The Color In Your Characters
The Color In Your Characters
I’m talking about secondary characters. The minor roles that give your world texture, give it context. I’ve always sort of gravitated to secondary characters in stories. Why? Pretty damned simple to sort out. Given the heterosexist world we live in, as a gayboy I had to often look for subtle clues if a secondary character was gay or not. Then it would be – ooh, what’s he doing? What’s he about?
It was always the secondary characters in stories that held my interest – almost more than the main characters. Actually, it’s the ensemble work that usually draws me in. I love great ensemble casts.
In Buffy the Vampire Slayer it was Xander and Spike that kept me going in that show. Willow too. Far more than Buffy (who always seemed one note in comparison to the other characters in her world). Don’t get me wrong I am a HUGE Buffy fan. Hell, put me down as a Joss Whedon fan, period.
There are many such shows that garnered my attention in great part because of the ensemble of secondary characters that fleshed out the world the main character had to play in.
In Downton, Cousin Violet (Dame Maggie Smith) of course provides just about as much color a human being can in a character.
I had the pleasure of watching Dame Maggie in Lettice and Lovage on Broadway when she was in the title role of Lettice Duffey. It was written for her and man oh man did it show. I was fifth row center (literally) and the air was electric – it tingled along my skin whenever she was on stage – and okay, she was the main character, but what it did do was give me a real sense of the subtleties of character development.
Lettice Duffey was a broad character – one that would rival another monolithic strong woman character – Auntie Mame (Dennis). Yet, in both cases (Rosalind Russell and Maggie Smith’s turn as Mame and Lettice), they knew just the right amount of hubris to ground the character to make them infinitely accessible.
So yes, main characters can be just as colorful, just as compelling (they are main characters, after all) but for me, those actors who portray these iconic characters, when they get their teeth into a secondary role, you get such nuance and flavor from their portrayal that I can’t help but be drawn in.
It was that way with True Blood, too – I was all about Pam and Eric. Sookie and Bill were beside the point, say nothing of the brilliant, brilliant turn of Ryan Kwantan as Jason. But my first love in True Blood was always Lois Smith as Sookie’s grandmother. I just LOVE Lois Smith. I don’t think I’ve ever seen her in something I didn’t like her performance. She was never big and brassy. But lord does she permeate each scene she’s in. Her portrayal as Sookie Stackhouses beloved grandmother was carefully measured but incredibly believable. She was the grounding that Sookie needed to make her accessible. Without her in the beginning of the True Blood world, it would have not had the same balance. It would have been too fantastic. Gran kept us sane and safe (to a degree).
Okay, so you’re probably saying ‘yeah, but your just talking about acting and not story telling.’ The obvious retort is that plays and screenplays are just one more way to tell a story. Books acted out sort of thing. I come from theater so I tend to gravitate to that world whenever I think of storytelling. So the whole reason I am using performance storytelling as opposed to literary works is that I wanted to put as many people as possible on the same page in their minds. Much easier.
But that’s not to say I can’t use some classic characters in literary circles that I can put out there to make my point – Dr. Watson to Sherlock? Though to be honest, it could be argued that John Watson was more of an elevated secondary character but he’ll do as an example. A story without John Watson just wouldn’t be right. Watson is our accessibility to the heady brilliance of Sherlock.
In Dorian Gray it is the secondary characters that give us our main characters color. They provide Dorian with the allure and the brutal sensuality – it is through their eyes, their voice that we get a flavor of Dorian before he ever hits the page himself.
In my own story, Angels of Mercy, I tried to sort this out with my boys. Marco has his cousin Francesca, a wild but über hot cousin that as much as she is beguiling she is also the most loyal companion to Marco. It was important for me to have someone like her in Marco’s world to give him something to play against in his family life. In book one of the series, we don’t really get any real sense of Marco’s mother or father. It’s all about Frankie (Francesca) that we get a sense of Marco’s home life. I really love her for so many reasons. She’s a goddess on steroids but with a heart of gold underneath that Venus allure.
