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Oscar Loves a Hot Mess Girlfriend

So yesterday I was talking with a friend on social media about Margot Robbie not receiving an Oscar nomination as Best Actress for playing Barbie. And I fired off an offhand opinion that the Academy is way more interested in and has way more respect for female characters in pain and misery on a downward trajectory than they are or have for women on an upward trajectory to triumph. But thinking about it later, I thought that was probably unfair, that drama always wins out over comedy, regardless of gender, and I was probably implying a gender bias that doesn’t exist.

So I decided to do the math. I looked at every actor who has won the Best Actress and Best Actor trophies since 2000 in terms of how their characters end up at the end of the movie. Do they win out or fail? Is their trajectory up or down? Does the story punish or reward them for who they are? Y’all . . . this shit is depressing. Here’s my breakdown:

Triumph: I don’t mean a happy ending; I mean the character accomplishes the goals they define at the beginning of the story. So Leonardo DiCaprio at the end of The Revenant is cold and probably doomed to starve but triumphant; Russell Crowe at the end of Gladiator is dead but triumphant. Of the 23 characters that earned their players Best Actress Oscars since the start of the millennium, only five have ended their stories triumphant. And of those five, two had triumphs that weren’t really their own—Reese Witherspoon’s June Carter Cash wins because her hubby wins, and Sandra Bullock’s triumph in The Blind Side is really reflected (and quite possibly stolen) light from her “adopted” son. Even Michelle Yeoh in Everything Everywhere All at Once concludes that her truest triumph is found in the universe where she’s an overworked wife and mom. Emma Stone in La La Land gets her dream of fame and fortune, but she ends the movie wistful and melancholy, thinking of what might have been if her relationship had come before her art. So four kind of half-assed winners, plus Julia Roberts and her magic boobs in Erin Brokovich.

Compare that to the boys: 13 of the characters that led to Best Actor trophies end their stories on top. Again, sometimes they end up martyred or murdered or sad, but they accomplish their goals. And only two of them, Will Smith in King Richard and Brendan Fraser in The Whale win out even in part as background light for their children.

Implied Decline Into Death: Here’s the other big one for the ladies—characters who are either dying or obviously about to commence any minute with all their dreams and hopes crumbling around them. Five different Best Actress characters end up this way, and unlike their sister winners’ triumphs, their declines are all their own: Marion Cotillard as Edith Piaf; Meryl Streep as Margaret Thatcher, Olivia Colman as Queen Anne; Renee Zellwegger as Judy Garland. Oscar loves a hot mess falling apart, particularly if she has even one moment of ego before the fall. Compare again to the same outcome for Best Actors—precisely one: Anthony Hopkins losing his identity to dementia in Father.

Suicides: Three women, zero men.

Attempted/failed suicides: Two women, one man (Jean Dejardin in The Artist who triumphs immediately thereafter. Compare that to Julianne Moore in Still Alice who fails to kill herself only because she’s so far gone she forgets to finish.)

Killed Without Triumph: Two women, zero men. Death for male characters has to mean something; it’s a final act of victory, usually of their own choosing. The women are powerless: Hillary Swank is mercy-killed; Charlize Theron is executed.

Resigned: Female characters are also more likely to end the story in a surrender to the inevitable—five of them to be exact. Again, Best Actor characters apparently don’t do that.

Insane: This is a more equal match—two women, one man.

There are three other popular outcomes that are apparently reserved strictly for men. Three of these Best Actor characters win by being absolute monsters who are destroyed at the end of the story—Denzel Washington in Training Day; Forest Whitaker in The Last King of Scotland, and Daniel Day-Lewis in There Will Be Blood. These men serve the same function in their stories as Godzilla does in his, and the Academy loved them for it. Women don’t get to be monsters. Even Charlize Theron in Monster isn’t actually a monster but a victim striking back—or at least we see a lot more of her being victimized than we do of her being monstrous.

Male actors also win for characters who are hard men who do what’s necessary and end the story successful but broken: Phillip Seymour Hoffman’s Capote becomes a great man of letters but loses his soul; Jeff Bridges finds sobriety but loses his son in Crazy Heart; Sean Penn is a “a king” at the end of Mystic River but knows he deserves to be hated. Female characters who don’t give up their goals to be helpmeets or cannon fodder don’t earn Oscars (the exception, again, being Emma Stone in La La Land, and heaven bless her for it), and they don’t get to be this conflicted or complicated.

And when a dude wins the prize for playing a historical figure, he’s not a hot mess falling apart; he’s a larger-than-life hero: Daniel Day-Lewis in Lincoln and Gary Oldman in The Darkest Hour.

I’ll paste in my tables at the bottom of this where you can see where I got my numbers, but my point is this. In the year 2024, this is pitiful, y’all. Margot Robbie DID get robbed, and I DO believe it’s because Barbie ends her story in triumph not by sacrificing herself for a lover or a child or a community ridden with cancer but by becoming a real, live, self-actualized human woman, and she doesn’t feel any regret about it. And Oscar can’t deal with that.

The tables I used for my breakdown:

YearActressMovieOutcome
2000Julia RobertsErin BrokovichTriumph
2001Halle BerryMonsters BallResigned to misery
2002Nicole KidmanThe HoursSuicide
2003Charlize TheronMonsterExecuted
2004Hillary SwankMillion Dollar BabyMercy killed
2005Reese WitherspoonWalk the LineWifey triumph
2006Helen MirrenThe QueenResigned to misery
2007Marion CotillardLa Vie En RoseImplied decline to death
2008Kate WinsletThe ReaderSuicide
2009Sandra BullockThe Blind SideMommy triumph
2010Natalie PortmanThe Black SwanInsane, suicide
2011Meryl StreepThe Iron LadyImplied decline to death
2012Jennifer LawrenceThe Silver Linings PlaybookResigned to meh
2013Cate BlanchettBlue JasmineHomeless, insane
2014Julianne MooreStill AliceFailed suicide, implied decline to death
2015Brie LarsonRoomAttempted suicide, mommy triumph
2016Emma StoneLa La LandBittersweet triumph because she chose herself over relationship
2017Frances McDormandThree Billboards …Resigned to misery
2018Olivia ColmanThe FavoriteImplied decline to death
2019Renee ZellweggerJudyImplied decline to death
2020Frances McDormandNomadResigned to meh
2021Jessica ChastainThe Eyes of Tammy FayeImplied decline to death
2022Michelle YeohEverything Everywhere All at OnceTriumph in wifey/mommy universe
YearActorMovieOutcome
2000Russell CroweGladiatorTriumph in death
2001Denzel WashingTraining DayMonster destroyed
2002Adrian BrodyThe PianistTriumph
2003Sean PennMystic River“a king” – success at what cost
2004Jamie FoxRayTriumph
2005Phillip Seymor HoffmanCapoteSuccess at what cost
2006Forest WhitakerThe Last King of ScotlandMonster destroyed
2007Daniel Day LewisThere Will be BloodMonster destroyed
2008Sean PennMilkTriumph in death
2009Jeff BridgesCrazy HeartSuccess at what cost
2010Colin FirthThe King’s SpeechTriumph
2011Jean DejardinThe ArtistSuicide attempt, triumph
2012Daniel Day-LewisLincolnHistorical saint
2013Matthew McConaugheyThe Dallas Buyer’s ClubTriumph
2014Eddie RedmayneThe Theory of EverythingTriumph
2015Leonardo DiCaprioThe RevenantBitter triumph
2016Casey AffleckManchester by the SeaTriumph
2017Gary OldmanDarkest HourHistorical saint
2018Rami MalekBohemian RhapsodyTriumph
2019Joaquin PhoenixThe JokerMonster created, insane
2020Anthony HopkinsFatherImplied decline to death
2021Will SmithKing RichardDaddy triumph
2022Brendan FraserThe WhaleTriumph in death, daddy triumph

Breakdown for actress:

Implied decline to death5
Triumph5 (2 wifey, 2 mommy, 1 bittersweet because she chose self over relationship)
Suicide3
Attempted/failed suicide2
Killed2 (1 execution, 1 mercy killing)
Resigned to misery/meh5
Insane2
Monster destroyed0
Success at what cost0
Historical saint0

Breakdown for actor:

Implied decline to death1
Triumph13 (3 in death, 2 daddy, 1 bitter)
Suicide0
Attempted/failed suicide1
Killed0
Resigned to misery/meh0
Insane1
Monster destroyed3
Success at what cost3
Historical saint2
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RIP, Mainstream Publishing. You Hardly Knew Us

It’s been a minute since I wrote a blog post, but I saw this article on a dear friend’s Facebook wall this morning, and rather than rant and rave there, I figured I’d come do it in my own space. Basically, an Emory professor, Dan Sinykin, has written a book called Big Fiction about how what he calls the “conglomerate era” has destroyed American publishing. In this interview, he goes on at great length about “brand name” authors like Danielle Steele and Stephen King and the “hacks” at Harlequin, blaming the downfall of American letters on what his fine-tuned literary sensibilities consider “bad” writing and the corporate idiots who embrace it for the sake of profit.

