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Blair Fell Samples Disco Witches of Fire Island
[00:00:00]
Katherine Grant: Welcome to the historical romance sampler podcast. I'm your host, Katherine Grant, and each week I introduce you to another amazing historical romance author. My guest reads a little sample of their work, and then we move into a free ranging interview. If you like these episodes, don't forget to subscribe to the historical romance sampler, wherever you listen to podcasts and follow us on Instagram, TikTok, and YouTube.
Now let's get into this week's episode.
I am super excited to be joined today by Blair Fell. Blair writes and lives in New York City and is a multihyphenate. His television work includes Queer as Folk and the Emmy Award-winning California Connected. He has written dozens of plays, including the award-winning plays, naked Will, the tragic and horrible life of the Singing Nun and the downtown [00:01:00] cult miniseries Burning Habits.
His personal essays have appeared in HuffPost Out Daily News, New York. And more. He's a two time winner of the prestigious Doris Lipman Prize in creative writing from the City College of New York, including for his early unfinished draft of the Sign for Home, and also concurrently with being a writer.
Blair has been an ASL interpreter for the Deaf since 1993 and has worked as an actor, producer, and director. Blair, I am so excited to have you with us today.
Blair Fell: Thank you. I'm excited to be here.
Katherine Grant: Yeah, I mean one of the reasons I'm excited is historical romance sometimes seems synonymous with British Regency and Victorian era and we've seen other eras on the podcast.
But I'm very excited 'cause this is, I think, bringing us up the farthest in history that we've gone so far. Because you're reading from us, reading for us from [00:02:00] your summer hit Disco Witches of Fire Island, set in 1989.
Blair Fell: Correct, correct. It's like it's hard to believe 1989 is like history, but it's very much history now.
And it's one of the reasons I wrote this because a lot of people, younger people especially, aren't really aware of what that moment was like, especially for, for queer people, just how difficult it was, especially in the, in the realm of romance, in the realm of falling in love at that point in time.
If you were a young gay man, you thought of two things. This person that I'm attracted to, they might infect me if they're positive or they might die on me if they're positive. And it is this book is very much rooted in my own history, which was the story. I'm, I'm negative, and I was of course negative back then.
And my first partner actually my first and second partner were both HIV positive and at that point in time in [00:03:00] 1989, there was. No medicine that could prolong a life of someone who had HIV. And so it was assumed that if you had HIV you would die. And so I fell in love with this guy. Then he revealed his status to me.
And then in the period of time that I was with him all I could think of was. Am I gonna get infected? Is he gonna die? Am I gonna get infected? Is he gonna die? Needless to say, for a 24-year-old, at the time it was crazy making he was 22 and, he ended up dumping me because I just couldn't deal with it.
I was madly in love with him still, but he broke up with me and then never spoke to me again. Then two years after that , he passed away from complications due to the AIDS virus. And that's the backstory of when this novel begins.
The main character who's a, you know, substitute for me is this 29-year-old young gay man who has this tragic [00:04:00] history with his first lover, and his best friend, this crazy hot blonde jock is like, let's go to Fire Island and be bartenders. I have it all worked out for us. We'll have housing, we'll have a job, you'll get to get over your broken heart
finally. You need to get out of Philadelphia and get, get out there. And so he goes to Fire Island but finds out there is no job and there is no housing. Because his best friend said that just to get him out there. And so he is kind of stuck and he ends up moving into the attic of these three older gay men, like kind of 1970s old disco queens.
They clean houses for a living out there and they're like, oh, we have a room in our attic. You can stay there. And they end up being this coven of disco witches, which is the whole setup for the book. The chapter that I'm gonna read now is, it's actually a little ways into the book.
It's chapter 15. And one thing I need to tell you about the book is something else happens in the book, [00:05:00] the, the Disco Witches. They have a manifesto called the Disco Witch Manifesto. And at the beginning of every chapter in the book, you have, a quote from the Disco Witch Manifesto, which is a little bit of wisdom the disco witches have for themselves and for people in general about how to live your life and what to be aware of in your life.
That's part of the setup now, as I said, this is chapter 15 when Joe, who's the main character, Joe Agabian, is coming over on the ferry. He sees this hot straight deckhand who seems to be laughing at him, and he makes all these assumptions about this guy. He's this tall, lanky, handsome, long Island, you know, douche, bag, he thinks, with these really beautiful blue eyes.
