Heidi Cullinan’s ANTISOCIAL



I’m delighted to host Heidi Cullinan on her blog tour for her latest release, ANTISOCIAL. I adore Heidi’s writing. She snares my emotions with characters who suffer and strive and succeed. I always learn from her thoroughly enjoyable novels. (And she lives in my home state.)


Thanks for having me today! I’m here to talk about my newest release, Antisocial, a new adult gay and asexual romance set in a fictional college in upstate New York between a one-percenter fraternity boy and a highly antisocial artist. One encounter with Xander Fairchild’s artwork is enough to turn Skylar Stone’s carefully orchestrated life upside down, unlacing his secrets and inviting him into a secret anime-soaked world with a new set of friends. But will they be brave enough to embrace their fragile new relationship and let it last beyond the summer?

Antisocial has been in the works for a long time, but for a lot of reasons I kept putting it aside. It was one of those books I needed to noodle on, and I wanted to “get it right,” so I kept thinking I’d “do it later.” Well, this spring I was in a bit of a mess, with the book I planned to work on, Rebel Heart, tied to a series which was at the time too dangerous to continue, as I had no idea what was happening with the rest of the books and when I would be getting them back, or if I’d end up in some kind of prolonged legal issue. I needed a clean book, attached to nothing. I didn’t have the mental wherewithal to come up with something brand new, and that left the only book floating around: Antisocial.

It also left me with a narrow time window, trying to get a book out in time to keep my income stream stable as much as possible, and I had to get into my editor’s lineup—which I had been in, though it was now all messed up because of the closed publisher. Everything was messed up, really. And the bottom line was that I couldn’t get in when I needed to get in with my editor, not in time to finish the book. So my only choice was to go with another editor.

Normally I work with Sasha Knight, who has been my editor on almost every book since A Private Gentleman, but for Antisocial the lead editor was Christa Soule, who I’ve worked with in other ways but who had never formally edited a book of mine before. I was excited and a little nervous at the same time—it’s good to get a fresh shake on things sometimes, but always scary to shake up what works well too, especially on something this big.

When we finally got to editing, Christa was wonderful, as anticipated, and had so many amazing comments that made me think and pushed me in new ways. Even the best editors are all human, and every human has different things they notice and pick up on, and having a different pair of eyes was enlightening. However, it happened that when we finally got to editing I heard Sasha had a gap in her schedule, and there’s a kind of close, sharp-look to my words only she can do that I was longing for, and so I asked if she’d be willing to do a kind of half edit, and she said she would.

As these things do, everything sort of morphed into more than we all anticipated, and in the end I basically had two editors—which was completely, utterly wonderful. Occasionally it was humbling as hell, because they would “gang up” on me in the comments, agreeing with each other and deciding how things should go down and I was like, “wait a minute, here!” But they were always right, darn it—and honestly, having two of them in there who worked so well together (they know each other and have an amazing chemistry) was such a gift.  They made the book stronger in so many ways, and I was blessed to have them both.

Oh, if only I could afford to have them both on every book, I would! Part of me can’t help thinking of how that could be arranged. But for Antisocial, at least, I got to enjoy this moment. So thank you, Christa and Sasha, for a wonderful experience. I hope you enjoyed it as much as I did.

Cover art by Natsukoworks
Cover design by Kanaxa Designs

A single stroke can change your world.

Xander Fairchild can’t stand people in general and frat boys in particular, so when he’s forced to spend his summer working on his senior project with Skylar Stone, a silver-tongued Delta Sig with a trust fund who wants to make Xander over into a shiny new image, Xander is determined to resist. He came to idyllic, Japanese culture-soaked Benten College to hide and make manga, not to be transformed into a corporate clone in the eleventh hour.

Skylar’s life has been laid out for him since before he was born, but all it takes is one look at Xander’s artwork, and the veneer around him begins to crack. Xander himself does plenty of damage too. There’s something about the antisocial artist’s refusal to yield that forces Skylar to acknowledge how much his own orchestrated future is killing him slowly…as is the truth about his gray-spectrum sexuality, which he hasn’t dared to speak aloud, even to himself.

Through a summer of art and friendship, Xander and Skylar learn more about each other, themselves, and their feelings for one another. But as their senior year begins, they must decide if they will part ways and return to the dull futures they had planned, or if they will take a risk and leap into a brightly colored future—together.



Amazon US ebook,  Amazon US paperback, Amazon UK ebook, Amazon UK paperback, Barnes & Noble, iTunes, Kobo, Scribd, Smashwords



Heidi Cullinan has always enjoyed a good love story, provided it has a happy ending. Proud to be from the first Midwestern state with full marriage equality, Heidi is a vocal advocate for LGBT rights. She writes positive-outcome romances for LGBT characters struggling against insurmountable odds because she believes there’s no such thing as too much happy ever after. When Heidi isn’t writing, she enjoys playing with new recipes, reading romance and manga, playing with her cats, and watching too much anime. Find out more about Heidi at heidicullinan.com.