Lemme just skooch in and fix this for you, Professor Dan. Prior to 1959, book publishing in the US was controlled entirely by a small group of white, upper middle and lower upper class men who, by and large, all attended the same five or six universities where they all read the same ten or twelve books. This led to a general point of view in American literature that if it wasn’t entirely homogenous, it certainly reflected various facets of the same general bias—Privilege the Novel, ad infinitum, ad nauseum, forever and ever, amen. Other smaller cadres grew up in other regions of the country and other demographics, but these were judged entirely by how well they imitated and paid homage to the New York city model of selection and this same white male Ivy League perspective.

Then in the 1960s and 70s these little kingdoms were suddenly expected to make money because yes, Grandfather had passed on, and the company got bought by Acme Food Starches, Inc., or whatever. Once they recovered from the initial shock, the grand old men of publishing and their worshipful offspring applied their giant brains to the problem and realized that to make money they’d need to sell more books. And selling more books meant they had to find more readers. And that meant they’d have to sell books to people who weren’t smart enough to like the books they liked, the sort of salt of the earth nitwits who liked TV. Some of them even managed to notice that TV made its big bank by embracing a myriad variety of genres, tastes, and levels of artistic merit—Twilight Zone AND Peyton Place AND Gilligan’s Island AND Lost in Space AND Mission: Impossible. This was a pivotal moment for these guys. This was their golden opportunity to expand their point of view and the point of view of their peerage (i.e., hire some people who weren’t white, male, or Harvard-educated and actually listen to them) to include voices, tastes, and concerns beyond their own, to make American literature a reflection of the actual American experience in all its messy and glorious variety.

Spoiler alert: they didn’t do that. Instead, they came up with a simple formula that is still in use today that has led them straight down the fiery path of corporate destruction Professor Dan describes so eloquently. That formula is this:

1 – People are stupid and like to be shocked;

2 – To make money, we need to publish stupid, shocking books;

3 – If we make enough money on enough stupid shocking books, we can still publish real books AND spend every summer in the Hamptons.

At no point did it seem to occur to anybody that there were possibilities beyond “what we know” and “stupid;” get any NYC publisher drunk this very weekend and ask him about romance or fantasy or horror. He’ll tell you some version of, “Oh heck yeah, we publish gobs of it because hey, it sells, but no, hell no, I don’t read that shit.” But that’s okay; readers and writers figured it out for them. Great books in “non-literary” genres squeaked through the gates amongst the trash  and revitalized American letters in spite of itself, even with Harold Bloom leading the charge against them. (Even a blind squirrel finds a Stephen King every once in a while.) But the values and point of view of the people manning the publishing gates still hasn’t changed. Even when they acknowledge the literary value of a genre novel, that treat it as an anomaly, an unexpected bump in the long, straight road paved by their grandfathers oh so long ago.

And Professor Dan, God bless him, is upholding this glorious tradition. He’s absolutely right. Corporate interests have completely decimated publishing, maybe past hope of repair. But I’m over crying about it. If at any point over the past 70 years the powers that be in publishing had sincerely and diligently attempted to get over their damned selves and listen to the outside world, this never would have happened. If they had stopped hiring their college roommate’s nephew, stopped taking six months out of every twelve “out of the office,” stopped treating the writers who made their world possible like absolute shit, stopped chasing and choosing potential “blockbusters” by any criteria other than literary merit while bad-mouthing those same books to one another and the world at large, their companies would have been too powerful to be swallowed by the conglomerates in the first place. Or if they had been, they’d at least be perceived as profit machines, not tax write-offs or debt sinks or loss leaders for selling Prime. If they had for one moment put one-tenth of the energy they’ve wasted trying to protect their own comfy nest into preserving the tree it sits in, they’d be safe.

So I say fuck’em. I’ll keep writing the books I want to write and publishing them by whatever means necessary and waiting to see what comes next.

WIP: A Sneak Peek at Wollstonecraft

My current WIP is a gothic horror novel built on the foundation of the real life of Mary Godwin Shelley. This chapter happens when Mary is 15 years old, a few months before she met Percy Shelley. She’s visiting the home of one of her father’s pen pals, a Scotsman named Baxter, who has a daughter of his own, Isabella–Mary’s first true love.

Fair warning: this gets a little spicy.

Chapter 5

Isabella Baxter

Scotland

June 1813

Isabel sat by the bedroom window, watching the street below. How many hours had she spent in this window seat last summer with Mary, their hands clasped tight? Now Mary was coming back. She was excited, thrilled beyond measure. Mary was her best friend in the world, more dear to her than her own sister, Margaret, whose death she was meant to be mourning. No other soul had ever known her so completely or loved her so well as Mary. So why was she so scared?

“I’m different,” she said, addressing her reflection in the window’s glass. A serious young woman who pinned up her hair now and kept her cuffs and collar clean. “Everything is different now.”

The light outside was failing when the carriage finally arrived. Father got down first, helped by the driver—poor darling, he looked so tired. He offered his hand, and a familiar figure crept out, swaddled in a hooded cloak. She stepped down into the yard and immediately looked up at the window. Her hood fell back, revealing her loose cascade of strawberry blonde hair—fairy hair, Isabella called it. Their eyes met, and suddenly it was as if no time had passed at all. Isabella leapt up and ran downstairs.

“Mary!” Mother was taking Mary’s cloak, offering tea. But when Mary heard Isabella’s voice, she broke free and ran to her arms.

“Bella.” She clung to her, tears streaming from her eyes, kissing Isabella’s cheeks. “I’ve missed you so much.”

“Miss Mary had a difficult passage, I think,” Father said. “Is there coffee, Mother?”

“I’ll fetch some,” Mother said. “Dinner will be soon.”

“I’m sorry,” Mary said. “I don’t know why I’m behaving so badly.”

“No need to apologize, sweeting,” Mother said. “You look worn to the bone.” She patted Mary’s cheek. “So thin—haven’t you eaten a morsel since you left us?”

“I don’t think I have,” Mary said. “I haven’t done anything.” She was still holding Isabella’s hand, and she was trembling all over.

“We’ll soon fatten her up again, Mother,” Father said, sinking into a chair by the fire.

Isabella let go of Mary’s hand to go to him. “Let me help you,” she said, pulling off his boots.

“Come with me, sweeting,” Mother said to Mary. “Help me with the coffee.”

Mary’s eyes were wide, obviously near tears, but she nodded. Mother put an arm around her shoulders and led her to the kitchen.

“Poor bairn,” Father said. “Godwin is a great man, but he’s got no more business bringing up a daughter than a barn cat.” He stretched his stocking feet toward the fire and let out a deep sigh of satisfaction. “And that wife of his is worse. Or so I’ve been told.”

“Mary says she is a horror,” Isabella said, settling on the hearthrug at his feet.

“Be kind to her, my love,” Father said. “She is still a child, much more than you are. She didn’t have a good mam or a fine sister like our Margaret.” His voice broke as it still did any time he mentioned Maggie’s name.

“I will, my love,” Isabella said, patting his bony knee. “I will take good care of her, I promise.”

By the time they returned from the kitchen, Mother had Mary smiling, and she seemed cheerful all through dinner. She made them laugh with droll tales of the wild scholars and students who came to the family’s bookshop—her impressions of her stepmother, simpering one moment and screeching the next, had them all in stitches.

But later when they went to bed, the truth came out. As soon as Isabella closed the door and set down the candle, Mary threw herself into her arms. Isabella hugged her close, a sisterly embrace, but Mary’s mouth sought hers, and after a moment’s hesitation, she allowed it.

“Bella mia,” Mary said, nuzzling her cheek. “My beautiful love … I’ve missed you so much.” She was crying again; Isabella tasted the salty tears on her cheeks.

“Peace, sweeting,” Isabella said, stroking her hair. “What can be so wrong?”

“Me,” Mary said, the word a sob. “I am wicked, Bella. So horribly wicked.”

“Of course you aren’t.”

“You don’t know!” She drew back, and her eyes glowed with wild desperation in the candlelight. “I shouldn’t have come back here,” she said, touching Isabella’s cheek. “I should run away.”

“Stop this.” Isabella took her hand in both of hers and squeezed it. “You are not wicked.”

“I am,” Mary said. She was looking at the wall behind Isabella’s head as if she saw some horror there. But when Isabella turned to look, all she was were shadows dancing against the candle’s flickering light.

“You’re home now.” She sat down on the bed and pulled Mary into her arms. “You’re safe.” She kissed her again, a lover’s kiss this time with no hesitation. She framed Mary’s face in her hands. “I will keep you safe.”

Mary’s smile was like an angel’s, too beautiful to be real. “You do love me, don’t you?”

“Silly girl.” Isabella drew her down to the pillows. “Of course I do.”

She fell asleep soon after with Mary’s head pillowed on her breast, peaceful and content. Sometime in the witching hours, she half-woke to the sound of her lover’s tearful voice pleading, “Show yourself if you’re still here. Why should you torture me?” But before she could rouse herself enough to intervene, the tears had stopped, and Mary was sleeping again.

