I rode) and as I walked underneath a balcony I barely avoided getting drenched (those who turn their balconies into lush gardens have to water them, after all, and the excess water has to go somewhere; it’s one of those Quarter hazards we’ve accepted) and in a flash, I thought that very thing–walking under balconies in the Quarter can be hazardous–and then imagined Scotty on his way to the Gay Easter parade to ride on his parents’ business’ float when he gets drenched by someone watering their balcony garden. And just as quickly as I had that thought, I thought of course Scotty would be dressed as a slutty Easter bunny in a white speedo and rabbit ears and tail and then it just got really funny to me. The next morning I wrote that scene, which grew into the first chapter, and since I needed to wrap up the personal story left hanging in the previous book, I ended the chapter with him seeing someone in the crowd he thought was Colin–a thought he quickly dismisses as impossible, and we were off to the races.

No live organism can continue for long to exist sanely under conditions of absolute reality; even pigeons and palmetto bugs are supposed, by some, to dream. New Orleans, not sane, stood by itself inside its levees, holding darkness within; it had stood there for almost three hundred years and might stand for three hundred more. Within, walls continued to tilt, bricks crumbled sloppily, floors were termite-chewed and doors sometimes shut; silence lay steadily against the wood and stone of New Orleans, and whoever drank there there, drank alone.

Yeah, right. People only drink alone in New Orleans by choice.

My name is Scotty Bradley, and I’m a private dick who works the mean streets of New Orleans. I right wrongs. I help the downtrodden find justice. I punish the guilty. I ferret out crime, and protect the innocent while punishing the guilty. Criminals tremble when they hear my name, and get out of town if they know what’s good for them. Dame Justice may be blind, but I see all too clearly. The helpless come to me when everyone else has failed, when hope is gone, and the night seems darkest. I’ve got a mean right hook and never back down from a fight. I drink my martinis shaken, not stirred—because I like my gin like miscreants who cross my path, bruised and a little battered. I am on a never-ending quest for truth, justice, and preserving the American way of life. I rescue dreams and bring nightmares to an end. Don’t call me a hero, because any one of you would do the same if given the chance. There is no case too small for me to handle, and there is no case so large that it is intimidating. I’ve taken down a corrupt political machine, and would gladly do it again tomorrow. I’ve found lost treasures and stared down the Russian mob. I’ve stared evil in the face until evil blinked and backed away in mortal terror. I have—

Yeah, right. And I have a bridge across the Mississippi for sale, if you’re interested.

My name is really Milton Bradley, like the board game company—my parents have a slightly twisted sense of humor. Scotty is my middle name, but it’s what everyone calls me. I really am a private eye—bonded, and licensed by the state of Louisiana. I was born and raised in New Orleans and have lived here my entire life except for two misspent years at Vanderbilt University up in Nashville. I live on Decatur Street with my partner, Frank Sobieski. We’re business partners, and life partners. We met on a case a couple of years back, and it was pretty much love at first sight. Frank is one of the most gorgeous men I’ve ever seen outside of a porn movie. He’s in his early forties, about six foot two, and when he had hair, it was blond. Now that he’s balding, he shaves it down to a little buzz. He has the most hypnotic blue eyes, a strong chin, and a scar on the right side of his face. He also started lifting weights in his twenties—and there’s not an ounce of fat on his hugely muscled, amazingly defined body.

He also has one of the most amazing butts I’ve ever laid eyes on. Woof!

Well, okay—it was lust at first sight. Love came later.

I love treasure hunts, always have, and have always wanted to write one. One of my favorite series when I was a kid (they’re still actually quite fun to read now) are the Three Investigators series; which was originally called the Alfred Hitchcock Mystery Series as he introduced each case and sometimes even referred potential clients to the boys. Many of those books were treasure hunts, and those were always my favorite books. One of their adventures, which was also a favorite, was called The Mystery of the Fiery Eye and was loosely based on Wilkie Collins’ The Moonstone, which I read as a teenager and have always remembered fondly. I decided I wanted to do an homage to both books; the treasure everyone is looking for is a stolen, notorious jewel that is very important to a south Asian religious cult, and it’s name was Kali’s Eye, because it was mounted in an enormous statue of her in a temple in a very small, remote south Asian country.

And it was stolen during the Vietnam War, and they’ve been looking for it ever since.

After Scotty gets soaked in his slutty Easter bunny attire, he swears very loudly and the person on the balcony hears him. Turns out to be an old family friend–Scotty wasn’t really paying attention to where he was; his mind was elsewhere as he walked–and gets invited up, so the friend, Doc–he was a professor at University of New Orleans when Scotty’s parents went there–can give him a towel and run his outfit through the dryer quickly. While Scotty is there, Doc gives him an old stuffed toy Scotty had left there years ago, when he was a small child. This strikes Scotty as odd, but he humors Doc and takes the stuffed bunny. When he gets to the parade, his mother is thrilled to see Mr. Bunny, so he gives it to her.

And later, when he is walking home, there are cops at Doc’s. He fell to his death from his balcony, and his apartment was ransacked. Then the new tenant on the top floor of Scotty’s building (he and Colin gave up that apartment after Colin disappeared) wants to hire Scotty and Frank to solve a mystery for him–but soon he, too, is murdered–and also turns out to not be who he had claimed to be. Are these two murders connected, and if so, how?

My absolute favorite part of the book to write was the treasure hunt itself; when Scotty and Frank realize that Doc left clues behind for Scotty to solve and find the missing jewel; which takes them on a trail from the apartment on Decatur Street uptown in the rain. That was so much fun, and of course, when I was polishing the manuscript before turning it in, I had to actually go and follow the trail I’d set out for them to make sure it was accurate and worked and was something someone could actually follow…and of course, it was pouring that day so I did it, like they did, in the pouring rain.

