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Visit my Website for all the blurbs, excerpts and news!!
Showing posts with label character art. Show all posts
Showing posts with label character art. Show all posts

Monday, 25 February 2019

Character portrait - Hugh

It took me a while to get round to post this because I have been awfully busy this last week, but I am so delighted by this unique birthday present I got on Valentine day! The ever-awesome Katerina Ross made a portrait of Hugh, one of the three MCs from Spice & Vanilla!!

This is especially lovely because Hugh is my favourite character in the book, but for various reasons I never got round to make a sketch of him. And now I don't need to because Katerina absolutely nailed it (nailed him would sound ahem, wrong?)
 

Hugh had started out (I am an absolute pantser) as a secondary character, and if not quite a villain, at least as a bit of a dick... but then he began rewriting himself from the inside out, and he became this incredibly deep, multifaceted, wonderful person... he's my true voice in the story.

So here's a post all for him, a complete character portrait.

Hugh is a Dom, and has a rough, grumpy hide... he's also a musician, and a music teacher... and his favourite musicians are the great Neo-Romantics... that should be a hint that there is more to him than meets the eye, right? 


"Rachmaninov’s Piano Concerto no 2 was on, as loud as was admissible in a city flat, or maybe a little louder, and Hugh was sprawled on the sofa like a large cat, soaking in the music. He had already taken off his shirt, which lay abandoned on the back of the sofa, but he must have gotten cold because he had snuggled under a plaid.

“Took your time,” he said, with a yawn, without opening his eyes.

That was his typical style.
“Rachmaninov, really?” she asked, tossing the shirt out of the way. “Bloody neo-romantic racket.”
He waved his hands like a cook wafting some elusive smell to his nose. “At least, as classical music goes, it’s got some hair on its chest.” And that was the highest compliment Hugh could pay to a musical composition.
The recording was terrible, crackly and tinny. Horrid. Hugh seemed to divine her thought.
“It is himself, on the piano. In 1929. Surprisingly fast, eh?”
Lucie shrugged, then bit her lower lip and bowed her head. She could taste lipstick on her teeth, which was sexy as hell. Oh well. Rachmaninov would cover the noises, at least. Mostly. Hopefully.
“Come here then,” said Hugh, throwing the plaid aside, sitting up and patting his knee invitingly.
Hugh was a man of average height, with short, fuzzy, dark hair thinning slightly around a widow’s peak and a semi-permanent stubble (greying now) on his chin and jaw. He was neither especially good looking nor in any way unpleasant, and dressed rather shabbily at almost all times. He was in fact an entirely unremarkable man, except for a limited set of small tics that betrayed a rather more active and nervous mind than most. Which was why people would have been flabbergasted by the impressive set of tattoos that adorned his chest, shoulders, and upper arms. They were somewhat faded and partly obscured by the luxuriant growth of dark hair on his torso, but even so, they gave him a distinctly wicked look, absolutely at odds with his sarcastic but otherwise pretty harmless everyday manner....."


Hugh is a good cook (always a great asset in a man). He does quite a bit of cooking in the book, but since he's the Spice in the story, I will share his hot Puttanesca recipe.

““Fancy some dinner?” asked Hugh.
“Nah. Ate something on the way here.”
By the vagueness of the “something” and Raphael’s pale, pinched looks, Hugh doubted that very much, but sometimes he just didn’t have the energy to argue the point. He dished out his own meal and went to sit on the sofa close to Raphael, hoping that the smell of homemade puttanesca sauce would eventually entice him to take a bite or two. Sometimes, it was all that you could do for him.
Indeed, after a while Raphael relaxed enough to go poking around in the kitchen and pick at the pasta left in the pan with a wooden fork. He didn’t fill a dish, or sit down, mind, just ate a few mouthfuls standing by the hobs, like a long, thin, picky stork...”

