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Cover Reveal: BOLLYWOOD AND THE BEAST

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Drumroll, please! (Or would that be "dhol-roll?) It is with great pleasure that I share the cover for my third Bollywood Confidential tale from Samhain Publishing, set to release on February 11, 2014!




It's not just the roses that have thorns.




Bollywood and the Beast is the story of American-born ingenue Rakhee "Rocky" Varma, who just wants to make a name for herself in Bollywood films, and former action star Taj Ali Khan, whose name is only whispered in passing — as if he's as dead as his career.

When Taj's troubled brother, Ashraf (last glimpsed in Spice and Secrets) brings costar Rocky home during a location shoot, it's far from a fairy-tale beginning. Taj is emotionally and physically scarred, Rocky doesn't put up with jerks, and Ashraf...he has his own problems that worry, and bond, the people he cares for.

Can passion conquer pain? Does love really heal all wounds? Do I actually have on-page Indian family shenanigans in this book? Find out early next year! Pre-order from Amazon and Barnes & Noble now!

In the mean time, pick up Spice and Smoke and Spice and Secrets from your favorite e-tailer to take a tour of my Bolly world.






Five Things I've Learned While Writing Romantic Suspense

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This fall sees me making my first foray into romantic suspense (not counting fan fiction) and, boy, is it a whole different animal than contemporary and/or erotic romance! 

I hatched this crazy idea about a team of mercenaries who live fairly regular lives but get into shenanigans on the side. And, as I work on the first in this potential series, I can't default to navel-gaze-y, internal narratives to drive the story. Oh, noes!

What have I figured out so far...?

1. External conflict is hard to do well, yo.

2. Sexytimes in the middle of impending doom is a gun you can only fire once.

3. When you make up military/government thingies and talk about weaponry, remember to RESEARCH if it's actually possible. But later. Not when you're in the flow.  

4. No, seriously, they can't have sex and talk about their feelings all the time. I mean it. 

5. When in doubt, blow something up.


You'll have to wait a while to find out how I've applied my learnings but, in the mean time, you can check out "Matinee," my short story in the erotic anthology The Big Book of Orgasms, and pre-order my contemporary novella, Bollywood and the Beast!

The Long and the Short of It

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Most authors write long and, invariably, have to cut—be it with a machete or a scalpel. Would that I had that problem. Instead, I habitually write short. Very, very short. As if words are at a premium, and I'm broke. Pretty funny if you've met me in person—because I usually can't shut up! But it's true: My prose is as different from my speech patterns as day from night. I like to be direct. To get in and get out. But not without imagery and metaphor. I refuse to sacrifice sensation for length.

In fact, it's sort of a personal challenge to be as evocative as possible in as few words as possible. Passion, hope, despair, hatred...I love delivering all of these broad emotions in tight little bursts. I love echoing phrases and bringing back themes, tying them all into neat packages that fit in your pocket.

How did I come to write this way? I don't know. But I do know that I honed it with fan fiction, through writing gap-fillers for TV episodes that left me wanting more and character-driven POV pieces that explained someone's thought process or hidden desire. I've never really written long, ongoing sagas. It's always been the snapshot, the glimpse, the "might have been" in one long look or the briefest of blinks.

This winter sees two such efforts from me, in two very different anthologies that are on sale now: Cleis Press'Big Book of Orgasms and Riverdale Avenue Books'Still Hungry for Your Love. But the stories are actually very similar. Both "Matinee" and "Quake" are about women in India navigating the complex social strictures in order to pursue pleasure and fulfillment. And both tales are dreamier, more atmospheric, than my more contemporary works.

When you're trying to tell a complete vignette in less than 5,000 words, mood is of the utmost importance. Mood, characterization, motivation and conflict: All of these things have to be sold to the reader quickly and deftly. Did I succeed? I don't know. Readers will have to be the judge. But I'd like to think that I made it all work. "Quake," in particular, is one of my favorite things that I've written so far. Because it's eerie and mournful and yet happy at the same time.

Will I ever be able to write something that goes on for pages and pages and days and years? I hope so. I hope that's the personal challenge I set and meet next. But until then, I'll keep it short and bittersweet!









The Sound of One Hand Clapping

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Earlier this week, I guest-blogged at The Galaxy Express about the challenges of standing out as a writer of color in a market laden with both conscious and unconscious white privilege. It's not exactly a fun topic. Not one that makes friends and influences people. Of course, the hard topics seldom do.

I was talking to a fellow writer recently about how it's expected that people of color write about POC experiences. She observed that, in contrast, when a white author writes about a minority experience — be it Kathryn Stockett and The Help or a romance novel where one protagonist is a racial or sexual minority — there is an immediate rush to applaud, to dole out accolades for the "risk" they took. As if an author of color doesn't have to do the same due diligence and research? As if we're not "brave" or "bold" for addressing the same issues? And, of course, when POC write white stories, well, that's just...the status quo. No kudos there. No applause. Because everyone should be doing that, right? Because it's the foundational narrative? Because it's the foundational reader?

It's pretty disturbing when you break it down like that. It's disheartening, too.





I write about people of color because I want to. I write about white characters because I want to. Because they're my stories. It's never a conscious effort to try and "sell." Lord knows, if it is, I suck at it. Yet, the sad fact is, a white man or woman writing them would get more traction.

"Bollywood" is only a buzzword if you can link it to Selena Gomez or henna tattoos or dressing up in a "costume." It's only an aspirational fantasy if you allow the West into the frame, into the skin. And if you allow the West to control the narrative. Because, somehow, otherwise, characters of color are always less relatable than vampires, werewolves, and aliens with long, unpronounceable names. You can say "Daenerys Targaryen" but "Vyjanthi Singh" makes you think of singing vaginas. A mate-bond is sexy, but a Hindu arranged marriage is weird. Tattooing Sanskrit on your skin and buying yoga pants is trendy, but you hate those people on the subway that smell like curry and don't speak English.

