Cover Reveal: Across the East River Bridge, 2nd Edition

I am super excited to reveal the cover for the second edition of Across the East River Bridge!

Across the East River Bridge

Winner of the 2012 Rainbow Award for Best Gay Paranormal

When historian Christopher Finnegan walks into a new museum in Brooklyn, he’s chagrined to learn its curator is his old academic rival, Troy Rafferty. Worse, Troy is convinced the museum is haunted and wants Finn’s help learning more about the ghosts. Finn and Troy have never gotten along and Finn wants to run screaming, but then Troy offers him an intriguing proposal: Troy will help Finn with a research project for his overbearing boss if Finn will help Troy solve a mystery involving two men who died in the building under mysterious circumstances in 1878.

Finn and Troy piece together the two men’s lives—and the quiet romance that grew between them—through diaries, newspaper clippings, and police reports. They’re both soon convinced the men were murdered. They’re also convinced the ghosts are real—even Finn witnesses paranormal phenomena he can’t deny—and that they’re capable of affecting thoughts, feelings, and actions. When Finn and Troy start falling for each other despite years of animosity, Finn worries he’s being manipulated by the ghosts to stay with Troy and solve the case. Troy is convinced the love between them is real, but he’ll need to figure out how to get rid of the ghosts in order to prove it.

I’m self-publishing the second edition, which is my first real foray into self-publishing. It’s a little scary! But I hope to make the book available around Thanksgiving, so stay tuned!

November!

It’s been a really strange couple of months for me, primarily because, at the end of September, I started working from home full time instead of going to an office every day. On the whole, it’s been fantastic, and I’m really happy with my current working situation—not the least because it gives me a lot more time for writing—but all changes have some unexpected challenges. So things have been a little zany around here.

But it’s November, so I decided to do NaNoWriMo. I further decided that, since my workload is lighter in November than it has been in months, that I’d do something really insane and try to write 100,000 words in 30 days.

Here’s the thing with NaNoWriMo. It works for some people, but not everyone, and that’s fine. The thing with writing is that there are as many ways to do it as there are writers, so if you try something that doesn’t work, that’s okay, go try something else. I do think NaNo is good for aspiring writers because it forces you to prioritize writing over other things in order to make the goal, and it makes writing a habit for the month. It also forces you to say, “I’m writing a novel” instead of “I want to write a novel,” and for a month, you’re working toward that goal, getting words down on the page.

NoraRobertsOne thing I learned about myself through the NaNoWriMo process is that the general idea behind it—get those words down on the page—is super important for me. Since my career training is as an editor, and I’m kind of a control freak anyway, I can get obsessive about word choice and phrasing and I used to get stuck in scenes for days or weeks because they weren’t quite right yet, and then I never finished anything. I also actually really enjoy revising. So writing a rough draft, even if it’s not so great, is still a better strategy for me, because if I have the words down, I can work with that and make the story better in the revision process. (And I tend to do 3–4 passes through something before I think it’s ready for anyone else to see it, but see above about control-freak obsessiveness).

I love hearing about how other writers do it. I’ve heard writers say they write in the afternoon because they spend their mornings revising what they wrote the day before. I’ve heard writers say they put painstaking effort into their first draft so that they don’t have to revise much. Some writers write slower or faster than others. Some have full-time jobs and families and just write when they can squeeze it in. None of these approaches are better or worse than others, it all depends on what works for the writer.

I’m a fast first-draft writer, but I take my time with revising. I know I can write 40–50,000 words in a month without breaking a sweat because I’ve done it many times before. Last November, I wrote the bulk of Ten Days in August, or about 75,000 words of it anyway, and I was working an absurd number of hours on top of it. So I figured, hey, I’m logging less hours at the day job—and I have a better commute—so I’ll have time to do more.

But that’s November. The only real difference between it and the rest of the year is that I set a more concrete goal and I tend to write more because… peer pressure, habit, I don’t know. I like going to the local events (I ran them for years, actually) and I get a lot of writing done at those, too. So I write more and my first drafts are consequently a little rougher (not bad, but more typos and dumb mistakes). I’ve become a crazy plotter, so I had an outline for the before November started, which means all I really have to do is sit down and write it.

