My first science fiction novel was a young adult, and, while it was far from a romance, it did include the main character kissing a girl. The aliens form four-way relationships (or sometimes three-way ones) that do involve significant same-sex interaction. This was a key feature in my world-building in the initial novel, which was written in first person. My main character became interested in an alien girl, and they kissed (on stage) and held hands, so I didn't face any major decisions on how much to show.
In the third novel, also a YA, my main character is gay and develops an attraction to another boy a couple of years older. They kiss -- the first for both -- and I describe it. Later in the novel, I imply they do more, but it takes place off-stage. The kiss is a big deal, a turning point for my main character in terms of his feelings about himself, and thus it was important for me to describe. What is important about the other is the attitude of the adults to what is happening, and not whatever the boys are doing (or not). If I had written a different novel, it might have turned out that the activity was important.
The next novel, however, was an adult novel, and thus I looked the question of how much to show squarely in the face. Complicating things was the fact that I wanted to write about two four-way relationships, one involving adults and the other involving teens. The relationship among the adults was complicated, involving initially my main character and another (alien) man, and later on his two former partners, a man and a woman, also.
Some people like reading about explicit sex in novels, but I am not one of them, and this affects how much I want to describe. If the interaction is of significance to the plot, then I'll open the door as much as necessary; otherwise, no. If the scene would end up something I'd skip over if it were in a novel I was reading, then I don't want to include it. If I wouldn't enjoy reading about it, I really don't want to write about it either.
Colonel Rob Walker always does his duty, even when it means risking shaky relationship with his family. When he's ordered to bring the treaty negotiations between the Terran Federation and the Aleyni to a successful conclusion, he's determined to do just that, even when both sides would rather he fail. How can Rob pull off a miracle and avoid a war, one where both sides could be destroyed?
Rob's Rebellion on Amazon:
Rob's Rebellion on publisher's website:
Born and raised in New York City, Margaret Fieland has been around art and music all her life. Her poems and stories have appeared in journals such as Turbulence Magazine, Front Range Review, and All Rights Reserved. She is one of the Poetic Muselings. Their poetry anthology, Lifelines, was published by Inkspotter Publishing in November, 2011. She is the author of Relocated, Geek Games, Broken Bonds, and Rob's Rebellion published by MuseItUp Publishing , and of Sand in the Desert, a collection of science fiction persona poems. A chapter book is due out later this year.