By Anne Barwell

Author Anne Barwell has once again shared her considerable intellect, careful research and heartfelt passion in this interview for her latest release.

Be sure to check the end of the interview below to enter the Rafflecopter running as part of the tour!

LM: Thank you, Anne, for allowing me to host your blog for the debut of Comes a Horseman, the third book in your suspenseful, heart-filled World War II trilogy, Echoes.

AB: Thank you for hosting me, Lucy, and for being part of my blog tour. It’s a pleasure to be here. Your questions, as usual, are very insightful.

LM: You give me plenty of material! Here is a description of your novel:

Echoes Rising Book 3, sequel to Winter Duet

France, 1944

Sometimes the most desperate struggles take place far from the battlefield, and what happens in secret can change the course of history.

Victory is close at hand, but freedom remains frustratingly just beyond the grasp of German physicist Dr. Kristopher Lehrer, Resistance fighter Michel, and the remaining members of the team sent by the Allies—Captain Matt Bryant, Sergeant Ken Lowe, and Dr. Zhou Liang—as they fight to keep the atomic plans from the Nazis. The team reaches France and connects with members of Michel’s French Resistance cell in Normandy. Allied troops are poised to liberate France, and rescue is supposedly at hand. However, Kristopher is no longer sure the information he carries in his memory is safe with either side.

When Standartenführer Holm and his men finally catch up with their prey, the team is left with few options as they fight to keep atomic plans from the Nazis. With a traitor in their midst, who can they trust? Kristopher realizes he must become something he is not in order to save the man he loves. Death is biding his time, and sacrifices must be made for any of them to have the futures they want.

LM: First, what is the significance of the concluding novel’s title, Comes a Horseman?

AB:  The horseman is a reference to Death, one of the four horsemen of the apocalypse in the Book of Revelations in the bible.  With the book being the final in the series, and given it’s set during WWII, sadly there are character deaths.  I wanted to not only acknowledge those deaths, but also those who lost their lives during that war.  It works on another level, too, in that Kristopher is part of the German atomic bomb project and that the bombs dropped on Japan in 1945 were also bringers of death.  It also refers to the decision Kristopher makes at the end of the series.

As an aside, I’m a big fan of the Highlander TV series, and they had a fabulous two-part episode around immortals who were known as the four horseman. Part one was Comes a Horseman, and part two was called Revelations 6:8.

LM: I am instantly caught by your lovely dedication honoring those who fought for so much more than their personal freedom: “For all those who were a part of the Resistance during WWII. Lest we forget.” Does this dedication pertain to an even broader scope than WWII?

AB: I read a lot about the Resistance during this time period, and so many brave men and women—many who few know about—lost their lives.  I think it’s important to remember them. They were from different walks of life, and nationalities, and did what they could to fight for what they believed in and for those who couldn’t fight back.

Whatever happens in the world, it’s important that we don’t just lie down, accept it, and ignore our conscience.  These Resistance fighters leave us a legacy, just as they built on a legacy of those who came before them.

LM: The soul-draining cost of living in pretense is one of this novel’s main themes. While concealing their identities from the Nazis, these courageous warriors yearn to reclaim their true selves. The lovers despair of “happily ever after” because their relationships are illegal. Does your trilogy title, Echoes, refer in part to today’s tragic echo of this battle for authenticity?

AB:  I hadn’t thought about that connection for authenticity to be honest, but I really like it, and although I didn’t intend that connection, it feels like it’s worked out that way.  What people are going through today echoes far too much of what has happened in the past.  I’m reminded of that saying about those who don’t know history are doomed to repeat it.

The original name for the series when I first started writing was Echoes of the Rising Sun, but as it morphed into the story it is now, that was a bit of a mouthful so I shorted it to Echoes, and then Echoes Rising when it moved to from Dreamspinner Press to DSP Publications.

The original title is connected to the atomic bomb project, as Rising Sun is Japan where the bombs were dropped in 1945. Echoes connects to the title Shadowboxing. Kristopher is haunted by nightmares, echoes of the possible ramifications of his work.  Decisions we make never truly leave us, and echoes of them follow us across life.  That’s very true, especially for him, but every character in this series has experienced some kind of loss or tragedy, and what they go through in this story echoes in a way what has come before.  

LM: I am strung tight throughout every page of Comes a Horseman! Several teams strive to outwit the devious Nazis, and they cannot trust anyone, even their compatriots. You give us breathers with tender and funny moments. What is your process for weaving together so many plot threads?