So, 100,000 words in a month. I’m not entirely sure I can do it—the most words I’ve ever written in a month is about 90,000—but I’m on pace so far. And if I don’t, well, I’ll still have a really solid first draft to revise in December.

In Case You Missed It…

I didn’t really do an organized book tour for Such a Dance, but I was all over the place this week, so here’s what you may have missed:

Let’s do non-Such a Dance related stuff first.

I wrote a flash fic for Halloween. Ghosts at a smallpox hospital, and yet it’s still more cute than scary.

Across the East River Bridge just went out of print, but I’m hard at work getting the second edition ready. Which isn’t a thing I said on the Internet this week, but I thought you should know!

I did a Friday Fun Five for Halloween on Elle Brownlee’s blog with Lyla Bellatas, Alyssa Cole, Poppy Dennison, and Elle.

And now, Such a Dance things you may have missed:

I took over the Kensington Books tumblr on Monday and Tuesday and posted some exclusive content. Highlights: Jazz Age slang, the Jazz Age playlist, and fun facts about 1927.

Postcard for the Cotton & France show, part of Jimmy Blanchard's Doozies (from SUCH A DANCE)

Postcard for the Cotton & France show, part of Jimmy Blanchard’s Doozies (from SUCH A DANCE)

I wrote a guest post for Ever After on what it was like to be gay in the 1920s.

In preparation for the Coastal Magic Convention next year, I wrote a flash fic featuring Eddie and Lane, in which I go with them to Coney Island. For reasons.

Such a Dance is now available!!

tumblr_memxxuMeEV1rhqlpao1_500

Dance, everyone! Such a Dance is now available for purchase!

Such A Dance When a vaudeville dancer meets a sexy mobster in a speakeasy for men, the sparks fly, the gin flows, the jazz sizzles—and the heat is on…

New York City, 1927.

Eddie Cotton is a talented song-and-dance man with a sassy sidekick, a crowd-pleasing act, and a promising future on Broadway. What he doesn’t have is someone to love. Being gay in an era of prohibition and police raids, Eddie doesn’t have many opportunities to meet men like himself—until he discovers a hot new jazz club for gentlemen of a certain bent…and sets eyes on the most seductive, and dangerous, man he’s ever seen.

Lane Carillo is a handsome young Sicilian who looks like Valentino—and works for the Mob. He’s never hidden his sexuality from his boss, which is why he was chosen to run a private night club for men. When Lane spots Eddie at the bar, it’s lust at first sight. Soon, the unlikely pair are falling hard and fast—in love. But when their whirlwind romance starts raising eyebrows all across town, Lane and Eddie have to decide if their relationship is doomed…or something special worth fighting for.

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Moonshine Monday: Fashion

moonshinemonday Welcome to Moonshine Mondays! In the lead up to the release of my Jazz Age-set romance Such a Dance on October 27 (TOMORROW!!), I’m rolling out some history, photos, background info and other special features relating to the book.

It’s probably not a secret that I love fashion. Shortly after I moved to NYC, the Metropolitan Museum of Art’s Costume Institute held an exhibit of Chanel fashion that I returned to twice because I loved it so much. Chanel has become synonymous with tweedy suits and Karl Lagerfeld, but Coco Chanel came into prominence in the flapper era, and for me, some of her most stunning work was put out in the 1920s.

House of Chanel (French, founded 1913) Evening dress, 1924–26 French, The Metropolitan Museum of Art, New York, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Edward G. Sparrow, 1969 (2009.300.1345) http://www.metmuseum.org/Collections/search-the-collections/156050

House of Chanel (French, founded 1913)
Evening dress, 1924–26
French,
The Metropolitan Museum of Art, New York, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum

I’ve personally always liked the flapper style. It represented a new period of freedom for women. The invention of the bra meant women could take off their corsets and wear clothing that gave them more freedom of movement. I love Chanel in particular, but Paul Poiret was one of the first designers to play around with looser clothing and the boxier silhouette of the era, and designers like Jeanne Lanvin, Madeline Vionnet, and Callot Soeurs were designing sparkly, elegant dresses and gowns for the fashion-minded flapper. The other interesting thing about fashion of the era is that it began to be copied and mass produced, which made fashion available to middle class women for the first time. Many women shopped in department stores—the Herald Square flagship Macy’s had opened in 1902, for example.