POCs are not allowed ownership of our own love stories, our own cultures, our own existence, unless someone with power approves of it. And, even then, you need to be a Maya Angelou, a Toni Morrison, a Jhumpa Lahiri or Arundhati Roy, to get anywhere. A "serious writer." A litficcer. Writing about immigrant experiences and race relations and other NYT-approved subject matter. Yes, those are important stories. But they are not all the stories we have to tell.

We have romances and science fiction and contemporaries and westerns. We have gut-wrenching angstfests and ridiculously silly comedies. We take risks. We tackle issues. We hit the books and we write them. Where's our applause?

Welcome

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A multicultural romance and erotic romance writer, Suleikha published her first short story in February of 2011. Her debut novella, Spice and Smoke, from Samhain Publishing, was released on April 10, 2012. As an avid reader, television addict and movie junkie, Suleikha seeks to marry her love of all things Indian with her love of all things romance!

Lit From Within: Where Do South Asian Romance Writers Make a Name?

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With a novella set to release in two months — my fourth India-set story, and the do-or-die of the Bollywood Confidential series before I move on to another subgenre — my mind is turned to marketing and promotion. I keep coming back to one question: Where does the South Asian romance writer go to find an audience, a support system, a foundation? (And, more importantly, a springboard to get our works Out There.) Do we look to our community, or to the romance community at large? Both are hard to break into, much less navigate.





The South Asian writing community is one of literary fiction, poetry and personal essays. Genre fiction meant for mass-market consumers might be a tiny drop of oil in the ocean that is diasporic writing. And romance/erotica...? May as well not exist. I still remember the sort of "Litficcers lowering themselves to write erotica, hur hur!" reaction to the Alchemy anthology that came out earlier this year. And I occasionally have visions of being laughed out of the Jaipur Lit Festival. Not that the likes of me, Alisha Rai or my fellow brown romance novelists would be invited there. Or to any South Asian literary festival, really. Because that's a club we don't quite belong in. Still, should we try to join? Should I look to India Abroad for an article about my endeavors? Should I seek out desi panels and events and say, "Hey, put me on your slate!"? I mean, I'm a vocal feminist and LGBT supporter, and I'm pretty frickin' smart; who says my perspective is invalid just because I write happy endings?

As to the romance community, I've already spoken at length about the struggles writers of color face in finding a foothold outside of small pockets of fellow writers and friend circles. And while discussing it to death on the Internet is all well and good, how do we escape the ouroboros and reach the reader who isn't on Twitter?

Romance readers in the West don't seem all that keen to pick up Indian-themed love stories written by writers of color and neither do romance readers in India. Therein lies the rub: It seems they, too, would rather read about white heiresses and white alphahole billionaires. And Bollywood films fulfill the desire for passionate brown people romance.


And thus I circle back to the question: Do we South Asian romance writers focus on making the NPRs, the NYTs recognize that romance has a diverse face, or do we ask South Asians to embrace our diverse fiction? I don't have an answer. Is there an answer?

Excerpt: Meet Taj from BOLLYWOOD AND THE BEAST!

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My next Bollywood Confidential romance comes out on February 11, 2014, from Samhain Publishing. So, now is as good a time as any to introduce you all to my reluctant hero (okay, so he's a jackass), Taj Ali Khan.

Check out the excerpt below this lovely (and appropriate) picture of Kunal Kapoor, one of the real-life visual inspirations for this beastly Bolly boy.

Source: Verve magazine/Pinkvilla.Com





Taj slouched in front of the large-screen TV as the highlight reel of his greatest hits played out in bright, bruising hues of green, purple and blue. His legs seemed to go on forever. His hips swiveled like Elvis Presley’s. He looked like a king, as befitting his name, if not the King. The unerringly cheerful host, rosy-cheeked and pretty, couldn’t have been more than six when his first picture debuted in cinema halls. And now she was lauding him like he was a veteran, worthy of retrospectives while still in his prime. Nahin, not his prime. His early goddamn retirement. “Aur ab, Taj Ali Khan ka aakhri picture ki superhit song,” the girl simpered, as though his last film were a black and white from the ’40s. As if he wasn’t out in the world somewhere, watching his own bloody wake on a Bollywood “news” program.

Ten years since his career had been declared dead, and the industry never failed to remind him that blood could still be squeezed from his dusty bones.

His fingers closed round the controller, ready to pitch it across the room. Reprieve came in the form of his ringing mobile. “Yeh Dosti” from Sholay burst forth from the speaker. A playful ode to friendship was his baby brother’s idea of a grand joke, considering the state of their relationship most weeks. Their friendship had broken years ago, and they’d patched it together with strips of cello tape.

Bhaiya?” Though the term was respectful, Ashraf’s tone was anything but. Nahin, he was hurried, distracted, a bit irritated.

It only amplified Taj’s own irritation. “Were you expecting Prince Charles?”

Laughter exploded over the line with a huff. “I never expect a prince when I ring you. Only royal pain.”

The pain was mutual. “What do you want, Ashu?” He sighed, letting his head fall against the hard teak contour of the sofa Kamal had arranged with an optimal view of the television. “My blessing to go to bed with more piranhas? Jao. Go forth.”

The dig was met with silence. Then a deep breath. “Nahin,” Ashraf finally said after the moment of melodrama. “I’m coming to Delhi for a shoot, so expect me home.” This was said as though he anticipated disagreement. He would not find it from Taj’s camp. “I will not be alone. Rocky Varma will stay with us.”

“Who?” The women in Mumbai grew more and more unknown with every passing minute. Younger as well. He glowered at the screen, where the infant hostess was still prattling on about his legendary exploits.

“My heroine.” Ashu mirrored his tone, the bite almost as impressive. “She is here from the U.S. Still new. But her family does not want her in the hotel or at the guesthouses with the crew. It is too unsafe. So I offered her to stay also.”

“Oh, haan, because your aged nani and your invalid brother pose no threat to her virtue, nahin?” He punctuated this thought with a few choice expletives, slouching into the warm cocoon of his pillows. “Vah. Brilliant. Very heroic behavior, Ashu.”

“Try heroic behavior yourself, okay, Bhaiya? We’re arriving tomorrow. Be civil.” Ashraf ended the call without any goodbyes.