The next morning as soon as breakfast and their chores were done, Mary was eager to be outside on a ramble. Her face was barely washed; her hair was barely combed; she was the same wild hoyden she had always been. But Isabella took great care with her toilet these days. Her black mourning gown was crisp and perfectly pressed, accented with a jet brooch at her throat and a fringed silk shawl that had belonged to her sister. She washed her face carefully, first with soap and water, then with milk, and even dared a dusting of powder on her forehead and cheeks. She arranged her hair in knots on either side of her head with careful curls in front.

“You’re so beautiful and grown up,” Mary said. “I hope you will not be ashamed to be seen with such as me.”

Isabella smiled. “Never, my love,” she promised, taking her hand.

The day was overcast but warm with a blustery breeze that caught their skirts and ruffled their hair. Mary wanted to race up onto the cliffs overlooking the lake at once. But Isabella resisted to linger in the village, perusing the wares in the bookshop. And when they emerged, she was rewarded. Her sister’s widower, David, was just coming out of the post office, carrying a picnic basket.

“Miss Godwin,” he said, tipping his hat to Mary. “Good morning, Isabella.”

“Good morning.” The year before, she and Mary had shared a delicious forbidden passion for Maggie’s handsome husband. The young radical with his wide, dark eyes and fiery speeches had seemed to both of them the pinnacle of romantic possibility. His imagined phantom presence had played the hero in all their games of make believe. But they weren’t children any more. And Margaret was dead.

“Good morning, David,” Mary said. “Who is this Miss Godwin you speak of? Aren’t we friends any more?”

“Of course with are,” he said, smiling with a flash of even white teeth. “It is good to see you again.”

“And you.” Mary took David’s hand and pressed it, charming and natural and sweet. “I was so sad to hear of Margaret’s passing.”

“Thank you,” he said, obviously moved. “I am fortunate to have her family still so close to comfort me.”

“It is our family that is fortunate to have you,” Isabella said. “I know Papa could never have survived the loss without you.”

“You are kind to say so,” he said, smiling at her. “But Mary has only just arrived. You two should be celebrating.”

“We’re on our way up to the cliffs,” Mary said. “I have missed them horribly. I feel like I’ve been shut up in a dirty cage since the day I left.”

“Then you must go breath free air at once,” he said.

“And you as well,” Isabella said. “Mary, I think David should come with us.”

“Come with us?” Mary said.

“As it happens, I do have a lunch packed,” David said. “A new book came to me in the post yesterday—German folk tales. I thought I would find some quiet spot to read them where they might best be appreciated.”

“How lovely,” Isabella said. “You can read them aloud to us.”

“You don’t understand German, Bella,” Mary said. “And besides, it looks like rain.”

“My book is a translation,” David said. “But if the two of you would rather be alone, I completely understand.”

“Don’t be ridiculous. Why should we prefer to be alone?” Isabella said. “And Mary, you and Father were both saying just now it’s not likely to rain before night.” She put a hand on David’s arm. “Please come with us.”

“Yes,” Mary said with her angelic smile. “Please come.”

Mary kept up pleasant chatter as they walked through town headed for the hills. David seemed as fascinated by her as he had been the year before, hanging on her every childish pronouncement as if she were some great sage in a young girl’s shape. If Isabella had not been so sure of his affections, she might have been jealous. As it was, she could hardly blame him. Even with her hair barely contained under her unflattering bonnet and a smudge of ink on her chin, Mary was a bewitching creature. The light in her eyes when she spoke passionately about anything, be it poetry or the ripples on the lake, made her beautiful. David offered the arm not occupied with his picnic basket to Isabella. But his gaze was all for Mary.

They climbed to a lovely spot overlooking the lake under a massive oak tree, and Isabella spread the blanket. David opened his book and began to read aloud. Isabella listened with her legs folded demurely beneath her, her skirts spread so they almost touched David’s knee. When he raised his eyes from the book, he met her gaze and smiled. Mary sprawled flat on her back in the grass, arms spread wide, toes pointed to the sky.

David read a story of a miller’s daughter who became a queen with the help of an imp who spun straw into gold. Isabella thought Mary had fallen asleep. Btu suddenly her eyes snapped open.

“What a stupid woman!” she said. “Why should she want to marry a man who kept her locked up in a dungeon to make him rich? And why should she care what becomes of his stupid child?”

“The baby belongs to her, too,” Isabella said. “Surely she must love it.”

“I don’t think that’s assured at all,” Mary said. “The thing probably looks just like his wretched father. Let the imp have it and welcome.”

“Mary!” Isabella said. “You can’t mean that!”

“Can’t I?” Mary said.

“Let’s see how the story ends,” David said. He didn’t seem put off by Mary’s outburst. Instead, the fond smile he gave her showed he found her even more intriguing than he had before. “Perhaps the miller’s daughter will come to her senses.”

But of course she didn’t. The imp was vanquished, and the miller’s daughter kept her baby and remained her greedy husband’s queen. “Oh dear,” David teased. “Apologies, Mistress Mary.”

“You laugh, but think on it for a moment,” Mary said. “What can that poor fool’s life have been like once Rumpelstiltskin was gone? I can’t imagine her horrible husband would stop demanding she do miracles for profit. What will happen to her when he wants more straw spun into gold?”

“But in the end, the king has come to love her,” Isabella said.

“So he says,” Mary said. “Do you imagine that will make a difference?”

“What would you have the miller’s daughter do, Mary?” David said. “What would you do in her place?”

“Forget about the king and his dungeon full of straw,” Mary said. “When Rumpelstiltskin turned up and offered to help me for a price, I’d make him help me escape. In fact, I believe I should be far more likely to fall in love with Rumpelstiltskin than I would that horrible king.”

“Now you’re just being perverse, you wicked thing,” Isabella said, laughing.

“You doubt me?” Mary said.

“Indeed I do,” Isabella said. “The king is handsome and young. Rumpelstiltskin is an ugly, dwarfish monster.”

“They never say the king was handsome,” Mary said. “He’s just a king. He might have had a hunchback and warts on his nose.”

“Kings sometimes do,” David said.

“Rumpelstiltskin could do magic,” Mary said. “If he could spin straw into gold, he could surely change his own shape if he wanted.”

“And why would he want to do that?” Isabella said.

“To please me, of course,” Mary said. “Because he knew I loved him whether he was handsome or not.”

“Alas, child, I fear you put too much faith in Rumpelstiltskin,” David said. “’Tis a rare man who will change his shape for love, even if he can do magic.”

Mary whipped around to look at him, and after a moment, she smiled. “I think you are wise, sir,” she said.

Something passed between them. Isabella could see it. But she couldn’t be sure what it was. She just knew she didn’t like it. “We should eat something,” she said, opening the basket.

Mary said, “I’m not hungry.” She stood up, brushing grass from her skirt. “I think I shall climb higher.”

“Wait,” David said, setting aside his book. “I’ll come with you.”

“Please don’t,” she said. “Stay here with Isabella. I will be back soon.”

David watched Mary climb the slope and disappear among the trees. Isabella watched David. Blinking back jealous tears, she laid out the picnic in silence. She had sliced the whole loaf and poured out two cups of tepid tea before he stopped watching the empty hillside and remembered she was there.

“’Bella, what is it?” he asked.

“What is what?” She buttered bread like it was her life’s sole purpose.

“What troubles you, child?” He plucked at the hem of her skirt. “You were so happy just a moment ago.”

“Was I?” she said. “I can’t imagine that is true. My sister is dead.”

“Aye, lass, so she is.” He lay down on his side. “Do you think I have forgotten her?” he twined a finger in the lacing of her boot.

“Not for me, you haven’t.” She raised her eyes from the bread and let her gaze meet his. “But I suppose Mary is a different thing.”

“She is a queer little thing, no question,” he said. “I pity her, poor child.”

“Is that what you’d call it?” she said, turning away. “Pity?”

“Bella Baxter!” He was laughing. “I believe you’re jealous!”

“And why shouldn’t I be?” she said, rounding on him in fury. “Go to her, why don’t you? I know you’d prefer it to waiting here with me.” His hand cupped her ankle over the boot. She ought to pull away, but she didn’t. “I’m sure Mary would prefer it, too,” she said, a single tear spilling down her cheek. “Whatever she might say.”

“Bella.” He took her hand. “Silly lass, come here to me.” She stiffened and he kissed her hand through her glove. “Come here,” he repeated. His jaw was set hard, but his eyes were soft and warm. She leaned a bit closer, barely yielding, and he kissed the bare inch of skin on her wrist between her glove and her sleeve. Shock waves trembled through her, making her feel wicked and weak. This time when he pulled her closer, she lay down beside him. She reclined against his thighs, and he lay his head down on her knee, the two of them curled together like a pair of baby foxes in their den. “My sweet, silly love,” he said, stroking her calf under her skirt but over her stocking. “Don’t be jealous.”

“Don’t make calf eyes at my friend, then,” she said. Her tone was sharp, but she nuzzled her cheek against his hip and smiled to feel him shudder.

“As if I could,” he said. His touched trailed upward over her knee; his fingertips slip under her garter. “Pray to Christ for the man who falls in love with Mary Godwin.”

