Feb 142015
 
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by Suz deMello

For many of us who write erotica, the paranormal sub-(sub-)genre is the most enticing one of all, with its many ways to increase sexual tension. World-building allows us to create our own erotic settings, invent sexier creatures than those who exist on our planet, traipse through time to find or lose lovers…we can bend reality any way we choose. We can invent supernatural beings both virtuous and villainous; we can invest the corners of our new world with quirks, setting up the thrills and spills that make a great read.

Really, though, the paranormal encompasses so many sub-sub-genres! These include, but are not limited to: futuristic, including science fiction; steampunk; time travel; fantasy, which encompasses “creature” stories with vampires, weres, the fae, dragons, zombies and the like, as well as magic and witchcraft. All of these can be mixed into any story brew you please.

Take the basic elements of any book and consider how they could be made paranormal, i.e., beyond the normal.

Characters and conflicts

There’s a natural tension in a romance between a paranormal entity and a human, and you can exploit this to your advantage and to the betterment of your book. Vampires are a great example. How can there be a “happily ever after” in a romance between an immortal, virtually invulnerable being and someone who will, inevitably, die? Would any sensible vampire dare to open his or her heart to a fragile human?

And how can a human trust in the love of an immortal? We who age must fear the loss of an immortal’s love.

Vampires, being denizens of the night, are intrinsically mysterious. As powerful predators, vamps step easily into villainous roles, but lately we’ve been reading about heroic vampires as well; with their extraordinary senses, vampires can make extraordinary heroes. The vampire lovers in my short story Blood is Thicker… are a case in point. One’s a detective and the other a private investigator.

There’s also natural tension in a relationship between different supernatural beings. Werewolves and vampires are both dominating creatures with their own alpha males and females figuring into many an erotic romance. What happens when territories overlap? Clashes are inevitable, and the sex is awesome.

Many writers have created supernatural beings whose abilities amplify each other’s. For example, Jayne Castle (Jayne Ann Krentz) created different types of psychics in what I call her flower trilogy (Amaryllis, Orchid, and Zinnia); their differing talents need each other in order to focus and operate powerfully. Thus, they have to work together in dyads to solve the mystery and trap the villain. Often (but not always) in a heterosexual pairing, the psychics experience sexual tension, emotional intimacy and conflict via this device with, say, one psychic wondering if the other loves her or if he’s simply invested in their complementary powers.

Other writers create creatures made for sex. Succubi and incubi, supernatural demons who use humans for sex and seed—these and so many others have all become quite popular. Some writers have invented aliens which can extrude body parts and insert them into their human subjects for pleasure and pain.

Setting

Setting is an often overlooked aspect of our novels. As an editor, I have read several stories with completely unspecified or only vaguely sketched-out settings. As a reader, I like to be grounded in a story. I like to know where and when the story’s taking place. As a writer, I let the reader know where and when the story’s taking place, even if the both are completely imaginary, e.g., “a long time ago in a galaxy far, far away.”

In a paranormal story, it is fatal to overlook setting. The more richness and depth you can impart to your story’s world within the constraints of wordcount, the better—in fact, some settings are so compelling that they will earn your book a spot on many a reader’s “keeper” shelf. Fans return again and again to the Harry Potter books and to Tolkien not only because of the intriguing characters, compelling conflicts and universal themes, but because they want to spend more time at Hogwarts or exploring Middle Earth. Orson Scott Card calls fiction dependent upon a particular setting milieu fiction, and gives Tolkien’s Ring Trilogy as an example.

Of course you may create any setting that compels you, but when you do so, consider how it will facilitate or block mystery and romance.

When world-building for a paranormal erotic romance, I like to include elements that will facilitate sexy situations. In Queen’s Quest, a paranormal erotic thriller, I postulated a planet with an extremely low birthrate. Babies were rare and prized. Thus, sex was encouraged—including public sex—which enabled me to include numerous erotic scenes, while the dearth of normal births encouraged the characters to find other reproductive methods. These added to the suspense subplot (I don’t want to say more without providing a spoiler alert) as well.

Settings need not be exotic and magic need not be arcane, invented from whole cloth. You can use what you already know. I drew upon my teenage interests in Tarot reading and Wicca to write Gypsy Witch, an erotic short story set in my hometown of Sacramento, California during the dog days of late summer. A character used witchcraft to bring to life the stone statues of knights set at the doorway of the downtown Masonic Temple, bringing magic to an otherwise mundane setting. The romantic conflict ended in a ménage—a different kind of magic.

Theme

Theme is also overlooked, and unfortunately so; it’s intrinsic to our stories, as much so as words themselves. Many paranormals feature the clash of good against evil, often employing mythical and/or religious figures such as goddesses and gods, angels, devils, demons and the like. They will inevitably dabble in moral questions that the author may or may not have intended to raise—but it’s no wonder they make their way into our books; these questions are older than Faust, older even than the Bible.