For Elliot, the main POV character of the first book, it’s his mother and his best friend Greg that give us a peek into Elliot’s world. Where Marco’s world is big and bright and full of adoration from the masses, Elliot’s is the exact opposite. All he has in his small world is Greg and his mother, and then Marco himself.
That was the question I had burning inside of me as Marco and Elliot began to form – I wanted to know what would happen if the geeky artsy shy out gay kid became boyfriend to the highest profile jock on campus. In book one, we sort of get that answer.
Yet, it isn’t just the characters that I’ve mentioned that are what provide texture to Marco and Elliot’s world. There’s Beau Hopkins. Caramel colored, massively beautiful and completely black of heart. Beau is the danger in this world. He’s a dark horse in a growing dark world for my boys. Beau is a user. He’s a manipulator. He comes from a very confining world of Football and religion. His father is a preacher in town and quite hard on his son. Beau, while formulaic in that he’s the atypical Preacher’s son, he also has a couple of surprises that Elliot gets him to admit something that only proves to tighten the screws on the horrific end to the first book.
If that weren’t enough, we have a very opportunistic cheerleader – Cindy Markham. She’s trouble in a pretty package with all the charm of a man-eating piranha. She’s a manipulator in a massively whacked out way – emphasis on MANipulate. She and Beau are the boys worst possible nightmare.
Then there’s the boy’s greatest asset – Elliot’s mother and best friend – Kayla Donahey and Greg Lettau. These are the boy’s home base. They are the rock that allow the boys to rise and dream beyond their existence in Mercy High. Then when the world seems full, the ensemble is set, I bring Danny Jericho into the mix. Danny’s the wild card. Danny’s the boy who will put all of the characters into a tailspin. He’s the great unknown. He’s also the boys secret weapon. Though he makes his appearance late in the book, he soon becomes the boy they can’t do without.
While the story is about the geeky gay kid and the über hot and popular jock and their reach for the stars, I wanted my secondary cast to be just as rich, just as textured – maybe even more so. I mean, I didn’t want termites in costume (which is what we call scenery chewers on stage). You know, characters that pull focus. Hopefully, if I’ve done my job, my characters embolden the story, they give it its legs.
And it only gets better with the second book (told from Marco’s perspective) in that the two secondary characters that I had in the background in book one come to the fore – Angus Carr and Nick Donahey. I LOVE THESE MEN! Oh, gods, how I fell in love with Elliot’s dad and Marco’s new found friend at his future school (Stanford University). These men are beyond brilliant. Angus just has his heart on his sleeve, he’s so amazing I get giddy like a school girl whenever he comes into the scene. I’ve already peppered the story I am telling with a secondary tale that I can always spin off in this world with Danny and Angus (yeah, that was a minor spoiler).
I am always thinking about my secondary cast. It’s how my main characters shine – at least to my way of thinking.
So whether it’s Kayla, Greg or Danny – Beau, Cindy or Francesca. It’s all about the textures in the background to my world that make everything just a bit more dense, a deeper flavor to the tale I am telling.
The stars of the show can only shine if they’ve got others behind them as the backdrop – the colors and textures that make them who they are. And I make it my business to know EVERY facet of their lives before they ever step onto the novel stage. They are fully fleshed out in my head before they utter their first words. It’s just how it goes with me.
I just can’t think of any other way to do it.
The Problem With Time…
The Problem With Time –
So I haven’t made any bones about the fact that my very first novel ends on a cliff hanger. Yeah, untested me putting out a book that is one of a series. And I’ve asked my readers to invest in a character that I absolutely love but put through a fucking ringer. It’s just how the story goes.
I know I also said that the story will be what it’s gonna be. No apologies, no regrets.
Yeah, here’s the deal: I still want it to be on its best possible feet. I want quality. While I am writing book two I’ve sort of realized that I am going to probably have book two right on the heels of the first book. It means that I might delay the release a bit so I can have book two right around the corner.