I dedicated the book to my friend Poppy Z. Brite, a writer I’ve long admired and whose friendship I have always cherished. He was always a big fan of the Scotty books, and his support meant the world to me. He was actually the person who convinced me–one drunken night at the House of Blues for a Banned Books Night reading–that I could indeed write another Scotty book, and the boost of confidence was just what I needed to get back to work on this series. (And the Vietnam stuff was a nod to a private joke between us.) And it was, indeed, fun to get back to work on Scotty and produce another book.

And here I am, all these years later, writing another one. Go figure.

dreams

Thunder only happens when it’s raining…

It’s Tuesday and I leave for Bouchercon tomorrow. Woo-hoo! Yay Bouchercon!

I am up early and not terribly happy about it, in all honesty. I could have gladly slept for another hour or so, but at least we don’t have to get up super early tomorrow. I think we have to leave for the airport around noon or so, so that will be nice. I have a panel at nine (!) on Thursday morning, which terrified me–I’ll have to get up early and go register for the event, for one, and then to try to be coherent at that hour is not exactly my strong suit. There are also a lot of incredibly smart and talented people on that panel, so I am not entirely sure why I am also on it, but there I am and there you have it. Friday and Saturday are my more busy days, so at least I kind of get to ease into it. I’ve not been to Bouchercon since 2018.

I am very pleased with the work I got done on the book yesterday. I said I had figured the book out at last, so yesterday afternoon I went back and revised chapters one and two, and ye Gods, I’ve finally solved the puzzle. Those two chapters are so much better, and work, and make sense. Sure they need to be revised and edited again a few more times, but at least I’ve gotten the primary plot of the book figured out–and we’ll see how it goes from here. I have a gazillion emails I need to read, respond or delete to at some point today to try to get a handle on things before I leave town tomorrow–heavy heaving sigh. And I still have to figure out what to pack. Ah, well, at least I have both tonight and tomorrow morning to worry about getting that part of it done as well as cleaning up a bit around here and cleaning out the things that will go bad in the refrigerator.

It was also kind of fun revisiting the first three books in the series–and it also helped with the decisions made to reshape the book into what it will (hopefully) turn out to be. It was lovely revisiting these little time capsules of my life–remembering what I was thinking as I wrote them, things I took out and the things that went in, clever turns of phrase and twists of the plots, and above all else, how much I really like the characters, and the affection that exists between my main three lead characters. All three will be present for the entire book–which is also a first; I never was sure how to juggle them all at the same time, so inevitably either Frank or Colin (or both) would be gone for most of the story and Scotty would be on his own to solve whatever crime it is he’s stumbled into again. I may keep rereading my way through the entire series, but I don’t know whether I’ll go ahead and write about them, to be honest; I don’t remember writing Vieux Carré Voodoo, for example, other than knowing I wanted to write a treasure hunt where a riddle must be solved in order to find the treasure (something I’ve always wanted to do). I also remember using The Moonstone by Wilkie Collins as a guidepost for the story (with a bit of a nod to one of my favorite Three Investigators cases, The Mystery of the Fiery Eye), but beyond that…I’m not sure I remember a whole lot about writing the book or how I made the decisions I made about the story and the plot. I’ll have to go back and revisit old blog entries, although I rarely talk about the creative process in detail when I am experiencing it.

I am getting very excited about traveling tomorrow! I just got notices from the airline and the hotel about how to check in and so forth, and I already have my parking spot reserved. As much as I loathe travel days for the most part, as long as they don’t involve getting up super-super early, I don’t mind them that much; I just prefer not to have to rush when I am tired, and even on travel days I don’t want to get out of bed that badly.

We watched the new episode of House of the Dragon last night, and I have to say, it kind of annoys me extremely that the entire succession “problem” was quite simple to solve: have the King’s daughter marry the King’s brother. It wasn’t like the Targaryens weren’t into incest; the Targaryens (per the source material) were even more incestuous than everyone’s favorite historical incestuous family, the Hapsburgs. This basic flaw in logic kind of is irritating for me and I can’t get past it. Last night i must have screamed “have Rhaenyra marry Daemon! It’s not this hard!” But with that simple solution, there is no plot. I also don’t understand this insistence of the King that she is his heir even though the new wife has given him a son. That also doesn’t make sense logically, given the rules of the Seven Kingdoms and the family, per the source material.

But….no plot without the succession struggle, which makes it contrived, and I despise contrivances in fiction. Literally despise them.

And on that note, I am going to head into the spice mines and begin by making my list of things to pack. Have a lovely Tuesday, Constant Reader, and I will check in with you again tomorrow.

Watching Scotty Grow

As I get ready to write another Scotty book, I am busy making his acquaintance all over again. It might seem strange, but yes, although I’ve written eight books about my ex-go-go boy/personal trainer/private eye, it remains true in this as in all other aspects of my life that my memory is not what it once was; in fact, I don’t think I’ve ever written a Scotty book since the first three without having to go back and revisit the series again. I have made continuity errors over the years (Scotty’s mother’s name changed over the course of the series, from Cecile to Marguerite and back to Cecile again), and I may forget things about his past and things I’ve written in previous books, but the one thing I never ever forget is his voice.

