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Tuesday, April 10, 2012


Welcome, sweeties! I'd like you to meet m/m author, P.D. Singer! It's been a long time since I've had a fellow m/m author at BRB. Love the cover of your latest release, and the blurb sounds tantalizing! Tell us about yourself, P.D.
I blend in to the general population pretty well, aside from a certain wildness around the eyes, which can be attributed to being the mother of two teenage boys. Going to work comes as a bit of a relief—I’m a pharmacist in long term care, which is interesting but generally only to me. At *coughetymumble* years old, some might find my waist length hair a bit on the young side. I do tie it up to ski or play my fiddle—I like Irish trad music and play in sessions at every opportunity.
Where and/or how do you find the greatest inspiration?
Inspiration lurks in the weirdest of places; I keep a notebook with me for little jottings. I email myself tidbits if the notebook isn’t handy. Sometimes inspiration bats me over the head with something I’ve read, seen, or done. A novel in progress has a bicycle racer protag; it’s no accident that I started it during the Tour de France, which my husband watches with religious fervor.
My local library has a rotating display of titles on a theme, and in order to enlarge my horizons, I grab whatever’s in the upper left corner, because it will be different from what I’ve been reading. I’ve picked up some DNFs, some okays, and two full blown plot bunny farms. One is still a WIP, and the other generated The Rare Event
What made you chose to write erotic literature in particular? And is there any other genre you’d like to write? And if so, why? 
My first writing since high school was in fan fiction, in a universe where the object of the exercise is to pair up all the male characters. Um, suppose that might not narrow down the fandom much. Which is why, when a friend recommended one of her favorite m/m romances to me, my reaction was, “We could do this,” and we poked each other into writing and submitting novels. Every writer needs a friend like Eden Winters. ;) 
I like m/m a lot, for the relationship dynamics that are different from m/f romance dynamics. I was never much of a het romance reader, and only after Eden poked me did I start reading a lot of m/m romance, because I had to learn that for some stories, it’s the journey, not the destination.
My stories do have quite a bit of sex, but I don’t think of them as erotic, exactly, because the external conflict is equally as important as the relationship, and I work to make that plausible and interesting. If I develop an idea that doesn’t work with this sort of pairing, or any pairing, I’ll still give it a go, but that hasn’t happened yet.
Which appears first when contemplating a new project: A character, the plot and/or the title?
Heh, the plot is always the first to come along. Always. Then I ask myself what sort of character would be involved in this plot, and a lot of the twists arise from what the character becomes. The title can happen at any stage, and sometimes not until twenty minutes before I hit “submit” on a completed work.
What’s the hardest part of a novel for you to write: Beginning, middle and/or end? Why?
The middle, because I am Linear Girl. I start at the beginning and write in total order until I get to the end. Because I’m a plotter, I know how it starts, where it ends, and what major steps have to take place, though I can be very surprised by how they occur. But I can’t write a scene out of order, although I may not leave it in its original location when I’m doing revisions.
Has your own life influenced your novels? And if so, how?
I will give a character a couple of my own characteristics, but they are definitely composites with unique things thrown in. Some of my experiences have definitely made it onto the page, such as Allan’s eggbeater fall on the ski slopes, complete with snow in goggles. One entire short story arose from a fight with my husband. I’ve done a lot of different things, and I might as well have the joy (term used advisedly in places) of revisiting the experiences.
Do you have a method you use to write the sensual parts? Do you prefer the sex to be open and bold? Or left to the imagination?
If sex is driving the plot, that dictates how it’s going to go. I like fade to black scenes interspersed with more explicit encounters. I adore but can’t create the lyrical sorts of scenes such as what Carole Cummings does in her Aisling trilogy: my sex scenes tend to be more on the realistic side. But not very touch and stroke has to hit the page. I have no trouble leaving the scene in the middle for the guys to finish without us, but do it infrequently, since readers may not share that preference.
Who is your favourite character, which you’ve created? And why?
My favorites are usually the ones whose story I’ve finally put a cap on! After working out an entire novel, revising, and then going through more edits to get ready to print, I’m usually kind of wiped, so when two of my darlings don’t need any more polishing, I love them well indeed. *Pets Ricky and Jon* Ricky goes through more changes than Jon does in the course of The Rare Event; he has to remake several aspects of his world view, and goes through a lot of growth. Given how rare learning from experience is in real life, it makes him special.
Tell us about your newest release. Please list publisher/purchase link/book cover/blurb and excerpt.
The Rare Event is set in fall of 2006, and all of the financial scenarios in there are what was happening at the time: the mortgage crisis was building, the airlines were convulsing, and Google really had run up sharply in a few months. So I inserted some characters into the fray. Between issues of investment strategy and romantic strategy, I thought there’d be plenty of friction. Besides, huge amounts of money are sexy.
Just for fun–
What is your favourite colour(s)?
I like strong purples and aquas, sometimes together, and have become very fond of teal green lately.
Which do you prefer, a great hero or a great villain?
A great hero needs his worthy opponent, so they really do go together. But the villain is generally more fun; he has fewer inhibitions and very often better lines. A great anti-hero is a fine thing too: the good gets done with maximum bad-boy glee. 
What is your favourite movie? And why?
You may laugh: the Toy Story movies. But they have everything: life and death drama, humor, friendship, romance, snappy lines, moments of abject terror, redemption, and no blood. I challenge anyone to top the scene in Toy Story 3 where the toys are riding down the recycling chute to the furnace for sheer gripping emotion.
If you could be anyone in the world who would it be? And why?
Again you may laugh: I like being me quite well. But I would happily continue being me in Heidi Klum’s body.
Where do you see your writing career in the next five to ten years?
I think I’m a better storyteller now than I was a few years ago, and I sincerely hope I’ll be better yet in five years. It’s hard to see past this next year, because I have 6 novels in various stages that will be coming out, and more to finish, before I really start looking at new projects. It could well happen that the plot bunnies venture into more mainstream directions, in fact I’d be surprised if they didn’t. but I won’t be going the New York publisher/agent route if they do. I’m very glad to work with my current publishers, but if the material goes outside of their genres, I won’t get on the crazy train of “get an agent/New York publisher.” I’d publish it myself. 
The Rare Event
Hedge fund trader Ricky Santeramo has it all: money, looks, and fellow trader Jonathan Hogenboom. The two couldn't be more different: Jon is from old money, while Ricky clawed his way out of blue-collar New Jersey. Jon hedges his positions; Ricky goes for broke. Jon likes opera and the Yankees; Ricky prefers clubbing. Jon drinks wine with dinner; Ricky throws back a beer. Jon wants monogamy… but Ricky likes variety. 
Bankrupt airlines are facing strikes, the housing market is starting to crumble, and Jon can’t wait any longer for Ricky to commit. One last night alone and one last risky trade make Jon say, “Enough.” Then Jon’s old friend Davis comes to New York City, ready for baseball and forever. The whole world is chaos, but there are fortunes to be made—or lost—and hearts to be broken—or won.
Faced with losing it all, Ricky must make the savviest trades of his life and pray for a rare event. His portfolio and Jon's love are on the line.
“Ricky is da man! Bam! Ricky is da man!” Of course Ricky would be chanting the loudest, his voice rising over the others’ as he led the motley assortment of traders, analysts, and, good Lord, Edgar Wolfe too, between desks and through racks of files. Jon had his own reason for shouting out Ricky’s man-ness from the tail of the line, his hands on an analyst’s chubby waist. Most of the rest of them were exulting because Ricky’s successful trade had just paid their year’s salaries.

