Television producer Charlie Trager knows he’s lucky to have a successful career and good friends and family who support him.
The man he loves, however, is not so lucky.
In Laurie Boris‘s novel “Playing Charlie Cool”, Joshua Goldberg suffers the spite of an ex-wife gunning to keep him from their two children, and maybe from Charlie.
Determined not to let Joshua go, Charlie crafts a scheme that could remove the obstacles to their relationship – or destroy their love forever.
More below the media player.
Listen to Laurie Boris
The Indie Author Life
Does an author have the right to write from a point of view that is different from who they are?
That sounds pretty elementary. But as Laurie Boris wrote in a recent guest post at avian30.com, it’s a question she has had to field in writing about the characters in “Playing Charlie Cool”:
I wasn’t writing “a gay man.” I was writing Charlie. To me, that’s a huge difference. I’ve had writing teachers who shook fingers at me and said it was inauthentic, wrong, and in one case, actually a criminal abomination for a writer to get into the head of anyone outside of his or her own “identity.” I agreed to disagree. She didn’t. Bless her heart, I adore her, but we haven’t spoken much since. And I’m good with that.
As a writer, especially as the kind of writer who likes to drop deep into a character and tell an organic story, no matter who comes knocking on my door, I don’t like to hear that I’m only qualified to write in the point of view of a left-handed, childless Unitarian woman of Eastern European extraction up to and including the age of fifty-three.
It makes me feel limited. Hamstrung. Like the world thinks I’m lacking in imagination. If we all believed in this tired canard, would there be science fiction? Harry Potter? Twinkly vampires? Hobbits? Narnia? Had A.A. Milne ever been a stuffed bear with a honey fetish? I don’t think so.