No matter what else is going on in my life, Scotty’s voice is very easy for me to slip back into, like a house shoe, and it somehow always feels like coming home to me in some ways. This is odd–because I would have always thought Chanse was the series character I was more connected to rather than Chanse, but that’s not the case at all. Scotty just won’t go away; but I ended the Chanse series and only every once in a while do I regret it (although I am beginning to suspect that I am going to probably end up writing another Chanse novel at some point in my life; I have two ideas that he’d be perfect for, but it also might be better and more challenging for me to simply come up with a whole new character for those stories rather than resurrecting Chanse); Scotty just won’t ever go away.

The idea for the Scotty series famously came to me during Southern Decadence, 1998.

(Well, I don’t know about famously, but I know I’ve told this story before many, many times. Feel free to skip ahead if you don’t want to see how I remember the birth of the character and the series now)

It was a Sunday afternoon, and Paul and I had somehow managed to get prime balcony standing spots–at the Bourbon Pub/Parade, right at the corner of St. Ann and Bourbon where the railing curves at the corner to head alongside the upper floor down the St. Ann side; so we could look down directly into the roiling mass of sweaty, almost completely naked bodies of hundreds of gay men from all over the country. That was my favorite spot for Decadence sight-seeing (Halloween, too, for that matter), and as I looked down into the crowd, I saw a guy in booty shorts and a very very loose fitting tank top, carrying a bag and trying to get through. I recognized him as one of the out-of-town dancers working at the Pub/Parade that weekend (I may have tipped him the night before) and as I watched in sympathy as he tried to get through that tightly-packed crowd of gays in various stages of being wasted, I closed my eyes and an image of him–or someone like him–fighting his way through the Decadence crowd while being chased by bad guys with shaved heads popped into my head just as Paul said, next to me, “You should really write a story set during Decadence” and then it popped into my head: someone escaping the bad guys has slipped a computer disc into one of the dancers’ boots on Friday night as he danced on the downstairs bar, and the bad guys want the disc back.

I didn’t have any way to write it down, obviously–I was wearing booty shorts, socks, and half-boots that came to my ankles, with nothing underneath the shorts and I had my tank top tucked through a belt loop like a tail in the back–yet even the title popped into my head: Bourbon Street Blues. The idea clearly stuck, because when I got home the next morning at about six or seven, dehydrated, drenched in sweat and having lost the tank top at some point during the night, I remembered it and wrote it down.

At some point over the next two years, I wrote a short story called “Bourbon Street Blues” about my stripper–only instead of being from out of town, I made him a local, filling in for someone booked from out of town for the weekend who had to cancel–and wrote about seven thousand words. It felt very rushed to me–the story–and I kept thinking it’s too long for a short story, it would have to be a novel but I also wasn’t sure there was enough story there for a novel. But I liked the idea, no one (at least, to the best of my knowledge) had written anything like it, and I thought, someday I’ll get a chance to write this story and develop this character.

Flash forward to 2001. This was during the time Paul and I had moved to DC to work for the Lambda Literary Foundation, we were miserable there and wanted to move back to New Orleans but didn’t have the money to do so, and the release of Murder in the Rue Dauphine was still at least a year away. I was talking to an editor on the phone about one of his new gay releases, and out of the blue I just pitched Bourbon Street Blues to him. He loved the idea, and asked me to write a proposal and email it to him. I had never written a proposal before, but I thought what the hell, how hard can it be? and so I wrote a two page proposal for the book. Two months later they made me a two-book offer–and the money was good enough to pay for Paul and I to move back to New Orleans as well as to live on for a while. I had only seen the book as a one-off, but they wanted a series. I needed and wanted the money, so I thought I can figure this out later and signed it.

Three months later, we moved back to New Orleans and I started writing the book.

The one thing I wanted to do with Scotty was make him unabashedly, unashamedly, gay. I didn’t want him to have any hang-ups, a sad backstory, or parental issues. I wanted him to be a free spirit who embraces life with both hands, lived in the Quarter, and loved having sex, loved being found desirable, and never really said anything or thought anything mean about anyone else. I made him a personal trainer, and his poverty–he agrees to do the dancing gig for Decadence because he’s behind on his rent and other bills; he teaches aerobics and was a personal trainer–comes from his grandparents freezing his trust funds when he dropped out of college to go to work for a booking agency for male dancers. He has since stopped doing that, but fills in when needed (and when he needs the money) at the Pub/Parade. I also based the shitty politician running for governor–and trying to mount a Christofascist takeover of the state, beginning with an attack on Southern Decadence–on an actual politician who ran for the US Senate shortly after we moved here; we saw him being interviewed on the news and couldn’t believe it wasn’t a joke, some kind of performance art–but forget it Greg, it’s Louisiana.

I also want to let you know that while I was working on this manuscript my first book, Murder in the Rue Dauphine, was released–and I got a “damned with faint praise” review from the Bay Area Reporter, which complained that “it would have been nice to see inside the heads of the other characters”, which took me aback as the book was a first person narrative, which made that impossible. What the reviewer I think was trying to say was that she wished the book had been told in the third person; that to her that would have made the book more interesting to her. But in my baby-author naïveté, all I could think was how can you see inside the heads of other characters in a third person narrative unless the main character was psychic?And the proverbial lightbulb came on over my head. Make Scotty a psychic. This was also an integral key to the puzzle of who Scotty was; the reviewer also yawned over my “gay stereotypes” in Rue Dauphine, so I decided to make Scotty the embodiment of all the worst stereotypes of muscular gay men who worked out and had a lot of sex. Just writing that down now, I realize how incredibly insane it was for me to use my new series book and character to respond to criticism o my debut novel; and when the book came out I braced myself for the inevitable backlash to come.

No one was more surprised than I was at how readers embraced him. The book got great reviews, even from Publishers Weekly and Library Journal (Kirkus, of course, has always pretended I don’t exist). Bourbon Street Blues was even nominated for a Lambda Literary Award for Best Gay Mystery of 2003 (I lost, I think to John Morgan Wilson?) shortly after the sequel, Jackson Square Jazz, was released.