Chanel Evening Gown, 1926, also from the Met collection.

Chanel Evening Gown, 1926, also from the Met collection.

This was a revolutionary time in fashion. Women cut their hair into bobs, skirts were shorter than they’d ever been, silhouettes were radically different. Fashion took a more conservative turn during the Great Depression, meaning flapper fashion was kind of caught in amber, rarely to be revisited. When you see someone dressed like they just walked off the set of a Great Gatsby adaptation, you know exactly where those clothes came from.

Men’s fashion of the 1920s also became a bit more casual, as clothing normally worn to play sports made its way into daily dress. Golf and tennis were particularly influential. Men of the era wore stylized trousers as well, including wide-legged baggy trousers, called Oxford bags, that were all the rage for part of the late 1920s. Fitted jackets and trousers were trendy, too. And, of course, no man of class ever left the house without a hat.

Casual men's fashion of the 1920s

Casual men’s fashion of the 1920s

Fashion plays a role in Such a Dance in that I think clothes have a lot to say about how a person carries himself. Lane is always well-appointed, in sharp suits and a fedora he pulls over his eyes when he needs discretion. Eddie wears modified trousers he can dance in, both on stage and in the club. Eddie’s dance partner Marian indulges in the excesses of fashion; I imagine her wearing Chanel gowns out when she needs to be seen.

I’ve got a ton of Jazz Age fashion compiled on my Jazz Age Pinterest board. Here are some more links if you want more:

More on men’s fashion of the 20s
18 fashion icons from the 20s

And Such a Dance hits shelves tomorrow!!! I can’t wait.

Cover Reveal: Devin December

Coming your way this holiday season…

A freak blizzard strands flight attendant Andy Weston at LaGuardia Airport on Thanksgiving. Tabloid reports about Hollywood It couple, Devin Delaney and Cristina Marino, breaking up in spectacular fashion keep Andy sane. And then Devin Delaney himself turns up at the gate Andy is working. Against all odds—and because there’s nothing else to do—Andy and Devin begin to talk, immediately connect, and, after Devin confesses the real reason he broke up with Cristina, have a magical night together snowed in at the airport. But the magic ends when Devin boards his flight home the next morning, and Andy assumes it’s over.

Then Devin turns up on his doorstep. Andy is game for a clandestine affair at first—who could turn down one of the hottest men on the planet? But he soon grows tired of being shoved in Devin’s closet. As Christmas approaches, it’s clear that this will never work unless Devin is willing to make some big changes. Devin has a holiday surprise in store—but will it be enough?

It’s a novella, due out on December 23, 2015.

Devin_December_Final

Moonshine Monday: The Ziegfeld Follies

moonshinemonday Welcome to Moonshine Mondays! In the lead up to the release of my Jazz Age-set romance Such a Dance on October 27, I’m rolling out some history, photos, background info and other special features relating to the book.

Broadway impressario Florenz “Flo” Ziegfeld most famously brought forth his Follies, a vaudeville variety show inspired by Paris’s Folies Bergère. There were imitators—the closest was George White’s Scandals—but Ziegfeld’s show was the biggest and flashiest.

Ziegfeld and SandowZiegfeld was born in Chicago in the 1860s. His father owned a night club called the Trocadero, and it was here Ziegfeld got his start as a producer, bringing in legendary strong man Eugen Sandow to attract crowds during the World’s Fair in 1893.

Ziegfeld moved to New York and produced the Follies from 1907 until 1931. The Follies featured some of the biggest names in entertainment of the day, including music composed by Irving Berlin, George Gershwin, and Jerome Kern. Stars included W. C. Fields, Eddie Cantor, Josephine Baker, Fanny Brice, Bert Williams, Bob Hope, Will Rogers, Ruth Etting, Louise Brooks, Marilyn Miller, and Sophie Tucker, among others. The Follies were also famous for their tableaux of beautiful women, the most elaborately costumed chorines on Broadway.