Coming of age stories are also common, and (if the characters are old enough to consent freely) can be particularly enthralling in an erotic context. In erotica, we often read the induction of a virgin into the pleasures of sex. One of my erotic short stories, First and Last, was about an arranged marriage on a lunar colony. Similarly, another popular theme is the BDSM newbie learning about the joy of kink.

The message? Erotica isn’t only about sex, and paranormal content is an exciting and infinitely fertile way to engage the reader. Write a good story and weave in explicit sex and you’ll have a really good story. Put it on another planet and you’ll have a great story.

***

About the Author:

Best-selling, award-winning author Suz deMello, a.k.a Sue Swift, has written nineteen books in several genres, including nonfiction, memoir, erotica, comedy, historical, paranormal, mystery and suspense, plus a number of short stories and non-fiction articles on writing. A freelance editor, she’s held the positions of managing editor and senior editor, working for such firms Totally Bound, Liquid Silver Books and Ai Press. She also takes private clients.

Her books have been favorably reviewed in Publishers Weekly, Kirkus and Booklist, won a contest or two, attained the finals of the RITA and hit several bestseller lists.

A former trial attorney, her passion is world travel. She’s left the US over a dozen times, including lengthy stints working overseas. She’s now writing a vampire tale and planning her next trip.

–Find her books at http://www.suzdemello.com

–For editing services, email her at suzdemello@gmail.com

–Befriend her on Facebook, and visit her group page.

–She tweets @Suzdemello

–and posts to Pinterest

–and Goodreads.

–Her current blog is TheVelvetLair.com

 

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Jan 312015
 
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By Suz deMello

Amazon is known for its ruthless business practices—it doesn’t merely squeeze competition, it strangles it until it dies.

Amazon currently sells 40% of all new books sold in the USA. Their percentage of the market in ebooks is even larger—perhaps 66% according to the above-cited Salon.com article.

Amazon is not only a bookseller, but a publisher, and it favors its own imprints and minimizes the ability for readers to find its competitors. The most famous example is that of Hachette. Check out Stephen Colbert’s clips on the issue.

Well-known is Amazon’s dislike of sexy covers, adult-oriented books and erotica; it seems to especially target purveyors of steamy books. Though Amazon touts its independent publishing program as a boon for writers, many indie published authors, especially in erotic romance, complain that Amazon’s search engine has made it difficult if not impossible for readers to find their books. The Kindle Unlimited program has cut further into their book revenues. Ellora’s Cave, one of the most prominent publishers of steamy and erotic romance on the web, has downsized radically, citing a massive drop in Amazon sales of its books as the reason.

Well-known erotic romance author Selena Kitt had this to say (and a lot more):

If you’re an erotica writer, you know that Amazon has a double standard. If you publish a title and put it into the “erotica” category, there are certain things that aren’t allowed in the title or on blurb. But if you put that same title and blurb into the “romance” category, it’s fine. Half-naked couples in a hot, torrid embrace are just fine in romance, but strangely, in the erotica category, they’re often filtered and sometimes even blocked.

The loyalty of many customers to Amazon is misplaced. For example, Amazon often does not feature the best online price for a book or other item. A couple of cases in point:

On 30 Sept 14, the price of one of my shorties, Highland Vampire, on Amazon was $2.51. The price at Harlequin’s site was $2.39.

Being the daughter of Brits, I’m a tea drinker and lately have been into using loose teas (they really do make a better cuppa). Initially I had been purchasing from Amazon—isn’t that the place we’ve all become accustomed to checking first? Then I went to the Twinings Tea site and found that I’d been grotesquely overpaying.  My fave Darjeeling at Amazon costs $8.24 and it’s an “add-on item,” which is some sort of irritating practice at Amazon—I couldn’t get the tea without buying other stuff, and I couldn’t find a work-around for that bit of Amazonian weirdness.

The same tea is almost half the price—$4.49—at Twinings.

Like many, I have come to rely on Amazon for so much! I listen to music on my Amazon music player on both laptop and cellphone, and download music from Amazon as well. I’m an Amazon affiliate. I also buy books for my Kindle Paperwhite, which I love, from Amazon.

But maybe it’s time to cut the cord. Why should I fund an entity that seeks to exploit me, maybe even put me out of business?

I’ve taken down my Amazon affiliate ads—that won’t hurt, as they’ve never earned me a penny. I’ve changed my email signature line, which used to direct folks to my Amazon author pages, to instead include my website and blog. Other changes will be harder.

I’m an Ellora’s Cave author. I also have books placed with two other publishers that have disappointed me in myriad ways—see these links:

www.harlequinlawsuit.com  and scroll down to #9 at

absolutewrite.com/forums/showthread.php?t=194729–scroll.