Jackson Square Jazz’s story was actually a recycled idea I had for a spin-off book for Chanse’s best friend Paige. The original concept was that someone would steal the Louisiana Purchase from the Cabildo–and somehow Paige stumbled onto the theft, and knew that the one on display currently there was a copy. (I was calling it, originally enough, Louisiana Purchase.) I decided to make that the basis of the second Scotty book. (This was inspired by a documentary I’d seen about the Cabildo fire of 1989–that may be the wrong date–and how the fire department tried saving everything in the museum before fighting the fire. I remembered how in the documentary they literally were placing historical objects and paintings against the fence at Jackson Square and thinking, anyone could have walked off with something during the fire…and my imagination immediately was off to the races.) Unfortunately, when I met with the museum director–whose actual first day on the job was the day of the fire–I found out that 1) the copy of the Louisiana Purchase at the Cabildo was actually only a replica and the original was stored in the weather-protected underground archive at the Library of Congress and 2) it was more than one page long–I’d imagined it was one large document like the Declaration of Independence; it is not. However–he also suggested I make the MacGuffin the Napoleon death mask–one of the three originals made when Napoleon died–and gave me some great backstory on it as well that I don’t remember if I used in the book or not; but it was a lot of fun talking to him (his name escapes me at the moment, alas) and was a great example of why it is important to actually do research and talk to people.

I also wanted to include figure skating–the working title for the book was Death Spiral, which the publisher made me change, asking for something alliterative, like Bourbon Street Blues–and so I decided to open the book with Scotty having a horrific hangover and then realizing someone was in the bed with him (it’s to this day one of my favorite book openings; what slutty gay man hasn’t been there?)…and then I remembered I’d introduced two love interests for Scotty in book one, and here he was in bed with someone else entirely. (The young man he woke up with was a figure skater in town to compete at Skate America, being held in the Smoothie King Arena.) I loved both of his love interests, and knew I was going to have to bring both of them back somehow, and then I was going to have to figure out which one he’d end up with. (Spoiler: I couldn’t decide, so he wound up with both of them.) I also threw in a ghost, a billionaire artifact collector, and pretty much everything but the kitchen sink. I turned in the book, along with a proposal for Book Three, in which I finally decided I was going to resolve the threeway relationship personal story, and that would be the end of the Scotty trilogy.

Man plans and God laughs. (Jackson Square Jazz was also nominated for a Lambda; I think this was the time I lost to Anthony Bidulka.)

Mardi Gras Mambo turned out to be an entire other kettle of fish.

I’m not entirely sure I remember exactly what the original plot of Mardi Gras Mambo was going to be, but I know it had to do with the Krewe of Iris (Scotty’s sister Rain belongs) and the book opened at the Iris parade on the Saturday morning before Fat Tuesday. It was due in June of 2004, and of course, I wasn’t nearly finished by the time Memorial Day rolled around, and was planning on asking for another month on the manuscript on the Tuesday after. Of course, that was the Memorial Day weekend when Paul was attacked and everything went to hell in my personal life. My publisher was incredibly kind; they took the book off schedule, told me to take care of Paul, and get the book done whenever I got the book done.

I started writing it again in January of 2005, shortly after I began keeping a blog in order to get me writing again. That was when the Christian/Virginia nonsense happened, and everything got derailed again. When I started writing the book again, I threw out everything except that first chapter at the Iris parade–which did wind up in the final book–and I do not recall what the second plot I chose to write was at this time, other than I knew I was bringing in a Russian character, inspired by someone I’d seen around in the bars for years and had always been just awestruck by his body–and yes, that Russian turned out to eventually be Wacky Russian, my personal trainer. I actually kept this as an inspiration–Eclipse used to be the nightlife insert for IMPACT News, a queer newspaper that died out in the early aughts:

Finally, it was April 2005, and I started writing Mardi Gras Mambo again. I had the plot all figured out–it was completely insane–but I also realized I couldn’t end the personal story with Scotty the way I had hoped and wrap it all up with Book Three. There had to be a Book 4, and so when I finished the book at last and turned it in, I included a proposal for a fourth Scotty, Hurricane Party Hustle–which was going to be set during an evacuation for a hurricane that missed New Orleans…I always thought it would be interesting to write a mystery story set during such an evacuation.

Of course, I turned the book into Kensington on August 14th, 2005. Fourteen days later, Paul, Skittle and I fled from New Orleans in the face of Hurricane Katrina.

I wouldn’t come back for good until October 11. Paul didn’t come home until after Thanksgiving.

Of course, I wrote to my editor a day or so after the levee failure to say, well, I don’t think I can write that book I proposed now.

I didn’t see, for a very long time afterwards, how I could write another Scotty book–light, funny, zany–in the aftermath of Hurricane Katrina. Then one day I was walking to work from where I’d parked my car and some people on bicycles came riding toward me. They smiled and waved and I smiled and waved back…and realized oh my God, that was Brad and Anjelina. Their house wasn’t far from my office–in fact, it was quite literally around the block from where Scotty lived–and I thought, you know, Brad kind of looks the way I describe Scotty–wouldn’t it be funny if someone tried to kill Scotty because he looked like a movie star who lived in his neighborhood? The more I thought about it, the funnier it became, and I started writing the proposal for Hollywood South Hustle when I got home from work that night. I was so certain they would take it that I started developing the characters and writing out a detailed synopsis…and they turned it down.