Ziegfeld New AmsterdamFrom 1913 until 1931, the Follies ran annually at the New Amsterdam Theater, which also hosted the Follies’ sexier sister show, the Midnight Frolic in its rooftop garden. The theater opened in 1903 and was run by producers Klaw and Erlanger, and it still stands on the south side of 42nd Street between 7th and 8th Avenues. Along with the Lyceum Theater, it’s the oldest theater currently on Broadway. You may know it as the theater that Disney bought and restored in the 90s, and it has been home to The Lion King, Mary Poppins, and currently Aladdin.

Ziegfeld also opened his eponymous theater on 6th Ave between 54th and 55th Street in 1927. (The current Ziegfeld Theater was built over the old one, which was demolished in 1966. It’s now a movie theater.) The Ziegfeld hosted Show Boat, which Ziegfeld also produced, and this show is widely considered to be the first modern musical.

In Such a Dance, Eddie dances in the Doozies, kind of a low-rent knock off of the Follies. The Doozies are fictional, but the production is based on the many that tried to grasp at Ziegfeld’s success. Ziegfeld was a clever promoter and knew how to put on a good show, though, so no one could compete. There’s a scene in which Eddie auditions for Ziegfeld, even; in my head, Ziegfeld is domineering and difficult to impress, which is how I portrayed him in the book.

For further reading, I highly recommend Ethan Mordden’s biography, called Ziegfeld: The Man Who Invented Show Business. I’ve only hit the tip of the iceberg here; Ziegfeld’s life was tumultuous and fascinating.

Ziegfeld

Ziegfeld and his Ziegfeld Girls

Moonshine Monday: The Mafia

moonshinemonday Welcome to Moonshine Mondays! In the lead up to the release of my Jazz Age-set romance Such a Dance on October 27, I’m rolling out some history, photos, background info and other special features relating to the book.

Sicilians in New York referred to the mafia as La Cosa Nostra: “our thing.” Here’s a quick and dirty history:

Sicilian and other Italian immigrants were members of the New York gangs that terrorized lower Manhattan around the turn of the century, including the notorious Five Points gang. The mafia, loosely organized, committed extortion and other crimes in Harlem, Little Italy, and Brooklyn until Prohibition. During the 1920s, the Mob in New York was mostly controlled by Giuseppe “Joe the Boss” Masseria, although his rule was challenged by Sicilian immigrant Salvatore Maranzano, and there was no love lost between them, and an enormous amount of violence was committed on their behalves.

mafia lucky luciano

Lucky Luciano

Masseria’s right-hand man was Charles “Lucky” Luciano, but Luciano’s friend Meyer Lansky was not much loved within the organization, given that he was a Polish Jew and not Sicilian. Still, Luciano, Lansky, and their associates like Frank Costello, Arnold Rothstein (who fixed the 1919 World Series), and Jack “Legs” Diamond expanded mob operations to include not just extortion and gambling but also bootlegging, and organized crime as we now know it was essentially born.

The mafia had a specific structure. Here’s a pretty good explanation.

In Such a Dance, Lane is a member of the fictional Giambino crime family, recently promoted to caporegime, reporting mostly to David Epstein. Epstein is very loosely based on Meyer Lansky, a insider within the ranks of the Mob, but not family. Lane is a made man, meaning he is family, related to the family’s boss via his father, which affords him some protection.

And so it is that, at the beginning of the novel, Epstein offers Lane something incredible: a club catering specifically to men seeking men.

In reality, dance halls and “resorts” for gay men had existed in New York since the late nineteenth century, particularly along the Bowery and in Greenwich Village.

In the novel, Epstein tells Lane that, by opening the Marigold Club, he’s filling a niche, since so many of these places had been raided and shut down in the last decade or two. Epstein isn’t really interested in giving homosexual men a space specifically; he’s an opportunist who sees profit potential.

Indeed, the actual mafia started opening gay clubs in the 1930s purely because, as with bootlegging, prostitution, and gambling, they saw profit in illegal businesses. (Until Stonewall, it was essentially illegal to be gay in New York City, and gay men were routinely arrested for lewd conduct.) So Epstein was just a few years ahead of his time.

The Stonewall Inn was, in fact, opened in 1967 by the mafia. I modeled the Marigold on Stonewall a little; in both instances, the mafia paid off local law enforcement to overlook all the same-sex dancing. In the case of Stonewall, one of the factors in the famous 1969 raid that sparked the riots was that the police were cracking down on mafia activity and not necessarily homosexual activity. There’s more about that here and even more here.