But he just like writes 'em off. Later he sees him in the harbor with a woman he thinks is his girlfriend. And again, he seems to be laughing at Joe. So Joe just makes all these assumptions about them. His name is [00:06:00] Fergal. In the chapter, though he doesn't know his name yet. Later in the book, he's called Fergal, the Ferry Man, but in this chapter he's just referred to as the deckhand.
The other thing that happens when Joe first arrives is as the ferry is pulling in, he sees the most passionate hot image of a man he's ever seen in his life. This big, hunky, late thirties, early forties, muscle man with a beard, with a dollop of gray in his chin pulsing, you know, just gorgeous who looks both like every desire Joe has ever had, but also his fear.
This man looks like he will either kiss him or kill him. And that just touches Joe at his most base level. And he just like desires this man a lot, but then the man disappears. But in the chapter I'm gonna read, we have another introduction to both these characters. Okay, I'm gonna read. Chapter 15.
Sunrise. Surprise. [00:07:00] Disco Witch Manifesto number 13. The great balance is our eternal aim, but we can never stop dancing even if the great darkness is spinning in the DJ booth.
At 5:03 AM Joe had finished mopping the floor and hosing down the sludge mat.
All in all his end of the night bar cleaning duties took on one entire side of Elliot's mixtape love songs one. Joe's pulse wouldn't stop buzzing from the first night's excitement, not to mention the devil dog size of dollar bills in his pocket. In order to blow off steam before bed, Joe decided to watch the sunrise on the beach while finishing the leftovers in his Charlie's Angels lunchbox.
Barely a 70 foot walk from the bar door, stepping onto the beach at dawn was like arriving in a temporary paradise with its miles of empty sand, [00:08:00] raging ocean calling gulls and spectacular awakening sky. Red sky at night, sailors delight. Red sky in the morning, sailors heed warning, he whispered out loud to himself. How to identify
coming storms was one of the few things his late father, a former Navy man, had taught him, although beyond a few wisps of red, that morning sky was mostly orange, yellow, and a little purple. What did that foretell? Elliot had been obsessed with sunrises. Once he and Joe had spent a week together on Ocean City, New Jersey, and he'd insisted they depart Philly at three in the morning so they could catch the sunrise over the ocean together.
When they reached the Great Egg Harbor Bridge, Elliot had shouted "I spy the bay!" With glee. It had been his family's tradition that whoever was the first to see their [00:09:00] watery destination shouted it out as if they had won something. Joe loved how Elliot was able to mix his powerful grown man self with a child's sense of wonder. As the sun's blazing head tipped over the horizon,
a strong breeze, blue, salty, sweet air up Joe's nose. Just then from the corner of his eye, Joe noticed a tall brawny man in a gray sweatshirt and jeans walking along the edge of the water, a hundred yards down the beach. It was him. The gladiator man. Remembering Ronnie's advice to never miss opportunities,
Joe dropped his lunchbox and darted onto the sand, waving his arms wildly. "Hey, you! Can you talk to him for a minute?" He screamed. "Stay right there just for a second." The gladiator man stopped walking, adjusted his stance so the [00:10:00] rising sun illuminated his perfection, and then he waved back.
Joe's heart kicked like a rabbit. It was going to happen. He was finally going to meet the gladiator man. Joe planned to ask where he lived, talk about how he was new to Fire Island, let him know he was single. He would not talk about Elliot. Joe hoped he wasn't appearing too enthusiastic. Ronnie, his best friend, had once told him that after, you know a guy likes you, it's necessary to play it cool for a while. Guys without barriers look broken,
ronnie had warned. That morning on the beach, there wasn't a cool bone in Joe's body as he charged across the sand like a desperate soldier at Iwo Jima. The closer he got, the more handsome gladiator man appeared. His massive pectorals and shoulders pushed against the fabric of his gray sweatshirt. His [00:11:00] two hairy forearms, muscular and foreboding, hung by his sides with hands thick and powerful, like two leashed
pit bulls ready to either embrace or kill. He was all that Joe had ever desired, sexually speaking. "Hey, I saw you the other day," Joe huffed and puffed a cramp in his side, the soft sand shackling his legs. "I wanted to say hi, but you left before I could." Joe was just 15 yards from the gladiator man when another voice called out from behind him.