She giggled. “Don’t be mean.” She unbuttoned his trousers and reached for a napkin.

“No, I don’t mean it unkindly.” His breath had caught short, and his words were slurred. “Shall we speak more about Mary?” His fingers slipped through the slit in her knickers, and she gasped.

“No,” she said, pressing her cheek to his bare stomach, drunk on the scent of him. She cried out, pressing into his touch. As she peaked, she shifted closer and wrapped her arms around his hips, taking him into her mouth.

When he was done, he fell back prone on the blanket, eyes closed, and she smiled. She tidied herself up with a second napkin and smoothed her rumpled skirt.

“My darling,” he murmured, taking her hand.

“All yours,” she promised. She was about to lie back down when she saw Mary.

Her friend was standing halfway down the slope, out of hearing but close enough to see. She looked stricken, frozen, shocked. But when Isabella saw her, she flinched away, angry. Fists clenched, she stalked down the slop but not toward them. She stumbled once but found her footing and kept going, staying away from them until she passed.

“Bella?” David said, almost asleep.

“It’s nothing.” She lay down beside him, her head on his shoulder. His arm curled around her, and Mary was forgotten.

She got home as her mother was supervising the preparation of Father’s afternoon tea. “Where is Mary?” Mother asked as Isabella came through the kitchen door alone.

“Isn’t she here?” Isabella said. “I thought she came home.”

“I don’t think so,” Mother said. “I’ve been here and in the parlor all day, and I haven’t seen her. Did the two of you quarrel?”

“Not example.” She should have been worried about her friend, but all she felt was annoyed. “She still such a child,” she said. “It’s like she hasn’t grown up at all since last summer.”

Mother smiled over the tea tray. “I remember our Margaret saying much the same about you not so long ago,” she said.

“What did you say to her?” Isabella said. The pang of guilt she felt was so familiar, she barely noticed it. She had given up wondering what her sister would say to her now.

“I told her you would catch up soon enough,” Mother said. “And so you have.” She went to the window and peered out. “Where can she have gone to? It looks like rain.”

“I’ll find her,” Isabella said. “I’ll just get my cloak.”

The curtains in the bedroom were drawn, so the room was dark. She opened one set and found Mary sitting on the bed. “You scared me!” she said, pressing a hand to her heart.

“Sorry.” Her friend was dressed, but her feet were bare, and her face was blotchy and swollen like she’d been crying. “You should have told me.”

“Told you what?” Isabella said, forcing her tone to stay light.

“Told me you’d become your brother’s whore.”

“Mary!” She was genuinely shocked. Tears rose in her eyes, and her cheeks burned with a blush. “What a nasty thing to say!” Mary didn’t answer, just stared at her with those beautiful, horrible eyes that opened a gash in her soul. “David is not my brother.”

“He was your sister’s husband,” Mary said. “Your Scottish preacher made them one flesh, did he not? What else should I call him?”

“Mary Godwin, stop it,” Isabella said. God, I sound like Margaret, she thought. Am I possessed by her ghost? “Don’t be such a child.”

“I am not a child!” Mary said, jumping up from the bed like some wild, feline thing. “I love you! With all my soul, above all other living souls, I love you! Does that mean nothing?”

“Of course it doesn’t,” Isabella said. “I love you, too. You know I do.” Could Mother hear them shouting? “But Mary, darling, surely you realize …” Everything in the other girl’s face and posture showed how much she didn’t realize, how little she understood. “You are my dearest, darling friend,” Isabella began again. “But we must grow up, must we not? Become women. Make a home.” She took Mary’s hand. “Make a life for ourselves.”

“With David,” Mary said. “Your sister’s husband.”

“With a man who will love us,” Isabella said, refusing to be baited. “Take care of us.”

“Make slaves of us,” Mary said. “Fill our bellies with a brat who will murder us from the inside out.”

“Stop it,” Isabella said. “You mustn’t say such horrible things.”

“Why must I not, if they’re true?” The wind had picked up outside. It rushed through the windows, twisting the curtains and rattling the shutters in their frames. “Bella, what of all our plans for freedom?” Mary said. She had been the first to call Isabella by this nickname; David had picked it up from her. “What about Paris?”

“Those were games, beloved,” Isabella said. “Childish fancies that could never be real.”

“They were real for my mother,” Mary said. Clouds must have gathered outside. The room had gone dark but for the single candle on the bureau. Shadows danced around the walls and spread across the ceiling like the branches of a ruined tree. “My mother went to Paris.”

“She did.” Isabella agreed. When they first met, Isabella had admired Wollstonecraft more than Mary, her own daughter, did. Isabella was the one who had committed the dead woman’s writings to memory. This dream Mary spoke of had been hers. But she had been a child then. Margaret had still be alive, and David was out of reach. Everything was different now. Why couldn’t Mary see it?

“We could follow in her footsteps,” Mary said. “We would have one another; we could learn from her mistakes. Finish what she tried to start.” Her grip tightened on Isabella’s hand. “We don’t need a man. We could love one another.” The air felt heavy around them, electric with the coming storm.

“It was a game,” Isabella said, letting go of Mary’s hand. “I don’t want to play any more.”

She heard an unearthly scream, but Mary’s mouth hadn’t moved. The house shook as with thunder, and a crack ran up the plaster wall. “No!” Mary cried, but not to Isabella. She was looking around the room at the shadows dancing on the walls.

Something raked across Isabella’s face, making her cry out in pain. She touched her cheek and found blood.

“I said no!” Mary said. She grabbed Isabella and hugged her close as if to shelter her from something in her arms. “You will not speak for me!” She grabbed the coverlet from the bed, and something seemed to be fighting her for it, trying to snatch it away. For a split second, Isabella thought she saw a shape, a black, spindly, skeletal form that clutched the coverlet with razor-sharp claws. “Let go!” Mary ordered, yanking back with all her weight and Isabella’s, too. “Don’t touch her!”

The thing let go, and they fell together to the bed. Mary pulled the coverlet over their heads and pressed her hand to Isabella’s bloody cheek. “I’m not angry,” she said softly, like a prayer. “Not angry . . . not angry. I’m so sorry. I’ll be good.”

After what felt like an eternity of terror, the storm began to subside. Isabella fought free of the bed and the other girl’s embrace.

The shadows were gone; the candle had gone out. The curtains were hanging limp and still. Outside, a soft, steady rain began to fall.

“I’m sorry,” Mary repeated. Her cheeks were smeared with tears and streaks of Isabella’s blood, but her witch’s eyes were calm. “I’ll be good.”

Help Me Help You (The Editorial Process Part 2)

In my last post, I wrote about the editorial process and why it takes so long, and I promised that the next one would be suggestions and strategies writers can use to make that process go more smoothly and, hopefully, a little bit faster. In the interim, I have finished up edits on one big book, acquired two more manuscripts to edit, and written two difficult chapters in my own WIP. So, you know, the monster lurches on. But anyway, as promised ….

Stop Sending Me Your Ratsafrackin First Draft: And trust me, I can always tell. I’m starting with the harshest, most blame-the-writer-y directive because this is the one factor in the process that you, the writer, can absolutely control. I don’t care if you’re Stephen King, N.K. Jemisin, or Charles Dickens finishing Edwin Drood from beyond the grave, your first draft is NOT the draft you want me to see. Because it is not the draft you want the reader to see. Because the reader does not live inside your skin and will never, ever, ever understand it or engage with it or love it the way you do. You know that vitally important thing you figured out about your protagonist just as you were turning the corner on the second act? And that amazingly mind-blowing twist that came to you in the shower just when you thought you were stuck? And the way you kept going back and forth on how to spell the supernatural antagonist’s surname? All of that stuff needs to be revisited and worked through the manuscript as a whole (a hint of foreshadowing here, a corrected spelling there) before you submit it to an editor. And no, Grasshopper, running it through search and replace will NOT take care of it.

At the end of your first draft, you have the story, you have an arc. But you haven’t made it plain what’s important and what isn’t; you’re still just then at that moment figuring out which details the reader needs to notice and which details need to barely register and hang around in the back of their brain until you start setting off your bottle rockets and springing your traps. You probably have a few rockets and traps you haven’t even set up yet. And if you don’t go through your story again and refine your rhythms and shore up your foundations and fix your continuity snafus before you send the thing to me, I’m going to have to do it for you. And even if your first draft is really good and you and I have worked together really well for a really long time, I’m not ever going to be able to do it as well as you could because it’s not my story. I’m gonna screw it up. And that’s gonna piss you off. And we’re going to have to not only fix the problems, we’re going to have to get past the fact that I pissed you off and that you pissed ME off by sending me a first draft you weren’t really ready to see edited. And that’s going to slow our process down.