That’s sort of disappointing. But I think it might be the right thing to do to give my first baby the lift it needs to have best chance possible to reach and find its audience. I know that I said I wasn’t so concerned with sales. To a great degree that’s true. I’d rather have readers who absolutely love the work rather than pedestrian ‘meh’ reviews and following.
I am still tightening the first one. But here’s the current dilemma: each book is told from a different character. So how to tell an engaging story that goes incredibly dark but never loses its thread of hope that all will eventually work out, AND tell it in a manner where you are covering a story that is actually much larger than the first book presents.
It all has to do with time. And time in this case is not my friend.
“I know you think this is sudden, Els. But I’ve watched you for two years now. I know what people say; I’ve heard the rumors, too. But I can’t deny it any more; you do it for me, Donahey. Always have; from the moment I saw you on my first day at Mercy High.”
Those words from the football quarterback jock boyfriend, Marco Sforza, is what gives the story its depth. It is what gives it is weight, its history. Which is something else he also says to the love of his life, Elliot.
So when I approached the second book (told from Marco’s perspective) I had the dilemma of do I pick up right from where the cliff hanger ends in book one or do I do what I wanted to do and go back those two years before and actually give the reader what I think the story needs.
While I start out with Elliot starting the story, I always felt it was Marco’s tale to tell. I just wanted you to fall in love with the love of his life so that by the time you get to Marco’s voice, you already know why he loves the man he loves. As a reader, you’ve spent the first book wrapped up in Elliot’s head. If I’ve done my work right you’ll walk away from a very complex and topsy turvy world that Elliot must navigate just to make it to the next day.
The first book is chock full of sexual situations, I didn’t want to shy away from that because that’s how hormonally charged teenaged boys are. My work will always have that honesty in it. My men will always behave like men do. Sex, while not the whole story, when present it does advance the story. It is not there to titillate or make anyone blush. I made sure that the sexual situations had the boys growing from the experiences (good or bad) each time it occurs.
But yeah, time…
So the second book (as it currently stands) goes back two years rather than answer the question that would be on my readers minds. They’re gonna have to wait a bit to get there – why? Because it is important that Marco have his say as much as I know he needs to.
One of the major thrusts of the book is that I wanted the jock in the story to go against type. Marco never questions his love for Elliot (well, not by the time he makes his move anyway). BUT he does quite a bit of second guessing prior to making his move to bring Elliot into his life. Though even in that, it’s not in the way you would think. Marco questions his motives not because isn’t sure about his feelings for Elliot (because he’s actually quite sure about that from the first moment he sees him), but because of something in his own past that colors on whether he thinks he’s the best thing for Elliot – better to love from afar and not cause any damage, than to bust into his life and make a real mess of things. So Marco really is one of the good guys, but to see that you have to get his whole story and a good part of that is how he gets to that moment that starts in book one (where he seduces Elliot). So in a real way Marco’s part of the story is as much a commentary on how gay men (from all walks of life) come to the realization of what it means to be gay in a hetero-sexist world – of what it’s like to swim upstream your whole life.
And Marco is a character that seems to have it all going his way – he’s sexy, he’s gorgeous, he’s rich, he’s a jock – but we soon learn that his world isn’t all it’s cracked up to be either. Marco needs Elliot to give him balance in his own upside down world. These boys need each other. Only when they’re together is the world right for either of them.
But the romance is only a part of the whole deal. There’s the ever looming threat of homophobia, which is ever present in Elliot’s book, the threat of each boy failing the other – Homecoming is a night that everyone would rather forget and one where not everything is what it seems. A lot went on that night – far more than meets the eye.
But it’s a big story, a complex story. But one that I am finding so rewarding to write. I love my boys, I love the secondary characters (Nick and Angus are my absolute favorite characters that I never saw coming but just blossomed on the page before my eyes).
