The Story Behind Duet

Duet started with my own personal need to write a realistic fiction novel. Despite writing two trilogies with fantastical features (one more science fiction and the other fantasy), I wanted to take a break from inventing new worlds and having people possess special powers. I wanted to write a novel that wouldn't be surprising to find in Sarah Dessen's collection, a novel where the setting was realistic (albeit with some minor changes) with a teenager going through a coming of age experience with a developing romance on the side (because you know I love my romance).

But there was going to be something different: the romance I had in mind was a gay one.

Gay romance isn't anything new in the YA market (I've stressed this before in my Boy Meets Boy review, where I also went into a brief rant about the unequal representation in mainstream New Adult and Adult fiction), and I have actually written three Bleach Hollow Ichigo (Hichigo) and Ichigo fanfictions featuring that explicitly (one was a one-shot called Beating Heart, and the other was a multi-chapter AU that I'm still incredibly proud of to this day, Claws of a Dragon; the third one is forthcoming). But I had never invented male characters who had feelings for other male characters, and this was a great opportunity to try this out. Plus, I wanted this to be a full-length novel of at least 50,000 words (much like the average length of a NaNiWriMo novel), not under 25,000.

But you may be wondering: why a gay romance, Luke? What was so bad about writing heterosexual romances? My answer to those questions is absolutely nothing, but it has to do with one of the key phrases I've kept in mind while writing this novel.

I've always said several times before that Duet is my most personal novel to date. Every single time I've typed in those words, I have meant it. Duet was partly inspired by my own questioning sexuality, and although it's played rather simply in the novel (Cam doesn't question his sexuality for one minute anywhere in Duet, only what his parents might think), it's been a lot more complicated in real life.

Luke's Music Reviews #2: Honeymoon by Lana Del Rey

Lana Del Rey's career has been quite the interesting topic to discuss. Literally coming out of nowhere with her debut major label album, Born to Die, and met with polarizing reviews from music critics for the two years afterwards, she became an elusive part of the indie scene until the Cedric Gervais remix of her song "Summertime Sadness" got her some mainstream coverage. I first heard about her in 2012 through VH1, and three years later, I can state that I've become a real fan of hers. It's something about her ethereal persona and the lush atmospheres that she has for her songs that has me coming back.

With her second album, Ultraviolence, things took a turn for the better. Music critics started to fall in love with her music, and the album received collectively positive reviews (meanwhile, some YouTube critics just wanted Ultraviolence to jump off the face of the earth). That album was definitely one of my favorites of last year, as Lana's lyrics and singing blended perfectly with the 70's surf rock instrumentals and the subdued darkness the album had. Even if some of the songs went on for a little too long, I still found myself drawn to the complicated character that is Lana Del Rey.

Fast forward a year later, and we already have a new album from Del Rey. This record, Honeymoon, focuses on the same themes that she has touched upon time and time again, but this time, she worked and co-produced with only two main producers: Rick Nowels and Kieron Menzies. With her new content being worked on by one of the people she's worked with in the past, and with an album solely produced by herself and two other people, did Lana deliver another winner? Or was this album a disappointment?