AB:  One of the reasons for splitting the action was the size of the cast so that no one got shunted to one side as this is very much an ensemble story.  With so many plot threads, I had a detailed outline—but with room to go off on a tangent if a character decided to do something I hadn’t planned.  There’s a scene that wasn’t in the outline where Matt steps in to save a local girl, but I thought it showed his strength of character, and highlighted why he’s in charge of this mission.

The timing of the action for this story needed to be just right too, as I needed all of the characters to reach Normandy before 6th June 1944.  With that timeline in mind, I worked out how I was going to split the groups and their individual routes before they came back together again. I also had a lot of continuity notes, as I wanted to tie up all the plot threads from the previous two books.

LM: You add tremendous depth to this thriller by giving relationships equal plot time. Even the “bad guys” make choices driven by grief and rage. Do you believe personal emotions drive pivotal world-wide events more than we might think?

AB: I prefer bad guys who are highly motivated. In their eyes they are the heroes of this story—it’s all a matter of perspective.  If someone believes they are doing the right thing, they’re much more dangerous an opponent than someone who can be bought by a higher price.

That’s an interesting question, but yes I do.  It’s very difficult to not bring emotional responses into decisions, even though many people claim they don’t.  In an emotional situation, especially one driven by strong emotions such as a person’s beliefs, or their feelings towards someone else, it’s often scarily easy to justify one’s actions.  Love is a powerful emotion, but so are others such as fear, and revenge.  Often they’re tied to each other too.

LM: In contrast to the other characters, your most chilling Nazi operates from a lack of emotion. He casually inflicts agony. How do you define such evil, and do you see parallels in today’s world?

AB:  This ties back to the previous question.  The character you’re referring to is convinced he’s acting with honour, and one of the ways he justifies it is by removing emotion.  He is doing his duty, and whatever it takes to perform his mission. There’s a scene toward the end of Comes a Horseman where he’s seen without that façade, and it’s quite telling.

I see evil as the flip side of good, and that one doesn’t exist without the other.  Much of what we view as evil in this world is people convincing themselves that what they’re doing is right, or good people keeping quiet so that injustices are feel to happen.  There is evil in the world, but the motivations for those actions is often complicated, or brought about by ignorance , bigotry, or by people who are emotionally distanced from what they do.

Sadly I’m seeing a lot of what is going on in today’s world, and thinking there are parallels to what happened in WWII.  It wasn’t that long ago, and many seem to have forgotten the consequences already.

LM: My guilty relief when ongoing trauma ends with a Nazi’s death highlights your lack of gratuitous violence. Were you careful to kill very few characters in this series, bringing meaning to each person’s death?

AB: Although this is a series set during wartime, I wanted to keep a fine line between the reality of death, and using it in a gratuitous way.  Someone argued with me that because these men are fighting a war, they shouldn’t have any qualms in picking up a gun and shooting the enemy.  Yes, they are going to have to do that, but I still think it should impact them emotionally, rather than just be done coldly.  Many men and women who fight a war are left with nightmares about the lives they’ve taken, even if they had no choice.   Taking a life is something that shouldn’t be taken lightly.  Despite the person killed being a enemy soldier, they still are a person with their own hopes, dreams, and have families and others who love them. They aren’t a nameless avatar in a game.

Call me unrealistic or a romantic, but *shrugs*.   Kristopher struggles with the same thing throughout this series. He knows others have had to kill to survive, and believes strongly that he wouldn’t do that. However, he’s going to find himself in a situation where he too has to make that choice between killing an enemy or letting someone he cares about die. Whatever he does as a result, it will be something he doesn’t forget easily.

LM: During an escape through France, one brave man refuses to lie to his parents and introduces his lover to them. I keenly felt his need for their acceptance. Do you believe family acceptance is a primary need, even a right, for everyone?

AB:  Yes.  Family is the one place where you should be free to be yourself and not hide who you truly are.  So many people have to hide parts of themselves every day, and it’s important to have someone who you can confide in.  As a parent I want to be there for my children, and think that they would be able to talk to me about anything.  Even if it was something I didn’t agree with, I’d still support them, and they’d always be my child.

I don’t understand the mindset of people who turn their backs on children because their beliefs differ. There’s that whole thing of agreeing to disagree, and moving on, and forward.  Sadly there are so many situations in which that doesn’t happen.

LM: Thank you. I couldn’t agree more.

LM: You create bravery in the least courageous characters. The teams and couples develop greater understanding and love for each other. One of the men tells his lover, “I don’t want to hide from you. You see me for who I am, and I feel safe when I’m with you.” Anne, do you fall a little bit in love with your characters?

AB:  I do grow very attached to my characters, and I’ve been writing these guys for over fifteen years. Finishing the series is bittersweet—I’m stoked I’ve finished it, but I’m sad it’s over.  

