March 2011


Just a short one this week.  Many thanks to Lee Benoit for sending in a link to this

possibly the first ever onscreen m/m kiss.

And to Syd McGinley for this link to a blog featuring some historical hunks:

Bangable Dudes in History

I’ve posted here on many occasions about how wonderful the Romantic Novelists’ Association  is. They have a members’ magazine called Romance Matters, so Alex beecroft and I gathered up our courage and submitted an article about writing gay historical romance. It appeared in yesterday’s issue!

This is the original, uncut text, which we clipped to 500 words for inclusion in the magazine.

 “Not Your Mother’s Historical Romance”

 …was the cover quote from Josh Lanyon (creator of the Adrien English Mysteries) for the book Speak Its Name, an anthology of gay historical novellas. The book contained Charlie Cochrane’s debut story and the quote greatly amused her teenage daughters as that absolutely was their “Mother’s Historical Romance”. But it got her thinking about the differences (and similarities) between straight and gay romances written within a historical setting. So she asked fellow Romantic Novelists’ Association member Alex Beecroft to share her ideas on the subject. 

 Charlie: I suppose the first difference in gay romance is the general lack of bodices. I mean, many of my characters have them but none actually get ripped. How about your gals? 

Alex: Well, Emily certainly has one and mentions it in Captain’s Surrender, but her beau is too nice a guy to spoil a good dress.  But yes, Captain’s Surrender is the only one of my books (so far) where I’ve had a male/female romance as a sub-plot to the male/male.  Having said that, Victor Banis’s Lola Dances features a cross dressing gay man, so I wouldn’t rule bodice ripping out entirely.  Breeches ripping certainly happens (I believe I even have a breeches ripping scene in False Colors,) but I wouldn’t say that represented the entire genre.  I couldn’t see your kind and gentle young men dealing out violence to each other – even to each other’s clothes.

Maybe it’s the extent of having a wide variety of heroes and not putting as much emphasis on the overpowering nature of the hero that makes gay romance not “your mother’s romance”?  What do you think?

 Charlie: I think romance in general has moved on from my mother’s day and there’s a wide variety of heroes in gay and straight historical romance. I think one of the main differences is that we can’t have a “traditional” happy ending for our leading men. No “Reader, I married him,” moment, no big wedding or even engagement. The best we can do is to find some situation in which they can try to live together without being shunned by society or reported to the police. My Edwardian lads are living under the shadow of the fairly recent Oscar Wilde trials; at least they have a Cambridge single sex college to live in so they can hide in plain sight. How do you solve the problem?

 Alex:  That’s very true about romance moving on.  There’s really something for everyone’s tastes, these days.  But yes, it certainly presents an interesting problem, finding a happy ending which has the weight of a marriage in an era when our heroes could have been imprisoned or even executed it their relationship was suspected.  I think the male/male equivalent of the wedding is the point where the characters make a commitment to face whatever might come in the future together.  They may figure out a cover story which enables them to live together without arousing suspicion, or they may simply make that commitment to each other, leaving the reader to deduce from their prior adventures that they are cautious and clever enough to get away with it.

 Of course, the lack of a socially sanctioned wedding doesn’t mean that they can’t privately offer one another similar vows.  They can have every bit of the same emotional impact.  Even more so, perhaps, since the reader knows what an act of love in the face of all odds they represent.

 I know too that there are some readers of gay romance who might regard the traditional Happy Ever After = marriage ending as worryingly heteronormative.  What are your thoughts on that?

 Charlie: I think you’ve made a great point and, again, one that applies to straight romances, where a big white wedding isn’t necessarily everyone’s idea of the “must have” happy ending.

 Another aspect of romances is the “tension along the way”, you know, the complication/estrangement that has to be overcome en route to the HEA. I suspect that’s an area where gay fiction has an inbuilt advantage, especially historical, as the relationship was illegal and generally viewed as immoral. Actually, in some parts of the world either or both of those would apply today.

 Of course, that doesn’t mean we can be lazy and just use the ‘how do we avoid discovery’ as our only cause of dramatic tension; we have arguments, misunderstandings, temptations, all the story threads that crop up in straight romances. What’s your favourite “boy temporarily loses boy” moment from your books?