I wasn’t expecting that, but it was a marketing decision. Even if they signed the book immediately, it would still be another year before it would come out, and they felt by then Scotty’s audience was long gone, if it wasn’t already. It was disappointing, but right around the same time Alyson came back to me for a fourth Chanse book but they needed it right away–like within ten weeks–so I turned the Scotty story into Murder in the Rue Ursulines. I finished the book, turned it in, and figured the Scotty series was dead, alas.

Shortly thereafter, during the Gay Easter Parade an idea for a different Scotty book occurred to me . The parade was over and I was walking back to my car to drive home when I walked underneath a balcony…just as they started watering their plants. I got soaked–you can’t get mad, it happens in the Quarter periodically and it’s just one of those New Orleans things–and I thought, you really need to write about this. As I walked to the car, dripping, I pictured Scotty hurrying to catch a ride on his parents’ business’ float for the Easter Parade–and of course, he’d wear a white bikini, rabbit ears, and have a rabbit tail–when the exact same thing happened to him, only his bikini would become see-through when wet. By the time I’d driven home, I’d figured that the person on the balcony would be an old friend of his parents’, he’d invited Scotty in to dry off, and when Scotty was on his way home from the parade, the cops would be there because the friend had been murdered. Using The Moonstone as my inspiration, I came up with another MacGuffin story, a way for Colin to come back and explain everything that happened during Mardi Gras Mambo, and I had the perfect ending to Scotty’s story. I just didn’t have a publisher.

But Bold Strokes Books, a primarily lesbian publisher, had started doing books by and about gay men. I’d taken an erotica anthology to them when it was orphaned by the death of its original publisher, and so I wrote and asked if they wanted a Scotty story. They did, and thus Scotty came back to life one more time…and I figured that was the end of it. I wrapped up the personal story about the three-way relationship in a way that was organic and made sense; and I also added a new wrinkle to Scotty’s personal life: Frank’s late-in-life decision to become a professional wrestler. (One of the things we locals learned from Hurricane Katrina was to not put off following or chasing dreams or goals; my attitude thus became go for it and I started chasing down dreams I’d pushed to the side for years.) Mardi Gras Mambo and Vieux Carré Voodoo were both nominated for Lambdas, but at this point I can’t remember who I lost to in both of those cases–for the record, Lambda has never rewarded a Scotty book with an award–probably because they are inevitably funny and over-the-top, which never wins awards because funny is seen as “not serious,” despite the fact that humor/comedy is much harder than drama/tragedy.

I didn’t think I was going to write another Scotty book then, either. But then something miraculous happened: the New Orleans Saints won the Super Bowl, and I wanted to write about what it was like to live here during that incredible time. It didn’t seem like the right story for another Chanse book, so I thought, well, I can pull Scotty back out and write it from his point of view.

And of course, Who Dat Whodunnit was just sitting there for the title. How could I not write that book?

I had already established over the course of the series that the two sides of his family–the Diderots (maternal) and the Bradleys (paternal) didn’t really get along. The Diderots go back to Iberville and the 1718 settling of New Orleans; the Bradleys were Americans who came after 1803, and thus are not only parvenus to the aristocratic Diderots, but also l’Américains. Perish the thought! We’d also established that the Diderots were not nearly as conservative as their State Street living in-laws, but we’d never actually seen much of the Bradley side of the family, so I thought why not do the Bradleys and let us get to know the other side of Scotty’s family? It was around the same time I started reading about a megachurch out in Kenner (or Metairie? I don’t recall) that was rising to prominence in local politics and was, as you can imagine, homophobic. The same-sex marriage wars were also being fought at this time; and during one of those pageants (Miss America? Miss USA?) the reigning Miss California was asked about same-sex marriage during the question portion by judge Perez Hilton (why was he judging a beauty pageant for women is a mystery for the ages) and she responded that her faith had taught her that marriage was between a man and a woman (the audience started jeering) and she apologized by saying “I’m sorry, but that’s how I was raised!” She wound up as First Runner-Up, and some felt, rightly or wrongly, that her “politically incorrect” answer cost her the title. In some ways, I felt bad for her (although it’s not my fault it’s how I was raised I have always thought was an incredibly stupid thing to say; you have free will, and you should be capable of making up your own mind rather than simply parroting things without question you were raised to believe. So if your parents were racist white supremacists…) but then of course, the Right tried to turn her into a martyr and heroine, and she dove right into that headfirst, erasing any sympathy I might have felt for her (I still think the question was inappropriate for a pageant, as would be anything polarizing–and yes, well aware that same-sex marriage shouldn’t be polarizing, but here we are), and of course, Miss Upright Moral Christian had a bit of a shady past that eventually came out and that was that. I decided to base the murder victim in the book on this girl, and tried to explore the influence of this megachurch on her. I also gave Scotty a first cousin who was the darling of the Bradley grandparents because he was a jock and was on the Saints team as a player–but also a homophobic asshole. The Bradleys were like something out of Tennessee Williams–I think I even named Scotty’s uncle (the football player’s dad) Uncle Skipper as an homage to Cat on a Hot Tin Roof.

There’s a lot of story there left in the Bradley side of the family, now that I think about it–and I’ll be digging into that in the new one, rest assured!

Funny story: After I wrote Who Dat Whodunnit, I decided I was not going to write another Scotty book. This had been Book 5 of what started as a stand-alone and then became a trilogy and yet somehow, I’d kept going on top of that. I kind of felt played out a bit with Scotty, and the longer the series went on, the more problems I was having with things like character ages–Scotty was getting older, which meant his parents were getting older, which meant his grandparents were getting older, too. I didn’t want to deal with the deaths of his grandparents (or Aunt Sylvia, who was his grandmother’s age and had married Uncle Misha), and so I had two options: pretend they weren’t getting older and not talk about their ages, or let the series go. I was still writing Chanse at the time, and I kind of figured that would be the series that went on longer. But I was on a panel at Saints and Sinners and someone from the audience asked me if there would be another Scotty.