"Hey buddy. Yo buddy, where are you running? You forgot something." Joe turned. There shouting from the top of the steps was that blue-eyed deckhand, the one with a girlfriend in the harbor. He started down the steps and across the sand toward Joe. He appeared to be soaking wet under his pine's ferry [00:12:00] sweatshirt.
"What do you want?" Joe asked, hoping the gladiator man wouldn't hear. "Hey, you forgot your Charlie's angels lunchbox on the steps," the deckhand teased as he dangled the campy lunchbox.
Couldn't the straight idiot see, Joe was in the middle of something important? And who went swimming in the ocean at five in the morning? "I left it there on purpose," Joe said.
He turned back toward the gladiator man who had begun walking away. Did he think Joe and the deckhand were together? "Hey!" Joe shouted. "Wait a minute." "Well, which is it?" The deckhand said from behind him. "You want me to stay or go?" "I wasn't talking to you," Joe snapped. "Right," the deckhand said. "So what are you doing on the beach this time of morning anyway, taking a run?"
"Look," Joe [00:13:00] said sharply. "I can't talk right now." He then readied himself again for the chase. But when he turned to look for Gladiator man, he was gone. Joe fell to his knees and punched the sand. "Fuck." The deckhand step back. "Jesus. What's wrong? Did something bad happen?" "Yeah, no it's just, I was trying to catch up to someone.
Sorry I didn't mean to snap at you before and-" "No worries." The deckhand said pulling a swig from a bottle of Johnny Walker from his board shorts. Joe noticed the deckhand's eyes again, even while bloodshot and glassy. They were an even more stunning blue than before. For some reason near the ocean and in the morning light, the deckhand's eyes appeared to be almost cobalt blue or was that indigo?
And they were framed by long black eyelashes, flecked with wet salt [00:14:00] and sand, much like the rest of them. "You know it's not safe to go swimming drunk," Joe said, "especially when no one's around to save you if something happens." "I didn't swim drunk," the deckhand retorted. "I swam hung over." "You woke up hung over and decided it was a good idea to swim?"
"Nah, I never went to bed. In fact, come to think of it, I better catch another swim before I work the first boat out. By the way, you said you were trying to catch up with someone. Who was that?" "Who do you think?" Joe said. "You know that that big muscular dude, the one you scared away." "Muscular dude?" The deckhand gesture to the completely empty beach.
"Nobody on this beach but us in the seagulls. You sure i'm the only one who's been drinking?" "For Christ's sake," Joe said, "how hungover are you? You didn't see that huge guy with a [00:15:00] beard literally standing just over there?" "Chill out, shortstop," the deckhand said, "don't get your skirts all bunched up." The deckhand's smirk and gay baiting comment were the last straw. Joe mustered his most threatening glare, which wasn't very threatening. "You always act like such an ass?" "I was just joking with you." The deckhand made the peace sign. "It's weird that I missed seeing another human being that close by, but then again, I wasn't really focused over there."
The deckhands eyes momentarily latched onto Joe. But then he quickly looked away like he was embarrassed. "Or maybe I'm still a little drunk. I better get back in the ocean and make myself right." He yanked off his sweatshirt. His lean torso was more muscular than Joe had imagined, with a perfect little patch of hair at the top and a small treasure trail between his belly button and board shorts.
When he turned and [00:16:00] jogged toward the water, Joe noticed he had an almost comical gait. There didn't seem to be anything wrong with his legs, though. Still long and hairy and too sexy for a straight guy. Then Joe noticed something odd. The deckhand had huge paddle like feet with toes ever so slightly webbed.
Thus, the reason for the funny jog. Any awkwardness disappeared though as soon as he dove into the waves. His arms, like twin porpoises, sliced through the water while his legs kicked fountains. When he was 25 feet from the shore, he dove under and disappeared.
10 seconds passed 20, 30, 60. At 90 seconds, Joe walked to the water's edge and recounted the CPR class he had been forced to take in his last job. Tilt the head, make sure nothing was in the passageway, then [00:17:00] press your lips. At that very moment, the deckhand, like a deranged seal, exploded from the waves in robed, in a spray of iridescent water droplets.
He was gasping and laughing. That guy's nuts, Joe thought, before looking back at the stretch of beach where he'd last seen the gladiator man. Sand, bushes, trees, and nothing else.
