I was tagged by R.G. Emanuelle, author and editor of a slew of novels, including Twice Bitten and several anthologies I’ve been fortunate enough to be included in. The most recent is All You Can Eat: A Buffet of Lesbian Erotica and Romance, which includes my story, Dessert Platter. This game of tag is to get authors to blog about their writing process and then tag someone else to do the same. We all answer the same four questions. Here are mine:
#1 What am I working on?
At the moment, I’m in the middle of an anthology launch as well as getting ready for the Bold Strokes Book Festival here in England, so my writing is on the back burner at the moment. But I’ve got several short stories I’m working on for various anthology calls–mostly erotica.
My primary novel project right now is a retelling of the Medea myth–a young woman helps a ‘hero’ get what he needs and she has to flee from her father’s wrath. She kills several people to do it, and much later, when the ‘hero’ sets her aside for a younger wife, she kills a bunch of other folks, including her own children. It’s an incredibly dark novel, and I have to take breaks from it occasionally.
When I take a break, it’s to work on a lesbian erotic novel I’m more than half way through.
#2 How does my work differ from others in the same genre?
That can be a hard question to answer. My erotica nearly always features butch-femme pairings, as that’s what I find most erotic. I like a good dose of sarcasm too. I find a sharp wit and smart mouth super sexy.
My Medea novel is using a female perspective to tell a story which has often been told by men, with the intention of getting inside the mind of someone who is, essentially, a serial killer. Can you make a serial killer empathetic, especially one who kills her own children? I think it’s possible, but we’ll see if I can pull it off. The erotic novel is not only butch-femme (lesbian, no straight folks), but bdsm as well, and you don’t see a whole lot of that out there right now. I’m having lots of fun writing it, even if it never goes anywhere.
#3 Why do I write what I do?
I write erotica because I enjoy reading it, pure and simple. But I also like the challenge of writing a short story–every single word has to count in a short erotica piece, because it has to be hot from pretty much the first line to the last. You can’t have a lull in short stories, so the writing has to be tight. And it has to be more than porn; there needs to be a strong enough story line to carry the reader all the way through.
I’ve loved mythology since I was a little girl, so doing a novel with a mythological theme was always going to happen. I love the sense of mystery and magic, the flow and mutation of gender and the way behaviour was so often defined by societal structures as well as by the belief in the pantheon. More than anything, I love writing strong, intense, intelligent female characters, and myth allows me to play with that to various extremes. When it comes to bdsm erotica, it’s the taboo that gets to me. The out of bounds and the gritty intensity of it, as well as the psychological elements of power exchange, all fascinate me.
#4 How does my writing process work?
Unlike many of the authors I work with, whom I know begin a story with character (as R.G. said she does), I tend to start with a story. One story I’m working on right now was brought about by the topic ‘butch’, but when considering that, I thought of a haunting photograph I saw recently of an abandoned house: a noose of wire hung in the doorway. I needed to tell a story about that, and when I tied in the ‘butch’ theme, it came together on its own. That’s how it happens with most anthology work I do. I see the theme, and come up with a story, and then I populate it with the kind of characters who would take that particular journey.
I work best at night, when I’m too tired to think. Being an editor means I tend to analyze each and every word, and that can stunt my own writing. So I have to get into a head space that allows me to escape my editorial self, and that usually comes along after nine at night. I rarely write a short story in sections. I tend to sit down and get it all written at once, and then I go back and fix it. When it comes to my novel writing, I have only a loose idea of what is going to happen–I know how it starts, I know the crisis moment, and I know how it will end. But how my characters get there is often up to them. In the case of the Medea novel, I have to move from murder to murder, so I have to make certain I’m building in enough pressure points to make that happen logically. That means making notes and constantly developing motives, which may change as I write, which means making new notes.
That’s it from me! I’m tagging:
Andrea Bramhall, author of Nightingale, Clean Slate, Swordfish and Ladyfish.
Amy Dunne, author of Secret Lies and the forthcoming Season’s Meetings.