GREG: Probably not, but if I can figure out a way to include Mike the Tiger (the live tiger mascot at LSU), Huey Long, and a treasure hunt for Huey’s deduct box, I will.

(I had read T. Harry Williams’ award winning biography Huey Long and had become fascinated completely with him. All I had known about Long going into reading that biography was that he’d been a demagogue (thanks, US History textbook from high school) and Robert Penn Warren’s All the King’s Men had been loosely based on his life and career. Mention Long’s name to anyone and they immediately reply with “oh, he was so corrupt”–which amused me, since every Louisiana politician is corrupt to a degree–and I knew Roosevelt and others had worried about him as a populist politician who reminded them of Hitler (and the way he crushed his opposition in Louisiana and essentially became the state’s dictator, who could blame them?), but what was the real story? And Huey Long made me start to have what was at first a grudging admiration for him which grew into a kind of fandom the more I learned. (There are some similarities–more than one would think–between Long and LBJ in the Caro biographies, as well as with Robert Moses, another Caro biography; which would make for a very interesting comparison/contract essay at some point.) But the more I read about Long, the more I wanted to write about him. He fascinated me, and the fact that his trove of cash–the deduct box–was never recovered after his murder was even more fascinating to me.)

And don’t you know, later that night, it came to me. A few months earlier there had been a bomb threat at the LSU campus, and there had been some controversy about how the administration had handled the situation–they’d evacuated Mike the Tiger off the campus before the mass evacuation call for the students. It made sense to me (but I didn’t blame the students for being upset because it absolutely looked like the administration cared more about the tiger’s safety than the students’)–in the chaos of evacuating the campus, getting the tiger out safely would have been a nightmare, and God forbid something happen and Mike got loose. Then it hit me: what if some animal rights’ activists had staged the bomb threat in order to steal the tiger in order to set him free somewhere? (Mike is a frequent target of PETA, who often calls for him to be released into the wild–not in the US, of course–, or sent to a big cat sanctuary.) So, I had the tiger kidnapped, and since Huey Long was responsible for LSU being what it is today, it only made sense for the treasure hunt to have to do with his missing “deduct box”–Huey always used cash, after his assassination the deduct box containing thousands and thousands of dollars in cash disappeared–and there we had it: a plot involving Mike the Tiger, Huey Long, and the deduct box.

This was also the book where I decided to extend Scotty’s family a bit further by adding a new, younger gay character to the mix: Taylor, Frank’s nephew, disowned by Frank’s sister and her homophobic husband after he comes out to them after a semester in Paris, and so he comes to live with Scotty and the boys in the house on Decatur Street. I wanted to bring in someone younger, and gay, with literally hardly any gay experience in the world to reflect the change between generations of gay men and how they view being gay and the rest of the world.

I also figured this would be the last one, but like I said, Scotty just won’t go away.

SIDENOTE: I had to write to the administrators of the Huey Long website for permission to use some quotes from the site in the book. Needless to say, they were very wary of me when they responded, so I emailed them the chapter where I would use the quotes–Scotty was doing some research on Long, and came across the website. Like me, Scotty had always been told Long was corrupt and a demagogue…but demagogues also don’t get things done, which Long did. Some of Long’s programs–like the Homestead Exemption–still exist as public policy in Louisiana. They wrote me back, granting permission…and that was when I found out the person I was talking to was Long’s great-granddaughter, who was rightfully suspicious of anyone writing about her great-grandfather. I sent her a copy of the book when it was finished, and she sent me a lovely thank you card, which is probably one of my favorite writing souvenirs.

The genesis of Garden District Gothic was weird, but yet serves as yet another example of my adage never throw anything you’ve written away.

I had always wanted to spin Chanse’s best friend, journalist Paige Tourneur, off into her own series. I had always intended to do so; from the first time I thought her up for Murder in the Rue Dauphine I thought, “she’s fun and witty and interesting and that weird name–there’s so much more story there than we can get to as a supporting player in a series about someone else.” I have so much written down about Paige and her origin story; how she came up with that name and why; how she wound up at LSU; and so on and so forth. A friend started an ebook publishing company, and wanted me to write Paige novellas for her; I did two–Fashion Victim and Dead Housewives of New Orleans–but the sales, frankly, weren’t there and I didn’t have the necessary time to put in marketing them to help drive the sales, so even though I’d started a third, The Mad Catter, we agreed to kill the series and pull the first two from availability; ultimately, I was working too hard for too little pay-off. I was disappointed, obviously; Paige was kind of a passion project for me–I’d made any number of false starts writing a series book for her, and it was sad to see that there wasn’t an audience for her after all. But I had about four chapters of The Mad Catter in place, and I didn’t want to waste the time spent on them…so I decided to turn them into a Scotty book, which became Garden District Gothic.

I also brought in a new character–a true crime writer with a shady past of his own–who actually wrote a book, a la Midnight in the Garden of Good and Evil, about the case. The name of his book? Garden District Gothic. I brought him in, thinking I would spin him off into his own book/series–I thought it might be fun to write about a writer…(I thought about using him as the main character in another book based on an actual unsolved string of murders in a rural Louisiana parish, but very quickly realized he was simply an amalgamation of Scotty and Chanse, so that book–The Bodies in the Bayou–went onto the backburner. I think I may have created the character before, in the Chanse series, but I could be remembering that wrong. I also used this book to sort of set up the next; I will explain that further when I am talking about Royal Street Reveillon. I also crossed the character of Paige Tourneur over from the Chanse series into the Scotty series (I loved the character, hated to sideline her after I ended the Chanse series and the novella series didn’t pan out); not that she will be a big part of the Scotty series, but hey, every so often I need a journalist, and why not use a character I am very fond of already and wasn’t ready to stop writing about?

