Katherine Wyvern's ramblings, art and photography. Scroll at your own risk.
Showing posts with label A Muse to Live For. Show all posts
Showing posts with label A Muse to Live For. Show all posts
Sunday, 8 December 2019
Rainbow Awards Winner - Best Transgender Romance 2018-2019
I am more honored and happy than I can possibly express in words that both A Muse to Live For and Spice & Vanilla were voted Best Transgender Romance(s) of 2018-2019 at the Rainbow Awards.
I could never have dreamed of such a wonderful tie! Both these stories mean so much to me, especially Muse, and they happen to be subtly interconnected, so it's lovely to see them making their way in the world together!
Story-telling is a lonely occupation as a rule, but publishing a book is not, and in this occasion I'd like to mention and thank all the people who made this Award possible for me.
First of all, Sandra Bunino and Lynn Burke, who sponsored my Rainbow Awards entries at a time when I was fantastically broke.
Christine Klocek-Lim, the acquisition editor who decided these crazy, bittersweet, convoluted, obsessive stories were worth publishing.
Evernight Publishing, who gave a home to my books again and again.
Jay Aheer for the lovely cover art on all my recent releases.
My editor, Karyn White, who tirelessly fights with me over every story and somehow manages to make my more introverted characters talk, so that readers can get to know what's going on in their heads, something I tend to neglect!
All the friends and readers who took the time to comment and encourage me, and give me confidence in my writing, especially (in random order) Jessie Pinkham, Christine Potter, Katerina Ross, Sally Bend, Lea Bronsen and K. T. Vaughn.
And all the wonderful men and women who have inspired my stories and helped my characters come to life, in particular Tim Boyle, Paul Boche, Henry Ian Cusick, and my true muse and much missed friend, Danila Kovalev, without whose contribution A Muse to Live For would never have come to life.
Labels:
A Muse to Live For,
Evernight Publishing,
Rainbow Awards,
Spice & Vanilla,
transgender romance
Tuesday, 12 March 2019
Victorian research - The Bustle Dress - with illustrations by Nicole Rubio
When I wrote A Muse to Live For, I spent more time doing historical research than actually writing. It is normal with historical fiction especially if it is your first! I became quite fascinated with Victorian clothes, and I am delighted to have discovered the beautiful art of Nicole Rubio, and to have her permission to use it on my blog as I ramble on a little about the Victorians and their apparel. I hope this post stirs your interest not just in my book, and Victorian fashion, but also in this artist's amazing talent and her deeply moving journey.
"When I could see my work I was too much of a perfectionist and severely blocked. It was only when it became real that it was now or never that I was willing to try. Somehow it felt like I had less to lose if I was starting with a handicap."
Nicole Rubio
Bustle 8
"Delicate Presence"
"Delicate Presence"
Pastel Drawing on Paper
ⒸNicole Rubio
"What bothers me most is losing color, which I can still see some, but not with the subtlety I could before. I am legally blind, due to a degenerative retinal disease."
Nicole Rubio
One of the things I had to figure out for this story, where
Gabriel/le, my main character does quite a lot of dress-making, dressing up
and, ahem, undressing, is how on earth these cmplex outfit were put together, and worn.
Man outfits of the time were not so very
different from modern suits, but Victorian women clothes are… well, there was
such a bloody lot of them, to begin with! There is no doubt that getting
dressed was a bit of a hassle, although much less than one would think. It
would take about fifteen minutes to get ready to go out, from drawers to
hat-and-parasol, with a bustle dress of the kind worn by the middle-class woman
(or the better dressed lower class, too) in the 1880s. I did choose this decade
because bustle dresses are definitely more attractive (at least to me) than the
cumbrous bell-shaped crinoline gowns that preceded them, and they seemed to fit
my main character’s style much better.
So how would you wear one of these? They look so incredibly
complex, that it’s difficult to understand how one can get in or out of them.
So I ventured into a journey of discovery, and tried to understand each element
of these complicated outfits.
First, a chemise, to go under the corset, and drawers, if
you were so inclined. My MC does not believe in drawers, much, and it must be said
that a knee-length ruffled, flouncy things lacks a certain sex-appeal to the
modern eye. Victorian drawers were not completely boring though. They were crotchless,
to begin with, for ease of uh… chamber pot use. That might explain why the
can-can was considered such a scandalous dance. Try throwing your leg and
skirts far up in the air with a pair of crotchless panties… well, you get the
picture. But, if you thought that the love-slit was a modern kinky twist on
lingerie, think again…
Then stockings and boots. What? They wore their boots before
getting dressed? Why, yes. Before the invention of the zipper, boots were
fiddly. Lots of laces and/or tiny buttons. Not easy to work those while wearing
a stiff corset that makes it impossible to bend forward with any ease. But you
can see that this opens quite some doors to the fetish-inclined mind. Because
after the boots one would put on the corset (which contrary to common opinion,
a moderately limber woman could well tie by herself, at least after the
invention of the hook and eye fastening for the front), and there you have a
very pretty image, of a stockinged, booted wo/man in a tight corset… well, mind
out of the gutter, Wyvern.