That was fine. Taj didn’t need any. Not when he was being eulogized by a horde of background dancers and his own perfect, unmarred face.


Want to find out what happens when Rocky arrives? Pre-order Bollywood and the Beast now:

$3.15 at Samhain

$3.44 at Amazon

$4.49 at Barnes & Noble

BOLLYWOOD AND THE BEAST is here!

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At last, it's Bollywood and the Beast release day! Hurrah!

This is really a book of my heart, one that I hope speaks to a wide audience.

Check out what Heroes and Heartbreakers and RT Book Reviews had to say about the story!


It’s not just the roses that have thorns.

American-born ingénue Rakhee “Rocky” Varma knows a career in Bollywood is no fairy tale, but that truth hits home when her outspoken nature lands her in hot water with the media.

Banished to her leading man’s crumbling mansion on the outskirts of Delhi until things cool down, she is wholly unprepared to meet her costar’s reclusive brother, Taj Ali Khan. Taj, a former action hero until a stunt gone horribly wrong ended his career, wears a cape of scars and a crown of rudeness.

As his cynicism collides with her determination to stick it out in Bollywood no matter what, sparks fly. But little do they know that demons not of their making may turn their fiery, fragile connection to ash. And it will take more than sheer grit to face down the most frightening monsters of all—the ones inside themselves.


Get it at Samhain at its initial sale price of $3.15 or snag it at Amazon for $3.44.



On Idris Elba, Tom Hiddleston, Race and Shame

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I learned a lot this past week about perception, language and who has the right to the floor when it comes to speaking about such issues.

As a woman of color growing up in a small Midwestern town and an intellectually liberal but socially conservative family, I did all of my radical growth in private. My sexy books, my rebellious phase with tattoos, my first taste of a wine cooler. It was only when I moved out of the house I grew up in that I began to become more comfortable giving voice to what I liked, what I desired. And, goodness, I have always loved innuendo. I have been punning and perving since long before “That’s what she said” became a catch phrase. Because it was the only way I knew how to channel things inside me that were still culturally taboo. “I can’t do it, but I’m sure as hell gonna talk about it!”




So, now, as a budding romance author with a Twitter account, I just put it all out there. And I’ve been truly lucky to find a community that understands it. I say “filthy” and “dirty” and they know I don’t mean “Where’s the soap?” I say “vanilla,” and it’s a given that we’re not talking about ice cream. And we’re not talking about race.



Here’s the thing: People of color don’t have the luxury of not“considering” race. It’s on our skin. We wear it. We know it. We live it. Are race and sexuality connected? Sure. Absolutely. And perhaps if I had compared Idris Elba to a white man roughly physically similar — like Channing Tatum — and made the same comment, you could cock your head and wonder if I was being a little bit racist. But my brain, and my Twitter account, are far from Mandingo Central. Idris Elba, in my pervy, kinky, erotic romance writer world, is an alpha hero. Tom Hiddleston is a beta male. (Mind you, I was soon persuaded differently about the latter idea. Oh, how I DO love romance writers…) And it was nowherein my mind that I was painting a black man as savage in comparison to a white one. Could I ponder it? Sure. I'd be happy to have a rational debate about it sometime. Especially with black women, for whom it's a far more personal and relevant issue.

But that topic was introduced into my space in a combative manner, and I was “invited” to talk about it. In my own space. All too soon, the women who joined in to shut down the bewildering path of this topic and I were painted as the aggressors. The attackers. The people ganging up on this well-meaning white lady who just wanted to talk. Because, you know, there hasn’t been a long history of POC being considered threatening. Because, you know, this is the exact same thing as living a minority experience: “I live in NYC. I've lived and worked in racially diverse neighborhoods for 15 years ... Community organizer. Teacher. Bachelors in Sociology. Masters in Education. Both specializing in race/class.” 

You can “specialize” all you want. But that doesn’t give you our brains or our skins or our speech.

This was not on me. I was not going to, and still won’t, cop to being a secret racist because I pictured Idris Elba to be aggressive in bed while Tom Hiddleston is submissive. No. Nope. Uh-uh. I explained myself succinctly early on in the exchange. What followed became an exercise in justification and education … that didn’t take. When someone is that convinced of their rightness, their earnestness, there is no changing their mind. Unless you are, of course, white. It wasn’t lost on me that the only people who did make an impact in the argument with this person were white women. It was a barrage of indignation and accusation with me, but a dialogue with those who fought on my behalf.    

And that, folks, is a problem. This idea that only white women can effect change. That is the very thing I’m fighting against as an author of color, trying to put multicultural fiction out there into the world and spotlight my fellow authors and the diverse stories I find.

You know what else is a problem? The guilt and grief I felt that day, and still feel. Did I say something wrong? Was I crass? Was I slutty? Never mind that Idris Elba did not need someone crusading for his honor — the actor is quite outspoken about his potent appeal — the one thing I did“consider” was if I was dirty. Not in a sex way. Not in a kink way. But in a shameful way.

No. Nope. Uh-uh.

No one has the right to make me feel that way.

But that’s what she said.   

Multicultural Fiction Is Not a Monolith

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As I follow publishing trends for both my day job and my budding career as a romance writer, I'm always fascinated by reader/reviewer/publisher response to genre fiction written by writers of color — primarily women of color, but men as well. Nowhere else, except perhaps in LGBT fiction, will you find that we are all judged together. Someone reads one bad book by an author of color and, all of a sudden, you don't know if you can read another one. Or, one book by an author of color didn't hit, so we're not going to publish someone else.

Did that happen with Fifty Shades of Grey? No. With the plethora of lackluster New Adult novels that followed Easy? The motorcycle club books that hit the shelves after Kristen Ashley hit it big? I can't recall seeing people fear that the next book might suck. No, if anything, the subsequent titles were snapped up like Chex Mix at a Super Bowl party. And even if some titles are less than thrilling, people keep buying. Publishers keep publishing.





