Ask Me Anything – A. L. Lester

#AMA: Genres and Rainbow Representation

This week’s Ask Me Anything…You write both M/M and F/F. How are these two genres or markets different? And what are your top 5 book recommendations in each?

I guess firstly I don’t think of myself writing M/M or F/F per se. I think about myself as writing ‘queer romance’. I know that’s a pretty technical difference; but it does affect how I market my books. Some authors I know have different pen-names for the different romantic pairings or genres they write in; but I made a conscious decision that a) it would be too complicated for my chaotic self to maintain and b) it would make it more difficult for me to actually write. The reasons for a) are self-evident; and b) is because of my particular process I think.

Certainly historically I haven’t been a plotter. I do plot more now…I often begin a story by writing a blurb. I then move on to character sketches and perhaps location sketches. It’s all a bit free-form though and I’m not very good at sticking within the lines I’ve drawn for myself. I like to have the freedom to shoot off in a different direction if a plot idea comes to me or a character seems to require that. I sometimes begin with the idea that someone is one gender/sexuality and as the story unfurls it becomes obvious to me that they are different from the way I initially imagined them. Walter from The Quid Pro Quo is a case in point. Initially he was trans; and then I hit a historical issue with him being in the army on the cusp of the 20^th century where he’d have found it hard to have remained undiscovered. So I tried very, very hard to make him cis. But he wouldn’t have it and I had to fudge the whole joining-the-army thing to accommodate him.

Author wisdom has it that M/M readers are voracious consumers who spend a lot of time in KU; and that F/F readers are hard to win over but loyal once you have. I honestly don’t think I have enough experience to be able to comment on either of those things; but I do know that I don’t feel I fit precisely in to either of those categories. I do use the letters as a shorthand for readers to know about my characters at first glance; but I prefer to call my books with M/M pairings ‘gay romance’ rather than M/M romance. I don’t feel they are high heat enough to be ‘proper’ M/M if that makes sense?

I try and pitch my books as being about LGBTQIA people rather than any particular stripe of the rainbow and I do think that affects the way readers perceive them, and probably me as a writer too. I have a free story for subscribers who join my newsletter and to begin with that was a M/M offering. Last year I changed that to be a poly story with sapphic/non-binary and M/M relationships as I felt that better reflected my catalogue. I think it gives people who don’t know me a better idea of what they are going to find in my books and that can only be good.

I know not everyone likes to read and write across gender and sexuality pairings but it’s what I’m happy writing and that’s really important to me. Being true to my own identity is something I came to quite late and I am very conscious of it, although I have no truck with the idea that one can only write characters and genders from personal experience. It’s perfectly possible to write any character you want to, the only responsibility you have is to do it well. I like the variety that brings to my work and I guess identifying as non-binary, pan and grey-ace, I sit firmly in the meh, whatevs part of the spectrum. It’s nice to be able to write from and about different perspectives.

So this is where I sit and why, I guess!

Instead of answering the second question about my favourite books in the M/M and F/F genres, here are fifteen books I rate with LGBTQIA main characters and they are all excellent. They are in alphabetical order by title and are mix of different identities. Some of them I’ve blogged about in my #AmReading posts over the last few months, but I do hope you find something new here!

If you have an #AskMeAnything question, do drop me an email or pop in to Lester Towers to ask.

#AMA: The Nix List

This week’s question is another by Anabela (who gave me a wheelbarrow-load of really good ones!) Do you have subjects you think you could never write about?

Yes! Definitely! Is the short answer—I should think everyone does. And I should think everyone’s answer is very different and probably changes with time.

The first one that jumps to mind though is children. I’ve always been very disinclined to write about characters with children. Mine are in their early teens now and I was first published in 2017 when they were…thinks very hard…nine and ten. The absolutely last thing I wanted to do was revisit that in fiction. Likewise now, I can’t see myself writing in the parental romance genre any time soon. I had a rubbish time when they were tiny babies and it’s simply not something I want to explore, whether it would be a story that sells or not. I’m utterly baffled by epilogues in romance that show characters having children. I read them and they leave me cold, they’re not my thing at all. So I can’t ever envisage me writing one.

Having said that I do have a character in the Theatr Fach world who has a child; but that’s accidental—I wrote them as a side character in Out of Focus and threw in a kid they had to pick up from school as an excuse to leave Alex alone at the hospital; and I’d quite like to explore them further, so ta-da, they’re a parent. But generally speaking…writing about characters with children is a nix.