I write characters I’d like to meet, and I like, or what’s the point? It’s on par with writing stories I want to read. On the flip side though, there were a couple of the antagonists in this story that I didn’t like, and writing their POV left me feeling as though I need to wash my brain out with bleach afterwards.

LM: Many, if not all, of the themes presented in the Echoes trilogy resonate in current times. I love your character’s question in Comes a Horseman: “… if we don’t cling to some kind of hope for the future, we’ve already lost this fight, haven’t we?” Do you believe hope is our strongest weapon against destruction?

AB:  Yes, I do believe if we lose hope, we’re lost.  Hope is what gives people the courage to get up in the morning, as there is that chance we will make a difference, or even just survive the day.  Often people have hope without realizing it, or they wouldn’t keep struggling against what appears to be insurmountable odds.  The future might not always be bright, but it’s still better than being totally dark, and non-existent, right?

LM: As usual, I’m fascinated by your thoughtful responses. Many thanks for sharing your skill and talent in this riveting conclusion to the Echoes series. Readers can purchase each novel, Shadowboxing, Winter Duet, and Comes a Horseman through these links:


Winter Duet

Comes a Horseman




Matt nodded, his lips moving although he did not speak. He was counting, Michel realized, as they pulled away from shore, and using the rhythm of his movement to distract himself from the darkness.

The moon’s light highlighted the waves lapping around the boat—the water seemed to reach toward them before diving back again. Ken and Matt quickly settled into a unified motion, both focused on what they were doing, although Ken glanced at Matt a couple of times.

Frej signaled for Matt and Ken to change direction slightly and rest the oars. They did that for a few moments, letting the boat drift with the current. If Michel squinted, he could see the outline of the bridge in the distance and several shapes moving at either end of it. The guards on duty would hopefully stay focused on the bridge itself and not notice a small rowboat sneaking over the border. The area was well guarded, but as it had been secured for quite some time, they would not be expecting trouble.

On the other side of the boat, Liang quickly turned and leaned over the side. As soon as he started to make a gagging noise he shoved his hand over his mouth to silence it. If his seasickness got any worse, it would be difficult to mask the noise of him vomiting over the side of the boat. He was doing his best to silence his dry heaving, but his hunched posture suggested he felt miserable and unwell.

Frej leaned toward Ken and gestured. Ken nodded, rested the oars again, and then he and Matt changed direction. Matt was still counting under his breath, and he gripped the oar tightly.

“Who’s there?” The shouted question shattered the silence.

Kristopher glanced around, an expression of panic on his face.

Michel put a hand on his arm to calm him but didn’t dare whisper the reassurance he wanted to. He turned around and strained his eyes, trying to find the source of the disruption. Matt and Ken stopped rowing, the boat drifting back the way they’d come, caught by the current.

He heard boots against wood in the distance—the unmistakable sound of men running, probably over the bridge crossing the Rhine south of their position. “No farther or I’ll shoot,” one of them yelled.

Frej got down on the floor of the boat. Michel and Kristopher followed, then Liang. Matt kept hold of his oar, trying to keep it as still as he could. He leaned down into a crouch, as did Ken.

Gunfire sounded from the bridge. A couple of shots in succession before stopping. Michel heard an engine, a vehicle approaching. A door slammed, and then everything went quiet again. Logically he knew the bridge was a good few kilometers away, but Frej was right about noise carrying on the water. If felt too close for comfort.

Frej waited a few minutes. “Row,” he whispered urgently. “While they are distracted.”




a Rafflecopter giveaway

Please Click Here to check out Anne Barwell’s Blog Tour Sites!
July 25 – MM Good Book Reviews
July 31 – Scattered Thoughts and Rogue Words
August 1 – Two Men Are Better Than One
August 1 – Top to Bottom Reviews
August 1 – Genre Talk at The Novel Approach Reviews
August 2 – Love Bytes Reviews
August 3 – Andrew Q. Gordon
August 3 – DSP Publications Blog
August 4 – Nic Starr
August 4 – Alpha Book Club
August 7 – My Fiction Nook
August 8 – Divine Magazine
August 9 – Aisling Mancy
August 10 – Lucy Marker


Anne Barwell lives in Wellington, New Zealand.  She shares her home with two cats who are convinced that the house is run to suit them; this is an ongoing “discussion,” and to date it appears as though the cats may be winning.

In 2008 she completed her conjoint BA in English Literature and Music/Bachelor of Teaching. She has worked as a music teacher, a primary school teacher, and now works in a library. She is a member of the Upper Hutt Science Fiction Club and plays violin for Hutt Valley Orchestra.

She is an avid reader across a wide range of genres and a watcher of far too many TV series and movies, although it can be argued that there is no such thing as “too many.” These, of course, are best enjoyed with a decent cup of tea and further the continuing argument that the concept of “spare time” is really just a myth. She also hosts other authors, reviews for the GLBTQ Historical Site “Our Story” and Top2Bottom Reviews, and writes monthly blog posts for Authors Speak and Love Bytes.