And btw, kittens, this goes double for anybody submitting for publication in the first place. Any time a writer tells me they’ve sent out a project to a dozen editors and gotten a dozen rejections and they’re ready to give up writing and join the circus, I ask them, “how many drafts did you write before you sent it out? How many other people read it and gave you feedback on it? How much rewriting did you do based on that feedback?” If they tell me several and lots, I sympathize and offer to help however I can. If they tell me they just finished it, got their mom to proofread it, and sent it out, I wish them luck with the elephants. Also, if you’re one of those super-artistic pantser types who writes your stories in a supernatural fever of inspiration from beginning to end, letting the muse and the characters tell you where your story needs to go until you collapse over your keyboard, spent and done with a story that’s a piece of your very soul still dripping tears and hearts’ blood, too precious to be imperfect . . . yeah, don’t send me that shit. Save us both a lot of heartache.** And on a related note . . .  

Don’t Send Me an Unfinished Draft: If you’ve still got one more piece of research to do or one more plot hole to fill or one more subplot to work out or one more name to choose or one more scene to write, you aren’t ready to show me your story, and I don’t want to see it. Nothing sends me into a rage frenzy faster than spending hours and hours editing a book, sending it to an author with my notes, and having them send me back a completely different, completely rewritten book that doesn’t so much address my concerns as render them moot. Because when that happens, I have to start all over again, and everything I did before was useless. And that makes me testy. If you’re not ready to submit, it’s okay; I’ll totally understand. Keep working until you’re ready to send me what you consider to be the finished form of your book.

But please note, this doesn’t mean I won’t make any changes or suggestions or comments. It means the changes, suggestions, and comments I do make will come only from stuff you couldn’t possibly have seen from the inside. That’s the whole point of editing. I work with so many writers who seem to take every critical note I give their story as some kind of commentary on their talent or intelligence—nothing could be further from the truth. Like I said in my last post, I already know you’re an amazing writer. If I tell you I don’t understand why Sally Jane killed the fly with her flipflop in Chapter 9, make it clear she didn’t have a fly swatter. Don’t feel like you have to rewrite the universe so flies don’t exist. You don’t have to be perfect; you can’t be perfect. I’m certainly not, and neither is any other writer. This is a process, not a test. I’m not grading you; we’re making a product together. So relax and work with me, okay?

Meet Your Deadlines: Which I know sounds like a complete contradiction to everything I’ve written so far. But here’s the deal with deadlines. We set them, usually in a collaboration between the writer, me, and the publisher, not just so we have one but so we can plan ahead for all the other steps that have to happen to make the great story you made up into an actual book for publication and for the glorious moment when that book is finally released into the world. If shit happens and for whatever reason you can’t make that deadline, we are not going to be mad at you or fuss at you; we’re going to totally understand and give you whatever time you need. But we’re not going to bring the big machine that is the publishing house to a grinding stop to wait for you to finish; we’re going to move on. Your book loses its place in line; the next finished book behind you moves up into your slot. So when you do turn your book in and ask me “so when’s this going to come out?” I’m going to tell you, “I don’t know, but probably no time soon.” Not because I’m mad you missed your deadline, not because I’m not still wildly excited about your book; I’m not and I am. But just like at the doctor’s office, I gotta work you in. So if your book was due on December 1, 2020, for a release on May 1, 2021, that doesn’t mean if you turn it in on February 1, 2021, it’s going to come out July 1, 2021. Other people’s books are already taking up that space. It means it’s going to come out just as soon as we can get it through the editorial pipeline and find a spot on the roster for it. So it might just come out May 1, 2022. (I say this with authority—the dates I used in the previous example were my own when I missed my original deadline for Stella 4. It was meant to be a ConCarolinas release, but it wasn’t ready for ConCarolinas 2021. So we held it until ConCarolinas 2022.) Again, it’s not that anybody blames you or doesn’t understand why you couldn’t make your deadline. It means your missing your deadline threw off the schedule, and we’ve gotta find a way to make it work.

Be Flexible and Let Go: Like the deadline thing, this is not something you have to do or even that you always should do or even can do. But the more you can do it, the less time it’s going to take to get your book through the editorial pipeline and out into the world. I’m talking about stuff like editorial suggestions, copy edits, and cover art. Your book is your book; that is never in question. And it’s only natural that you should have a vision for it as a story and as an object and that you should care deeply about that vision. But if you don’t trust a publisher to know what they’re doing in polishing and packaging your book, don’t sign with that publisher. Don’t roll over and play dead; if you have an idea or a problem, speak up, that’s part of your job as a writer. The trick is realizing which details really matter and which you can give up.

As far as editing, my own process as a writer is simple. I get my edits, and I read them, and every nice thing slides through my brain so fast I barely see it and every criticism digs in like a rusty fishhook and makes me scream. And scream I do, and cuss, and disparage the ungodly entity that brought me to this pain (my editor) in every possible way for anywhere from ten minutes to two days. And then I read them again and realize not everything is quite so egregious as I thought it was. At that point, I’m able to start the process of making decisions as to what the editor is dead right about and what they might be right about and what they’re so wrong about I can’t stand it and what I can let go. And that’s the version of my response that my editor actually sees, and usually, we work it through very well and come up with a version that pleases us both.

Cover art might be trickier because I have a weird outlook on it. I got so battle-scarred with my first big publisher regarding cover art, anything that doesn’t make me cry seems glorious to me now. Other authors are very much not the same. Again, you gotta be you, but for your own sake, I’m going to say this. The people choosing and/or creating your cover art know a lot more about that process than you do, including what’s selling and what isn’t, and you couldn’t be objective enough to be smart about it even if they didn’t. This is your story; it’s been living in your  head and your heart for a long, long time before you ever start thinking about cover art. So nothing anybody else can think of, find, or create will ever match the vision in your head in a way that feels adequate to you. But the less you’re willing to compromise, the more tightly you clutch that Platonic ideal of a cover in your head, the longer it’s going to take for your book to come out. And sadly, the less likely it is that you’re going to get another contract with that publisher—again, cover artists are busy people, too, and usually quite expensive. So don’t let us make your book ugly. But don’t die on that hill.

Sorry this is so long, but I hope it helps. Bottom line, I want your book to be the best it can possibly be and to come out into the world as fast as it possibly can. You know, just like you do. So let’s do it together.

**PLEASE NOTE: I do not mean to suggest pantsers don’t write great books; of course they do. But the good ones take that first exploratory draft and craft it into something leaner and more focused that speaks to the reader as clearly as it spoke to them. No, I’m being hateful about the pantsers who feel that once they’ve typed “The End,” they’re done, that any change will mar the chaotic perfection of their art. And yeah, I got no time for that.

What Is Your Editor Doing?

… when she’s not editing your book?

Like every writer I’ve ever known or heard tell of, I’m a fretful ball of nerves every time I send in a manuscript. Back in days of yore when I was writing my first books on stone tablets and had never edited anyone else in my life, I would start bitching as soon as the trader’s mule train crested the closest hill that it was taking too damned long for my edits to come back. “It’s taking her longer to edit the thing than it took me to write it!” I would rant to my nearest and dearest. “What the hell is she doing?”

Now that I’m an editor, too, I know. Sadly, unfortunately, tragically, boy howdy, do I ever know.

1.         Her day job: I used to think that editors had offices or cubicles or at least dedicated desk space somewhere at which they planted themselves every morning with nothing to do ‘til quitting time but edit books. If you still think that, bless your heart. These days, even the Big 5 NYC publishers (five . . . four . . . three . . . two . . . ) employ very few full-time fiction editors. And the ones they do employ spend at least as much time on stuff like marketing, statistical analysis, and helping their boomer boss download their email as they do actually editing.

            In my case, I have a full-time, nine-to-five, five days a week day job as a domestic court paralegal. My dedicated desk is here to help people get divorced, not edit books. Do I cheat? Most certainly—don’t tell my boss. But that cheating time is strictly limited by the need to keep up with my paralegal tasks so I don’t get fired. Editing your book fulfills my soul, and I love it. But it doesn’t pay my light bill.

2.         Writing her own book: In the wonderful, madcap world of small press publishing, virtually every editor is also a writer. And for most of us, no matter how much we love you and your book, our own writing comes first. By the time we get to the point in our writing career that we’re qualified to edit, we’ve learned how necessary it is to make our work a priority. As a writer who probably also has a day job and almost certainly has a life outside the stories you make up, you know how hard it is to find the time, energy and inspiration to write a book. So when that opportunity arises, by scheduled design or divine intervention, you’re going to grab it, and so am I. Put another way, if I’m letting my husband walk the dogs alone and letting the dishes pile up in the sink to get this chapter finished, I’m letting your manuscript wait for me, too.

3.         Editing somebody else’s book: When I started editing, I made it a solid policy to never work on more than one book at a time. I thought that was the only way I’d be able to edit and still write my own stuff. But yeah, that went out the window a while back and doesn’t seem likely to return.

4.         Doing promotion, packaging, physical sales, and everything else that goes into fiction as a business in the year 2022: Again, at a small press, the same people who are editing the books are doing everything else, too, from creating social media content to working the sales booth at conventions. In addition to the marketing and promotion work I do for my own work (a full-time job all by its itty-bitty self, I assure you), I try to be an advocate and resource for the authors I edit. I do what I can to help them create their own marketing plans and make sure their voice is heard in the packaging and promotion of their work within the publishing house. As your editor, the person who works for your publisher and has been where you are many times before, that’s part of my job, and I’m more than happy to do it. But like everything else, it takes time.