Also a nix is mpreg. Does that come under the ‘people with children’ caveat? It probably does, but it should also be a category on its own. I just…can’t. I think it might be my own dysphoria that makes me so revolted by it. Let me emphasise people should absolutely read and write what they want, this is my own personal reaction, not a judgment. I think, actually, giving it more thought whilst writing this, it’s not just mpreg, it’s an entire pregnancy thing. So let’s expand the nix to cover pregnancy. I cannot envisage ever writing a pregnant character. Even writing this paragraph has made me shudder. I did not enjoy being pregnant—I loathed it, every single minute of it. I had the two children very close together—sort of by design as I was nearly forty by the time the first one came along—but so close together that at one point I was pregnant and had post-natal depression. When Littlest was born, my lovely obstetrician wrote me a letter of congratulation expressing the wish never to see me in her clinic again. So a nix to pregnancy completely, please!

I don’t think there’s anything else I am conscious of definitely not wanting to write about. I’ve written about death and violence and assault, all sort of horrible things. I do find writing about sexytimes quite difficult sometimes. I don’t think that’s an inherent disinclination though, more that sex is inherently messy and funny and stupid and I find it hard to do right without slipping in to cliché. I’m always worried that readers will come across a sex-scene and it’ll throw them out of the story because I’ve done sexing in a way that no-one else will find acceptable/interesting/arousing/relevant to the narrative.

I’m sure there are other things and I don’t know it, simply because I haven’t come across them yet or I’ve buried them so deeply I don’t have a clue they’re there!

I’m really enjoying these posts…if you have an #AskMeAnything question, do drop me an email or pop in to Lester Towers to ask.

#AMA: Dinner and a Show

Today’s #AMA question comes from Liz Welch: Which of your characters would you most like to have dinner with, and why? And what would they make for you to eat?

I thought this would be an easy one to write about and actually I’ve sat here for ages thinking about it. There are so many characters and so many different things we could talk about over a meal.

Finally though, I’ve come to a conclusion. I’m going for Rob and Matty from Inheritance of Shadows.

Character Sketch of Rob & Matty from Inheritance of Shadows

Webber’s Farm

Sitting with Rob and Matty at the scrubbed wooden table on the battered oak chairs in the kitchen at Webber’s Farm would definitely be my first choice. Rob would cook something like sausages and mash. Straightforward, plain food. The range would be fired up hot to cook on and the kitchen would be warm and cosy.

We’d eat with our elbows on the table and to follow, because it would be Saturday and no-one had to rush back out to work afterwards, we’d have big slabs of the fruitcake Anne Beelock had baked that morning along with slices of sharp cheddar from the larder, and drink cups of tea out of the cups and saucers with roses round the rim—Matty would have got out his mother’s china for my visit—and talk about how the cattle were doing and whether the harvest was going to be a good one this year.

The Webber’s of my mind is a dim, warm, welcoming place, with slightly fraying thatch and a muddy track with the pot-holes filled in as and when they’re needed. It has a yard surrounded by low, ancient barns filled with machinery dating back a couple of hundred years, dusted with the red soil of the hills. The back door is always ajar to let the dogs in and out and the kettle is always almost-boiling on the range.
As you knock on the door and go on in—the back door, no-one uses the front unless it’s a wedding or a funeral, or they’re a stranger—Rob looks up from the kitchen table where he’s standing next to a pile of potatoes, peering down at the newspaper he’s supposed to be using to peel them on, wire-framed glasses perched incongruously on the bridge of his nose.
“Ah,” he says. “It’s you. There’s tea in the pot.” And he looks down again to finish whatever he’s reading. Something about the football, probably.
“Where’s Matty?” you ask him, poking at the kettle.
“Gone to town,” he says, taking off his glasses and folding them carefully in to their case beside him on the table. “Picking up the seed potatoes.”
“Oh, yes, it’s Saturday,” you say.
“Nothing for the market today,” Rob tells you, to explain why he’s at home and Matty’s gone by himself. “And I needed to get on with one or two things here. He’ll be back shortly though. Are you staying for dinner? He was going to the butcher. Sausages.” He grins and raises his eyebrows. He’s a big fan of sausages.
“That would be lovely, if you have enough,” you say. “Shall I help you peel the potatoes?” You gesture to the pile.
“No, no,” he says. “You sit down and pour us some tea and I’ll get on with this. There’s no rush. I just thought I’d get it done. Annie’s gone off to see her sister.”
So you sit and make small-talk. Nothing big. Nothing of moment. Who’s working where. Who’s walking out with who. Whether Flo the big plough horse is in foal or not.
And when Matty comes home it’s more of the same, all through the meal and into the afternoon.

