Six of the best with Heidi Belleau

Today I welcome Heidi Belleau to my world. She's the author of numerous and rather engaging titles. Go check out her author page at Goodreads.

You’ve got no more than 16 words to tell someone who’s never heard of Wallflower what it’s all about. Go!

Heidi: Shy geek with female online persona discovers being part-time girl interferes with his budding gay relationship.

(Phew! That was hard!)

Wallflower delves into the theme of gender identity. Tell us a little bit more about Robert/Bobby.

Basically, Rob is this shy, awkward guy who’s always been a loner, but online, where he presents as a girl, he’s funny, popular, and outgoing.

Getting a job at a porn store pushes his shyness to the limit, so he decides to try passing as a girl in real life too. Just for his job, at first, but then he discovers that he loves his female persona, loves the freedom and confidence it gives him... but doesn’t love the fact that it complicates his new relationship with an out gay man. Basically from a gender standpoint, it’s all about a genderqueer person figuring out who he is, how he wants to present, how to navigate his sexlife and relationships, and how he can move forward.

Also, you write non-Caucasian characters, do tell us a little more how you give them the ring of authenticity.

I write lots of characters of colour, yes. Especially for Rear Entrance Video, the series of which Wallflower is a part. It’s set in Vancouver and I wanted the cast to represent the diversity of the city. If I’d have had a bunch of white heroes, it just wouldn’t have been right. As to giving them a ring of authenticity, it’s a little bit of everything. I observe the people around me and my friends, I read forums or articles online, I watch videos if need be. And then when I write; I make sure to try and find beta readers with firsthand knowledge who can keep an eye out for glaring mistakes.

Really, the main thing to remember is you’re not writing a race, you’re writing a person... whose race is a part of who they are. So you can’t write “colour-blind”, but you most certainly should make characters of colour just as well-rounded as white characters. And a part of that is giving due care and attention to their identity and ethnicity and how that affects their personality, their self-image, and how they interact with others. That doesn't mean the book has to be about race – so for Rob, being Chinese Canadian is largely in the background to his gender issues, but for Dylan, it’s a much bigger part of who he is and how he relates with people. Basically? Research research research, empathy empathy empathy, complexity complexity complexity.

What was your favourite scene from Wallflower?

There’s a scene early on in the book where Rob rents a straight Asian fetish video and watches it. It was a really challenging but rewarding scene for me to write, because while it’s ostensibly a sex scene, it’s so much more. It’s a big knotty tangle of race and gender and fetish and how we perform race and gender and how watching that kind of media changes our perception and how porn is both harmful and also freeing. For how heavy it is on issues, it’s also just really sexy. In a complicated kind of way.

Was there any that you found particularly tricky?

Yes! The reconciliation between Rob and Dylan at the end of the book was very hard to get the wording right. I actually edited the dialogue somewhat after reading a review, because the reviewer had issues with the same lines I did, so I reworked them. I set up a pretty tricky conflict in Wallflower by having a gay man fall for a genderqueer person who therefore isn’t completely male, and it took a little bit of wrangling to have them talk it out and resolve that conflict in a satisfying way that didn’t compromise either of their identities.

Lastly, what do you love best about your chosen genre(s)? 

I love writing about queer people like me. I love telling stories that wouldn’t necessarily be told otherwise. Not only do I enjoy writing what I write, not only do I get a little hot writing what I write, but I feel good about it, too, which is a great feeling.

Bio
Heidi Belleau was born and raised in small town New Brunswick, Canada. She now lives in the rugged oil-patch frontier of Northern BC with her husband, an Irish ex-pat, whose long work hours in the trades leave her plenty of quiet time to write.

She has a degree in history from Simon Fraser University with a concentration in British and Irish studies; much of her work centred on popular culture, oral folklore, and sexuality, but she was known to perplex her professors with unironic papers on the historical roots of modern romance novel tropes. (Ask her about Highlanders!)