So yeah, it’s a risk – pulling the reader back from the brink of the cliff at the end of book one, then shoot back two years and retell it all from Marco’s POV. But i can’t think of doing it any other way that would work. I toyed with starting it on the same day as the cliff hanger from the first book and then retell the historical elements as flashbacks but that seemed too contrived. It just seemed like a sell out, a cheap way to do it.
The hubby said I should not concern myself with the wheres and whyfores – and just put it all down. So yeah, I’m taking his advice on this one. He’s my Marco anyway (played for Clemson back in the day – so yeah, I married a football player myself so Marco and Elliot are sort of rooted in my own world too). Maybe he’s right.
Only time will tell…
I’m a Scrivener, and this is how I do it…
I’m a Scrivener, and this is how I do it…
Okay, this one is for all of my fellow authors out there. And fair warning – this is a generalistic overview of this remarkable application. I’ll dig deeper if others seem interested in the offering.
No judgements on anything that you all are doing but just putting out there what my journey has been and the things I’ve discovered. Maybe, just maybe, there is another author out there struggling with Word or some other writing app not knowing that this little gem might be the answer to their problems like it was for me.
I should emphasize that I’ve bought nearly all of the other writing programs (including Microsoft Office, so yeah, Word was in the mix as well – personally Word is about the crappiest program to write documents in long form (such as a novel)), but i understand its ubiquity within the authoring world so yeah, I get why some authors stick to it. I did for a while too. But then it just became unwieldy (I have to use it at work so yeah, I am a power user but word is just bloatware – I wanted more from my writing program).
So my search began: Dramatica, Storyist, Write, etc., I paid and tried them all. None of them had the one-stop shop that I wanted in a writing program, until I found Scrivener. And at roughly $45 (US) it was a STEAL of a program!
If you’re not happy with your current writing environment, might I suggest you take a look at this little screencast and see if it doesn’t appeal to how you’d like to work while creating your next masterpiece.
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I know the video is a bit long but the things this baby can do are astounding. The greatest part – it is TOTALLY one stop shop for authors (no matter whatever your genre or type of writings you do).
DISCLAIMER: In no way am I getting anything by way of a kickback from Literature and Latte (the publishers of Scrivener) for doing this. This is all my own doing. My way of putting out there what I do, and how I do it.
Of Note: while all the screenshots I show are from my Mac, the Windows implementation is virtually identical and the files can be used interchangeably between the two platform versions.
PART I – The Project
As you can see the application is pre-configured with templates to assist you with whatever type of writing you do in your personal/professional life. For the purposes of my own journey, I will be focusing this blog entry on the fictional template. Bear in mind that this is how I am using Scrivener. The application has many options that can accommodate just about any workflow. This is just how I am using it.
So from the Project Template window select Fiction and then Novel.
When you first open a new project you get the picture I show above. This is the new project window and your authoring environment. There are places for index cards to keep ideas flowing, and targeted word counts (if you’re into that sort of thing) to be set. All in all, the interface takes a bit to get used to where everything is. But I will tell you that, in the long run, it is well worth the effort.
The sidebar along the left side has become my “home” base. Everything I do, I do from there. It contains the MANUSCRIPT as well as the RESEARCH binder (in fact the whole sidebar is called the Binder – think of it as your author library, of sorts).
The one BIG takeaway from the sidebar is that anything in the Manuscript area can ONLY be included in the final compilation of your manuscript (be it in any format that Scrivener can compile – which is fairly extensive).
For the purposes of my novel I was able to compile my .mobi Kindle file and the epub standard used by Nook and other readers (including iBooks) as well as a printed manuscript (if required) straight from the application itself. How I set up the structure only made the creation of my final product that much easier. A little foresight goes a long way with this application.
To keep things tidy I moved everything BUT the manuscript files (the sample chapter folder and the subsequent text file that makes up a scene within a chapter). Everything else I dragged down into the Research binder. This way I was sure that the only thing that would compile was just the manuscript.