 Alex: I’d say it was the incident in John’s cabin in False Colors, just after the ship has almost sunk in the Arctic.  The two heroes have been alternately pursuing each other and spurning each other for a while now, and Alfie, feeling terribly bitter due to bereavement and misunderstanding, makes an absolutely disastrous attempt on John’s virtue in order to teach John a lesson.  John – who’s a highly strung mixture of very sensitive and very proud – realizes that Alfie is doing this to put him in his place and goes ballistic with outrage.  It’s hard to explain in one paragraph, because there’s a whole book of misunderstandings and hurts that lead up to it, but it’s simultaneously their lowest ebb, and a sign that things are beginning to thaw between them and that there’s hope there still.

 How about you?

 Charlie: I’ve got two. One of them’s in my ongoing Cambridge Fellows series, where Jonty and Orlando finally seem to have settled into a nice, comfortable “looks to the outside world like a bachelor existence”, only for some awful events from Jonty’s past to rear their heads. The lads have to work through a lot of emotional and ethical complications together, but emerge stronger. The other’s a bit more light hearted, from an Austenesque short story, The Shade on a Fine Day, where it needs ghostly/angelic intervention to get my leading man to pluck up the courage to act.

 It’s been fun picking your brains – anything you want to add about the differences you’ve found between gay and straight historical romance?

 Alex: Well, thanks for having me!  It’s an interesting topic and I’m glad we got to talk about it.  I’m inclined to cheat on this last question, though, and say that despite any differences occasioned by the fact that you’ve got two men instead of one man, one woman, still the ways in which they are similar outnumber the differences.  After all, a romance is about two people falling in love and committing to that relationship despite the problems they face.  The external problems the characters face may be incomparably greater due to society’s disapproval, but internally I don’t think that love is any different.  Nor is the process of two independent personalities learning to live with each other any less complex when it’s two men (or two women) together instead of one of each.

Ever come around a corner and seen a vista so perfect it literally took your breath away? Ever been in a place with such a perfect combination of setting, weather and atmosphere that you almost cry for the sheer perfection of it and the feeling that you’ll never get that moment back again? I’m sure most of us have had times like that and if you haven’t I’m genuinely sorry. They’re priceless.  

So how do you capture them forever? One way is with a photograph, or a video, although they only capture the look of things and not the feel. Another way is to use them to inspire a piece of writing which, although it doesn’t preserve the physical impression perfectly, can at least convey what things felt like.

When our children were younger we spent a morning on this beach:

It was perfect, unspoiled and there were only two other people on it. We’ve been back since and all the world and his wife have discovered it; we’ll never have those perfect moments again (unless we get down there crack of dawn).  But Jonty and Orlando can experience what we did when they visit Jersey, so I’ve sealed our feelings safely away in their story by using the beach as their special place.

Another holiday moment happened at Arromanches. We parked the car on a clifftop car park, walked over a little ridge and saw this:

The ruins of the Mulberry harbour out at sea, and in the foreground a field of barley with poppies. It was the poppies which got to me and I was soon in tears. That sight inspired several bits of AU fanfic, and has been weaved into another very short story, almost as if I have to keep writing that sight, and my emotions, out of my system.

This is the next ‘special moment’ I have to capture in a story:

Anyone else got ones they want to share?

A short but fun one today:

Passed along by Syd McGinley, this interactive Victorian role playing game will allow you to see if your character would have been welcomed at the Gentleman’s Club or cruelly cut at the Ballroom.

http://www.mccord-museum.qc.ca/en/keys/games/game_0/

 

Recommended by Erastes, a very nice vintage book blog

Bali Hai’s Blog

and two links found at physorg.com

“Gay rights movement born in 19th century Germany, scholar says”
http://www.physorg.com/news/2011-02-gay-rights-movement-born-19th.html

“Eighteenth century writings of first gay activist discovered”
http://www.physorg.com/news96733007.html

And in keeping with this week’s more entertainment-based theme (what, we’ve got games and everything!) but for Brits only, I’m afraid, unless you can get your browser to conceal your location, a moving TV programme about Frankie Howerd – “Rather you than me.”
http://www.bbc.co.uk/iplayer/episode/b009s7gv/Frankie_Howerd_Rather_You_Than_Me/#recommendSource=tv_episode_page

Drama starring David Walliams as the comedian Frankie Howerd, looking at the relationship with his long-term, long-suffering manager and partner, Dennis Heymer.

~

If you have an article which you think fits with our subject matter (gblt and historical and/or writing) and you’d like us to share it with our readers, just send it along to alex@alexbeecroft.com

“Historical” by our definition means pre-Stonewall, so pre-1969.

Follow

Get every new post delivered to your Inbox.

Join 858 other followers