See http://riptidepublishing.com/titles/wallflower-rear-entrance-video-2
Connect with Heidi Twitter @HeidiBelleau.

Mark of the Gladiator by Heidi Belleau and Violetta Vane #review

Title: Mark of the Gladiator
Authors: Heidi Belleau and Violetta Vane
Publisher: Riptide Publishing, 2012

I’m going to freely admit here that my love for all things Rome at present can firmly be blamed on watching the TV series Spartacus. So, yes, I was very much primed by the time the request to review Mark of the Gladiator landed in my inbox. And Heidi and Violetta do not disappoint in this offering, Mark of the Gladiator showing all the hallmarks that make all the Riptide Publishing tittles of a consistently high standard. This novel offers a heady combination of narrative, danger and sex, all in equal measures, in a way that feels like everything has its place and time.

Firstly, I’d like to praise the authors. Not once was I jerked out of the story nor could I tell where one author left off and the other began--their writing blends seamlessly. Also, I’m a bit of a history junkie, so hats off to the pair for immersing me into what felt like an authentic setting.

In Mark of the Gladiator we follow from the point of view of Anazar, a slave and gladiator better known to Romans as Cyrenaicus. But he’s a wounded soul, and his years of captivity have to a degree dulled his spirit. He is very much entrenched within his role of slave, and seeks to please his master in everything.

However, the opportunity to become a freedman presents itself when Anazar’s master loans him to another master in order for him to train a team of female gladiators, and Anazar does what he can to please his new master, Marianus. But what should be a relatively trouble-free situation, serving a master who seems to be near perfect, is muddied by the fitful presence of Marianus’s brother, Felix.

Rome wouldn’t be Rome without oodles of intrigue, and Anazar soon finds himself in a predicament, and his loyalty called into question. Much as on the sands, mistakes can prove fatal, and he finds himself fighting hard, not only for his own survival, but for the spirited women he has to train so that they too can stay alive. And dare he grasp out, against expectations, for the hope of love offered?

The characters in this novel are all too human, showing their virtues and flaws. The authors soon had me caring deeply for the fates of all involved. If you have a love of ancient Rome, then don’t hesitate in adding this one to your “to be read” pile. And the question that’s on my mind right now is will Heidi and Violetta give us another tale in the same setting? More please!

Read my interview with Heidi and Violetta here...

In conversation with Heidi and Violetta

Recently I've been going through a bit of a phase of reading historical settings. Not quite sure what prompted this but I've been getting total kicks from ancient Rome and Greece. When Mark of the Gladiator (Riptide Publishing) by Heidi Belleau and Violetta Vane landed on my virtual desk, I totally gobbled it up.

Naturally, I had to have the ladies over for a little Q&A... So a big welcome to Heidi and Violetta!

Ancient Rome... How much research did you conduct to give your tale a ring of authenticity?

Violetta: This was a very research-heavy book. We didn’t mind that at all; in fact, that’s one of the great bonuses of writing this kind of fiction. It’s like being in a perpetual classroom... for free. I already have a bit of a background in terms of ancient literature from when I was in academia. I own some books on related subjects, such as Spectacle Entertainments of Early Imperial Rome and The Sorrows of the Ancient Romans. We used a lot of great online sources, as well, and list some of them in the back of the book.

Anazar has been a slave for so long that he's lost a lot of his spirit. When you looked at his development as a character, what were some of the obstacles he had to overcome?

Violetta: Oh, nothing much. Just leaving behind his wife and most of his family, traveling across the known world to fight in a war not of his choosing, seeing most of his friends, male relatives and fellow tribesman dying in battle or executed after defeat... and that’s just the beginning. Like most people in that situation he went into survival mode, with very little space for much else. But the fact that he survived and is still capable of making moral choices means he has the capacity to rebuild his identity. I’ve read a lot about slavery in the ancient world and in the Americas, and one thing that’s clear is that many people were determined to survive and make moral choices. A lot of slaves in the ancient world did actually kill themselves, which is also a choice, in a terribly sad way.

