Genre: M/M Nonfiction
First of all, the author says: “And dialogue is one of the key ways to keep sex scenes distinct and significant.”
He also says: “Each scene must move your story forward.” And “Dialogue is useful for propelling the plot forward and for making quick, seamless transitions.” Apparently, speaking during sex is a good way to do it.
Dialogue? In bed while having sex? O.K. Maybe it’s fine for you but for me... If you want me to never be aroused, just speak during sex.
Below is a piece of advice given by a publisher:
“An ideal submission for anything would be a well written/edited story, characters the reader can identify with, a story that keeps the reader glued to the pages, and an author willing to participate with us as a publisher.”
Except for the last part, anybody knows that’s what publishers want. No need to read this book to learn it, isn’t it?
“Once customers grow tired of a trend, they will certainly look for something else, but unfortunately, no one possesses a crystal ball to predict what it will be.”
After telling us in hundreds pages what are the trends (publishers’ very enlightening opinion like the one above) and what the market dictates, we are told:
“Write the story that you want to write—not what the market dictates. With so many choices, it's true that readers tend to look for something new but trends, much like bell-bottoms and mullets, will pass so be true to yourself and your characters.”
Some publishers say that the writer must be ready to advertise their books, others say:
“Writers should write—marketers should market.”
“But no amount of promotion or marketing can make a poor book into a best-seller.”
After being told that a writer’s time is precious, that he/she must use it to write, we are said that we should have a blog and visit it regularly and we also should:
“[...] take active part in a number of online communities and discussion groups.”
“In addition to a website you need a mailing list [...].”
“Join groups that you really want to take part in—and take part.”
“[...] communicate with other writers. Spend time with writers. Take a class. Join a local or provincial or national writers group. Meet people who see the world the way you do (or maybe not), who can dispense personal "how to" advice.”
“Stay involved and stay engaged in the world around you.”
“—Hold contests, scavenger hunts and website giveaways (including everything from free books to gift baskets, candles, etc.).
—Purchase professionally made bookmarks to hand out at signings, mail to bookstores, give out at conferences.
—Post excerpts from new releases on mailing and discussion lists.
—Buy Google adwords.
—Exchange banners and links with other authors; set up or take part up author webrings.
—Buy banners and online ads at review and other GLBT sites.
—Buy print ads in GLBT or genre-specific venues.
—Maintain a MySpace presence.
—Join an advertising co-op with other authors.
—Enter your work for awards like the Eppies or the Lambda Literary Awards.
—Buy or make video trailers on websites and YouTube.
—Network on sites like GoodReads, FaceBook, etc.
—Get your stories accepted by the larger and more prestigious e-publishers.
—Attend conferences and workshops—taking part in panels.
—Conduct online writing workshops and seminars.
—Do booksignings and live appearances.
—Hire a publicist or promotional company.
—Write reviews or nonfiction articles in your area of expertise or on the writing life.
—Take part in online chats.
—And—in my opinion the single most important thing you can do—brand yourself through your writing.”
Okay, but if we do it all, when do we find time to write? I thought that a writer’s job was writing.
“You can lose entire days to loops and chats and blogging and interviews and before you know it, you've got a deadline crashing down on you.”
“By the way, I'm sure you've noticed that the opinions of reviewers and editors and publishers often contradict each other—not to mention me.”
Yes, sure I noticed.
This is not a bad book if you’re more looking for authors’, publishers’, editors' and marketers’ feelings about the book market than for true information on writing M/M novels. Not that there isn’t any, but I can estimate that 10% of the book truly concerns the writing process itself.
Maybe, it’d be a great book to read for a beginning writer. You know, the youth who thinks that’s a great idea to write a M/M version of Fifty Shades of Grey or of Millennium, and who gets easily offended if a publisher tells him/her to go make her/his homework before sending another novel. But I didn’t find much to help me to improve my writing. Maybe this is partly because I don’t like romances. The best piece of advice for me in this book is: “Write the story that you want to write”. Even if the title says: “Writing M/M Fiction”, this is more about romance. And trying to write romance stories when you usually find them boring is not a great idea. Not that all my characters don't love each other by the way, but I can't consider a lot of my books to be romances.
So I give this book three hearts.
From the moment I started the Renegade series, I absolutely fell in love with the characters that Skye Jordan brought to life, gobbling up Reckless with Jax and Lexi's oh so sexy airport texting and Rebel with Wes' southern boy charm literally charming the pants off the strong-willed Rubi. So when I heard that the fiesty secretary Rachel Hart was getting her own novel, I jumped the moment Ricochet was released and was all over it like white on rice.
I wish I could say that I was absolutely blown away by this third installment but unfortunately, I can't. Don't get me wrong, I definitely enjoyed it, this book almost had all my boxes ticked, but there were a few bits I just couldn't come to terms with and therefore stopped me from really enjoying the book.
* I loved Nathan Ryker. Absolutely loved him as a character. He is every wicked and sensual dream that you've ever had plus more. He's absolutely intense and his animal magnetism is undeniable. You can just feel his intensity dripping from the pages, especially when he's focusing that intensity on Rachel.
His PTSD is heartbreaking and you can't help but shed tears over his nightmares and the bitter shame when he realises that people have witnessed him during his moment of weakness. But what absolutely and forever enshrined him in my league of book boyfriends who have forever ruined me is his love for the men on his team and how easily he voices it.
Ryker laughed, but his eyes were already wet, and he couldn't do anything about the tears squeezing out onto his face. He wiped at them before he dropped his hand. "Can I...I don't know...hug you or something?"
There's nothing quite like a strong man showing his softer side that gets my heart pumping like crazy with overwhelming feels.
* The steamy sex scenes. Oh my goodness, if you thought that Reckless and Rebel were hot reads then prepare yourselves for the hot mess that is Ricochet. So absolutely delicious that I just can't even.