Hugh’s Puttanesca (note that the word Puttanesca refers to a whore, or bitch. It’s a dish that should be *very* spicy )

-one large onion, chopped
-3 or four cloves of garlic, finely chopped
-one cup (approx.) of Greek black olives, destoned if you prefer
-one heaped table-spoon of salted capers
-one can of peeled tomatoes
-hot chili, fresh or dried, to taste (I like it *hot*! Hugh is the Spice!)
-a small bunch of fresh oregano, or a very generous pinch of dried one
-olive oil
-Parmesan cheese, grated
-300 g pasta (the tradional format would be spaghetti, but I like fusilli)
-Fresh basil (optional)

Feeds 4 city people, or 2 hard-working farmers  ;)

Gently sauté the onion and garlic in a large pan (with bit of olive oil). When softened but still pale, add the chili, olives, and capers. Sautè until the onion is slightly colored at the edges. Add the tomatoes and simmer for ten minutes or so, until most of the liquid has evaporated but the sauce is still pretty loose. Add the oregano and set aside.
Cook the pasta, drain it and bring the sauce back on the fire. Mix in the pasta, and a spoon of olive oil. Adjust seasoning, take to the table in the same pan, and after dishing it out, scatter generously with Parmesan cheese and some basil if you like (do not, for the love of all that is holy on this good green earth, cook the Parmesan cheese and the basil in the pan).







Want to see Hugh in action in his Dom persona? Here's a little excerpt from the famous "metronome scene". This scene got more comments from readers than any other in the book. :)


Hugh watched him stroking away with great contentment. He was totally worn out after a crazy day at work, and it was not always easy to find the energy to satisfy such an enthusiastic masochist. There were days when he wished Raphael were a bit less fond of being spanked and whipped, but he always did his best to oblige him. The thought of his Raphael going out there looking for release from God-only-knows-whom, and getting hurt for real by some less scrupulous or talented Dom was just unbearable. Still, tonight he would lie back and relax. Mostly. I will have to help him eventually, he thought with a slightly evil grin, but I can take a breather first.
Raphael stroked in perfect tempo. He was one of the most technically exact musicians Hugh had ever played with, after all. Too exact, in fact.
It would do him so much good to let go a bit, to just go with the flow, be wild and imprecise and purely passionate. Then he would not need so much of this.
Tick—tock—tick—tock—tick—tock, went the metronome, and Raphael stroked and stroked. It was a good while before Hugh could tell, from a small furrow between those blond eyebrows, that the unchanging, slow rhythm was beginning to frustrate him. He smiled a bit wider and said nothing, devouring his beautiful quarry with his eyes. He watched, entranced the fluid play of flesh and skin as Raphael’s long pale cock, a nice ruddy purple by now, sank and reemerged into and from his fist, the velvet-like foreskin lapping beautifully over the shinier, silky glans, the testicles bouncing softly to the rhythm as the scrotum was pulled up and released. It was hard to resist the temptation to throw the whole scene to the devil and just take that cock in his mouth and suck it empty.
This is without exception the best use a metronome was ever put to.
Raphael’s body was developing a number of small, charming tics and twitches. He briefly lifted his left knee from the mattress then relaxed again. His right wrist was pulling on the strap from time to time, and his breath was coming in slightly ragged bursts.