5.         Reading, watching TV, eating tacos: The TV and tacos are pretty self-explanatory, but the reading is more than just a fun release. To be a decent editor (and writer), I have to read other books in my genre—NEW books. Books that are selling. Books that were created for and are being marketed to the audience my authors and I are trying to reach. It’s fun, and I love it. But it’s also necessary—and time-consuming.

6.         Answering your emails: I hesitate to even mention this because I never want any author to feel weird about getting in touch with me for any reason at all. And if you have a problem or a question; if you’re stuck trying to transition into your third act or you hate the first mock-up of your new cover or whatever, please, by all means, speak up; I’m keen to help. But if you’re just “touching base,” or “checking in” or “seeing where we are,” I will be very nice to you. I love talking to my authors; they are some of my favorite people in the whole wide world. But inside my head, I’ll be thinking, “I’m here; I remember I owe you an edit; I care about that a whole bunch; and I’m doing my fucking job, I promise.”

            And I know that sounds harsh and pissy. I mean, all you’re asking for is a three-line email, right? Five minutes of my attention, tops—hardly too much to ask. Except you need five minutes. And she needs five minutes. And he needs five minutes. And they need five minutes. It adds up fast, particularly when you consider everything else on this list. An editor with a much longer list of clients than mine (and a much more successful sales record with their own work) recently told me, “I could fill my entire week doing nothing but reassuring authors I haven’t forgotten about them.”

And that makes sense. Being a writer is hard; waiting to hear your editor’s reaction to the story you’ve worked on so hard for so long is torture; I know that. Waiting with your hands folded for your book to be published is like dying; you wrote it to be read. The process of getting it from your pen to the bookstore shelf (or your keyboard to Amazon) does take fucking forever; I know that, too, and I’m so, soooo very sorry.

But here are three things your editor is absolutely NOT doing while she’s not sending you your edits:

1.         Kicking back in some dark, seedy basement club for editors, swilling gin and laughing as I read your latest email aloud to my equally vicious colleagues so we can mock your pain together: Honest. I swear.  

2.         Ignoring, forgetting, or ghosting you: I keep a list of my pending editing projects on my computer and physically written down on a piece of paper stuck inside the notebook where I’m writing my own stuff. I see it a hundred times a day. I feel guilty every time I see it. I hate that it takes me so long to get your edits back to you, and all this other stuff notwithstanding, I do carve out hours and hours every week to edit. It’s an important priority for me, not a sideline. And when I’m working on your book, you have my undivided and entirely enraptured attention, I promise. Because here’s the thing; you write great books. Which leads me directly to …

3.         Avoiding the discomfort of telling you your writing sucks: This is the one I hear most often from writers and the one that’s the most ridiculous. First of all, if your writing really did suck, I would want to tell you as quickly as possible to get you out of my editing life, and I probably wouldn’t feel all that uncomfortable doing it. There’s too much good writing in the world to waste time polishing turds. Secondly, if your writing sucked, you wouldn’t be working with me in the first place. My publisher wouldn’t have acquired your book. We wouldn’t be looking forward to making money off your gift—because ultimately that’s what publishing is. My boss buys the books he thinks will sell. He assigns them to me for editing not because he wants me to fix them but because he wants me to help you make them even better. So they will sell more. And make even more money.

Okay, this is already way too long, so I’ll stop. But next week, I’ll be back with some suggestions for writers to make this hideously drawn-out process go a little more smoothly and maybe even a little faster.

Happy Midsummer Night!

In honor of the shortest night of the year, a little snippet from my story “Midwinter” from Eat the Peach. And oh yeah, it’s pretty racy stuff, so consider yourself warned.

from “Midwinter”

In the cold, dark night before the shortest day, the priestess Alena dreamed of summer. She was a maiden again, one of many who might be chosen as the vessel of the Goddess, and she was waiting. All of the maidens were waiting at the center of the circle, hands clasped, as the unholy villagers gathered around them to echo their sacred songs. Any of the holy maidens could be chosen by the Summer King, but Alena knew inside her dream, as she had known that night, that she would be the one.

She heard screaming from the forest at the foot of the hill, the shouts of the Summer King and his huntsmen drawing closer. The maiden beside her squeezed her hand, trembling like a leaf in a high wind. All of them were trembling, voices quavering. But Alena wasn’t afraid.

The king burst from the trees, head lowered—the chosen of the Goddess. His name was Wil, and she had known he’d be the one to take down the stag. The Goddess had whispered the secret in her ear the first moment Alena had seen him. The great antlers were fastened on his head, and the blood of the stag was streaked through his hair and down his naked arms and chest. The other maidens quickly looked away from him, eyes fixed on the ground, voices rising higher as the villagers hailed the new king and his huntsmen. Alena didn’t look down, and she stopped singing. She looked the consort of the Goddess in the eye, thinking, I choose you. The king started toward her, and she broke from the circle and ran.

She made him chase her back into the trees, away from the ritual, so far she couldn’t hear the others any more, only his breathing behind her and the pounding of her own heart. She ran as fast and as far as she could, making him prove himself worthy of the Goddess. If he hadn’t caught her, she would have run all night or dropped dead a virgin in the wood.

But he had caught her. His hand came down on her shoulder, knocking her off balance, and as she fell, he caught her, carrying her to the ground. She pushed against his shoulders, but she didn’t fight. He had won her; she would yield. When his mouth came down on hers, she kissed him gladly, twining her arms around his neck. His eyes were warm and soft, but his cock curved hard against her stomach, and she tasted the blood of the stag on his mouth. She called out the name of the Goddess as he drove inside her, and there was no pain, only waves and waves of pleasure as he filled her up.


Want to read the rest? Get yours by clicking here.

I don’t even know what to title this …

I wrote this story way back in 2012 the day after the Sandy Hook Elementary School massacre. I was a different writer then and a different person–younger, more hopeful, less angry, more easily bruised. Writing it gave me comfort, and I hope reading it can still comfort someone else. But every time this happens, I become less sure that comfort is what we need.


The Teacher

The gunshots were loud, close, coming closer.  Later some of her friends who lived would be saying it had all happened so fast.  But she knew she wouldn’t be with them.

The lights were out, and the door was ajar, so from the hallway the classroom would look empty.  The children were huddled in a ring around her at the back of the room on the Story Carpet.  “Quiet,” she had whispered to them, forcing herself to sound calm, to even smile a little.  “We have to be perfectly quiet.”  They were trying so hard to obey, holding hands with one another, two of them holding her hands.

Please God, she prayed inside her head.  My babies . . . please, God, please please please please please please please . . . .

She felt hands folded over her hands.  She opened her eyes and found him crouched on the Story Carpet with them, an angel.  He was beautiful, and he was smiling, but his eyes were sad.  His wings, translucent in the dim light from the windows, spread and curved around their circle, holding the children as his hands held hers.

I was sent to be with you.  She heard his voice inside her head, and in an instant, she felt calmer.  You don’t have to talk; I can hear you.

She was still terrified.  More gunshots rang out, coming from next door.  Can you save them? she asked inside her head though she already knew the answer.  Can you take them away from here?  A tear slid down the angel’s cheek, confirming what she knew.  She thought for a moment about her husband and her family and her best friend and all the ones she loved so much, and for that moment, she thought she would shatter.  But the angel held her hands and looked into her eyes, and after that one moment, she could stand it.

Can the children see you? she asked.

They can feel me, he answered.  She knew it was true.  She could feel some of the tension going out of them, some of their fear melting away.  The ones holding her hands inside the angel’s hands looked almost dreamy, sleepy-eyed and smiling.  But they don’t need to see me, the angel said.  They see you.

A moment later, the door slammed open–screaming, a terrible  noise.  She had just enough time to stand and turn, arms outspread, to think, no, you can’t have them, you bastard!  And all the time the angel was behind her, hands on her shoulders, holding her tight.  A single, terrible moment of pain ripping through her, screams of the children . . . .

Then she was walking in an open field, green and lush, gentle sunshine all around, a playground from a fairy tale.  The children were running around her like running out to recess, laughing, shouting, perfect in their joy.  She looked to one side and saw the teacher from next door.  She was holding hands with one of her students, a boy who had been in a wheelchair, barely able to speak.  Now he was walking beside her, tall and strong.  And everyone was smiling.

The angel was walking beside her.  “What will happen to them now?” she asked him right out loud, all thought of fear forgotten.

“They’ll decide.”  Peple were coming toward them, calling out greetings.  The children knew them; they were running toward them, arms outstretched, being scooped up and hugged close.  “Some of them might stay here, but most of them will probably choose to go back and start over.  They were all so young.”

“Miss, look!”  A little boy from her class had stopped and was dancing in front of her, pointing.  “It’s my pawpaw!”  An old man dressed in camoflage with a bright orange hat on his head was coming toward them.  Suddenly the little boy was dressed just the same, and he ran to his grandfather’s arms.

“What about you, Teacher?” the angel asked.  A woman had appeared on the crest of the hill just ahead of her, and her heart skipped a beat with joy.  “Will you go back?”

