I don't like leaving negative book reviews, because I know it takes a ton of willpower and effort and passion to actually write a book. But in this case, I felt deceived by the high rating that the book has overall, so I wanted to point out a few of its glaring problems that I'm amazed didn't seem to bother anyone else.
Before the criticisms, I'll say the writer does have a nice grasp on grammar and style. The book was not an unpleasant read in terms of its structure and technical competence. The problems I had were all with the substance of the story. The author is obviously very capable of producing good writing... this particular story was just hollow in many ways.
First - The story is told in first person POV, and the male characters refer to their penises 16 times as their "lengths". It was so stupid that every time I saw this word, I was torn out of the story because it made me aware I was reading words written by a woman who's afraid to use real language. No man refers to his penis as his "length". Here are excerpts of the 16 sentences where this happens... read them and try to imagine any man, particularly a gay man, actually saying these things:
- He rocked his length against me...
- ... he rolled the condom down his length.
- ... wrapping my lips around Braeton's impressive length.
- ... my length thrust between his lips...
- ... he rocked our lengths together...
- Our rock hard lengths brushed together...
- ... taking his length into my mouth...
- Reaching around to grab his length...
- He grasped my hand and cupped it over his hard length.
- ... he reached my rock hard length.
- ... his hot length settling against my hole...
- Reaching around to grasp my length...
- ... I slowly took his length in my mouth...
- ... coating my length with lube...
- My length nudged at his hole...
- He reached between our bodies to palm my length...
You may think this is a silly thing to be bothered by, but it was absolutely ridiculous and distracting to me. Again, I doubt any man ever uses that word in that way. I know I certainly don’t.
Second - The characters almost always spoke in complete thoughts - in complete sentences - in complete paragraphs - with very few contractions - with very few interruptions. The conversations sounded more like something from a screenplay than a novel. Here's one of the worst examples... a neighbor woman talking to the main characters about watching their son, Gray:
“Well, it appears that Gray won’t have any trouble adjusting to being here. My children and I will walk him to the bus every morning and pick him up every afternoon like we do the other children I watch. I can feed him breakfast here, he can even come in his pajamas if he’d like to change into school clothes after breakfast. I’ll be sure his teeth are brushed and his hair is fixed. We’ll just keep some clothing and toiletries here. I always wanted a large family, having Gray as an addition to my crew during the weeks you are working will be a blessing to me and my children.” Juanita smiled at Bryan and me over her coffee cup. “And, if I can be of any help babysitting in the evenings or on weekends if you two need some private time, I’m more than willing.”
This was not an unusual occurrence in the book. Very long, pretentious sounding speeches that simply did not sound like actual human beings speaking. Obviously authors are free to take liberties with how they write dialogue, but this was clearly not intentional... it seemed to be the result of the author not thinking through how bizarre the characters would sound if they actually spoke that way.
As a minor related point, there were also a few places where characters would seemingly respond to something that another character was thinking in their head, even though it would be very unlikely that that person would have guessed what the other character had been thinking. This was just another example of something that pulled me out of the realism of the story and reminded me that I was reading the product of the author's mind rather than the thoughts or words of the characters.
Third - The two main characters seemed to exist only in relation to each other. What do I mean by that? Probably about 90% of the book was focused entirely on their relationship, but not in a way that actually developed it. There was almost no characterization beyond "Bryan likes Jase and Jase likes Bryan." Sure, there was a shallow back story of them being in the military together, and a few minor plot points like Jase's crazy ex wife and Bryan's dating life. Bryan had a job that was never referred to in any depth, apparently just because he needed to be given some kind of job to afford his apartment, and Jase had a job that was only spoken of in how it related to his military experience and being in the closet. Other than video games and favored sex positions, I couldn't tell you a single thing the two guys liked doing, let alone anything substantial about their personalities as actual human beings.
My point is that if you removed the relationship between the two characters, the entire story would fall apart. There would be almost nothing of interest besides Jase and his son and Jase's homophobic parents. There was nothing else going on at all. Bryan was fleshed out so little that he basically played the role of a living sex toy. So, for hundreds of pages, the only things happening were the main characters talking about trying to be together, and them having sex. The fact that they wanted to be together was baked into their characters rather than having their relationship development given even the slightest amount of lip service. There wasn't even any interpersonal conflict. No irritation, no arguments, no miscommunication, no misaligned goals. They were barely more than two props for the plot twist at the end. In fact, despite 6 or 7 years elapsing from the beginning to the end of this story, there weren’t even any character arcs to speak of. They were two-dimensional unchanging characters the whole way through. You could read the beginning and end without realizing any time had passed, let alone 7 years.
Fourth - Speaking of that plot twist... for a story taking place when and where this one did, the major conflict at the end (and its resolution) were, to be very charitable, dumb. I'll just leave it at that and avoid spoilers.
One final quibble… The 5-year-old son alternated from being young and naïve to being almost emotionally an adult. This was weird and jarring, as well as unnecessary. His maturity jumped around to suit whatever was supposed to be happening in the plot at any given moment.
So, to sum up, this would be my advice to the author. You clearly have a lot of writing skill. What you're missing, at least in this book, is 1) the ability or desire to picture your characters saying the things you've written and evaluating whether they sound ridiculous, 2) the ability to construct compelling conflicts (both large and small), and 3) an understanding of how important it is to flesh out characters with more to them than than just how they are (or want to be) related to other characters.