Still it took a long time. Too much control, thought Hugh, smiling. Tsk-tsk.
Tick—tock—tick—tock.
He slowly unfolded his hands and moved to sit between Raphael’s legs. He spit on his middle finger and watched Raphael’s face, half hopeful, half anxious, as he slowly approached his anus. He didn’t hurry. He let Raphael wait for it. He would beg, in time, Hugh knew, but there was no need for that, not yet. He finally pressed his fingertip to the twitching, tight, live rose of flesh and felt it jolt and spasm. He massaged it in circles, with relish, and didn’t even try to penetrate it. Raphael was shaking all over, trying to press down on his finger, but there was just so far he could stretch, tied as he was. His belly muscles went taut. They were contracting in random, jerky convulsions. Hugh had never seen anything so beautiful.
Then Raphael missed a beat. His hand had picked up pace, ignoring all orders. Raphael whimpered, trying to compensate to get back in the right tempo. The double change of pace made him squirm all over. He swallowed twice and missed the beat again. This time Hugh slapped the inside of his thigh, very hard. Raphael could take a long regular series of well-spaced blows with relative ease, but a single hard slap coming down out of the blue like that drew a ragged cry from him.
“You do know what tempo means, I asked?” Hugh said, in a plain chatty voice. He had never had any taste whatsoever for histrionics. He was not, he had never been, a theatrical Dom. He wasn’t in it for setting up a show. He just got the job done.
“Yes. Yes!” said Raphael, a bit frantic. He managed to stick to the rhythm for a minute longer, until Hugh gently stuck his finger just within the ring of his anus. All of Raphael’s body twisted, and he lost all track of the cold, mechanical rhythm of the metronome.
And that is exactly what you need, my love . Too much playing by the rules, too much fucking control. You need to find your own tempo, and just let go.
Five or six fast hard strokes followed. Hugh slapped him twice, on his thigh, and, when he turned suddenly, on his butt. And then Raphael came, on the third slap, as he flopped flat on his back again, crying out in pleasure or pain, or both. It was hard to tell. Semen spurted out in beautiful, long, arched white streamers, splattering over Raphael’s belly, chest, and even his face.
It is difficult to aim while being spanked hard.
Hugh watched him coming, avidly.
He was so naked. So vulnerable, so unguarded. Hugh, who felt, every day, that he might shatter like glass, on Raphael’s unearthly, impossibly graceful, self-possessed beauty, lived for these moments, to watch him released of all self-consciousness and all bonds. Strange, how it took a bunch of leather straps to get him to do that.
“Ah, oh, shit. That hurt,” Raphael whispered after a minute. “Not complaining, mind,” he added, with a small edgy laugh, wiping some drops of sperm from his lips and eyebrow.
“Good,” said Hugh, quite composed, despite the erection straining in his pants. Watching Raphael twitching and jolting while covered in glistening semen was not a sight to leave him unmoved. He reached out for the metronome, stopped it and lowered the weight a tad, then started it again.
This was a faster, business-like tempo.
“There you go, hot lips,” he said to Raphael, who was still breathing hard from his orgasm.
“What? Wh—but…”
Hugh gave him a small devilish smile. Raphael was perfectly capable of coming two or three times in one night, but, like most men, he needed a while to recuperate in between. Well, tonight, he wasn’t getting it.
“You didn’t think it would be that easy, did you?”