So, wherefore the trepidation, the fear, the "IDK" for multicultural and interracial romance written by women of color? I am not Nalini Singh who is not Brenda Jackson who is not Shelly Ellis who is not Jeannie Lin. And just because Nalini and Brenda are superstars doesn't mean the POC Author Quota has been filled. You're allowed to read more. I promise. The book police aren't going to charge you with suddenly not reading enough white people.

Can you imagine saying, "Welp, I hated this historical romance by Newbie Author X, so I won't read Eloisa James"? Or "I didn't like one urban fantasy book, so I'm afraid they all might suck"? Or, more to the point, "This book by a white person about white people didn't work for me, so I'm not going to read books by white people anymore"?

It sounds ridiculous, right? So why isn't it ridiculous to paint authors of color and their works with the same brush? You might not like my stories, so pick up Alisha Rai's. If you don't like Alisha's stuff, try Farrah Rochon. If she doesn't work for you, check out Rebekah Weatherspoon. Etc. Multicultural/Interracial romance is not a zero-sum game. It's a treasure map. And sooner or later, you will strike gold.



Note: This post didn't generate in a vacuum. It's the product of several discussions with author friends, especially Alyssa Cole.

 

Le Sheikh C'est Chic? Not So Much!

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Valentino and Agnes Ayres, The Sheik

Rudolph Valentino played The Sheik in 1921, based on a 1919 novel by Edith Maude Hull. Almost one hundred years later, swarthy men in flowing robes are still wooing the ladies and bending them to their lusty will in the pages of Harlequin and Mills & Boon category romances. Whodathunkit? As much a sexy captivity narrative as the noble savage Native American romances that authors like Cassie Edwards made bank on, sheikh romances have prevailed where other outdated, racist, colonial tropes have died. Neither rain nor snow nor 9/11 nor the Iraq war have killed this plot. Why?

Why aren’t sheikh romances tagged and shelved as interracial romances? Because, to a large extent, they aren’t. They are a white, Judeo-Christian woman’s fantasy as much as a sparkling vampire or an alphahole billionaire, largely written by and for that market. In essence, a sheikh is not real. Stripped of all true cultural markers — namely practicing Islam — pale on the book covers, bowled over by the first fiery western woman they see… this is the rhetoric. This is the narrative. And it serves only one audience — certainly not the pseudo-minority culture it portrays.




Yes, we are seeing more sheikh romances written by women of color — Olivia Gates and Tara Pammi* come to mind, and Brenda Jackson wrote Delaney's Desert Sheikh— with heroines who are also of color, but they are not the norm and they still fall into the stereotypical “Fakesheikhistan” (TM Solace Ames) paradigm. Rich, alpha male who speaks English, was educated in the west, etc. And, sure I get it: It’s a safely modern twist on the Viking raider, the Indian brave, the Highlander. You can have your sultan’s harem fantasy except with toilet paper and condoms. You’re taking that archetype and applying it to now, with the trappings of civility.

And therein lies one of the problems. Because the sheikh trope wants to be civil and savage all at once and, in doing so, erases the minority experience completely from the page.

This is where I’m sure the rebuttal comes in: So, you’re just jealous and bitter that these stories aren’t about you? And I’ll say, “You’re damn right.” I’ll own it. Of course I’m angry. People of color are not vampires or werewolves or lizard men. Real Muslim men and women fall in love every day, every hour. But those stories are not palatable, not marketable, unless they are fetishized and sanitized for majority market consumption.

Majority. That’s the thing to remember if you’re butt-hurt about this post, if you make your bread and butter on sheikh romances, if you think I’m being an angry, irrational brown girl. We are so outnumbered. Maybe not in sheer global volume, but in power and privilege. Is the U.S. ever going to have a Muslim president? When’s the last time a Middle Eastern actor or actress was nominated for an Oscar? Do most people even know where Pakistan and Afghanistan are on a map? Do you think the most popular occupation for Bangladeshis in America is “cab driver”? Can you tell the difference between a hijab, a niqaband a burqa? Do any of those things actually matter to most of the western world?   

Those of us who complain, who feel marginalized and Othered by what you write or put on a movie screen, are never going to impact your bottom line. We haven’t yet, so why would a little outcry now and then make a difference? You keep doing you, authors. You don’t need our approval.

Just don’t expect us to sparkle. 




*Tara Pammi let me know that her hero does practice Islam, and I'm sure there are other authors who can say the same. But I posit that they're the exception and not the rule.

OPENING ACT Release Day + Blog Tour!

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It's here: the day my novella, Opening Act, releases from Entangled Publishing! Yayayayayay!



Reporter Saroj Shah has been in love with bass player and bartender Adam Harper since her first day of college—seven years ago. Forever thinking of her as part-friend and part-little sister, he’s just been too blind, and too clueless, to see it. Until one pivotal moment pulls her into the spotlight.

The moment Saroj steps on stage, Adam sees his friend in a new light. He can’t take his mind off of her and realizes they could make beautiful music together. But seven years is a long time and Saroj is ready to move on. Adam will have to hit the right note if he wants to prove to Saroj he was worth the wait.


Only 99 cents! Buy now: Amazon  Barnes & Noble  iTunes  Kobo

I will be blog touring through June 6 with my buddy Audra North, whose Healing Her Heart is also out today.

Today is the first stop, at Read Your Writes, where I talk about using what you know to write what your characters feel.

Check out the full blog tour schedule here

I Am Your Lord and Master Beta

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I was recently reading some of the reviews for Opening Act (breaking Rule No. 1 of Authordom, I know) when I stumbled across someone calling the hero a “clueless idiot.” I wasn’t mad. I really couldn’t be mad. In fact, I cracked up laughing! You know why? Because he is a clueless idiot. Alpha heroes who are completely confident of their abilities to woo and win fair ladies are all well and good, but sometimes you’ve just got to write a beta hero…and, not only that, but a a doofus-y, has-no-idea-what’s-in-front-of-him beta hero. Adam Harper, 25-year-old blue-collar bartender and bass player certainly fits that bill.



