Blog

I’m excited about a few things right now, and I wanted to share. For starters, I have two books coming out in the near future. The first is one I wrote with my mother, a sequel to her bestseller, THE MUMMY or RAMSES THE DAMNED. This one’s called RAMSES THE DAMNED: THE PASSION OF CLEOPATRA and it releases this November. (Check out the banner on my Facebook page for info about a fun giveaway.) The second is a thriller I wrote on my own called BONE MUSIC: A BURNING GIRL NOVEL. It’s the start of all new series featuring a kick-ass heroine who gets her hands on a drug that gives her a burst of superhuman strength whenever she’s terrified. (And yes, there will be gays.) That one comes out in February. I’ve just started copyedits on it. At the end of this month, I’m traveling to New York to do a signing at Book Con, the author centric portion of the Book Expo of America. I’ll be signing copies of RAMSES THE DAMNED but *I will be there WITHOUT my mother so don’t be disappointed when you get to the front of the line and it’s just me. I might have a consolation cookie for you just in case, but you’ve been forewarned, OK?* It also looks like I’ll be doing a casual booth signing at San Diego Comic Con this July. Stay tuned.

But can I tell you what I’m *really* excited about? I mean, really, really excited about? I’m not entirely sure of this, but my weekend social media use strongly suggests it and so I’m willing to speculate about it openly, but it’s entirely possible that Nora Roberts takes weekends off. In case you’re unaware, Nora Roberts is America’s most popular novelist and she has one of the most enviable work ethics of any writer publishing today. I’m also a big fan of her work. Her novels are consistently absorbing and filled with places where I want to live and people I would love to live there with. Her dialogue sparkles and sings and the romantic moments in her books feel gratifying and earned. And she manages to maintain this level of quality while writing something on the order of 612 books a year, keeping a massive garden at her home, cooking for family and friends and maintaining a regular exercise schedule. Meanwhile I spend most of Sunday debating whether or not I should go the gym. It’s amazing, when you think about it. Sometimes, when I’m feeling lazy, it’s *too* amazing, and asking myself, “What would Nora Roberts be doing right now?” only to realize the answer is probably, “Writing!” doesn’t inspire me so much as it produces a kind of self-defeating envy in my soul. So imagine my satisfaction when I saw on her blog and Facebook pages evidence that maybe, just maybe, she took the weekend off to organize some boxes in her guest room. This gives me hope that I can manage to lounge on the sofa now and then, rewinding all the Max Riemelt scenes in SENSE8, and still someday achieve Nora’s level of productivity and greatness.

So what are you guys excited about right now?

Over 100 Million Copies Sold Worldwide

HOLLYWOOD, Calif., (April 28, 2017) – Paramount Television and Anonymous Content have optioned the rights to 11 books from acclaimed author Anne Rice’s best-selling series, “The Vampire Chronicles.” Christopher Rice, four-time New York Times Bestselling® author and recipient of the Lambda Literary Award, will pen the series and serve as executive producer alongside Anne Rice, and Anonymous Content’s David Kanter and Steve Golin.

“It is undeniable that Anne Rice has created the paradigm in which all vampire stories are measured against. The rich and vast world she has created with ‘The Vampire Chronicles’ is unmatched and sophisticated with 90’s gothic undertones that will be perfectly suited to captivate audiences,” said Amy Powell, President, Paramount TV. “The series is full of compelling characters led by Lestat, arguably one of the greatest original characters, literary or otherwise. We are thrilled to collaborate with Anne, Christopher and the team at Anonymous Content on this epic series.”

“Together with our partners at Paramount Television, we are embarking on a fantastic journey with Anne and Christopher Rice to bring Anne’s unparalleled imagination to television at the moment when the medium is experiencing a global apex in the demand for the most outstanding, exciting and heightened premium dramatic programming”, says Anonymous Content’s David Kanter. “’The Vampire Chronicles,’ in its entirety, is not only a phenomenally complex universe of story-telling, it is also a world-wide readership whose connections to the books and their author are deep and abiding. It is a tremendous responsibility to help bring the books to television, and we are thrilled to have this opportunity.”

“I’m thrilled beyond words to be working with Paramount TV and Anonymous Content –known for extraordinary cutting edge series such as “True Detective,” “Quarry,” and “The Knick,” said Anne Rice. “In this unique golden age of television, I couldn’t ask for a finer or more passionate team to help bring my beloved vampire hero, Lestat, alive in a series of the highest quality. This is a dream come true, both for me and for Christopher and for the fans who have been asking to see the Brat Prince in this medium for years.”