Bustle 1
Pastel and Ink on Paper
Ⓒ Nicole Rubio
"As I have gotten older and my eyesight worse, my work is less about seduction and increasingly about the fear and vulnerability, I feel in facing new situations."
Nicole Rubio
Add a bustle. The bustle is of course the crucial point of
the bustle dress, and the signature element of the fashion of the time. The
cheaper ones were basically horse-hair-stuffed pillows one tied over one’s butt
to give the skirts a lift behind, and that typical high-rear profile, but the
expensive ones were complicated bits of work, including hoops and tabs, and
tapes, and complex cages with springs, and even musical boxes, sometimes. I kid
you not. All these strange contraptions had to be fastened to one’s waist, and
shaped the back of the skirts when one was walking, and folded like a
concertina when one was sitting. I am not sure how easy it was to go about one’s
business with such a complicated apparatus hanging from one’s ass. But it was
certainly easier that the far more enormous gowns worn in former decades.
Over the bustle, a petticoat (underskirt), and a blouse. And
then a skirt, and an apron overskirt (the ruffly, draped, upper part of those
complex multi-layered skirts). Over these
a taille (basically a tight jacket, matching the skirt), and then all the
necessary accessories (collar, gloves, shawl, or a coat, if one could afford
it, muff, reticule, parasol/umbrella, bonnet/hat).
It was a lot, and new clothes were expensive. Those were the
days when much work was still hand-made and time-consuming. Sewing machines did
exist (since about 1846), but they were still slow and they could do little
more than “plain work” (straight simple seams), and although the labor force
(read: lower classes) were plentiful and paid barely enough to survive (if at
all), the complex, highly embellished garments of Victorian fashion were
expensive. The middle and upper classes could afford new clothes, but the
poorer people most often bought second hand, adapting and fixing them as best
they could. Darning is a lost art now, but very much an endless chore at the
time. The interesting part of this is that a handy lower-class girl could very
well wear very pretty clothes, if a bit faded. Even boots were sold and worn
again until each owner found them too disreputable, and resold them to someone
less picky or more desperate.
Bustle 15
“Tuffet in the Rain”
Pastel and Graphite Pencil on Paper
Ⓒ Nicole Rubio
“For an artist capturing the outer world, what matters most is the light. For an artist capturing the inner world, what matters most is honesty.”
Nicole Rubio
And when clothes became really unwearable? There was still a
lot that could be done with them. Even the poorest rag was valued and could be
bought and sold and put to use. Sometimes in fascinating ways. For example the
front of a gentleman’s vest, with all those time-consuming button-holes (if you
have ever hand-sewn a button-hole, you will know that those are represent real
value) could be reused to fashion the top of buttoned boots. At the very least old
fabric could always be taken apart for making new yarn, which in turn was used
to make a new fabric called “shoddy”.
Please visit Nicole's website to see more of her magnificent bustle drawings, and find out much much more about her art and writings.
You can also follow Nicole on Instagram
@nicolerrubio
Special thanks go also to my Instagram friend @mauveink, who generously shared her knowledge and expertise when I was researching obscure dressmaking details for my story.
Labels:
A Muse to Live For,
art,
artist,
blind artist,
historical fiction,
Nicole Rubio,
pastel drawing,
pencil drawing,
Victorian,
Victorian London
Thursday, 14 February 2019
It's live!!! A Muse to Live For - now available!
Ok, I am really emotional about this one, so I don't know if I am excited or panicking, but Nathaniel and Gabriel/le are out there in the world!
Come take a plunge in the 1880s and deep into the souls of my favourite characters ever!
And it's an Editor's Pick!
Come take a plunge in the 1880s and deep into the souls of my favourite characters ever!
Find A Muse to Live
For at Evernight
London, 1884
An artist lives to create. When Nathaniel’s urge to paint
died, so did his will to live.
Until the night he meets Gabrielle.
Gabrielle may be just a poor prostitute, but she has the
beauty of a Pre-Raphaelite stunner and the otherworldly aura of a fallen angel.
She also has a secret. Gabrielle is Gabriel, and when Gabriel’s dark past comes
knocking and Gabrielle must abandon her new career as an artist’s model,
Nathaniel’s whole world comes crashing down again.
Better to die than living without her love, and the
breathtaking creative drive she brought him. But it’s dead easy to die for a
woman. Any fool can die for love. To live for it, that takes altogether more
courage, doggedness, and imagination.
Be Warned: transgender romance, queer romance, cross-dressing,
m/m sex, anal sex, rape
Labels:
A Muse to Live For,
Evernight Publishing,
Gay romance,
historical fiction,
trangender,
transgender romance
Saturday, 9 February 2019
A Muse to Live For - Official Excerpt Sneak Peek
I had meant to post this to my Wix Website first, but the Interwebs is so slow today that I will put it here instead. Here's Muse's official excerpt. It's sensual and bittersweet, I hope, like the rest of the story.
London, 1884.
An artist lives to create. When Nathaniel’s urge to paint died, so did his will to live.
Until the night he meets Gabrielle.