Dwight threw Jon a wry glance over his shoulder, acknowledging that this was a ludicrous way to behave at work, but still kicking out at more or less the right beat, if not with the correct foot. Before the tail of the dance line had gotten around the desks in the center of the wide room, Logan turned to snarl, “Watch your feet, you—” Jon lifted an eyebrow at him, waiting to hear exactly what he thought Dwight was, but Logan wisely chopped it off. Good, Jon’s last explanation of business etiquette had stuck. At least in his presence. Once Jon dropped off the end of the line, Dwight was on his own with the other analyst.

The front of the line wove around to Ricky’s office door again, and the chanting dropped to softer, less organized congratulations, which Ricky would accept as his due. Jon didn’t stop to watch Edgar pound Ricky on the back or ruffle the dark waves of hair out of their carefully combed elegance. He didn’t stay to listen to the analysts offer praise of Ricky’s timing or skill—that was all nonsense, anyway. Still, $730,000 was not to be scorned, and Jon would offer his own sort of congratulations more privately.

He had a few minutes before Ricky would come find him, which Jon used to best effect, taking a swig from the mouthwash bottle and locating a few of the less prominently placed toiletries that the hedge fund stocked in the executive washroom. Far more elegant than the plebian facilities down the hall, the washroom sported a wide couch on the Oriental rug in the dressing area, which gave Jon a place to fidget. The door opened, giving him a jolt that someone like Edgar or Geoff Gorman would actually need to use the plumbing in the marble-tiled room adjacent.

“Don’t want anyone walking in on us again, do we?” Ricky shot the recently installed bolt on the inside of the door. “Damn, but making pots of money buys some of the finer things in life!”

“Like privacy?” Jon was in his arms in a flash, their lips meeting for the first celebration of success. “I thought old Edgar was going to drop his trousers and join in.”

“He gets the big slice of the money and that’s all.” Ricky had his hands on either side of Jon’s head, controlling him for an expert, thorough exploration of his mouth. “I get you.”
Purchase Link: Dreamspinner Press

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