Anne’s books have received honorable mentions four times and reached the finals three times in the Rainbow Awards.  She has also been nominated twice in the Goodreads M/M Romance Reader’s Choice Awards—once for Best Fantasy and once for Best Historical.

Website & Blog: http://annebarwell.wordpress.com/

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Shadowboxing Interview

Shadowboxing by Anne Barwell

I’m honored to host Anne Barwell to discuss her new release, Shadowboxing, a tense and thoughtful novel featuring espionage during World War II. Rather than presenting a simple story about good versus bad, Anne Barwell shows us brave men and women shadowboxing with “different shades of neutral.” She delves into the consciences and hearts of four main characters and the men and women who work with them. The couples just begin to recognize their love for each other amidst of the horrors of war. The blurb:


Berlin, 1943.

An encounter with an old friend leaves German physicist Dr. Kristopher Lehrer with doubts about his work. But when he confronts his superior, everything goes horribly wrong. Suddenly Kristopher and Michel, a member of the Resistance, are on the run, hunted for treason and a murder they did not commit. If they’re caught, Kristopher’s knowledge could be used to build a terrible weapon that could win the war.

For the team sent by the Allies—led by Captain Bryant, Sergeant Lowe, and Dr. Zhou—a simple mission escalates into a deadly game against the Gestapo, with Dr. Lehrer as the ultimate prize. But in enemy territory, surviving and completing their mission will test their strengths and loyalties and prove more complex than they ever imagined.

Buy Link: https://www.dsppublications.com/books/shadowboxing-by-anne-barwell-261-b

LM: Thank you for being here, Anne. I highlighted a great deal of text in your novel and prepared pages of notes for this interview, most of which I can’t use without risking spoilers. So I’ll jump into my questions: In addition to entertaining us with a great story, are you reaching for a specific goal with Shadowboxing?

AB: Thanks for hosting me today, Lucy. I’m delighted to be here.

One of the reasons I started writing Shadowboxing fifteen years ago is that I wanted to read an action/drama story set during WWII featuring homosexual—the word ‘gay’ wasn’t used at the time—protagonists and couldn’t find any.  There are a lot more books out there now, which is great.  I love reading—and writing—about the time period, and in particular stories set in the years before, during and after both World Wars. Wars bring out the best and worst in people, and I also wanted to explore the concept of what is considered ‘other’.  Kristopher’s father has very definite ideas about the Jews, and Kristopher soon realizes that because he accepts himself as homosexual, in his father’s eyes he too is ‘other’.  Sadly, people fear others who are different from themselves and this often results in distrust and violence.

LM: I’m struck by the time you take to develop complicated characters and their relationships. You take the same amount of time in your fantasy series that starts with “Cat’s Quill.” Do you prefer creating “real life” characters?

AB:  I prefer writing realistic characters, as it’s more interesting for me as a writer.  Some of the characters I write are pretty much ‘you get what you see’ like Ben in The Sleepless City series, but most have their own internal struggles they are still working through.  As in real life, what people show on the surface is not always a true reflection of what is underneath. It’s only when someone grows close enough to another to trust them, that they are ready to share that side of themselves they’ve often hidden for a long time.  Finding themselves in situations completely out of their comfort zones also tends to make people reassess who they are and what they are capable of—good and bad. I love exploring characters by dropping them into situations and watching them ‘sink or swim’.

LM: You open Shadowboxing with scientist Kristopher (“Kit.”) He is naïve, lost in his equations without recognizing the consequences of his work. His sister Clara is wiser, and he dreams about his mother giving him advice. Was it your intention to have women represent wisdom and conscience before this man developed his own?

AB: I hadn’t actually approached it from that angle—it’s an interesting one.  When I wrote the story, I wanted to include strong women characters who make a difference to not just Kristopher’s life, but to others in the story too.  The world is made up of both genders and I wanted to show that balance, and not write a story about just a group of men.  Kristopher’s mother has a strong influence on his life although he has never met her, and Clara has been a substitute mother to him while he was growing up.  Upbringing and our formative years play a huge part in who we are, and either can push us in one direction or another, as we agree or disagree with how we’ve been brought up. Both these women have shaped him, and play a part in helping him to find the courage to be who he is supposed to be.

LM: Kit dreams of an old Jewish friend he’d never had the courage to admit he loved, and now this friend has gone missing. In several instances throughout your novel, comments made about Jews could come from today’s headlines in reference to other people. Were you aiming to demonstrate the timelessness of bigotry?