Katherine Grant: Wow. What an intriguing scene. I don't know what to believe.
Blair Fell: Exactly. That's the point. Very good. Very good.
Katherine Grant: Well thank you so much.
I've got a lot of questions for you and first we're gonna take a quick break for our sponsors.
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Katherine Grant: I am back with Blair Fell, who just read a sample of the Disco Witches of Fire Island, a very intriguing historical romance. When you were setting this up, you talked about how this is a very personal story that come is very informed by your own personal experiences.
And I also know that, you know, you have all these different creative roles where you've been a playwright, you've been an actor, you've done all sorts of things. So I'm curious, how long has this story been whirling around in your head, and what is it about the novel as opposed to a play or a television script or whatever that appealed to you as a medium to tell it?
Blair Fell: That's a great question. With the story [00:19:00] itself, I mean, again, it's based in life. I moved to Fire Island sight unseen when I was 29. I moved into the attic of these three older gay men. And I guess forming that story into them being witches started like probably about like 30 years ago.
I was asked to do a serialized story in this magazine, this little weekly gay magazine in New York. I had been writing serialized plays and the editor who had liked my serialized plays asked me to do something. I'm like, I know nothing about writing fiction. It wasn't, in my opinion, very good, although some people really liked it, but I, I would like write it last minute, like literally, if it was due on Tuesday, I would write it on Monday. Like didn't take it seriously, but I like the idea of it about this young man Being cared for by these older queer men
witches, like that kind of thing like bringing like mythology and stuff in, into this thing. It wasn't a period piece at the time because [00:20:00] this was the nineties. Then when I started writing my first novel novel, which is called The Sign for Home, which is a contemporary coming of age story about a young, straight deaf-blind, Jehovah's Witness, and his gay interpreter and their friendship, and then their journey to find the lost love of the young man who's this young, deaf, deaf woman.
And while I was writing that it, I never had written a novel.
I fell in love with like, being completely in control of the story and getting to like really delve into the world in the first novel. So I kind of at that point had already said like, I, I do want to keep trying this novel thing even if nothing sells.
Katherine Grant: I have to imagine that all of your experience writing plays and writing for tv, it all is cumulative and is informing this amazing, absolutely novel experience.
Blair Fell: Absolutely. So it's like, to me to like say like, oh, that's just a miraculous thing. It's like. I worked in television, I wrote dozens and dozens of plays.
[00:21:00] The fact of being a playwright helped so much with dialogue. I have no problem with dialogue. Dialogue I can like shoot out my left nostril like without even thinking. Not a problem. Yeah. So I had all that experience. I didn't know it could translate to writing a novel. 'cause like you, you novelists.
Katherine are, you know, they, you were my heroes. I just wanted a lover who was a novelist. I had no desire to be a novelist myself. Not that I had no desire, I didn't think it was possible. Yeah. And like, I just wish I was not so afraid of it earlier. 'cause I just like, you know, it's to get so involved in a story and what's cool about this, because it is now a history piece.
Katherine Grant: Yeah.
Blair Fell: To have to go back to that period and like research the songs, there's a lot about music. There's actually a playlist available on Spotify that goes along with the book that my editor put together called The Disco Witches of Fire Island Spotify playlist, which has all the songs in the book, plus the inspirations songs that [00:22:00] I used.
And having to do that research, having to research the clothes they were wearing, what the colors they were wearing. But what also was like the, like there's a thing where he just, the. The ferry man Fergal, the ferry man says to Joe, Hey, what? He says? Like, yo, hey, be cool. Shortstop. Shortstop was something you said back then.
No one says that now, but it was kind of like, you know this, it's not a dig, but it's kind of like this affectionate thing you say to someone who's shorter than you. Hey, shortstop, whatcha doing?
Katherine Grant: Like pip squeak?
Blair Fell: It's a little bit sexier than pip pip squeak. It's like it's. Hey buddy, what are you doing there?
You know, your big lug, you know, kind of more like, like that kind of thing. Mm-hmm. And, and so it's like I getting that kind of thing. Like they use the word rad, which, you know, we don't really, some people use it 'cause it's a cool thing to say, now I'm cool thing. Like, oh, I'm being retro and saying rad.
Right?
Katherine Grant: Yeah.