The structure of the manuscript can be what you want it to be but for me I wanted just the title page, my dedication, quotes (if any), preface, and anything else you want to include beside standard TOC which the application will build based upon your chapter/scene structure in the Manuscript Binder.
Okay, I guess I should pause a bit on this and explain the two terms I’ve been using over and over here. There are two main sections:
Manuscript: The body of your work, the novel itself. (Area to be compiled into a final published product)
Research: Where you will keep your research. (ONLY research – cannot be part of the compiled project)
I realize that seems like it should be obvious but when you look at the interface for the first time it might be a bit confusing on how to read that sidebar.
Here’s what I consider to be one of the most powerful elements of Scrivener that puts it far and above the competition: The Research binder. This binder is a drag-n-drop binder that can hold just about anything you throw at it. Find something on the web? Drag it’s contents to the binder, or copy the link (whichever you wish). It can even hold audio and movie files if you wish (though that will grow the file size exponentially). But the beauty of this Research binder is that it becomes your repository as you write. You can organize it any way you want. It’s your personal research lab to support all of the things you’ve collected about your world. It’s like your story has its own personal Pinterest.
So back to the story construction in Scrivener. The proverbial and mythic cork board:
The nice part about the cork board is that you can see your storyboard in the traditional story building fashion that many authors and screenwriters employ when building your story structure. A birds-eye view of the whole thing.
NOW, FOR THE NITTY GRITTY –
Here’s how I applied all of this to my own novel:
I set up my chapters by creating folders for each – in the beginning they were just Chapter One, Chapter Two (etc) as I just was looking for structure. Later on when I had names for them I just retitled the folders with the name of the chapter and Scrivener created the HTML links in the kindle or epub file for me concatenating the chapter number (1, 2, 3, etc) with my chapter title (e.g.: Chapter One – For the Love of the Q) with the latter part of that title being the folder title in my Scrivener file. Handy, huh?
If your chapters have scenes or sequences that make up the entire chapter than you just create a text doc for each. The way I handled it was to name the subsequent chapter documents with the chapter and scene number (Scene 01-02 was Chapter 1, Scene 2 and so forth). Like the example I show below:
How does all this play out when you are ready to compile? Like this…
So now you do what you want to do – write. Right-clicking on the chapter folder or the previous scene document and adding as necessary to flesh out your great novel.
Sidebar: In a future post (not to far off from now, I promise) I’ll reveal one of the wonderful things about Scrivener – Snapshots! They are a writers dream! Look for it…
While your writing you can always check on the project status and can set target marks while you write to keep you on track.
So we’ll jump ahead several months or so (if you’re like me it takes a few months to get things going to where you’re ready to publish (even if its just to beta readers as a preview or pre-flight test of your ebook offering).
Part Two: The Compiling
Once you’ve got it to where it needs to be then it’s time for compiling it into a final product (either as an e-book offering or a printed manuscript). Here are the offerings when it comes to compiling in Scrivener.
This is where the magic truly is within Scrivener. This dialog allows you to customize and publish to various epub and printed formats. The example I am showing above is for my current forthcoming novel “Angels of Mercy.” But the options are pretty far reaching:
One caveat to this whole epub thing: you will need to get the kindle gen (generator) installation file from Amazon and install them onto your PC/Mac to enable the Kindle publishing/compiling option. But once you’ve done that, then you’re all set with regards to publishing the Kindle edition of your novel. Cover art work? Covered with Scrivener. Build of the chapters and how you handle it is entirely under your control. What you include, how you include it, all managed by the compilation dialog.
The best part though was that all of this was at a remarkable price of $45 (US). That’s the part that I still can’t get over for me. Having poured through them all and trying my best to work with other vendors offerings (at a much steeper price for the software) I was really taken with how much power this program wields for the author’s buck.
