Seduction is a funny thing to write. There are a lot of non-verbal cues to seduction that work (or not) for different people. A lot of my ‘seduction’ scenes are verbal, because of the nature of the relationship. The ‘hero’ is attracted to the ‘villain’ but knows he’s not supposed to be. In this book, the villain is not outwardly a villain. It’s a story of circumstance, of opportunity and the choice to take it.
My character, Lazarus, sits firmly in the ‘villain’s’ role as a power-seeking creature. He wants whatever he’s not allowed to have, and usually discards it upon achieving it. Self-actualisation is a dirty word, for him. As soon as he gets what he wants, he wants more. Very few people in this world are truly content with what they have, and he is the extreme of that.
He’s an aged creature, too. He knows all of the routines of seduction. He’s been around so long that it’s very easy for him to identify what people want, and to give it to them – and he can do this without reading anyone’s mind (a talent he has access to, but only uses if he senses conflict in the other). He loves conflict, because conflict is interesting while focus is not. There is no guesswork in focus. The only game he can play with people who are focussed is to see how many lines they’ll cross to achieve their goal. Exitus acta probat (the end justifies the means) is one of his favourite phrases. He knows it’s a tainted phrase, but that just makes it all the more appealing.