So far when I've encountered writing duos (and trios even) the divisions have been quite clear-cut, in most cases with each author taking turns with a character each. This is not the case with Mark of the Gladiator, as the entire novel is told only from Anazar's point of view. How did this work out within your writing partnership?

Heidi: Well actually, even with novels where we do utilize multiple points of view, we both share all writing duties. We’ve never traded off in any organized way, although sometimes one person will take charge of a certain scene with minimal input from the other. So for example, had Mark of the Gladiator had both Anazar and, say, Felix as a POV character, we’d have both written both, versus Violetta writing Anazar and me writing Felix. We share chapters, pages, scenes, even sentences. On our blog tour for our co-authored novel Hawaiian Gothic, I actually broke down our process. (And it’s colour coded!)

You mention Mary Renault as one of your influences (okay, I admit that totally sold me), so tell us more about how you perceive the dynamics between your main characters within a historical context. I picked up a fair amount of power play between the characters. What are some of the considerations to bear in mind when writing historical settings?

Violetta: In terms of the kind of relationship you see in The Persian Boy, the central relationship in Mark of the Gladiator is nothing like that. There’s a Greek and then similar Roman model of approved relationships between older dominant penetrative men and submissive youths, the erastes/eromenos dyad—our hero doesn’t really fit this model, and he’s aware of that, and confused by it as well. He has to come to terms with his sexuality and the fact that his lover definitely falls into several wrong categories.

Heidi: Well, I think if you’re doing a story in Rome, especially one that heavily features the interactions of people from different classes, and between freedmen and slaves, you really have to deal with that power imbalance head on. One thing that was really important to us was not to just play the “power play” aspect purely for titillation. Not to say we don’t like power play as a sexual kink (especially in a consensual BDSM context--more on that later!), but with Mark of the Gladiator I really believe we needed to do oh-so-much more. Especially since this is a historical, we had to find that right balance between the sexuality of the romantic/erotic scenes and the grim reality of slavery.

In that regard, I’m really proud of the development of Anazar’s relationship with his master Marianus Lucius. (Spoilers!) At the beginning of the book, there’s this balance between desire and performance and coercion, where Anazar basically must service his master but also enjoys it, in a way . . . then as the book progresses and Anazar’s opinion of Marianus changes, the performance becomes difficult and the coercion becomes a new and terrifying thing, which flips that titillation dynamic into something sinister. Which is the reality of consent in that dynamic: it’s ultimately an illusion. If you can’t really refuse consent (as is the case with a master and slave), can you ever truly give it?

And this is the absolutely annoying question I know authors get asked endlessly... But in this case I was dying to know. Can we expect more in a historical setting from you?

Heidi: Hmm, not in the near future I don’t think! Right now we’re both working on solo projects, and we’re doing a joint project that’s a mixed-orientation contemporary BDSM series with a lot of comedy and a lot of unconventional sex. We’re hoping that even without the historical intrigue, our readers will still enjoy this series for its complex character dynamics and twisty subplots!

Then, in short:
Where's your current favourite holiday destination, and what draws you there?

Heidi: Probably Ireland. My husband is from there, so we go every couple years to visit his parents, and I always have a wonderful time. Surprise, surprise, I’m a history geek, and Ireland has locales and items of historical interest in spades.

Violetta: The Pacific Coast of Mexico. It’s one of the most bold and beautiful landscapes I can imagine, the people are wonderful and the food is to die for.



What book are you constantly recommending to people?

Heidi: That depends on the person! For M/M readers, I love The Island by Lisa Henry. For non-romance readers, basically anything by Sherman Alexie, who writes stunning and powerful short stories.

Violetta: The Flat Earth series by Tanith Lee.

And the film you save for rainy days?

Heidi: Moulin Rouge!

Violetta: El Topo.

LINKAGE
Heidi:
http://www.HeidiBelleau.com
Twitter @HeidiBelleau

Violetta:
http://www.ViolettaVane.com
Twitter @ViolettaVane