......
But there is more to Hugh that just being "capable". There is a whole world of passion and emotion under that rough and gruff mask...


"...He had never been able to talk about Raphael. Raphael was too much like a sharp blade sitting dangerously close to a vital organ.
He sat in front of the glowing screen, clasping his hands and stared and stared.
How do you say, please forgive me, don’t go away from me, don’t leave me, without sounding like a complete and utter pillock?
How do you say, I am nothing, and nothing, and nothing, if I think that I could lose you. If I think that I may have lost you already. How do you say, in an email, I am but darkness, and you—the light?
Hugh sat, clasping his hands, and rocked and fought back tears.
“Raf, please, pick up the phone.”
He knew, he had always known, with cold, sickening certainty, that he had failed to love Raphael the way he wanted to be loved. Oh, he had given him all the kinky and twisted things he liked, but he had never let him get too close. He had always held himself apart, at a distance, too terrified to fully engage all of himself. He had used his sarcastic humor and lofty Dom aura in a desperate attempt to keep some sort of balance in their relationship, because in truth he had always suspected—no, he had always known, in the darkest, least acknowledged corner of his mind—that he was not worthy of licking Raphael’s boots.
Raphael was everything he could only possibly dream to be, beautiful, smart, naturally impressive, socially easy.
He was art made flesh, and a talented artist. He had it all, and he was even nice, on top of it. Hugh had always been so much in awe of him, so sure that Raphael was bound to bolt with some other stunning creature more like him, soon or late, that he had had to armor himself in sarcasm and stay aloof, against the inevitable fact that he was going to lose him. It was that, or falling at Raphael’s feet and surrendering to him his heart, blood and life, like a bloke in a play. Pathetic.
I am but darkness, he thought again and again, sick with this desperate, terrified heartache he had had for seventeen years, and you are light and flame. You would burn me to cinders. If you could have me whole, you would go through me like a lightning strike and leave me nothing.
I can’t love you in a civilized way. I must keep you separate or devour you and be devoured. And there is so little of me to devour. And then, if I lost you, there would be nothing left at all.
How the fuck do you put this in an email? It would be easier to say it in music. If only I were good enough I would. I’d write a whole fucking symphony, for you, my love. Oh, my love, my love, don’t leave me.
He clapped the laptop shut and tried his hand at a letter, the old way. Pen and paper. The pen lay on the sheet untouched while Hugh clasped his hands.
How do you write the absolute certainty that you will break yourself upon someone’s beauty? Shatter, like glass, like water, scatter to nothing, like stardust. Hugh could see it clear as day in his mind, but there are no words for it. He could almost physically feel his heart scattering, like a dandelion clock, one seed and then another and then another, until nothing was left but something bald and naked, something finished.  He clasped his hands tighter and tighter under the table. To keep himself whole.
I would be obliterated. I would be nothing, and nothing, and nothing, if I let myself get that close to you. I would fall in you and be swallowed whole, like a poor burning comet in a white flaming star. And you wouldn’t even notice. You wouldn’t even notice.
You have no—fucking—idea what it’s like to be someone like me, looking at someone like you...."

And that kids, it's why an ancient poet wrote, 
"Even coals can glow like stars, when they are burning."

You can find Hugh in Spice & Vanilla 

With a million thanks to Katerina Ross for the wonderful art. 

Saturday, 24 November 2018

Book News, A Muse to Live For

What happens when a gender-queer romance meets with the author's lifelong obsession with D. G. Rossetti, his stunning models, and the great poets of the 19th century?
Hopefully, good things.
The "Victorian Story" was at first called Paint Me True, and it originated from a curiously vivid and "well narrated" dream I had pretty exactly a year ago. I filed it under "future short stories" and left it at that, because I was writing Spice & Vanilla and I was completely taken up by it.
And it was to be a short story (of course) and very straight(forward) (of course). Easy peasy.
Well, unfortunately (?) I am crap at anything easy-peasy, so when I actually started to tinker with it last February,  the tale immediately grew in the telling, especially when it appeared that it could be connected to Spice & Vanilla, however tenuously, so that it became the third installment of my "transgender trilogy". After that there was no chance of keeping it simple. Ahem.
Despite the gender queer aspect however, the core of the story is the artist's experience, his inspiration, and the obsession, passion and depression that go with it, a topic that is very very deeply rooted in my own soul and experience.
Sometimes the story became a strange almost supernatural experience. The more I read and wrote about Rossetti the more eerie coincidences I found.

It is also a very, very heartfelt love story. I love it passionately, and I think that together with Woman as a Foreign Language it is my favorite piece of writing ever.
I made many character sketches for this story, mostly of Gabriel/le, not surprisingly,  but also of Nathaniel, although he is very much my alter-ego and didn't like to have his picture taken.


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 a 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 love. Any fool can die for love. To live for it, that takes altogether more courage, doggedness and imagination.
#transgenderromance #queerromance #crossdresser


Model for Nathaniel is Henry Ian Cusick. Model for Gabriel/le, Danila Kovalev... as always. I am struck by how much Danila K. resembles Rossetti's models, and often, when describing Gabriel/le in the story I found myself using contemporary descriptions of Lizzie Siddal and Jane Morris.And once, I discovered, which was both beautiful and rather unsettling that Rossetti and I had picked exactly the same words, independently, because I am sure I had not read that before, to describe the agonizing separation from our muse and love... Writing this story has been indeed a strange experience...