I know what you’re wondering: Why would anyone knowingly write a guy who doesn’t know his cute butt from a hole in the ground? Honestly, it’s because he felt authentic to me. I don’t know about you, but I don’t know a lot of asshat billionaires who think they’re God’s gift to women. I don’t know a lot of smooth operators who dickishly say, “I want you” and have girls falling at their feet for it.

What I do know are dudes who are cute and sexy and nice and say the wrong thing. Boys who don’t realize they’re hurting your feelings. Men who wouldn’t realize you liked them “that way” until you paraded around naked in front of them. And, for this story, that’s what I wanted to write about: that gloriously infuriating realistic guy you could meet at your local bar. The guy you’ve known since high school who still doesn’t realize you grew up. A guy that needs to be told, “I want you” for it to dawn on him that he’s allowed to want you, too. We’ve all met that guy, right?

Every ounce of my heroine Saroj’s frustration stems from real reactions I’ve had to that guy. She just actually gets to vent her frustration…and reap the benefits! Lucky gal.

And there are plenty of stories I love that feature men who thrive when women take the lead. Be it Archimedes in Heart of Steel, by Meljean Brook, or The Hunger Games’ Peeta or Tom from Shelley Ann Clark's recent debut Have Mercy, there’s just something about guys who aren't put off by or afraid of a powerful, passionate woman. There's a sense of, "Oh, these women don't have to compromise what they want to make their love interest feel manly. He likes her exactly how she is." Not that Adam is quite up there with Peeta or Achimedes. But that's okay...

After all, clueless idiots need love, too.

Split Ends: Two Identities, One Pain!

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Sarah Michelle Gellar pulled double duty, too!

When I first began my pursuit of romance publishing, I was determined to keep the "real" me and Suleikha Snyder completely apart. It was a grandiose idea of separate lives and secret identities -- I crafted a story for myself, just as I would for a character. My stuffed animals became real cats, my unrequited crush turned into an on-and-off boyfriend, etc. Suleikha lived in Manhattan, Suleikha was political, Suleikha did vaguely pretentious interviews with Yahoo! blogs...and it lasted barely a year before it became too much.

How could I craft an effective author brand when "real" me, a longtime writer and editor, already had an established identity both online and off? I'm a crazy, mouthy, live tweeter of TV shows who lives in Queens, loves babies and seems to always get stuck on the subway with mariachis. I worked hard for that recognition. (Okay, I didn't have to work for the mariachi part...that happened all on its own.) There are plenty of people who have pseudonyms and who have crafted multiple authorial identities effectively. I am not one of them. Building Suleikha from the ground up, in nearly one-tenth the time it took to craft my primary voice, was proving impossible for me! Plus, it was just stressing me out. I'm an open book...you can't sit next to me at a restaurant without learning way too much about me. Pretending Suleikha was a different person -- or, at least, a part of me that lived in a different room in my head -- was starting to chip away at my soul. It was like having a dirty little secret when all I wanted to do was shout from the rooftops, "Yay, I'm published!"





Even now, after "coming out" via Twitter as one person, finding a public voice for Suleikha has been full of stops and starts and Do's and Don'ts. I re-did my blog design, created a tagline that describes what I write (pretty much everything) and have been diligently submitting and publishing. I've done four readings this year, with one more coming up next week. Great. Yay. Wonderful. Right? Fifty percent wonderful. Because where I falter is in interactive publicity. Guest blogs don't seem to work all that well for me. Giveaways...another dead end. I'm not on Suleikha's Facebook much because I'm barely on my real-life one. Being opinionated about politics has its pitfalls. Snark requires a balance (and I do a lot of that on my other Twitter account and don't want to double dip). Suleikha's very uneven in tone, and I'm trying infuse more of myself, so it's less scripted reality and more...actual reality. But it's a slow process, and finding the right marketing tools is like a scavenger hunt.

Growing up, my father taught me the lesson of letting your work stand for who you are: If you work hard, you'll be appreciated. If that was true in fiction, we'd all be Booker Prize winners. But merely putting your nose to the grindstone and putting out good works does not get you noticed. You need buzz, you need PR, you need a hook.

All I've got is two personas and a headache!

(And a novella coming out next month!)

First Undressing Blog Hop: Now You See Me

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Several writer pals are taking part in Audra North's First Undressing Blog Hop from August 5-9. After reading a few of the fabulous bits of flash fiction by authors like Julia Kelly and Shelley Ann Clark, I was inspired to take a crack at the prompt myself. Strangers undressing one another for the camera — I can do that, right?

So, without further ado, I give you Now You See Me.




His hands skim her back, fingertips trailing across the ties of her choli like a man balancing on a high wire. The pallu of her sari beckons, and Ishika knows it’s coming but she still shivers when he tugs at the cloth and it spills loose from her shoulder and flows down over her arm.

Blue silk. Like water. They are selling the clothes and the illusion.   

The camera shutter clicks on repeat. She closes her eyes against the flash. Behind her, against her, Akash breathes in and breathes out, ruffling the fine hairs at the nape of her neck. They’ve only just met and are suddenly intimates.

Ishika turns halfway, as choreographed, and begins with the top button of his high-necked shirt. Perfectly at level with her eyes, but still her fingers fumble. The material is slippery and feels almost wet. He’s been matched to her, another swell of the same ocean, and the lens keeps record as she strips back the blue and reveals his brown skin.  

Sell the dream, she tells herself, simply sell the dream.

He traces a line down her spine with his knuckles. Down and back up. Soothing her even as she renders him bare from the waist up. Not part of the breakdown for the shoot, but he isn’t called to stop, isn’t chastised. No one tells Akash Mehra what he cannot do. He’s released a thousand doves in a five-star hotel, flown on invisible wings from the top of the Qutb Minar, come unchained and come undone. He could touch her all over and the world would simply watch.

Ishika’s dressed and undressed in front of countless strangers. In crowded rooms just off the runway, in the middle of railway platforms converted into studios, in trailers and loos and showers and gardens and fields. She’s never stripped with a magician. And, still, it surprises her when the strings binding her choli come unknotted…when he spreads his palm across her naked back and the blouse gapes in front, revealing the tops of her breasts. Only to him. The camera sees silk, sees fantasies, but not this. The way his head tilts. The secret curves at the corners of his mouth. It’s okay, he seems to tell her. This is for us.