Blair Fell: But then it was the thing you said. You know, you know, that's bitching, [00:23:00] that's rad. You know, all of those things in, in creating that history again, was really a challenge, but super fun.
Katherine Grant: Yeah. And at what point when you were writing it, did you realize that you were writing a historical fiction piece versus just kind of going back to the story that you wanted to tell?
Blair Fell: That's such a great question because I didn't write it as a historical piece. I wrote it as, okay. I. Well, I was, I was not on Fire Island in the eighties. I was there in the early nineties, which is just a few years from then. But I wanted to write it at the height of the AIDS crisis, which I first came out around 1982.
So the virus, you know, was maybe nine months old. The first time I went to a gay bar, there was a sign on the door about the gay cancer. So I never was sexual before the virus was out there. And I, I wanted to capture that essence. I didn't think about writing historical piece. I'm like, I want to capture what it [00:24:00] was like for me as a young man coming out and having to deal with falling in love, which is hard enough for someone in the early twenties falling in love, but also dealing with this issue, will you face death if you are infected? That's what it was. And not only that, you walked around the streets and people would look at gay people and they called them carriers. You know, they made jokes like how does a gay guy roller skate? Roll AIDS.
You know, like, you know these awful, awful jokes and you were looked at, people didn't want to be near you, and I wanted to kind of capture that moment. I mean, unfortunately, we're getting back to a moment of that in this awful country we're living in right now. Which is the other interesting thing about the book.
I began this in the first Trump administration.
And I didn't think about that. I was just writing about that period. And there's this force because it's a magical realistic thing too, and there's this force in the book called The Great Darkness, which is that thing [00:25:00] that, you know, caused AIDS that caused the hatred towards people with AIDS, but is is everything that is opposite of loving and kindness.
And the book speaks so much to the moment we're living now because Joe at the beginning of the book is just such a victim. To the virus, to the hatred of the government for people with AIDS and people who are gay, and he goes from that position of being a victim to someone who takes action and finds his voice.
And he's inspired by the Disco Witches who are these old sixties radicals who are part of Act Up. Who if you don't know what ACT UP is, it's, it's the AIDS Coalition to Unleash Power, which is the activist organization that actually protested enough to lead the way to the medicines now that, you know, keep people alive that have HIV I was part of Act Up, so I wanted to make that aspect of the history in there as well.
It is a history piece because [00:26:00] that's a damn long time ago, but I didn't write it that way. I wrote it just to capture this moment of my own personal history. But now it's like being selected as like, you know, one of their favorite history romances. Both New York Times and Good reads like selected it as that.
Historical romances, queer historical romances for the New York Times.
Katherine Grant: Yeah. Right. And that's sometimes a funny thing that happens when we're selling our books, which is that there are these categories that readers are accustomed to that then get applied onto our books. And it's true and it's also not true like any label.
So
Blair Fell: 100%. Yes, absolutely.
Katherine Grant: I think it's very interesting that part, that this story is structured on the idea of the older generation kind of, you know, passing on wisdom and teaching Joe these powers. So now this is another, like you are sharing your [00:27:00] generation's wisdom with my generation and with the generations younger than me than so,
Blair Fell: yeah.
Katherine Grant: Striking.
Blair Fell: Yeah, that's, that was an important part of the book for me was this passing on of knowledge and passing on of wisdom and what, what I think got me really excited about writing this book is as the characters come to life, I'm not sure if you write this way, but it's, it's like the characters write the book.
And so he lives with Howie and Lenny. Howie is, you know, the, the big mother man, the one that builds the hats, the one that has all this wonderful loving wisdom. And then there's Lenny.
Lenny who's this little short, bald, like Italian guy with a big mustache. Who's sober and has his own kind of wisdom, but they're very different. And what they have to pass on is very different. And I got excited because like when I was writing those characters, they really had important things to say.
And then there's Ronnie, his best friend who's this butch blonde, glam jock. He is all about being macho gay guy, [00:28:00] wants to teach Joe how to be a successful gay, you know, and he has all these words of pseudo wisdom. Some of them are really good advice and some of them are like totally bullshit because it's based on like gotta be this macho gay guy to be successful.