* The main issue I had with this book was Rachel's character. I absolutely loved her to pieces in the previous installment and couldn't wait to read more of her feisty self. And for the first few chapters we saw that sexy side of her and there was much rejoicing in the land. But then her character dips for me with her constant rejection of Ryker. Maybe I'm being naive about this but I honestly couldn't understand her reasoning. I thought for someone who was pegged as the fiesty little secretary, she should have had no problems with telling Troy to bugger off with his opinions. I honestly tried to cut her some slack when her back story was revealed, a betrayal from a sister something that struck quite close to home for me, but my sympathy dried up with what I felt was her doing her best to play a raving shrew. Not to mention her attempt at a flippant dismissal of Ryker towards the end. Honestly could not stop shaking my head at that.
I guess I couldn't help but compare this a little with Love in the Afternoon, which is probably why I couldn't quite connect with Rachel.
* The only other issue I had was the spelling mistakes. I was kinda surprised at the number I found, not to mention the number of grammatical errors. Not really a deal breaker but it was noticeable enough for me that it distracted somewhat from the overall story.
Would I recommend this book? Yes, absolutely yes. Even though it was frustrating for me at times, I seriously enjoyed this book. Enjoyed the raw emotions and the fact that love is not something that always comes easily. Looking forward for the next installment in this awesome series.
An academic book that examines the negative societal perception against sadomasochism and interprets its subsequent management as a combination of guilty fascination and truth claims presented by science, feminism, film and law.
The first section establishes definitions for the terms sadism and masochism in addition to revealing their etymological origin. It reflects on classic theories from psychology, sociology, and biology about sadism and masochism. It also highlights the societal and legal consequences of sadism, masochism, and paraphilia becoming entries within the different editions of the Diagnostic and Statistical Manual of Mental Disorders.
The second section gives a broad, in depth overview of the Feminist Sex Wars with examples mainly from Britain and the United States. It examines the different ideologies of anti-porn feminists and sex-positive feminists. It explains why some feminists were against sadomasochism especially when it was depicted in pornography and the different defaming campaigns endorsed. It places additional emphasis on how lesbian feminists that practiced BDSM or identified it as part of their sexual identity were ostracized. The essay attempts to present both sides of the debate but the negative stance against sadomasochism is given more weight.
The third section is a collection of in depth film analyses for mainstream movies that feature elements of sadomasochism as part of the plot. It emphasizes the feminist perspective, relationship dynamics, symbolism, contradictions, inaccuracies, discrimination, and perceived messages. The films analyzed include; Cruising (1980), Videodrome (1983), Crimes Of Passion (1984), Something Wild (1986), Hellraiser (1987), Basic Instinct (1992), Body Of Evidence (1993), Exit To Eden (1994), Pulp Fiction (1994), Preaching To The Perverted (1997), Nine And A Half Weeks (1997), One Night At McCool's (2001), Secretary (2002), Killing Me Softly (2002), Wedding Crashers (2005), and Walk All Over Me (2007).
The fourth section summarizes Canadian court cases and instances of censorship that were pivotal in establishing pornography regulation in addition to creating the criteria for labeling something as obscene. It lays the foundation for the fifth section that summarizes Canadian and British court cases where an individual's sadomasochistic lifestyle played a prominent role in sentencing or was the reason for them being on trial. The summaries are comprehensive with embedded narration that questions the semantics of the rulings and identifies common themes of perceptions. It also illustrates the ambiguity and obscurity of the abstract threshold of what is acceptable or perverse. It discusses the paradox sadomasochism presents especially when examined from a legal standpoint. The book concludes with a summary and an analyses of the Fifty Shades of Grey book trilogy and Rihanna's 'S&M' music video.
Vicarious Kinks is a social commentary with an academic structure that identifies common themes in societal conjecture against sadomasochism. It examines how they relate and affect one another to the point of influencing law. I liked how the book illustrated this evolution and progression in terms of time. A majority of the focus is placed on the 1980's to late 1990's which made the information feel dated. However, it demonstrated that attitudes from the past played a pivotal role in more recent court cases involving sadomasochism that took place throughout the 2000's. Vicarious Kinks doesn't present any new information or thoroughly examine either stance but identifies correlations, patterns, and recurring themes.
[Disclaimer: I received a copy of this book from the publisher, University of Toronto Press, through Netgalley in exchange for an honest review.]
THREE AND A HALF STARS!
At only 175 pages, Deviant is a very quick, hot and action filled read. It follows the story of Sloane Romera's desperate search for her missing sister Alexis. She is willing to do anything to find her, including giving up her v-card to an intense stranger for information that can potentially lead her to Alexis' whereabouts. But the lead falls through and Sloane's left reeling from the betrayal. Until she meets with the stranger, better known as Zeth, at the hospital where she currently works at two years later. Things are still intense and heated between them and it doesn't take long before their relationship explodes.
I enjoyed this novella for the most part. I think it could have easily been longer so the cliffhanger had me squinting at my computer screen in frustration. There are a lot of trigger potentials so a massive warning to anyone who may not be able to stomach a darker read. There were quite a few spelling mistakes and such but they were very minor and overall did not affect the overall story. Also, the two mcs are definitely likeable. Sloane was a better stand out character than Zeth in my eyes, she was just so incredibly BAMF to me and it was easier to connect with her, even despite it being a novella.
Why not five stars? The lack of five stars was really a personal issue. I had no idea how dark this book was (well, dark in the sense that I generally read books about rainbows and sunshine and candy) so when the sex scenes came and it was like:
Me being the weiner that I am was like:
I'm sure those who have a stronger stomach than my puny one will have no problem handling this read.
Looking forward to continuing the story.