Christopher Rice added, “The first great day for me on this project was when my mother asked me to partner with her on it. The second, is the announcement of this thrilling partnership with Paramount Television and Anonymous Content. For decades now fans of ‘The Vampire Chronicles’ have been clamoring for a long-form television adaptation of this galaxy of content. Just a glance at the libraries of these two innovative, groundbreaking companies makes clear why they’re perfectly suited to granting this wish. Add to that their passion and enthusiasm for the long term vision Mom and I share for this series, and we’re confident this exciting deal will result in many excellent things for Lestat in the universe of television.”

Anne Rice is a New York Times Bestselling® author of over 30 novels. Her first novel “Interview with the Vampire” was published in 1979 and has become one of bestselling novels worldwide and was the basis for the internationally acclaimed 1994 motion picture, INTERVIEW WITH THE VAMPIRE, starring Tom Cruise, Brad Pitt, Kirsten Dunst and Antonio Banderas.

“The Vampire Chronicles” is the latest project in the continued partnership between Paramount TV and Anonymous Content, which have a first-look production deal for scripted television programming across broadcast, premium cable, cable and online audiences. The competitive deal was negotiated by David Goldman and Erika Kirkwood for Paramount TV, and Creative Artists Agency and Christine Cuddy of Kleinberg Lange Cuddy & Carlo LLP on behalf of Anne and Christopher Rice.

Previously announced projects from Paramount TV and Anonymous Content include “Berlin Station,” a 10-part series airing on EPIX and now in production on its second season; “13 Reasons Why,” streaming now on Netflix, based on the New York Times bestselling YA book by Jay Asher, directed by Oscar® winner Tom McCarthy and written by Pulitzer Prize® winner Brian Yorkey who executive produced along with Selena Gomez and McCarthy; “Maniac,” a 10-episode, straight-to-series to be directed by Cary Fukunaga starring Emma Stone and Jonah Hill, ordered by Netflix; a drama series based on Caleb Carr’s “The Alienist” for TNT, based on the best-selling novel from Caleb Carr, directed and executive produced by BAFTA-nominated director Jakob Verbruggen along with executive producers Emmy Award® winner Cary Fukunaga, Academy Award® winner Eric Roth, Academy Award® nominee Hossein Amini and Anonymous Content’s Steve Golin and Rosalie Swedlin; “Spoonbenders” based on Daryl Gregory’s highly anticipated novel; a series based on New York Times Bestselling book from Rebecca Traister, “All the Single Ladies: Unmarried Women and the Rise of an Independent Nation;” a series based on 9 year-old journalist and budding author Hilde Lysiak’s book series “Hilde Cracks the Case;” “Smoke Gets in Your Eyes: and Other Lessons from the Crematory,” adapted and executive produced by “Nurse Jackie” co-creator, Evan Dunsky, based on Caitlin Doughty’s New York Times Best-Selling memoir; “The Windfall” based on Diksha Basu’s highly anticipated debut novel with Indian filmmaker Shonali Bose (Margarita With A Straw) attached to write and direct the pilot; and “The Silent Corner,” based on the highly-anticipated novel from #1 New York Times bestselling author Dean Koontz.

# # #

ABOUT PARAMOUNT TELEVISION
Paramount Television develops and finances a wide range of creative television programming across all media platforms. Its robust slate of programming with top distributors includes the 5 Emmy® Award winning live musical event GREASE: LIVE (FOX), which holds the record-breaking telecast title with more than 17MM viewers worldwide and is ranked as the No. 1 most social live musical event ever, the Emmy® nominated Nickelodeon hit SCHOOL OF ROCK, Tom Clancy’s JACK RYAN (Amazon), 13 REASONS WHY (Netflix), MANIAC (Netflix), SHOOTER (USA), BERLIN STATION (EPIX), THE ALIENIST (TNT), GALAXY QUEST (Amazon), VARSITY BLUES (CMT) and THE WARRIORS (Hulu). Paramount Digital Entertainment (PDE) has developed series such as BAJILLION DOLLAR PROPERTIE$ (NBCUniversal’s Seeso), HOTWIVES OF ORLANDO and HOTWIVES OF LAS VEGAS (HULU), RESIDENT ADVISORS (HULU), BEEF (Fullscreen) and the one hour special, CRASH TEST (Comedy Central and Vimeo). Paramount Television and Paramount Digital Entertainment are part of Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment. PPC is a subsidiary of Viacom (NASDAQ: VIAB, VIA), a global content company with premier television, film and digital entertainment brands.