The mafia plays a big role in Such a Dance and had a role in the gay rights movement that shouldn’t be overlooked.

For further reading, David Wallace’s Capital of the World is a great overview of New York City in the 1920s, including a few chapters on the mafia and more information about Luciano and Lansky (as well as information about LGBT subcultures in NYC in the era).

Moonshine Monday: Prohibition

moonshinemonday Welcome to Moonshine Mondays! In the lead up to the release of my Jazz Age-set romance Such a Dance on October 27, I’m rolling out some history, photos, background info and other special features relating to the book.

“…the manufacture, sale, or transportation of intoxicating liquors within, the importation thereof into, or the exportation thereof from the United States and all the territory subject to the jurisdiction thereof for beverage purposes is hereby prohibited.”

This is from the 18th Amendment to the U.S. Constitution, otherwise known as Prohibition. It went into effect in January of 1920, effectively heralding in the Roaring Twenties.

The reasons Prohibition came about are complicated, and I can’t really do all of them justice in a blog post, but here’s a quick summary: In the late nineteenth century, alcoholism was seen by some as a moral failing, and though alcohol has always been an integral part of American culture, organizations like the Anti-Saloon League and the Women’s Christian Temperance Union began campaigning to dry up the United States. In New York City in the 1890s, Theodore Roosevelt, as police commissioner, began to enforce the tremendously unpopular Sunday Laws, which prohibited the sale of alcohol on Sundays in an effort to clean up crime in the city. But there were other factors contributing to the movement toward Prohibition as well. In part, the movement was xenophobic, a reaction to the immigrant cultures arriving in the U.S. in the latter half of the nineteenth century, primarily cultures in which alcohol played a key part (Irish and German mostly, but Italian and Jewish as well). In part, Prohibition was also an offshoot of the women’s movement. It was common in some pockets of society for a man to go to the local saloon after work, blow half his paycheck on booze, and then go home and beat his wife or otherwise mistreat and neglect his family. Many of the women involved in the suffrage movement took up the cause of temperance as well to prevent this very thing from happening. Some advocates of the suffrage movement got involved in the temperance movement as a kind of compromise position when full suffrage seemed unlikely.

tumblr_nb1szdvBHH1trrbo0o1_500In fact, one of the reasons women were finally granted the vote is that dry politicians counted on women to vote for Prohibition.

In theory, after January 1920, alcohol was no longer available, though there were legal exceptions, among them sacramental wine and alcohol used for medicinal purposes. More to the point, though, the new law, known as the Volstead Act, did not provide for Federal enforcement of Prohibition. Instead, the Federal government was mostly reliant on local governments to enforce the new ban. Prohibition agents were hired, but most of them were poorly trained.

All eyes were on America’s biggest city, New York, as enforcement went into effect. Many of the poorly trained agents accepted bribes to look the other way as speakeasies popped up all over the city. In 1920, half the new agents had to be fired. With so much media attention focused on New York, the city was forced to divert police resources to enforcement, but many of the cops accepted bribes as well. (Hence Officer Hardy in Such a Dance, an old cop who happily accepts bribes not to raid and shut down the Times Square speakeasies.) Ultimately, Prohibition in New York City was a spectacular failure.

The unintended consequence, of course, was the rise of organized crime. Many of the Mob bosses you know from popular culture got their start as part of the gangs running rampant in lower Manhattan around the turn of the century, but trafficking alcohol turned out to be the sort of lucrative business venture that encouraged them to organize. Brooklyn’s own Al Capone made a killing (har har) in Chicago. (I want to talk about the Mob more in a future post, but for now, the relevant piece of information is that Prohibition essentially made the U.S. mafia.)

Drinking actually increased across the country during Prohibition, with speakeasies quickly replacing saloons as nightly gathering spots. Arrests for Volstead Act violations tied up the courts and jails, preventing them from dealing with larger crimes. Mob-related activity and other crime went up in the era. Prohibition was a failure, and an increasingly unpopular one at that. It was repealed in 1933 by the 21st Amendment.

For further reading, I recommend Daniel Okrent’s excellent book on Prohibition, Last Call.