The lights are hot. The room is stifling. Danny’s been photographing them for forty minutes. And, somehow, Akash makes it all disappear.

The camera clicks. She doesn’t even offer it a teasing look. Not when there is so much to explore before her. A light trail of hair dusts Akash’s lower belly, leading her south. His breath hitches as she tugs his belt through the loops of his fashionable jeans. She wants to pull down his zipper, push the fall of his jeans wide. She’s tempted to expose him. Only to her. This is for me, Ishika could tell him. It’s okay.

She doubts he even knew her name one hour ago. Perhaps he’s seen her face— everyone’s seen her face—but he would not know it without all the paint and promise. And now he’s learning how their bodies look together, how they fit. He’s learning…and teaching, too.

His free hand closes over hers, between them, pressing her thumb against the button of his fly. The moment stretches into two, into three. Into Danny shouting, “Okay, friends, that’s a wrap!”

They exhale as one, relief sinking their shoulders, bending their limbs. They do not step apart. No…they each tilt forward, waves crashing together, the tide rolling in. It only takes a few quick movements for Akash to fix her sari and blouse. It takes even less motion to press her lips to his throat. She tastes the ripple of his low laughter, and chases it with her own as they set his jeans and shirt to rights. Their photo shoot in reverse: two not-quite strangers dressing.  

“Hey.” There is a twinkle in his dark brown eyes when she finally looks up to meet them. “Want to get a coffee?”

Ishika smiles. Not for the camera. Just for him. Just for herself. And she reaches for his hand, squeezing it tight. “Sure.”

They are selling an illusion…but, at least tonight, he’s buying. 



Phoning it in: on Living With, and Surviving, Depression

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Note: I've been a depression and anxiety sufferer/survivor for more than 25 years. This is not meant to encapsulate anyone else's experience with mental illness. Only mine. Please do not read if you are triggered by talk of depression and suicide. 

There is no one, perfect way to "cure" or "help" someone with depression. All we have is our own, individual coping structures, our own paths to getting better or just getting almost there. But we can find places to share our burdens and a community to lean on.

I write this to remind myself, and others, that we're alone in this together





A few years ago, one terrible December evening, I called a suicide prevention hotline. I stank of sweat and stale booze. I was curled in a tangle of sheets that I hadn't left in at least 10 hours. My ankle hurt, from where I had twisted it trying to hail a taxi the night before. I ached everywhere. My hands were shaking. All I wanted to do was stay in bed until it killed me. But I googled and found a number. I made a call. It lasted less than five minutes. Once the dispassionate person on the other line established I didn't have an actual gun in my hand or a bottle of pills ready to swallow, I was alone once more.

Alone with my disease. Alone with depression and anxiety that turned me into a person I didn't recognize. One that cried in public, demanded love from people who could never give it and used every dark moment as proof that she was worthless and unlovable. One that used alcohol to punish herself and to drown herself in turns. I'd been on a collision course with rock bottom for months. It was just a matter of time till I had that hard landing.

The call was a rude awakening of sorts. Because clearly there were people who really needed to be on that hotline. If I wasn't killing myself right then I must be better off, right? Or maybe I just wasn't worth the help? I didn't know. But the conundrum, the shame and the guilt for wasting five minutes of that volunteer's time, did keep me alive that night. Of course, what I realize now is that I was dying in increments, and that you can't quantify an illness like depression. It's not something you have "more" or "less" than someone else. It just is.

The next day, Sunday, I showered. I made myself coffee. And I joined an anonymous addiction support website and started hanging out in their chat room to tide me over until I could make a doctor's appointment. Reading the material offered by the site, working a few of their suggestions, I realized fairly quickly that addiction was a symptom of what I had, not the actual disease. Hard liquor and bad choices were my partners in crime sometimes when I thought I had nobody else. Even so, that would be the beginning of nine months of unbearably smug and self-deluded sobriety. When I fell off that shiny wagon, I fell off it hard, and I still regret what happened.

So, yeah, going off the sauce wasn't the solution; it was an ill-fitting bandage on a far larger wound. What did help was seeing a psychiatrist, which I got around to a few weeks after my experience with the hotline. The call to make the appointment was a whisper, full of embarrassed desperation, and I remember telling the doctor a mortified but sincere "thank you" when she called me back with a date and time. It was the right call for me. I'd been in therapy before a few times, but never really thought about getting on a regular medication. I'm glad I finally did.

I'm on Lexapro now for the depression and Ativan for my anxiety. I'm in talk therapy as well. I have more good days than bad. I let myself drop the happy clown act around my friends. I allow myself to have silence if I need it. I try to breathe. I try not to judge myself too harshly. I try to say "yes" when a good thing comes my way. I try to talk on social media about what it's like to live with my illnesses and to erase the stigma of being South Asian and depressed.

But I am still often alone with a disease. And my partners in crime still show up to play on occasion. I slipped last week, in fact. I woke up feeling hungover and awful and ugly...like I failed somehow after being "good" for so long. Because that's what depression does: remind you that you're never really "healed." That you will always fuck up. That this chemical thing in your head is always there. Sometimes it's just quieter is all. Sometimes you almost forget about it.

And then Robin Williams dies and you think, "Oh, fuck. There it is." You think, "If a man that brilliant can still be suffering at 63, what hope do I have?"

And then you think...you really, really try to think..."No. No, there's always got to be hope."

I recognize myself now, and most of the time I like the person I see. That's got to mean something. That's got to mean everything. That's got to be the call I make every single day.

Help Break the Beast's Curse: Dollars Against Depression

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I've been pretty candid about how I've spent years grappling with depression and anxiety. And in the wake of Robin Williams' death — with the ever-increasing need for selfcare and vigilance — I really wanted to do something other than just incessantly tweet and blog about my experiences. I wanted to help!