ABOUT ANONYMOUS CONTENT
Founded in 1999 by Managing Partner Steve Golin, Anonymous Content is a leading management and Film, TV and Commercial production company. Anonymous Content manages the careers of many of the world’s most renowned and innovative directors, writers, actors and comedians, working closely with them to achieve their goals by both creating and finding opportunities for them, whether in feature films, television, commercials, music videos or brand integrated content. Anonymous Content’s clients have been recognized with Academy Awards®, Emmys®, Golden Globes®, Tony Awards®, Pulitzer Prizes® and other prestigious awards. The company’s award-winning Film & TV division boasts many commercially successful and critically-acclaimed works, including BABEL, WINTER’S BONE, BEING JOHN MALKOVICH, ETERNAL SUNSHINE OF THE SPOTLESS MIND, 50 FIRST DATES, COLLATERAL BEAUTY, THE REVENANT and Best Picture Academy Award winning SPOTLIGHT. The company’s TV slate includes “True Detective” (HBO), “The Knick” (Cinemax), “Mr. Robot” (USA Network), “Schitt’s Creek” (POP), and “Berlin Station” (EPIX), as well as upcoming titles “13 Reasons Why” (Netflix), “The Alienist” (TNT), and “Maniac” (Netflix). Through its Commercial work, Anonymous Content is also the driving creative force behind countless top brands, including Prada, Nike and Coke. In 2016, Anonymous Content received a substantial minority investment from Emerson Collective, the organization founded and run by Laurene Powell Jobs, to allow the firm to expand its production offerings in socially-relevant content aimed at inspiring change. For more information, visit www.anonymouscontent.com.

You can only write what you know? Nonsense. Let me translate this statement. There is a certain type of writer (and reviewer) who believes the only legitimate form of fiction is the kind so directly fueled by a writer’s personal experience it’s almost impossible to distinguish it from memoir.

Why these individuals don’t just commit themselves to writing and reading non-fiction is beyond me. But I suspect they want to drag a little bit off fiction’s power – the power to give a complex, messy situation a tidy ending – without finding themselves lumped in with the practitioners of certain genres they resent for not being “literary” or cool.

Honestly, I wish they’d just be quiet. I wish they’d stop trying to clip the wings of aspiring and emerging writers with restrictive maxims that seek to turn their own insecurities into a set of codified laws governing the making up of stories.

Perhaps there’s some truth to the idea that all good stories start with a general emotional foundation with which the writer is intimately familiar.  A story often has a central premise which gets conveyed by a single character’s need – often urgent, often burning – for a specific change in their circumstances. But writers can find inspiration for their depictions of this need from a variety of sources in their own lives. They don’t have to have lived the exact blow-by-blow events they’re describing in their work for their story to resonate with emotional authenticity. To insist otherwise is to dismiss all forms of genre storytelling, from thrillers to romance and so on. In which case, the person doing the insisting should stop hiding behind rules and simply say, “I hate genre fiction and want it to go away. Pass the self-serving memoir, please.” This reminds me of one of my favorite quotes on writing, from Richard Krevolin. “Don’t let anyone tell you can only write what you know. You can write anything you feel.”

But why am I writing about this now? Here’s why.

The topic of romance novels about gay men written by authors who are not gay men recently took flight across the blogosphere. Again. My own feelings on this subject have undergone an evolution in recent years, as evidenced by the fact that some of my closest writer friends are now women who write romance novels about gay men and I am crazy about their books. I wrote about this evolution more specifically (and more snarkily) here so I’ll try not to rehash the entire post.

But here’s the short version: I wasn’t too keen on the idea of women, regardless of their sexual orientation, writing romance novels about two gay men until I read some of them and found them to be very, very good. And by very good, I mean resonant with the emotional qualities of my own experience as a gay person, full of characters who seemed informed by my desires, wants and emotional needs. This experience forced me to reassess my opinions on the subject.

And the problem, as I see it, is “the you can only write what you know” dictum. The idea that that a good fiction writer should do nothing more than vomit up their own personal experiences and shape them into tidier, cleaner storylines causes many of us to view the mere idea of females writing male/male romance with reflexive disdain. It also causes us to lose sight of one of the  writer’s most important roles, to serve as an intimate witness.