“I don’t know.”  She had an idea that beyond these hills, this place was even more beautiful, not a place of clouds and golden harps but of peace and laughter and love.  But the place she’d left behind had been beautiful, too, with so much love her heart ached remembering it.

She turrned to the angel.  “If I go back, will I remember this?”

“No,” he said, smiling.  All of the sadness was gone from his eyes.  Here, he had no wings she could see.  He looked just like everybody else.  “You’ll start fresh, a whole new life.”  He took her hand.  “But I will remember you.”

the end

The Princess and the Peonies – sneak peek!

So you know how Stella has been engaged to George Barrington since the end of Guinevere’s Revenge? Well, in Stella 4, The Princess and the Peonies, they finally cross the finish line. In more ways than one.

But don’t let me spoil it for you. How about a sneak peek at Chapter 1?

_____________________________________________________

Stella had always thought Barrington Hall looked like a fairy tale castle with its towering spires and lush green gardens. The first time she visited for her mother’s wedding to Lord Henry Barrington two years ago, she found it cold and unwelcoming, a museum full of snobs. But now, coming back to the English manor from Hollywood for her own wedding to Henry’s nephew and heir, George, she knew she was coming home.

She and George were back exactly one week before the wedding. “Ridiculous. I ought to spank both of you,” Stella’s mother said as they took off their coats and hats and handed them over to Hennessey, the butler. “I can’t believe you’ve taken so long to get here.”

“Hello, Aunt Grace,” George said. He shook Lord Barrington’s hand. “Hello, uncle.”

“My boy,” Henry said. “So good to have you home.”

“Honestly, I don’t see how on earth we can manage,” Mom went on. “You must think I’m some sort of magician. Do you realize your Granny Hart is due to arrive here tomorrow?”

“And you and Hennessey have everything well in hand,” Henry said, patting her shoulder.

Stella couldn’t speak. For more than a month, through the most horrible, disheartening, frantic weeks of her life so far, she had clung to George and dreamed of the moment when they’d finally make it home. Finishing her latest picture had been an absolute horror show with a nasty real-life murder smack dab in the middle of it. Now that the murder was solved and the movie was finished and they were finally here, all she could do was cry. “Oh Mom,” she finally choked out. “I’m so sorry.”

“Oh, my darling.” Mom gathered her up in a hug. “My poor sweet girl.” George put a hand on her back as she had a little weep against her mother’s shoulder. “It will all be fine now,” Mom said, stroking her hair. “It will be beautiful.”

“You must both be exhausted,” Henry said. “But no murders on the boat this time, I trust?”

“None that we knew about,” George said. Stella let go of Mom and hugged him, and he squeezed her tight. “We left strict instructions with the steward that unless the victim was Sophie, Sid, or a member of the Royal Family, we didn’t want to be disturbed.” He kissed Stella’s cheek. “All right, then, sausage?”

“Yes, thanks.” She let him go and laughed, pulling herself together. “I can’t imagine why I’m so soppy.”

“Brides are meant to be,” Henry said. “You were, weren’t you dearest?”

“All three times,” Mom said. “But come on, this is England, isn’t it? We should have some tea.”

“Actually, I was thinking of having a nap,” Stella said.

“Think again, puss,” Mom said. “You have much too much to do. Did you have lunch on the train?”

“We barely had breakfast,” Stella said.

“George, darling, you must be starving,” Mom said. “Hennessey, send down to the kitchen for some sandwiches with the tea.”

“Can’t I have a sandwich too?” Stella said.

“If you can eat while you help me plan a seating chart for the reception,” Mom said. “Come into the drawing room so we can get started.”

***

The seating chart was only the beginning. Mom spent the next hour pummeling Stella with what felt like a million details—food, flowers, clothes, guests, the whole pageant of an English society wedding. Henry slipped the leash and fled after the first cup of tea was drunk, but George, heaven bless him, stuck it out at Stella’s side.

“George, your Mr. Knox is apparently out of the country until Monday, but he has promised to be here then,” Mom said. “Though why a boys school math teacher needs to spend so much time abroad is beyond me.”

“It’s a mystery,” Stella said, exchanging a smile with George. The best man was actually a spy for His Majesty’s government, but Mom didn’t need to know that. “But why do we need him so early?”

“Early?” Mom said. “The rest of the wedding party will be here by tomorrow.”

“Rest of what wedding party?” Stella said. “You mean Oliver and Jeremy?” George’s Cousin Clara’s two boys were very much favorites of the happy couple. Jeremy, the youngest at age six, would be the ring bearer, and Oliver, who was nine, would be a very short but very handsome usher. “I thought they were coming with their parents today.”

“They are—their train is due in half an hour,” Mom said. “Clara has promised to help, bless her, and Michael is finally home from the Amazon. So he’ll be here to help wrangle the boys if nothing else, But no, puss, I meant your bridesmaids and Brooks.”

“My bridesmaids?” Stella said.

“Who is Brooks?” George said.

“Stella’s cousin, my brother’s son,” Mom said. “He and Stella were very close when they were children.”

“We spent one summer together when we were five years old, and I’ve seen him less than half a dozen times since,” Stella said. “Mater, where have you acquired bridesmaids? Central casting?” As a silent film actress who was either working or traveling all the time, Stella didn’t have many girlfriends. And she doubted the ones she did have would meet Mom’s criteria for bridesmaids. Her best female friend in all the world was her lady’s maid, Sophie, who had already politely declined the position as a duty she didn’t need.

“Don’t be ridiculous,” Mom said, fussing with her pearls—a sure sign she was about to spring a trap. “Your cousin Veronica is coming with your Granny Hart.”

“I suppose that’s only to be expected,” Stella said. She hadn’t seen much of her late father’s family from Newport, Rhode Island, since she was seven. But she did remember her Aunt Julia who lived in Kentucky having a daughter, Veronica, who was about Stella’s age. “George, we should fix her up with Knox.”

“And Henry thought it would be nice if you asked Jack Pitts’s daughter, Caroline,” Mom said, obviously trying to sound innocent and just as obviously failing. “So you did—or rather, I did on your behalf.”

“Oh Mom, do you really think that’s a good idea?” Caroline Pitts’s brother, Monty, had been murdered on an ocean liner, and Stella and George had solved the case. But the killer had been a man named Charles Ferguson who had been one of George’s best friends and Caroline’s former fiancé. He had been hanged a couple of months before while Stella and George were in Hollywood.

“That does seem potentially awkward,” George agreed.

“I’m sure it will be fine,” Mom said. “Jack is Henry’s oldest friend, and he’s concerned that Caroline isn’t getting out enough these days. And as it turned out, she was actually quite pleased to do it. In fact…” She trailed off, glancing over at George.

“In fact what?” Stella said.

“She asked if she could bring along a friend,” Mom said. “And I thought why not? The more the merrier. Three bridesmaids will look perfect.”

“And what is this merry friend’s name?” Stella said.

“I’ve never actually met her, but I’m sure she’s charming,” Mom said, getting up. “Hennessey, what time is it?”

“The name, Mom?” Stella said.

“Nearly three, my lady,” the butler said. “Shall I send the car to the station?”

“Yes, please,” Mom said. “Better send the big car. Heaven only knows how much luggage they’ll have brought with them. Henry told Michael to bring his things from the expedition.”

“Mom?” Stella said.

“Alisande St. John-Smythe,” Mom said. George sputtered over his teacup. “Her name is Alisande St. John-Smythe, and she’s meant to be lovely.”

George looked stricken. “Aunt Grace, why?”

“I am so sorry, darling,” she said. “I didn’t realize until it was too late to say no.”

“Didn’t realize what?’ Stella said. “What’s wrong with this girl besides her ridiculous name?”

“Nothing,” George said. He caught her hand and hauled her to her feet. “Come on, Mugsy. Let’s hit the station and round up the rest of the gang.”

“But wait,” she said.

He kissed her. “I’ll explain later,” he said with his crooked smile. “Honestly, it will be fine.”

10 Great Romances from 31 Days of Oscar

All I want to do these days is stay home and watch Turner Classic Movies – it’s 31 Days of Oscar month! As you could probably guess even if I didn’t talk about it all the time, I am an absolute sucker for old movies. And looking over this year’s schedule, I’m realizing just how much influence and inspiration I’ve taken from them in writing my own versions of romance.

The whole month is stuffed with great films (and not so great films that were overrated in their day), but I can draw a straight line from any of these to my own ideas about relationships and the stories I’ve written about them. (All aired or will air on TCM at some point in March 2022; some are streaming on HBOMax.)