That’s what I like about Webber’s and the stories I’ve set there. Both Inheritance and Taking Stock are about people finding a home. Inheritance has a paranormal element. But it’s still mostly about both Matty and Rob finding a way to be happy with themselves and exploring how they might fit together. I guess in these troubled times I need that security and if I can only get it by going back fifty or a hundred years then so be it!

Rob is the most reassuring of my characters I think. He’s so steady. You’re not going to get cordon-bleu cuisine or conversation about philosophy with your meal. But you’ll get nourishing, comforting food, insightful local gossip and some national political discussion. And maybe a bit of chat about what he’s been reading. He likes to read, but not a lot of fiction—biographies, that sort of thing.

Callum has narrated Inheritance of Shadows for me. You can listen to the first (long) chapter for free at Bookfunnel and hear his interpretation of Rob and Matty. I love them both, he’s got them exactly as I pictured them—Rob’s depth and steadiness really come through.

I hope this answer’s Liz’s question! I’m really enjoying having these thrown at me and I hope you’re enjoying reading them. If you’d like the chance to ask me something yourself, please pop in to my Facebook Group or join my newsletter–I will be regularly asking for questions!

Thanks for reading!

#AMA: Resonating with your characters

This time’s topic is a question from Fee. Which of your characters, if any, do you resonate with most?

I suppose the easiest way to fudge this is to say well there’s something of myself in all my characters and be all highbrow about it. However, there are definitely characters I resonate with more than others. It tends to be the people who are lost that I find I chime with most, or the people who are unhappy with themselves. What does that say about me? I don’t know*. None of my characters are me, but a few of them have quite a few elements of me in them…so, I’m going to pick two. Laurie from Taking Stock and Walter from The Quid Pro Quo.

Laurie from Taking Stock

Laurie Henshaw, farmer. Recovering from a stroke. Age 33. Brown hair, brown eyes, sheepdogs Nell and Fly. Came to Webber's Farm in 1954. Taking Stock.

Laurie is in his mid-thirties and has had a stroke, which means he can’t work his own farm any more. Yeah, okay, I wrote this just after my Mama had her stroke, but actually Laurie’s emotions and feelings of powerlessness are right out of the Ally Lester Playbook. My own chronic disability is a seizure disorder paired with fibromyalgia and I loathe not being able to drive, or even go shopping alone in case I keel over. I hate not being able to have animals any more—I use to run the egg stall at the local farmers market and teach poultry-keeping courses and generally heave bags of animal feed and animals and animal housing around and I am now dependent on Mr AL and Talking Child to even take care of the handful of hens we keep ourselves. I put a lot of that frustration into Laurie—his feeling of losing his livelihood and his anger at the universe and I think it comes through. Bits of him were very therapeutic to write and bits of him were very upsetting.

Walter from The Quid Pro Quo

The same with Walter. Walter’s happy enough. He’s got his friends and his work and his travelogues. But he’s hiding his big secret from the world and no-one but his very closest friends know it. So he keeps that bit of distance from everyone else to protect himself. I am not out as non-binary or pan to the little village I live in. Some people know—I don’t make a secret of it exactly, but it’s not something that comes up in the village jubilee committee meetings. I present as a short, round, grumpy, middle-aged, straight married lady. And so I feel quite a bit of kinship with Walter. He’s short, soft around the middle and a bit grumpy…and he hides his gender and sexuality. It’s not the same. But there’s elements of me in there and that resonates.

Walter Kennet. Born 1880, East End of London. Profession, army nurse (orderly). Smokes a pipe. Appearance. Small, running a little bit to fat, dark brown hair and eyes, London accent. Personality, sarcastic, loyal, competent. Pansexual, transgender. Can cook. Reads travelogues for pleasure. The Quid Pro Quo.

The fact I was able to give both characters happy endings means a lot to me. A lot of what I write is about people finding a home in other people—found family as well as a romantic happy ending—and I guess that’s what I desire for myself. I do have a large and supportive family of choice, so I draw from that in the real world and hope my characters can have that too. But these characters also carry the sense of dislocation I still sometimes feel when the world gets out of whack and that also makes them close to my heart.