Gabrielle may be just a poor prostitute, but she has the beauty of a Pre Raphaelite stunner, and the otherworldly aura of a fallen angel. She also has a secret. Gabrielle is Gabriel, and when Gabriel’s dark past comes knocking and Gabrielle must abandon her new career as an artist’s model, Nathaniel’s whole world comes crashing down again.
Better to die than living without her love, and the breath-taking creative drive she brought him.
But it’s dead easy to die for a woman. Any fool can die for a woman. To live for her, that takes altogether more courage, doggedness and imagination.
COMING SOON from Evernight Publishing
... a book with my soul in it...
❤️💔❤️
Official Excerpt:
I am not sure how to touch
Nathaniel. I want him to kiss me again, I want him to hold me, I want him to
look at me that way he does in his studio, when he watches every line of my
body and sees a woman. And at the same time, I wish he would see me for what I
am, all that I am, once and for all, so I don’t have to hide anymore.
So I shed my jacket, and the blouse
underneath. I shiver a little in the cold when my arms are bared, and he runs
his warm palms on my goosebumps, soothing them.
Then I stand to unbutton my skirts
and petticoat, and untie my bustle, and I let it all swish down around my
knees, and I stand here naked, in my small chemise, and stockings and corset,
and my boots.
I am still silk-skinned and woman
shaped.
Except
for that one thing.
I steal a glance at his face—I can
hardly bear to look at his eyes, standing here so naked—thinking he will wince, or frown. Or scream, what do you
know. You can never tell, with a sensitive artistic temperament.
But he does none of these things.
Instead he goes to his knees on the
floor, like a man about to propose in some play, and with a sort of mute
reverence he strokes my thighs and my buttocks, and the back of my knees,
through the stockings. When he lays a kiss and then his forehead on the hard of
my hip, where the bone pokes sharply under my skin, I put my hands on his crazy
hair, and hold him there, and with the barest, lightest touch of his fingertips
he caresses the front of my corset, on my belly, and then down, down.
And to my acute embarrassment, the
damn thing shivers to his touch,
stiffening, rising.
Well. He has certainly seen me,
now. He really has.
He is not screaming.
I pull him to his feet and I step
out of my puddled skirts, and gently I undress him. Jacket and shirt and
trousers and drawers, socks, everything.
He is as tall as I am, which I had
never noticed, because he always stands with his head bent and his shoulders
slumped. He’s not muscular, but there is no fat on him either. He has
well-built bones under his lumpy clothes—he badly needs a good tailor—and he
would be rather handsome if he held himself straight, with his chin up, and
didn’t look so much at odds with himself. He’s pale, but not as pale as I am,
and there is just the merest spray of hair on his chest.
I caress his skin all over as I
undress him, and he looks transfixed, as if it had never occurred to him that
it takes two to dance this dance. Perhaps he thought I’d make him spend the
night on his knees adoring me.
The heat of his skin is like a deep
current, and it draws me to him.
We stand here mute, the only sounds
the drumming of the rain and the swish of falling clothes, and gently kissing
lips.
When I push him to lie on the bed,
I have a moment of dread that he might want to do that to me. I cannot have it. I will not be taken that way
ever again.
I’ll make my living giving blowjobs
for the rest of my days, I guess.
But I am not afraid of him. I do not believe he’d be capable of
hurting a fly, let alone me.
“So, do you fancy that blowjob,
finally?” I whisper in his ear, smiling, but he holds me close, too close for
me to slide down along his body.
“I love you,” he whispers, his lips
on my ear, so that words are made into a caress, “I love you, I love you.”
“Hush,” I whisper back, bearing
down on him, grinding my cock on his. “Don’t say such things. It cannot be. It
can’t.”
“This night, this once, please, let
me say it. I love you, I love you, I love you.” His body rises to meet mine,
and I feel those tears spilling now, with joy, and grief, and pity. Pity for him,
for me, for both of us, lost in this narrow garret under the drumming rain,
orphans in this storm, desperately naked in this terrible iron city.
“Only this once, then,” I whisper.
“Tomorrow, you must forget.”
And before he can answer or kiss me
again, I slip out of his arms, and down, along his chest and belly, so he
cannot see me cry.
I have pleasured so many men this
way, but never one I loved, and maybe it’s the same thing, and yet it’s
something altogether different. He’s all silk and warmth and heaving life and
fire pulsing, and his flesh matters
to mine, so that my whole body loves his.
“You—don’t—have—to do this,” he
whispers at first, but then he surrenders finally, and lets the pleasure take
him.
I told him, the first time we met,
that I’d do him for free. Who would have guessed, then, that I would end up
doing him for love?
And I don’t know if he’s a
virgin—but he is indeed quick. His cock grows even tauter on my tongue, and he
breathes in short, hard gasps a few times. When his body arches and heaves and
his hand fumbles at my cheek, I hold him, and hold him, and hold him… He comes
with a broken moan, hotly. I swallow it all.
On the street I never do. But here,
now, with him, I could not bring myself to spit.
You can also read the beginning of the first chapter here.
Labels:
A Muse to Live For,
coming soon,
historical fiction,
muse,
trangender,
transgender romance,
Valentine Day,
Victorian
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