AB: Bigotry has been around a very long time, and I doubt it will ever completely disappear. Laws change but it’s difficult to change people’s reactions and the way they think especially if it’s an attitude that has been handed down to them over several generations.  It’s sad to see those comments repeating today, and sometimes I wonder if people will ever learn the mistakes made throughout history.  Those seen as ‘other’ are feared and persecuted, and if it’s not one group of people, it’s another.

In order for things to change, people need to find the courage to speak up, even if it means risking themselves. I’m reminded of a poem by Pastor Martin Niemoller called  They Came For Me, in which someone turns a blind eye to the injustice around them and then when someone comes for them there is no on left to save them.  I’m also reminded of a quote from Edmund Burke, which I referenced in Shadowboxing—“All that is necessary for the triumph of evil is that good men do nothing.”

Unfortunately, it is not always just themselves these good men are risking, but those they care about. It’s often easier to put yourself in the line of fire in order to stand up for what you believe, but threatening loved ones makes a person think twice about doing so.  

LM: While undercover, Michel falls for sweet-minded Kit, who had only been trying to make the world a better place with his science. Michel helps Kit escape his Nazi workplace. Michel’s accepting, deceased brother had helped him make peace with his own orientation, and in turn, Michel helps Kit develop self-acceptance. Did you plan these complex layers of characterization, or did they occur naturally as you wrote?

AB: I planned for some of them but others occurred as I wrote. I usually have a rough idea of characters before I write, but I really get to know them as the story progresses. I had no idea that Michel had a brother who had died until he told Kit. Of all the characters, Kit and Matt were the ones I knew the most about, and even they didn’t always act the way I anticipated. The other characters have developed as I’ve written, and all of them still surprise me, even as I’m writing book 3 of the series, with some of the comments they make, or the revelations about their background.

LM: Ken and Matt form the other main couple in the novel. Ken’s mother is Japanese and installed in an internment camp. Are you emphasizing the tragedy of families divided by war?

AB: War is rough on families. All of these men have lost family, for one reason or another. As the story progresses they grow closer to each other and form a type of family themselves.  Their original mission was supposed to be a simple one, but it isn’t long before it becomes personal in many ways.  

One of the reasons I wrote about a multi-national team is that the war was won due to the efforts of many people from different backgrounds and I wanted to reflect that. There is also a real danger when dealing with someone from another culture to clump everyone from that country or culture into a single unit and presume everyone is the same.  In every culture there are good and bad individuals. War is also not black and white, but shades of grey. Ken is fighting for his country, but his country has passed a law that allowed his mother to be interned in a camp because of her heritage although she was born in America. Situations like this blur those lines of right and wrong, and force people to look at their own misconceptions.    

LM: Matt endangers himself to grieve over the body of a former lover, a woman. Did you want to show the elasticity of his sexuality and the depth of his heart?

AB:  Yes, and that there are different kinds of love.

I’ve been asked why there are two homosexual couples in a book set during this time period.  All of these men approach their sexuality very differently.

Matt loved his former lover, but after much soul searching, he realized he wasn’t in love with her. As with many men of that time, he tried to conform to societal expectations but in the finish could not live a lie. Not only wouldn’t he have been true to himself, but it wouldn’t have been fair to her.  Friendship is a different kind of love.

Ken, on the other hand, has never given his sexuality much thought. He hadn’t the need to until he met Matt. To him the concept of love is much simpler. He wants to be with Matt, and will do whatever it takes to protect him, and has never felt that way about anyone else before.

Michel, out of all of them, has accepted himself for who he is. His brother Corin’s acceptance helped with that, and Michel knew early on that he wasn’t attracted to women.

Kristopher has been in denial—and not just about his sexuality—for a long time, and a lot has to happen to make him accept himself for who he is and get him to the point where he can’t go on pretending.

However, given when the story is set, sadly none of these men will ever be able to publically admit their love. The most they can hope for is to survive the war and live together as ‘confirmed bachelors’ or ‘war buddies’ and hope like hell no one works out the truth about their relationship.

LM: I’m particularly fascinated by your details about WWII-level technology. In comparison to today’s sophisticated powers of devastation, WWII seems almost simple. They treat wounds with sulfa. Cloud cover actually prevents accurate bombing. One of the men builds crystal radios, and another man recognizes a passing airplane by the sound of its engine. Did you enjoy researching for this novel?

AB: I love researching. With every book I write I learn something new.  The Echoes Rising series is more of a challenge because it is set seventy years ago and a lot of things we take for granted today didn’t exist then.  Although I always try to use a combination of books and the internet when I research rather than just relying on the internet, it’s the little pieces of information that are often the most difficult to find. For example while writing Shadowboxing I had to find out about telephone jacks in Germany in the 1940s and how they were attached to the wall. The only information I could find was about countries other than the one I needed. Luckily, one of my beta readers is German and she was able to find the information for me.  While it is impossible to get everything exactly right, I want the backdrop of my story to be as accurate as I can make it.