Thank you, Fee, for asking the question and making me think about it!

*Dear Reader, ALLY DOES KNOW

#AMA: Blending real people and fictional characters

I’ve been having a bit of blog-block recently, so I asked in my facebook group for suggestions and a lot of lovely people gave me questions to answer and topics to write about. To start with today, I picked Anabela’s…Are there any real people or personalities you’d like to turn into fictional characters? (I’ll also be asking this regularly in my newsletter if you don’t do facebook).

Well…

It’s a tricksy subject, because I think as a writer no-one would ever speak to you again if they thought you spent every interaction making mental notes about them to slide them in to a novel. Also…it’s a bit rude, I think? As if you’re using real people for other people’s entertainment. It seems immoral to me to pinch someone wholesale from real life and stick them in a work of fiction for other people’s entertainment, particularly if it’s painful situations or trauma that one’s writing about or putting the character through. It just doesn’t seem right.

So the broad answer to that is no, there aren’t.

But then we get to the narrow answer, of which there are two!

Firstly, my the development of my main characters is sometimes sparked by real-life people. For example, Edie in the The Flowers of Time was inspired by the artist Marianne North, a British woman who travelled all over the world painting flowers in the second half of the nineteenth century. She was remarkable both for her travels and for her talent. And a lot of Edie and Jones’ travels are based on those of Isabella Bird, another Victorian woman from Britain who travelled widely and wrote travelogues. (She was casually racist in the standard manner of the British at that time, so do be aware of that if you want to explore her work further. I took some of her travels as inspiration and I left her personality well behind.)

The Fog of War by A. L. Lester, First in the Bradfield Trilogy, part of the Border Magic Universe

Sylvia Marks in The Fog of War was sparked by an Edwardian lady doctor I remember my grandmother telling me about in Wellington in Somerset during her childhood. I know nothing about her personality apart from her nephew’s wife, a friend of mine, reporting that ‘she was a game old bird who smoked like a chimney’ when he knew her in the 1960s. Granny was struck by the fact that she’d come to visit her mother and sit on the kitchen table and swing her legs and smoke. So that was where Sylvia began. I jumped off from those two things and went and researched women doctors of that era.

For main characters like this I begin with a glimmer from somewhere and the character then grows on their own. Sometimes it doesn’t work…I have an abandoned post-apocalyptic-plague thing I began six months before covid where the MC is based on a dear friend and I made them too alike—even talking to him about it to check whether it freaked him out too much—and I can’t write it. That’s possibly for covid reasons but also because I don’t want to think about him naked (sorry about that, P, if you’re reading this!). And for my upcoming May release, the one for Naked Gardening Day, I got stuck when I realised I’d drawn heavily on my memories of my father for George, one of the protagonists. It made things just a tad awkward until I realised and could rewrite him so it didn’t make me need therapy.

So that’s the main character bit. I sometimes start with a snapshot of a real person and develop a main character from there. If I try and make them too like a real person, then it doesn’t work.

Jimmy, age 84. Extremely elderly farmhand from Inheritance of Shadows. Married. Lots of children and grandchildren.

Secondly though, there are definitely aspects of people I’ve met that I make a part of my supporting cast. Of necessity supporting cast members tend to be more caricatures, I think? So they have one or two traits that make them useful in the story, to move it along or provide comic relief or pathos or even just background depth. I’m thinking in particular of Jimmy from Taking Stock, who acts a bit like a local chap I know who used to help my Mama with her sheep. His appearances are third-party, we only ever see him through the eyes of the main characters. We never know what he’s thinking or what his feelings are. He’s just a foil for my main characters and the story and I don’t ascribe him any motivations.

Similarly in Out of Focus (out on 26^th March, pre-order now etc etc!) some of the supporting cast have traits of people I’ve met on my travels. Things like the way they swear, or something someone said…that sort of thing. But again…nothing that is actually them, if that makes sense? Nothing about what they might be thinking or feeling.

I think that’s the crux of it, Anabela! I sometimes use a real-life situation as a spring-board for character development. And I sometimes attribute something I remember someone doing or saying as part of a minor character. The idea of taking a real person wholesale and making them in to a fictional character doesn’t ring my bell at all—quite the opposite.

Next time…a New Thing I’m doing with some author friends…Reading Around the Rainbow!