Here's a few pages from the beginning of the story, just to get in the mood of it...
(unedited)



A Muse to Live For

Chapter One


London, November 1884

Nathaniel

A mirror is an awful thing to have about one’s home.
One can, with care, go about life lightly, without knowing of one’s own existence, which is not a bad state of affairs, considering. Invisible and insensible, one can live on. In a manner of speaking. I, of course, have been a dead man for five years. But one can go on, in a way. In a sort of muffled darkness. Careful not to make a sound, or raise any dust.
Until one has to shave. The mirror stares back at me haggardly, telling the whole tale over again.
Dead. Dead to the world, and buried in these two darkened rooms.

It is fairly poor taste to disturb the dead, and I resent the intrusion as much as any dear departed would. If only Henry would let me lie in peace.
This mania for the music hall has become a perpetual nuisance. Hardly a month passes that I don’t have to go through this torment. It’s Henry’s way of doing me a kindness, or so he says. Says it will cheer me up. It doesn’t. It’s sickening. But I go anyway, because Henry’s ruckus if I don’t go is worse. Not in the amount of noise and exertion perhaps, but it’s more personal. At the music hall, I just float away. It’s just noise.
It might be easier to go and spend one and a half penny at the barber shop; but I dislike the man’s hands on me; he chatters without pause; his suspiciously pliant and universal political views annoy me; and besides, I’d have to walk the length of the road in my current state of unkempt overgrown shagginess. Worst of all, I would have to pass Mrs. Crabwood’s parlor downstairs. She thinks unshaved men should come and go through the traders’ door, which I would not mind, as such, but her reproving look would be unbearable.
I wish people were not so ready and eager to look me in the eye. If eyes are windows in the soul, should we not grace them with some privacy? There’s not one person on this earth whom I’d want to know my soul, and me theirs.
No, better to face the soulless mirror, and my own darkness. Marginally better, at least. I find scissors and snip unevenly away, before taking up the razor. The scissors are blunt like everything in here, and each cut pulls the skin, as if niggling at the puckered proud flesh over a half healed scab.
The scab being me.
It’s a twenty minutes-walk to Henry’s, most of it along the river. In summer it would be a pleasant walk, under the spreading plane trees, with the boats plying on the sunny water. Now my boots plash softly into sodden fallen leaves, and slick horse muck. Still, the bare trees looming in the mist have a gaunt beauty, and for a moment, the briefest moment, I wish I had a pencil and a sketching pad with me, to jot down the twisting, muscular forms of their outstretched limbs.
Time was when I never went anywhere without paper and pencils. But that man is long gone.
I am just in sight of number 16, Rossetti’s house—he’s gone these last two years, poor tormented soul, with all his women and his menagerie, may he rest in peace—when a gentleman in a dark coat steps out of a cab not two yards from me and hands out an elegant lady, who turns around to shake out the folds of her gown and unwittingly looks me right in the eye. I shudder, hurrying on.
Really. I mean it. If it’s true that eyes are windows in our soul, why do we look people in the eyes? How many people have you ever known that you’d want to share your soul with? One? Two? Twenty? Fifteen thousand? Or maybe none at all?
****
Gabriel