LM: You use an interesting method for Kit and Michel to encode messages. Did this method in fact exist during World War II?

AB: I based all types of codes used in the series on what existed and was used at the time, although I had some fun choosing the specifics. The Resistance used a variety of ways to leave each other coded messages—including advertisements in newspapers, and in cigarettes which they’d smoke afterwards! Being a musician myself I couldn’t resist using code in music, something which came into use long before the war, and was also documented as being used at Bletchley Park, which was the site used by Britain’s codebreakers at the time.

Code phrases were also used when meeting others. In Shadowboxing some of those names and phrases came from “The Wizard of Oz”. The movie came out in the US in 1939 so would have been well known there, but not in Germany. I love that movie.

LM: One of my favorite aspects of Shadowboxing is the tug of consciences. Even while in direct conflict with the Germans, the men are devastated when the Allies’ bombs kill innocent women and children. They question their own culpability as soldiers. The Gestapo members believe themselves to be men of honor. Do you wish more people could see the broader perspective of war that you present here?

AB: That’s one of my favourite aspects of the story too. It’s difficult trying to justify killing when you’re fighting a war, especially when innocents pay the price of the battle.  I didn’t want to write a story in which all one side are good guys who never make mistakes and believe entirely in what they are doing and the other side consists of men who are truly evil.  While some characters fall into the bad guy category and enjoy hurting people, they’re a minority in this story. I think that opponents who are also fighting for their own beliefs are much more interesting characters to write, and harder to defeat. That tug of conscience that Kristopher feels about the weapon he has helped to develop is going to be a big part of the story as the series continues. Should a weapon capable of that much destruction fall into the hands of either side, and what is to stop the so called good guys from justifying their use of it?  From our perspective, we know about the bombings of Hiroshima and Nagasaki, but these men don’t.  Those bombings were also one of the reasons I made Ken a Japanese American.

LM: You’ve created another layer of sophistication between the characters and their families: a person can love his or her country, and disagreeing with its policies doesn’t make that person a traitor. Are you making another point that applies to today’s world?

AB:  You caught me there. It ties into your earlier question about families divided by war. In one of the early scenes of the story, Kit and his father are arguing.  His father agrees with the ideals of the Nazi party, while Kit does not. However, that disagreement does make Kit a traitor to his country. He loves Germany and does what he can to fight for it and its people, and wants the war to end, but not at the expense of his own beliefs.  Just because some people in a country believe and act a certain way does not mean that everyone does. It is foolish to judge a whole country on the actions of a few. This is something that will come up again in the series, and not just about Germany.

LM: You create a great deal of tension when the men are caught, escape, evade capture and are caught again. The Gestapo does not treat them well. Your depiction of PTSD seems very detailed. Did you research this condition as well?

AB: Thank you. I felt really bad about what I did to some of the characters during this story, and later in the series.  While I haven’t done a lot of detailed research about PTSD, I’ve read and watched a lot of stories and movies etc about characters who have gone through it. It’s not something that is easily forgotten, and during WWI and before that there are documented stories of men suffering from it who were shot for desertion because it wasn’t understood what it was.  With everything the characters in my story go through, I wanted to make sure there are consequences, and that their experiences impact their actions later on.  It wouldn’t be realistic if they didn’t.

LM: Your love scenes are delicate and emotional. Do you prefer the romance of emotion rather than more physical descriptions?

AB: Thank you again. Yes, I do prefer to focus on the emotional rather than the physical. There are only so many ways to describe a sexual act, and I’m one of those readers who tends to skim when there’s x amount of those scenes in a book. Sorry!  I’m more interested in how these men react to being with each other. Giving themselves to each other is also an act fraught with danger because of the penalty if they are caught, so making love is going to be kept for when they are both very emotional. I was also careful to keep the love scenes at a minimum because of the time period—having too many of them wouldn’t work for the story.

LM: With your skillful writing, I felt the couples’ most desperate wish: to be free of war and somehow make their lives together. They each grow in maturity, self-knowledge, and courage. But you leave us with a mystery involving a German woman who seems to have a secret level of power and members of the Gestapo who will not give up the hunt. Our guys have not yet escaped Germany. What can you tell us about what comes next?

AB: Our guys still have a few hurdles in front of them, even as I’m writing book 3 in the Echoes Rising series. The 2nd edition of book 2—Winter Duet—will be released December this year from DSP Publications.  Here’s the blurb:


Winter Duet

Germany, 1944.

Hunted for treason and the information Kristopher carries, he and Michel leave the security of their safe house to journey across Germany toward Switzerland. Caught in a series of Allied bombings, they stop to help civilians and narrowly escape capture by German forces.