The book was loosely based, obviously, on the Jon-Benet Ramsey case–a decades old notorious murder of a child in the Garden District that was never solved. I wanted to examine and explore issues of class in New Orleans, but I am not entirely sure I pulled off what I intended with the book.

Then again, I think that with every book, don’t I?

And we now come to the (so far) most recent book of the Scotty series, Royal Street Reveillon.

Originally I’d envisioned the Scotty trilogy (when it morphed from a stand-alone) as encompassing the three big gay holidays in New Orleans: Southern Decadence, Halloween, and Mardi Gras. Jackson Square Jazz wound up taking place just before Halloween, alas; Scotty talks about their costumes in the epilogue, but I hit the other two holidays out of the park. When I added a fourth book, I tied it to the Gay Easter Parade–Scotty is on his way to ride on the Devil’s Weed’s float when the book opened–and then of course the next book was sort of Christmas/sort of Mardi Gras/sort of the Super Bowl. Baton Rouge Bingo was the first book that wasn’t tied to a holiday of some sort; neither was Garden District Gothic. But for the next Scotty book, I wanted to do a Christmas book. I’ve never really written much about Christmas, and I do love the season, especially in New Orleans. I wasn’t sure what kind of plot I was going to use, but I knew it was going to be set during Christmas season and I knew I wanted to use reveillon, the Christmas season meal you use to break your fast for Mass, in the title. I had introduced one of the characters from Dead Housewives of New Orleans in Garden District Gothic, so it only made sense to me (or so it seemed at the time) for me to take the framework of Dead Housewives–the entire Real Housewives spoof I wanted to write–and build this new story around it. I changed a lot–made the overarching story much more complicated, and especially complicating the “whodunnit” aspects of the three murders that all occurred within twenty-four hours of the premiere party for Grande Dames of New Orleans.

I also did a couple of horrible things to Scotty and his loved ones over the course of this book…which will have to be dealt with in the new one, alas. I hate when I do this to myself! But with Royal Street Reveillon and its darker themes, I wanted to show how much Scotty has grown and changed over the course of the series; he’s evolved as a person, partly because of the changes to his life and partly because of what he experiences through the murders he finds himself involved in. Do I wish, as I start writing Mississippi River Mischief, that maybe I hadn’t given so many growth opportunities over the years to Scotty and his gang of family and friends? Absolutely. But that’s part of the challenge of writing a series, and what makes it so much fun.

*Funny story about the original cover of Bourbon Street Blues. Back in the day, publishers used to meet with reps from Barnes & Noble and Borders to show them covers and get their input; covers were changed based on those meetings. The Bourbon Street Blues cover was so in-your-face it took me aback when I first saw it; and they had toned the original image down dramatically, mainly smoothing down the bulge so it wasn’t so in-your-face. The Barnes & Noble buyer told them, “he needs a bigger bulge” so they made it bigger–but were still cautious; the image’s original bulge was still bigger. I do think that story is hilarious.

1963

And now it’s Saturday. It’s still cold in New Orleans and we still don’t have any heat but it’s not as bad as Texas by any means, and we never lost either power or water pressure. So far we haven’t had a rolling blackout, either–although they were threatened. I spent most of yesterday unpacking and repacking condom packs, while watching history videos on Youtube, done by a local New Orleanian–someone I do not know–correcting revisionist history; it began with his lengthy video on the Confederate propaganda movie Gods and Generals–which I have never seen; I tend to avoid Civil War films because they are all-too frequently Lost Cause narratives at best or defenses of white supremacy at worst–even the ones that don’t center Confederate stories. I have no desire to see either. I was raised on the Lost Cause false-narrative, and I am still kind of bitter about being taught false narratives as truth as a child. I also resent having had to spend so much of my adult life correcting everything I learned that was wrong and/or incorrect; relearning American history without the rose-colored glasses of American exceptionalism and manifest destiny firmly placed on my nose and eyes.

Writing Bury Me in Shadows, methinks, is in some ways for me kind of a reckoning with that “heritage.”

The cold is going to continue through this weekend, but tomorrow is supposed to be relatively normal late winter weather for New Orleans. It will be nice to get back to normal. It’s currently forty degrees and sunny outside, and I’ll take it, thank you very much.

Today I am going to spend most of the day rereading and revising my manuscript. I want to be able to get through the entire thing in one sitting–this way I can catch most of the repetition, and I am going to also be starting to sprinkle the new stuff through the manuscript that needs to be added. I am hoping that on Sunday I can go to the gym and start inputting the changes; Monday I will assess as to whether I believe I can finish before the deadline or not. (I am a firm believer in not waiting until the last minute to let my publisher know the manuscript will be late.) I mean, I do have another full weekend to get it all done, but it’s not going to be super easy. I have to write an entire season of a podcast–or at least, significant excerpts from said podcast–and there’s at least one more chapter that needs to be written. (Depends on the inputted changes I am going to be making as I go; the goal is to make writing that last chapter really easy by making it a “now that everything is over and has been resolved” kind of chapter.)