Cabaret (1972): I saw this the first time on pay cable in the middle of the night when I was about 12 years old, and if you hold a gun to my head and ask me to name my absolute favorite movie of all time, I might very well say this one. It is a classic example of a big ideas, big concept epic that is held together and made real by the love story at its center, scary and swooney and sad. It was the first romantic story I ever really engaged that wasn’t about two cis straight people; it introduced me to ideas like the potential beauty of decadence in squalor and art as the whole universe and sex as both a game and an expression of the soul. And Liza Minelli literally sings her heart out. I recently introduced my teen-age niece (a goth theater kid after my own heart in every way) to it, and she fell completely in love just like I did. Streaming on HBOMax

Dr. Zhivago (1965): My grandmother, who I adored, absolutely adored this movie, and the first time it came on network TV, we all gathered at her house to watch it. And Omar Sharif and Julie Christie and Geraldine Chaplin were all impossibly beautiful and tragic and yearning, and I got completely caught up in the story. But later, thinking about it, I realized that as a love interest Yuri Zhivago was not, to use the time-honored Southern expression, worth the dynamite it would take to blow him up. Weak and indecisive, he half-heartedly tries to do the right thing with no conviction and ends up making everything worse for everybody every single time. He was my first, “he’s pretty but damn” romantic hero, and I make a concentrated effort to never write a guy like him myself. Streaming on HBOMax

The Philadelphia Story (1940): One of the greatest screwball comedies of all time and a major inspiration for my own Stella Hart stories. I adore almost every little thing about this movie about a prideful but hilarious society beauty and the poor saps who just can’t help falling in love with her. Katherine Hepburn’s persona is on perfect display here and used to its best possible effect, and neither Cary Grant nor Jimmy Stewart was ever sexier. I watch it every single time it comes on and always will. Streaming on HBOMax

Sense and Sensibility (1995): If you’re only going to allow one Jane Austen movie adaptation into your life, skip the many excellent versions of Pride and Prejudice and pick this one. Alan Rickman gets to break out his perfect yearning lover face in a role where he actually survives the story AND washes his hair; Hugh Grant is the best version of his floppy-haired English heartthrob self, and Kate Winslet and Greg Wise both look good enough to eat. And when Emma Thompson as Eleanor breaks down in happy sobs at the end, she is every smart, sensible woman who ever finally got exactly what her foolish heart has always wanted, and she is glorious. Showing March 13 at 8:00 p.m.; streaming on HBOMax

Wuthering Heights (1939): This is not my favorite movie adaptation of the gothic classic; that would be the version from 1992 with Ralph Fiennes and Juliette Binoche. That one hews much closer to the original story, and Fiennes and Binoche play Heathcliff and Cathy much more as written than Laurence Olivier and Merle Oberon do in this film. But this is the one that turns a very twisted and complicated psychological novel into a swoon-worthy tragic romance. It omits the entire second volume of Bronte’s original, so the audience never sees just what a sadistic, controlling piece of crap Heathcliff actually becomes. And in Oberon’s portrayal, Cathy becomes less his match in cruelty and more the innocently careless seductress so popular in romances of the day (think Scarlett O’Hara or Bette Davis’s character in Jezebel–the Depression Era version of the Manic Pixie Dream Girl). But Olivier never looked more beautiful or acted more romantic on screen. When he plunges out into the storm in pursuit of the ghost of his beloved, my heart breaks every time. Showing March 14 at 2:30 p.m.

Camelot (1967): Beautiful Vanessa Redgrave as Guinevere can’t sing a lick, and Guinevere as a character is kind of a twerp. Handsome Franco Nero’s Lancelot struck me as bombastic and over the top and anything but romantically appealing even the first time I saw this when I was about nine. But Richard Harris as Arthur is pure delight–that Guinevere breaks his heart to be with Lancelot just proves what a nincompoop she is. And this movie was my gateway drug not just to the Matter of Britain but all medieval fantasy, aka the absolute best thing ever. If I hadn’t sat up half the night watching this on TV in my grandmother’s living room with my Aunt Kathy all those years ago, I might have missed out on Dungeons & Dragons, Lord of the Rings, and about half of my own fiction catalog. Showing March 18 at 1:30 a.m.; streaming on HBOMax

A Fish Called Wanda (1988): This not-quite-a-Monty-Python comedy makes me laugh until tears run down my face every time I see it. I would love it even if it had no romantic subplot to speak of. But the love connection between Jamie Lee Curtis’s sexy jewel thief Wanda and John Cleese’s repressed barrister Archie Leach is one of my all time favorites in any movie ever. Like every femme fatale since Barbara Stanwyck came down the stairs in a towel and an anklet, Wanda goes after Archie boobs hiked and guns blazing in the beginning to take something he has. Her pretending to be smitten with him starts out as one of the jokes. Why would a girl like Wanda ever go for a guy like Archie? (His name is a clue, though–Archie Leach was Cary Grant’s real name.) But of course the great twist is, she falls for him for real. She chooses him over the prettier but abysmally stupid Otto (played by a very pretty Kevin Kline) not just because Archie really can speak Italian and Russian but because he’s smart and kind and sees her even when she’s faking. Repressed or not, he tells her with absolute sincerity and no hesitation that she is “the sexiest girl [he has] ever seen.” Who could resist that? Showing March 20 at 3:00 a.m.

The Gay Divorcee (1934): Fred Astaire and Ginger Rogers and another major inspiration for Stella Hart. It’s all snappy dialogue and impossible settings and frothy costumes on Ginger Rogers that swirl like seafoam when she dances and a plot that even if you manage to follow it makes almost no sense whatsoever. It’s a sanitized version of a much more sophisticated musical play, The Gay Divorce, with songs by Cole Porter. Astaire and Rogers would play a much more coherent version of a slightly naughty mistaken identity plot the next year in Top Hat, also a favorite. But this is the one with that heavenly dance number set to Porter’s “Night and Day.” Showing March 22 at 12:15 a.m.

Casablanca (1942): If you don’t know why this one made the list, I can’t help you. And if you’ve never actually seen it before, I’m jealous. Play it, Sam. Showing March 26 at 11:00 a.m.

Dangerous Liaisons (1988): Far and away the most heartbreaking story on this list. And this list has Cabaret, Wuthering Heights AND Dr. Zhivago. Michelle Pfeiffer, John Malkovich, and Uma Thurman are all insanely good, and Keanu Reeves is very, very beautiful to look at. The story is sexy and chilling and impossibly sad, and Malkovich makes a perfect dark romantic anti-hero. (Yes, John Malkovich! I know, right?) The cruellest kiss off ever uttered is apparently, “It is beyond my control.” And yeah, Cruel Intentions is based on the same book–if you like that, please watch this. And bring a tissue. Showing March 27 at 2:00 a.m., streaming on HBOMax.

Brown Butter Ginger Snaps

‘Tis the season for sharing time-honored family recipes, and I have a bunch of those–my grandmother’s fruitcake, my mom’s snowball cookies, the obligatory Southern woman’s cheese straws. But this year I’ve decided I’m not going to bake as much. I’ve got so much else to do, and frankly, y’all, I’m tired. So I tried to think of the one thing I make that neither of my sisters can make just as well or better, the Christmas treat that is so much me and so good I can’t do without it. And I came up with this. It isn’t a family recipe; my mama never made a ginger snap in her life. It’s adapted from a recipe I found on another baker’s blog less than five years ago. But it has become the cookie everybody asks for, and it’s the one I want to eat.

So I hope y’all will make a batch of your own and have an amazing holiday!

Brown Butter Ginger Snaps

Ingredients:

2 2/3 cups AP flour

2 1/3 teaspoons ground ginger (I’ve never used fresh or candied ginger in these, so I don’t know if it would work)

1 teaspoon ground cinnamon

¼ teaspoon ground cloves

1 teaspoon baking soda

½ teaspoon salt

1 ½ sticks (3/4 cup) of butter, browned and brought back to room temp

1 cup granulated sugar

1/3 cup brown sugar, packed

2 large eggs, room temp

¼ cup molasses (mild not blackstrap)

½ teaspoon orange zest

½ teaspoon vanilla extract

Coarse decorating sugar

Several hours before baking:

Melt the butter in a small pan over medium-low heat, stirring frequently and cooking until it turns light brown and smells slightly nutty. Watch it; this takes forever, but when it starts happening, it happens FAST. Transfer to a small bowl and bring it back to room temp in the fridge.

About 90 minutes before baking:

Whisk together flour, ginger, cinnamon, cloves, baking soda, and salt, set aside.

Add butter and sugars to body of a stand mixer with paddle attachment, beat on medium until light and fluffy, about 2 minutes. (I have done this with a hand mixer, and it was fine, but a stand mixer makes life much easier.) Beat in eggs one at a time, incorporating well and scraping sides as needed. Add molasses, orange zest and vanilla, beat until combined. Slowly add flour mixture in increments, beating just until combined. Cover bowl with plastic wrap and chill in the fridge for an hour. (Or overnight – I’ve left this as long as two days, and it was fine.)

Preheat oven to 350 degrees. Line two baking sheets with parchment paper.

Roll dough into 1” balls, roll the balls in coarse sugar, space them on the baking sheets about 2 inches apart. Smush them with the flat bottom of a whiskey glass. Sprinkle on more sugar if you think it needs it. Bake 9-10 minutes until puffed and lightly golden. Cool on baking sheet for 5 minutes, then cool completely on wire rack. Makes about four dozen. Fair warning: these cookies are more chewy than ‘snappy,’ which I like. But if you want a more biscuit-like texture, add another 2/3 cup of flour. I have even used the stiffer dough to make gingerbread cutouts.