Is it right for everyone? I can’t answer that. Some writers are just too entrenched. But if you’re not entirely happy with your writing solution, I say give this little writing gem a gander. What I’ve written here is merely the tip of the iceberg (as they say) on what this program can do. In the coming weeks I’ll try to lift the lid on various aspects of how Scrivener works (where my exposure and usage of it has taken me thus far). I am still trying to discover new ways to use it and I’m finding at each turn the application as risen to the challenge and then some.
I hope you find this write up helpful and as always, I am free to any comments or questions regarding the app.
Again it is available from the folks at Literature and Latte in the UK.
$45 US (Mac version)
$40 US (Windows version (v 8.1 ready))
Word has it they’re working on a linux version but I don’t know where they are in the process of releasing that version to the masses. Demo versions are available for downloads to try before you buy.
Lastly, their tech support is very responsive as I’ve never had to wait more than a day to get some traction on whatever I was dealing with. In addition, they have a very active and prolific forum/support board that is also of use. When you couple all of that with the video’s posted online you get quite a lot for your $40-45 (US).
Leave any areas you’d like me to post about in the comments if you’re so inclined.
Until next time… PEACE!
Errata from the Cliff – what a view it is!
Errata from the Cliff – what a view it is!
So I’ve been contemplating cliff hangers lately. Probably because my first book ends on a major cliff hanger. I’ve heard (via anyone who has an opinion on the topic) opposing opinions on this. Some lobbying for just putting it (my book- Angels of Mercy) out there. My fear: that I’ve asked readers to invest in my character (the main character that the book is dependent on his POV) only to have something happen that threatens the investment that my readers will have put in at that point.
But then I think about authors who have written their first novel of a series and it ends in an unresolved or even a cliff hanger state and their readers came back for book two. I mean, they had to start somewhere, right?
Take Rowling, for example. Sure, Harry’s story is hardly a real cliff hanger series (well, except maybe for the last two books which sort of were real cliff hangers because he Muggle/Wizarding world was upended on both sides so yeah, those last two could be argued were cliff hangers). By that I mean that the books all had a serious situation to deal with that the characters had to cope with and resolve. And each book ended with Harry being returned to the safety of his uncle and aunt’s home in Little Whinging. He was relatively safe for another summer, THEN all hell would break loose, so to speak.
So yeah, HP is not a perfect example in my pursuit of how I should handle my series (Angels of Mercy) because my story (my first novel published anywhere) ends on a d00zy of a cliff hanger. I was a little concerned that I might piss off my new readership and since it was my first story, I might not get them to come back again. Part of me hopes they will. I’ve been told by my beta readers that they would read the second book without a doubt. So I know I have something. But again, I am untested by the masses out there. Betas are fine but they aren’t the whole enchilada and I’d be remiss in my due diligence in sorting this out if I didn’t cop to that. So yeah, while I like what they’re telling me about how solid my writing is, and how engaging my characters are, there is the potential that there will be others out there that won’t like the whole leaving you on the edge of a cliff with nary a hope in sight (it ends REALLY dark).
I had lunch with one of my beta readers and he made a comment to me – why not pose a teaser at the end? An interesting prospect. The second book is told by the boyfriend of my main character in book one. That’s sort of the point in this series: the entire tale is told from three boys perspectives. Book one is Elliot, book two is his boyfriend Marco’s turn, then the last by Marco’s brother, Pietro. Each boy retells the same sequence of events only advancing the timeline further down the road towards the final resolution. It’s a very thought out process to put each of these boys in play to tell this big tale of a love between two boys and the foibles that they encounter (both trivial and fatalistic in nature) to get to their Ever After, Happily.
This isn’t something new that I’ve been toying with in the back of my mind. And okay, I guess I’m good with if it doesn’t sell out the door right away. A really great post from a self-pub expert out there (thebookdesigner.com) explains how I need to keep working at expanding my social media reach but also accept that if my book is well written, well executed and well edited, it should find its audience. It may not be this year, or next, but during that time that it might languish in relative obscurity I need to press forward with everything that I can to put my name out there – only by marketing ME can I hope to garner interest in my work. Also, I needed to sort out why I have a site at all. I need to take a look at what am I offering readers by coming to my site.