It’s going to be lovely to be done with the book, to be honest. I started writing this version in the summer of 2015; I wrote the entire first draft in slightly less than one month–without the last chapter; I never did write the last chapter because I knew I was going to have to make changes to the story and why write something I might have to throw completely out? I have always tried to be efficient with my writing–not going off on tangents, not writing things that will have to be cut out later (it’s so painful cutting out entire scenes and chapters)–and knowing that I couldn’t really write the final chapter until I was absolutely certain about the story itself. I know the story now–this is like the eighth draft, seriously, I don’t think I’ve ever written anything that took this many drafts (novels, at any rate; I have short stories that have been through eight or more drafts, seriously). I am looking forward to moving on from it at long last; I want to start planning the writing of Chlorine next, while also finishing some short stories and putting together some proposals for other ideas I have. If all goes well, I will be able to write a first draft of Chlorine in April, a first draft of the next Scotty in May, and then spend the summer revising and rewriting both. I’d like to spend the fall finishing other odds and ends I have in my files–“Never Kiss a Stranger” has been crying to me from the files to be finished, for one, and there are a couple of other novellas and short stories I want get done. Granted, if any of the proposals sell I will have to change my writing schedule, but if none of them do sell…well, I have plenty on hand for me to write.

I may even start a new series. I’ve been thinking that a gay cozy mystery might be fun to write. I love puzzles and lots of suspects and things; I’d love to do something along the lines of James Anderson’s The Case of the Blood-Stained Egg Cosy, which is probably my favorite cozy mystery of all time; a big mansion, secret passages, jewel thieves, international espionage–all taking place over a house party weekend at an English country home. I’ve always felt it was a shame that those wonderful old classic home house party/small village mysteries the British wrote that I loved to read really couldn’t be replicated in the US…and then later realized that is because those stories are completely rooted in the British class system and what would be comparable here and then…yeah, you see where this went, don’t you? Although some day I will figure out how to do one of those…

I WILL. And it will be marvelous.

I also need to reread The Affair of the Blood-Stained Egg Cosy again. It’s really quite marvelous; I do hope it holds up.

I’ve also been sort of paging through/rereading the Three Investigators’ The Mystery of the Fiery Eye, which in some ways was a tribute to Wilkie Collins’ The Moonstone–which I also did with my own Vieux Carré Voodoo–while not finishing the Dana Girls’ The Clue in the Cobweb. I also keep meaning to get back into reading short stories, since my mind is in that weird “I need to finish my book” place where I can’t focus on reading anything new (once the book is done, I am going to spend some serious time with Jess Lourey’s Unspeakable Things, which I had started reading before locking into “finish the book” mode), so it’s either short stories or rereads until I turn this manuscript in. Anyway, that’s one of my favorite Three Investigators books because it, too, involves a treasure hunt with vague clues (or rather, a riddle of sorts) the boys have to figure out in order to find their new young friend August’s inheritance, the Fiery Eye, a cursed jewel stolen from an idol in a fictional southern Asian nation (Constant Reader will note that Vieux Carré Voodoo also involved the need to solve a riddle to find a cursed jewel stolen from a temple in a fictional southeast Asian country). I also recently–and I don’t remember if I shared this here or not–had the epiphany that the Scotty series, in some ways, is in and of itself a tribute to The Three Investigators…if they were adults and gay and in a “throuple”, as such relationships are called nowadays (I first heard the term in a CDC training). It also occurred to me that many kids’ series involve the main character and two close friends–or if the main characters are a pair (the Hardys and the Danas) they’re inevitably given a close pal who shares their adventures (in fairness, the Dana sisters have several friends who fill that role; some of the books involve several of their friends, but the only one whose name I can recall now is Evelyn Starr–although I believe they also had a friend named Doris Garland, but I am not sure about that name). As I thought about this more, I had to wonder if this was an attempt to steer the books away from homoeroticism or the undercurrent of the main character and his/her best friend being more like a couple then as friends….but I also can’t imagine that being a concern when these books were first conceived? (Although Trixie Belden and her best friend Honey Wheeler certainly play out the butch/femme lesbian dynamic rather convincingly–which I think why in later books in the series they played down Trixie’s “tomboyishness” and tried to make her more of a girly-girl.) Nancy Drew’s first four books featured her and her dear friend Helen Corning; in book five Helen vanishes (she shows up in a couple of later books) and is replaced by cousins Bess and George (again, the butch/femme dynamic at play, even though they are made cousins to avoid such thinking…but George is so damned butch and Bess so femme people made the connection anyway). The Hardys have Chet Morton, who is relentlessly fat-shamed and mocked throughout the entire series (Frank and Joe sometimes aren’t the wonderful boys they are made out to be). I have certainly made note of the homoerotic undercurrent in the Ken Holt series (with his best pal Sandy) and the Rick Brant series (with his best pal Scotty) before; there is none of this in the Three Investigators series because there are three of them, and they are vaguely around thirteen; it is doubtful any of them have gone through complete puberty yet because they still think of girls as kind of alien creatures, which really plays strangely in the series where the male leads are in their later teens….the chasteness of the Hardys with their token girlfriends–like Nancy, Bess and George with their token boyfriends–never quite rings true to me. They don’t even kiss! That probably has more to do with their target audience (nine to thirteen year olds) than anything else, but even when I was a prepubescent kid it struck me as strange.

I still want to try writing my own middle-grade series for kids; I think I may take a month this summer and try to write one and see what happens. I’ve been planning such a series since I was a kid, after all, and my writing career lately has seemed to be all about writing the things I’ve been leaving on the back burner simmering for years.

And on that note, I am heading back into the spice mines. My book is calling to me, and I want to read some short stories with the rest of my morning caffeine. Have a lovely day, Constant Reader–and friends in Texas, hope you’re doing okay. I’ve been thinking about all y’all this past week.