Then I remembered that wrote my depression into Bollywood and the Beast. It was part of how I tried to heal from one of my low periods. Secondary character Ashraf — Ashu — fights on-page with the darkness of a disease he can't handle and trauma he can't get past without help. In many ways, what he goes through is the real "beast" of the story. Critics have said it takes away from the main plot line — and that's probably true. Depression's certainly taken a lot from my main plot line. But I don't want it to take too much more. No, I want it to give.

So, from August until the end of October — Depression Awareness Month — 100 percent of all net royalties I earn from Bollywood and the Beast will be donated to The Trevor Project, which provides crisis intervention and suicide counseling for lesbian, gay, bisexual and transgender youth.

Help me help others, or just help spread the word.

Bollywood and the Beast is an e-book, available at all major e-tailers.

Samhain  |  Amazon |  Barnes & Noble |  Kobo

Free Ficlet/Extra: Seva and Shine

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It's been a long time since I've written in the Bollywood Confidential universe, but this week I was struck with the urge to return to two favorite characters from Bollywood and the Beast.

I hope you enjoy this free, original short.

~*~

Ashraf watched Kamal unhook the last rope of tiny twinkle lights, his long-fingered and capable hands sifting through the tangles and knots with ease. Diwali had long since come and gone, but they’d kept the haveli lit up for Rocky, who was flying back and forth to Mumbai for a film shoot. Because, as his brother Taj was constantly pointing out, she brightened every room.

“She should be welcomed home every time with the same light.”

Bhai, when did you turn into a chocolate hero? Are you sure you are feeling okay?”

“Shut up, Ashu. Better hero than zero, na?”




They were a Muslim household with atheist sensibilities, but for Ashu’s soon-to-be sister-in-law they’d all learned a little bit of faith…and so much joy. How could they not give her Diwali, Christmas and all the stars in the sky? And only after Rocky had scolded Taj about wasting electricity had he decided the decorations could come down.

Kamal volunteered for the task, spending hours each day working on a particular corner of the house. Quiet. Efficient. He gave himself to this like he did everything else. His rounds at the hospital. His care of Taj. Reading the Quran with Naani since her two grandsons were too lapsed and too lazy to touch the holy book. There was nothing Kamal didn’t do with his entire concentration.

“You don’t have to do this,” Ashraf reminded now, leaning against a pillar on the back veranda. He’d been watching today’s progress for twenty minutes, unashamedly enjoying the stretch of Kamal’s blue kurta across his shoulders. “You don’t work for us.”

“Don’t I, Chote?” Kamal’s smile was beatific, a different kind of glow than a haveli wreathed in lights. The tiny bulbs he wound into coils were artificial, but his smile held true warmth.

Ashraf was becoming accustomed to that heat. He wanted to put his palms out and soak it in. More than that, he wanted Kamal to kiss his fingertips. He wanted the friction of beard against his skin. He wanted the soft huff of breath and the painfully gentle touch of a mouth on his.

He wanted what he was being denied.

“You’re not ready,” he’d been told, from a respectable distance of three feet. “You are still healing.”

You heal me,” he’d insisted, to no avail.

Kamal had simply shaken his head and picked up the medicine bottle on his nightstand. As if the antidepressants were all evidence to the contrary. Ashu took them daily, and the darkness that had consumed him months ago had shrunk to shadows. He no longer woke with nightmares. He could almost go a week without remembering how Nina had twisted and tormented him, taking something as beautiful as sex and making it commerce.

What Kamal did for him, for their family…was not a transaction. It didn’t come with strings. And it didn’t hurt. “If you worked for me, you’d listen to me,” Ashraf murmured, with a touch of the petulant, spoiled film star he’d never quite managed to become. “You’d hold me when I ask you. Touch me when I ask you. Hain na?” Isn’t that so?

At last those perfect hands faltered. The strings of lights fell to the close-clipped grass. Kamal looked up, the expression in his fathomless dark eyes mirroring Ashu’s hunger and need. Not so strong now, was he? Not so immune. Not so efficient or quiet. “Ashraf.” The single word was heavy. Gorgeous. Not the age-old tease of “Little Sir.”  

His name had never sounded so right. It belonged in the wrappings of this man’s low voice. Just as he belonged in his arms.

Ashu stepped off the veranda, closing the space between them in two strides. “You don’t have to be careful with me. I’m not going to break.”

I may.” The barely audible Hindi was precise, formal and flawless…and devastating, honest, and naked. “I may shatter, Ashraf. And then where will we be?”

He shrugged. “Then I’ll pick up your pieces. Every single one. And I’ll put you back together.” Kamal made a choked noise. His fists clenched and unclenched. Ashu reached for one, slowly uncurling the tight roll of fingers. “Please,” he said, softly, stroking his thumb across whitened knuckles. “Please. I miss you.”

“Where have I gone?” The hollow rebuttal was punctuated by a shiver, a bowed head and a laugh that was just shy of lunatic. “I am right here before you.”

“It’s still too far away.” He placed Kamal’s open palm against his jaw, crowded him until scant inches and thin cotton were all that separated their skin. Ashraf could breathe him like this. He could taste him like this. The swell of his lower lip. The slender bow of the top one beneath his neatly trimmed mustache. It was a mouth that begged to be taken. So he took it. “Kiss me,” he coaxed, as he leaned in, as he barely touched him. A caress. A tease. A plea. “Love me.” 

Kamal’s reserve crumbled with a harsh groan, his free hand coming up to grip the base of Ashu’s neck as he kissed him back. Their first of such contact, too long in the making, and it was everything he’d ever wanted. Cloves, spice, and that wonderful heat…kindling a fire that spread out of control from Ashraf’s tongue to his groin.

“I’ve never done anything else.” Kamal spoke fiercely into the tiny gap between their seeking mouths. “I’ve always loved you. Always.”

If kisses were fire, words were the sweet burn. Ashu shuddered, sliding one leg between Kamal’s knees, aligning their bodies as if they were one flesh and one heart. “Then let me love you back. Always.”

They stood there for hours, tangled like ropes of Diwali lights, and welcomed each other home. 

~*~

Seva is Sanskrit for selfless service, which describes Kamal's core ethic to a tee.