There is this to be said for my profession.
I can sleep in.
That unspeakable time of day, the early hours of the morning, when the whole world trudges along the streets with dead eyes and heavy feet, on to another day of toil, is spared to me.
I see the tiredness of the world at the other end of the day. But by then it’s dark, and there is not much to see, and the tiredness has a different flavor. To me, that’s mostly the flavor of a man’s spendings, which I mostly spit on the pavement. You get used to it. You get used to almost anything, given time.
Darkness or no, I must be seen of course. I am the one in the stolen foggy spotlight of the lamppost’s golden halo. But the darkness outside stares back blankly, and mostly I like it that way. I have seen enough of the world to last me a lifetime. My business needs the night, in any case.
I wish I could say my bed is warm and comfortable, but mostly it’s lumpy, damp and cold. But it’s mine and quiet, here at the top of the silent house. Mrs. Gride doesn’t like noise. She says it makes her temples ache, which is all stuff of course, but still, we all creep about as quiet as mice. No, much more quiet than mice. They do not listen to Mrs. Gride’s injunctions about walking along the drugget, talking in a low voice and making no sounds. I can hear them chewing and scrabbling behind panels and wainscots at night, when the house sleeps, and I come home to my lonely room. Usually they are the only ones to welcome me back. I’m always the last one to return. I feel a bond of likeness with them. We all live at the edge, behind screens. It doesn’t stop me from throwing shoes at them when they cross the room too boldly, or go close to my wardrobe. I have little enough as it is. The mice will have to nest elsewhere. I am not a charity institution after all.
In the morning the bed has a narrow strip of warmth in the middle, a stripe exactly as wide as my body, and I must not move, lest I stray on the flabby cold linen outside, but still, eventually I find the nerve to reach out and fetch my cigarettes, and light the first of the day. I smoke it in bed, my one and only indulgence. I have become adept at smoking in bed without shedding ashes on the sheets or setting myself on fire.
I watch the thin, ghostly, white smoke curling and floating towards the pale grey skylight, swirling into a puff of breath. It’s likely to be the most beautiful thing I’ll see all day.
I have a small pile of work to do for the girls downstairs, so I finally heave myself out of bed. I don’t ask money for these small jobs. By tacit agreement, I help out and the girls close an eye on my strangeness. It works very well for all involved.
Later, much later, in the light of a single candle, I shave at my little mirror (an evening ritual, for those like me). As usual I give fervent thanks that nature hardly gave me any beard to shave. Then I shed my trousers and my waistcoat and my shirt and wear my other things.
The stockings, which need mending again, but will do for one more night, in the dark, a small chemise. Then I put on my boots, with small heels and about a thousand fucking tiny buttons. They are old, second hand or third, like everything I own, but well-greased and waxed and buffed to a sheen. It’s cold out there, and wet.
And then my tight, tight corset. It needs some fancy bending to lace it up by myself, but I am limber. I pull the laces as tight as I can around my waist, feeling the shape of me change, like some creatures are said to change in the light of a full moon. The core of the corset is whalebone and steel, stiff like armor. It knows my true shape better than my body does. It hardly needs padding at the chest, hard as it is, but it suits me to pad it anyway, for the weight of it, with two silk cravats I keep for the purpose, so old, worn so soft by use, so waxy with the damp of my skin, that they almost melt to my chest. My skin is all tingling now, and it’s not the cold. Silk and steel hug me so close, so much tighter than my day clothes. I am almost naked, and yet every bit of me is more defined and clear, like I have come into sharper, truer focus in the searching eye of a telescope.
I paint my lashes and my eyelids, black and black, to make my eyes shine. I paint my lips red. That marks me as the whore I am, and I don’t mind.
I am what I am.
My wig hangs from the corner of the wardrobe. Freshly brushed, the blonde hair shines in the candlelight and waves like a ghost in the faint breeze as I open the wardrobe door. Maybe the ghost of the woman whose hair it is, who knows. She might well be dead. I don’t know what would be creepier, to wear the hair of a dead woman or the hair of a live one. Still, I’m stuck with the wig for now. I am not pleased with the color, which does not mix with my dark hair. But I got it almost cheap in Middlesex Street. It was the sort of bargain where nobody asks too many questions.
I wear my violet skirt over a small horse-hair bustle and a blouse and tight bodice. I don’t button this all the way up, but I put on a shawl, for the cold. The wig, which in summer would hitch and sweat, is almost a comfort now. I look at my mirror one last time as I tie my hair in a loose chignon at the nape of my neck, and stab it through with a horn comb. No pins.  I learnt the hard way not to trust a man around a hairpin. The mirror is too small to see much. My pale face, the dark circles of my eyes, the red lips, the ghostly locks. All the rest I can only imagine.
But that is my life. Imagining myself, conjuring myself into existence … especially the parts that don’t fit in the narrow, narrow picture.


A MUSE TO LIVE FOR
Coming
2019