While investigating a downed aircraft in the Black Forest, the two men discover an injured RAF pilot.  After they are separated, Kristopher and the pilot are discovered by a German officer who claims he is not who he appears to be. Determined to find Michel again, Kristopher has to trust the stranger and hope he is not connected to those searching for him and the information he carries. Meanwhile Michel is intercepted by one of the Allied soldiers he met in Berlin. His help is needed to save one of their own.

Time quickly runs out. Loyalties are tested and betrayed as the Gestapo closes in. Michel can only hope that they can reach safety before information is revealed that could compromise not only his and Kristopher’s lives, but those of the remaining members of their team—if it is not already too late.

LM: Thank you for allowing me to pick your brain about Shadowboxing. Best wishes for a successful release of this novel!

AB: Thanks, Lucy. It’s been a pleasure, and your questions made me think, especially from the perspective of now writing the 3rd and final book of the series Comes a Horseman. I’ll leave your readers with an excerpt from Shadowboxing as a further teaser for the book:

EXCERPT: Shadowboxing

The light on top of the confessional blinked off, and an old man walked out, a dazed expression on his face. He muttered something under his breath too low for Michel to hear, glanced behind him, rapidly made the sign of the cross, and then repeated it. He then, to Michel’s surprise, prostrated himself in front of the altar and called out in a loud voice, “God, I beg your forgiveness for leading such a boring life.”

Someone snorted. Michel turned in time to see the brunet he’d observed earlier roll his eyes. Whoever was in the confessional masquerading as the local parish priest had an interesting sense of humor. He wondered idly who was in charge of this mission. The brunet certainly didn’t seem surprised by what had just happened.

Michel tentatively opened the now-empty confessional and entered, wondering what he was getting himself into. Whatever the priest had said to the old man, it was definitely atypical of the penance Michel remembered receiving in the past, courtesy of the clergy of the Catholic Church. Surely they couldn’t be condoning this behavior, although he was sure Father Johannes would have agreed for someone to temporarily use the confessional as a meeting place. He’d helped the Berlin Resistance on more than one occasion.

Playing the part of a priest would be the safest way of doing this for the person on the other end of the confessional, especially if he were caught. Father Johannes too, despite his protestations, knew to deny knowledge of anything or anyone if that happened. He would do his people more good here than in a Gestapo cell or a camp.

Michel knelt as the priest opened the small mesh window dividing the two compartments. Searching his memory for the correct phrasing, Michel spoke the precursory words for the sacrament. Confession might be good for the soul, but in his occupation, some things were better left unsaid, even to a priest.

“Bless me, Father, for I have sinned,” he began. “It’s been two years since my last confession and—”

A bored-sounding voice interrupted him. “Just get on with it, will you? I hope your sins are more interesting than the last person’s. I damn well hit my head when I started to drift off….”

The priest paused to catch his breath, and Michel spoke quickly, before the man could continue his tale of woe. “I’m homesick, and I’m often tempted to click my heels together and say ‘there’s no place like home.’”

There was a moment’s silence, followed by what sounded suspiciously like a very loud sigh of relief. “The answer to your problem is to follow the yellow brick road.”

Michel arched an eyebrow in the half darkness. Was this his contact? “Toto?” he asked.

“In the flesh. What took you so long? You’ve no idea what I’ve been through in here.” There was another moment of silence. “How can I help you, my child?” The man snickered. “Sorry, I’ve always wanted to say that.”

A loud creak was followed by the sun streaming through the now open confessional door. Michel blinked rapidly at the sudden change in light. The “priest” standing in front of him proffered his hand in greeting, although he was careful to keep his voice low so they couldn’t be overheard. “Matthew Bryant. Matt.”

“Gabriel.” Michel considered giving his name rather than his codename, but he didn’t trust this man or his team that far as yet.

Bio: Anne Barwell

Anne Barwell lives in Wellington, New Zealand.  She shares her home with two cats who are convinced that the house is run to suit them; this is an ongoing “discussion,” and to date it appears as though the cats may be winning.


In 2008 she completed her conjoint BA in English Literature and Music/Bachelor of Teaching. She has worked as a music teacher, a primary school teacher, and now works in a library. She is a member of the Upper Hutt Science Fiction Club and plays violin for Hutt Valley Orchestra.


She is an avid reader across a wide range of genres and a watcher of far too many TV series and movies, although it can be argued that there is no such thing as “too many.” These, of course, are best enjoyed with a decent cup of tea and further the continuing argument that the concept of “spare time” is really just a myth.

Anne’s books have received honorable mentions four times and reached the finals three times in the Rainbow Awards.  She has also been nominated twice in the Goodreads M/M Romance Reader’s Choice Awards—once for Best Fantasy and once for Best Historical.

Blog:  http://anne-barwell.livejournal.com/

Website: http://annebarwell.wordpress.com/

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