My original training was both sculptor and then playwright, as such I endeavour to create a world within the pages that is as vivid and engrossing as possible - using all the six senses - sight, smell, touch, sound and the intimate space between the characters. In my historical 'faction' The Witch Of Cologne, I deliberately wrote in the present tense so that the reader moved through time, space and location like a movie camera. I did not want to 'frame' it as being in the 'past'.
In the historical fiction (Witch of Cologne, Soul) I take my characters all the way to between the sheets. I have always seen the sexuality of my characters as an extension of their psychology. In this way I try and make it seamless - they are, after all, human, like ourselves.
I research all my historical fiction extensively, and I hope to both illuminate as well as entertain.
With my erotic fiction :Quiver, Yearn, Tremble - I cross oceans and eras. There is a wonderful economy to the short story structure that I've always enjoyed and in collections such as Tremble I also reference a lot of root myths and fairytales - using them as a kind of template over which very realistic and falliable relationships unravel and reveal themselves. They are also explicit in description (be warned!) I try and depict real people and the absurdities of both love, obsession, sex and loss we have all found ourselves in once or twice!