That’s the best term I can come up with for it; an intimate witness. And for many gay men, their closest female friends were their first intimate witnesses. They were connected to the pains and struggle of the gay men in their lives, but also – and this is the important part – they were just removed enough to see their struggles with a bit of perspective.

We’ve all been there with people we care about. We’ve all sat across the lunch table from a close friend and heard them go on and on about a situation in which they seem truly and impossibly stuck. And we sat there knowing full well what the best solution to their predicament would be, but also knowing we couldn’t force it on them and that there were areas in our own lives where we similarly stuck and similarly resistant. This “across the table from the one I love” point of view can often make for some very, very good writing, and while it’s not the source of all gay romances written by women, I submit that it’s the driving force behind many of the good ones.

But this is where my own prejudice comes into play. I believe we are often the worst tellers of our own stories. I don’t like memoirs because they often suffer from a shallow, one-dimensional me-against-the-world point of view where the author fails to asses the impact of their own responses to their situation. (And I’m sorry to drag up old dead horses and beat them again, but two of the most celebrated and, dare I say, colorful memoirs in recent memory were both proven to be packs of fanciful lies.) I have more trust in the three-steps-removed quality of the fiction writer to convey truths about the human experience. This perspective allows us to depict characters as interacting with their circumstances rather than being incessantly overwhelmed by them, and this makes for the most compelling fiction.

And no, I’m not saying gay writers can’t tell gay stories very well. I’m suggesting anyone’s writing improves when they include some aspect of the people they love, the people they sit across the table from and want the best for. This connection doesn’t always have to straddle an identity divide to produce powerful, effective writing.

And yes, appropriation is a real thing. But I think there are some steps on “the appropriation wheel” in between the type of connection I’m describing and the kind of lazy writing that steals superficial experiences from a group of people with which the writer in question is clearly not familiar and cobbles them together into some sort of inauthentic hash defined by condescension and ignorance. There’s a big difference between I’m going to write something inspired by someone I care about deeply even thought our identity labels don’t exactly match up, and I’m a white person who’s going to write a novel about Native Americans because I saw some John Wayne films while I was attending boarding school in Connecticut so I should be good because I love headdresses and wore one for Halloween last year. (Yikes!!)

There’s a big difference between an intimate witness and a window licker.

But once I swept aside lazy, writing workshop cliches which don’t actually help writers (or readers), and examined the content of individual books for their own sake, I realized the relationship between the identity of an author and the identities of their characters was more complex than I previously thought.  I hope others will have the same experience, particularly gay men who enjoy romance novels and mysteries, because if you do fall into this camp and you’re refusing to read any about gay men written by women, you are, to put it simply, really missing out.

So this is a first for me. Tomorrow morning I’m holding a casting call for the cover model who will be featured on the cover of my February 2016 novella for 1,001 Dark Nights. The novella is called DANCE OF DESIRE, and it’s hero is a cowboy. A very tall, very hot cowboy. I’ve even bought the cowboy hat the potential models are going to doff as they pose for a test shot. (No, it’s not a Stetson. Stetsons, as I recently learned, are expensive. About $200 a pop! This is because they’re made of fur, and they’re made of fur because it lasts longer. And they need to last longer because normally it’s actual cowboys who are using them. Not models who are only going to wear them for the three hours it takes to complete a photo shoot.)

Whoever ends up being right for the part will also end up accompanying me to the Romantic Times Booklover’s Conference in Las Vegas in April of 2016. They’ll be on hand at both the giant signing as well as the “sparkler” we hold each year for the authors included in 1,001 Dark Nights. So we won’t just be casting for looks, but for personality as well.

Speaking of Romantic Times Booklovers, or, more specifically, Romantic Times Magazine, a great interview just dropped in which I describe DANCE OF DESIRE as a “crossover novella” between my existing series The Desire Exchange and a new, non-paranormal universe, a quaint but eccentric town in the Texas Hill Country called Chapel Springs. That’s sort of true. Which is to say the information I gave my lovely interviewer is now a bit outdated given that I finally finished the novella in question a few days ago, and while there’s *mention* of The Desire Exchange within its pages, it turned out to be it’s own freestanding little piece. Full of steamy, forbidden romance – of the FM variety this time- but no magic. Just the magic of true love. Yes, I really said that. And yes, I was being sincere. Deal with it.

I’ll have a full report on the casting process once it’s complete. Until then, allow me to also state that I’ve heard some complaints about the yellow-on-black theme of this current blog and I’m working on it. We’re going to work on better mobile compatibility as well. But first, hot cowboys!