Thus, I’ve sort of turned a new leaf. I am honing in on not only why I am writing my novels but why I associate with other authors and readers. I am going to try and bring something else to my readers. I don’t know how I am going to do it, but I know that my success as a writer sort of depends upon it. I want to discuss with other writers in my genre their craft, their approach, their point of view on why they write what they write and most importantly, why do they feel so drawn to do so. I know there’ll be the usual – well, because I can’t think of any other way to be. I am a writer – plain and simple. Somehow, if I do my job correctly, I think there’ll be more interesting reveals down the road for some of these authors on why they are passionate about what they do. In a very real way, this can only enrich us all by having this dialog.
So yeah, my buddy authors out there – I just might be tapping on your shoulder to have such a dialog on my site. Get a real feel for what you do and why you do it. I know why I am in the mix – as they say, but I’d so like to hear why others feel the drive to do so as well.
Should make for some very interesting conversations.
The Haze and Maze of Social Media
The Haze and Maze of Social Media
Okay, I’m a techie. I mean, I work in the IT world and all of its variety of devices, servers, and networking security ins and outs. So you’d think that I’d understand how and why my website stats are what they are. But I don’t.
I check my stats on this site from time to time. My audience is growing – steadily. Not bot combing either. These are actual human web surfing hits – not bot or spider crawls (at least not that I can tell). If they are then they’ve got some serious smart spiders now.
I checked it today, you wanna know what I found?
Apparently, I am BIG in China.
As of today (September 11th) my stats are just shy of hits for the entire month of August. So I know I am gonna surpass it in a day or so. So yeah, my audience is growing. But why China? It’s not like my stuff is in Chinese. I don’t think its Baidu doing the crawling.
But China surpassed the good ol’ US of A this week. Here’s the rundown –
1) China
2) USA
3) France (this one I can sort of understand because well. they’re French for Chrissake)
4) Canada (I LOVE me my Cannucks!)
5) Some EU country (What the fuck does THAT mean?!)
The Ukraine is next and THEN Great Britain. Sorta wacky weird how this whole thing works. It sort of reminds me when a good friend and I did a short lived podcast back in 2006. We were BIG in Scandinavia. HUGE even according to our stats. Why? I had absolutely no idea. Russia even makes the list. I like Russians. I even went to visit there (this was way before the whole let’s hunt down fags and kill/humiliate them that is going on now). I feel for my queer Russian brothers and sisters. I wish I could do something to make it all better for you. I really do. Being gay is hard enough, having to live with it in your world, I just can’t fathom it.
I’d like to think it is my writing (like my forthcoming Angels of Mercy book) that keeps them coming back (because they are repeat followers – not just drive bys). But somehow I think it is the “Inspirational” gallery that keeps them coming back. Who knows. Well, really I guess I could dig deeper and find out. The analytics are there. Just not so sure if I wanna know. I don’t know why. Maybe it’s Marco and Elliot that keep them coming back. I am gonna post another chapter and this weekend I am going to put out a novella form of my forthcoming book that can be read on any e-reader (epub and kindle formats). so keep an eye out for it.
So yeah, I’ll just keep posting like I do. Just going with my gut on this. I tweet, I post on Facebook (which is where most of my links seem to come from), and I blog here.
So, I guess I’ll give a big shout out to my followers in China!
你好!
I hope I did that right. I used Google Translate so please forgive me if I said something stupid like “I will eat your dog” or something insane. I’m just trying to do my best. That wasn’t what I was trying to say at all – just wanted to say HELLO!
Anyway, I’m not going to go prattling on about all of this. I just thought I’d give a shout out to my followers beyond the US borders. You’re the best!
Cheers!
SAC