But it was like fun because that's also part of myself too. You know, this shallow vein gay guy that wants to say, yeah, if you want to get laid, don't wear that. Don't wear that. Shave a path through your eyebrow, all of this stuff. Yeah. And it was just fun passing on all these different ways of passing on wisdom
to these different characters. And, and then there's the Disco Witch Manifesto, which is a whole other level of collective wisdom. And the book is very much about community, found family, collective wisdom. And that's another way that the witches pass on their knowledge to, to Joe and, well, he doesn't know about the Disco Witch manifesto.
So that's really between the reader and the Disco Witches when they get these glimpses of the Disco Witch Manifesto at [00:29:00] the beginning of every chapter.
Katherine Grant: Yeah. That's awesome. All right, well, it's time for us to move to Love It or leave it.
[Musical Interlude]
Katherine Grant: All right. Love it or leave it? Protagonists meet in the first 10% of the
story.
Blair Fell: I leave it when I first write, and then I'm forced to love it when I realize, oh, I'm taking too long to get there.
Katherine Grant: I love that. Okay. Love it or leave it? Dual point of view narration.
Blair Fell: Oh, absolutely. Love it. Do it all the time.
Katherine Grant: Love it or leave it? Third person, past tense.
Blair Fell: This book is told in the third person past tense.
My first book was told in first person past tense. Second person present tense.
Katherine Grant: Oh, interesting.
Blair Fell: And my third book very much a historical romance and classic sense, which is a [00:30:00] pansexual Elizabethan romance is told in the first person past tense.
Katherine Grant: All right. You just love switching it up. I like that.
Blair Fell: I do.
Katherine Grant: Love it or leave it? The third act breakup or dark moment.
Blair Fell: I don't know. I mean, I don't know. 'cause I don't think that way when I write. I just write and then I'm like, Ooh, I feel I need to do something here. That's my method of writing. Ooh, I need to do something here.
Katherine Grant: Yeah. So I can say, you've got an, an intuition about it.
All right. Love it or leave it? Always end with an epilogue.
Blair Fell: I hate to say this, but I do. I, so, I, I guess I love it 'cause I always do it. Always, always I do it.
Katherine Grant: All right, love it or leave it? Always share research in your author's note.
Blair Fell: Hmm. No, I don't do that. I do [00:31:00] like on a an Instagram page. I share like research and inspiration stuff, but I don't think I do in my author's note.
Katherine Grant: All right.
Blair Fell: In the, in the next book I do a little bit.
Katherine Grant: Mm-hmm.
Blair Fell: I mean, 'cause I say where like, the inspiration for the book came from, and also not to trust any of the history in it.
Katherine Grant: All right. Well, and are there any other romance rules I didn't ask about that you know, and you like to break?
Blair Fell: You know, I think the one rule I like to break is I don't like to make the romance the only central important relationship. I think friendship and romance sh are on equal footing and one is not better than the other. And that we need to see the value and importance of our friendships because that whole hierarchical system, you know, screws us up.
It's why men die earlier than women. Women know their friends are important. Men don't. And so that's like, I make sure I give equal [00:32:00] footing to friendships and the value in that and not say, oh, romance is the most important thing.
Katherine Grant: I love that. That's beautiful. Thank you. Well, thank you for playing love it.
Or leave it, and thank you for coming on the show and talking to us about Disco Witches of Fire Island. Where should our readers go to find you and the book?
Blair Fell: Well Google a book. You'll find it everywhere. But it, it's, you could go to my website, which is blair fell.com, B-L-A-I-R-F as in Frank, EL l.com.
That's fall down in the past tense. Blair fell. You can find like lots of links and information there, but also follow me on Instagram. Blair fell at Instagram and also Disco Witch is a fire island at Instagram. There's a lot of great photos from my own past. And historical things that inspired this.
Photos I took in Act Up demonstrations. Also, some very steamy photos for those of you. Ooh, who'd like to see some steamy stuff for uncensored [00:33:00] photos. If you want to get a little bit deeper there follow me on blue sky where you can show some uncensored photos. And that's stuff that directly influences the book and that I pulled from for the book so they're fun.
That's Blair fell at Blue Sky.
Katherine Grant: That's awesome. I will put a link to your website in the show notes so listeners can just head on over and find everything. Yeah. Thank you. This has been so great. I've, I've really appreciated talking to you. Thanks for coming on.
Blair Fell: Loved it. Thank you, Katherine.
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