For the beginning of Kamal and Ashraf’s story, pick up Bollywood and the Beast.

Available at all major e-tailers.



   


Flash Ficlet: "The Test Flight"

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I think it's safe to blame this wee bit of free flash fiction on authors Amy Jo Cousins, Olivia Kelly and Laura Curtis, and a Twitter discussion that sprang up between us after this picture of Indian pilots arriving in the UK in 1940 came across my tweet stream.

I'm not a historical romance writer by any means, but who can resist a good story prompt...or a good pilot?

(Spoiler alert: You're about to find out...)








The long, narrow room was filled to the brim with people and noise. Typewriters chimed merrily and telephones rang off and on. Ashok saw none of it after his initial assessment. Because as he closed in on Miss Maria Fernandes’s desk — second from the front, he’d been told — his vision was filled only with glory.


A brown pencil skirt hugged the typist’s trim waist and thighs, tapering to just below her knees and revealing plain war-time stockings with pin-straight seams. He couldn’t look away as the girl stretched across her desk to adjust the ribbon of her machine. Because the material stretched, too. Bhagwan. It was too much. And not enough. 

“Hey. Eyes front, Flyboy,” she snapped in husky and broken Hindi, even though he hadn’t announced his presence. Even though she couldn’t possibly know he was there. Likely she was used to stares, could feel them directed at her pert bottom. What was one more lewd look?

“S-sorry, Mem,” he murmured, tugging at his too-tight collar, suddenly abashed. His mother had raised a gentleman, not a lecher. A major. “Major Ashok Saxena. Again, apologies.”

She slipped back into her seat, patting the shining roll of her black hair. “Accepted, Sir,” she chirped in English, before finally deigning to set eyes on him.

Unearthly, beautiful eyes. Huge. Thick-lashed. Like the gaze of a goddess in a temple. They ruled her entire face and made him forget almost entirely about her legs. Durga, Saraswati and Laxmi were cursing him and blessing him at once.

Still beaming from passing his training and qualifying for the RAF with seventeen of the others who’d come to Britain, Ashok had walked into the typing pool like a strutting cock — top of the world — holding his letter for Ma and Pitaji and hoping for a little aankh-micholi with a pretty girl or two. But this girl’s gaze didn’t flirt. It conquered. It flickered over him, from his jaunty pilot’s cap to his shined shoes, and then returned to her typewriter. Unimpressed.

“May I help you?” Her English was perfect. Like her dark skin. A silver cross on a chain sat at the base of her throat, the metal a shining contrast. She was a Christian, then. A Catholic. It made a sort of sense. He could not imagine his sisters being allowed to come to England, much less to wear white collared shirtwaists and talk back to fighter pilots. Good Hindu girls from good Hindu families stayed home, or so he’d been told.

According to Pitaji, there was a long list of things good Hindu girls were supposed to do. Ashok wasn’t interested in a single one. They could hide behind their purdah. He preferred the woman who was right in front of him.  Lush and lovely with coral lips.

“I’ve a letter.” There. That was halfway to smart. “The other officers say you are the best.” She would type it, and then it would be combed over by Intelligence, sanitized before it was sent on to India. Singh and Rathod had assured him that Miss Fernandes had a softer touch than some of the other girls from the typing pool. That she found a way to communicate things to families back home despite the strictures.

“Eighty-five wpm,” she said, crisp pride and satisfaction filling her voice. “Give it here.” She extended her palm, flat and waiting for his papers.

His tongue was thick. His fingers even thicker, too clumsy to hand over the scribble-filled pages straight away. He’d never had trouble chatting up girls in Lucknow. One tight skirt, two perfect seams, even more perfect eyes, and he was lost. “Mem…” he began, only to stop and shake his head.

When he didn’t move, didn’t say anything further, Miss Fernandes just sighed. And her tart Hindi chastisement returned. “Hey. Ustad.” Again she called him “flyboy” as if he was just another man, another annoyance. Any man. Any annoyance. “I do not have all day. This isn’t your father’s office.”

Ashok choked and felt the tips of his ears grow warm.

He was RAF now. He was going to fly for the Allies.

And he’d been shot down without leaving the ground.  



~*~



Suleikha's Top Five Bangable Cartoon Creatures

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I don't know if this speaks to the secret furry we all have inside of us, but let's face it: There are some fictional critters that are highly bangable. You'd hit that, I'd hit that, we would all hit that...and probably not ever talk about it to our friends and family. (Twitter, however, would hear all about it.) It's just because of the way these human-like characters were crafted — with charm, sensuality, charisma and sometimes a prehensile tail. We can't help ourselves.

I'm not here to judge. Just to call 'em like I see 'em.


1. Disney's Robin Hood. Forever and always. How would you not want to ooda-lolly all day with this mischievous fox? You know his arrow will always find its target. No other Robin Hood is as foxy as this one. Sorry Kevin Costner, Sorry Errol Flynn, sorry Jonas Armstrong. I'd apologize to Russell Crowe, but I like to pretend that movie didn't happen.






2. Goliath, from Gargoyles. Keith David's glorious voice meshed with this tall, dark hunk of broodery? Yeah. You know it. Elisa Maza knows it. I'm sure they eventually had adorable bispecies rock babies together. (I never got to the end. Don't tell me if they didn't.)



3. Lion-O. You know how they shout, "Thundercats, ho!"? Well, that joke writes itself when you look at this sleek piece of kitty. See also: Cheetara. And feel free to make up a naughty story about whatever it is they're holding in this picture.



4. Roger Rabbit. You think I'm joking, but Jessica could get it. Anyone. Anywhere. She stuck with Roger because he had skills. That's all the convincing I need. (We'd have to do something about his laugh, though. Ball gags, anyone?)




5. The Beast from Disney's Beauty and the Beast. It is a well-documented phenomenon: Most viewers utter an underwhelmed "meh" when he turns into a bland human at the end. Please give us the big, broad, furry beast — and that ginormous library, too. In fact, I might just consider the Beast bone-worthy because of his book collection.



 

What about you, readers? Which furred-up fictional hunk or lady would you love to play a little mattress tag with?
 
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