So I’m going indie. But Createspace and KDP are fabulous platforms for self-publishing. How ethical is it, given my concerns, to use those platforms?

And beyond my personal worries, there’s the greater problem. Amazon sells a huge number of books, films, music and other creative and factual works.

Should one entity control so much of what goes into our minds and thoughts?

Will Amazon destroy erotic literature with its changing algorithms and prejudices? Will Amazon make it impossible for some books to flourish?

Does Amazon threaten our freedom of speech and thought?

***

About the Author:

Best-selling, award-winning author Suz deMello, a.k.a Sue Swift, has written nineteen books in several genres, including nonfiction, memoir, erotica, comedy, historical, paranormal, mystery and suspense, plus a number of short stories and non-fiction articles on writing. A freelance editor, she’s held the positions of managing editor and senior editor, working for such firms Totally Bound, Liquid Silver Books and Ai Press. She also takes private clients.

Her books have been favorably reviewed in Publishers Weekly, Kirkus and Booklist, won a contest or two, attained the finals of the RITA and hit several bestseller lists.

A former trial attorney, her passion is world travel. She’s left the US over a dozen times, including lengthy stints working overseas. She’s now writing a vampire tale and planning her next trip.

Find her books at http://www.suzdemello.com

–For editing services, email her at suzdemello@gmail.com

–Befriend her on Facebook, and visit her group page.

–She tweets @Suzdemello

–and posts to Pinterest

–and Goodreads.

–Her current blog is TheVelvetLair.com

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Jan 232015
 
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By billierosie

Most mornings I watch a television talk show called The Wright Stuff. It’s hosted by Matthew Wright, a journalist. It’s the usual sort of format; Matthew has three guests and they talk about various topical issues. Then, viewers are invited to phone in. To coincide with World Aids Day, the topic was HIV: Is Complacency Killing Us?

Here’s how Matthew introduced the issue.

Following a sharp rise in the number of men infected with HIV I’m asking if we’ve become too complacent for our good? Do we need more billboards warning us not to die of ignorance, as we had in the 80s? Or is the problem more complicated: maybe medical advances mean we no longer perceive HIV infection as a death sentence? Either way, is our complacency bad news?

Part of our complacency seems to arise from the treatments that are available in 2015. To be HIV positive is generally no longer a death sentence. Even with such a diagnosis, people with the virus can live well into their 70s. Thousands of men and women with HIV in the UK, US and across the world are heading into an old age they never expected to see.

There are record numbers of Gay men being diagnosed with HIV. Plus which, 1 in 4 men don’t even know they’ve got the virus. There are over 100,000 people in the UK with HIV.

Some cases were diagnosed years ago. Some people have been diagnosed late, having lived for years without knowing they were infected. And many people are now becoming infected later in life. So people are still being diagnosed as HIV Positive and not only the people in high risk groups.

“Laura is a white, heterosexual, divorced mother of two. At the age of 52 she started a new relationship and then suddenly became ill. Because her symptoms were similar to those of a friend who had been diagnosed with HIV, she took a test. When she was told it was positive, she felt numbness and shock, she said. She cannot believe, as a person who understood the guidelines of safer sex, that she stopped using condoms with her partner and allowed it to happen.”

And on The Wright Stuff show, Julie phoned in. She is a woman in her 40s, and some years previously, she had been date-raped. She started to experience illnesses—some severe, some not so problematic. Julie was misdiagnosed for 7 years, until finally, she was told that she was HIV Positive. Julie had many blood tests, but was never screened for HIV. She had passed the virus on to a previous male partner, who in turn has passed the virus on to a female partner. I believe that Julia has also infected her current partner. Julie says that ordinary doctors, GP’s in the UK, are clueless about HIV and need to be more aware. Had she been diagnosed earlier, her immune system would be stronger.

This point was picked up by Genevieve Edwards, who was in Matthew Wright’s audience representing the Terrence Higgins Trust.

“Every day someone dies because they didn’t get diagnosed early enough. Their immune systems are damaged and weakened. Their immune systems pull back but never fully recover.”

Genevieve says that we are missing opportunities. The young should be taught that safer sex isn’t just about pregnancy.

Penny Smith, a TV presenter and journalist, was on Matthew Wright’s panel, said:

“It is simply that men don’t like using condoms.”

Perhaps she has a point, but women have to take responsibility too. Presuming the situation is consensual to begin with, how about telling the guy “No, not without protection!” Difficult in the heady arousal of the moment, but it’s better than dying—isn’t it?

The figures quoted always seem to be about Gay and Bisexual men and some communities of color, the risk factors are the same for everyone regardless of whether you fall into those demographic profiles or not. No one is magically absolved from the need to have safer sex.

Genevieve Edwards, from Terrence Higgins, says that we all need to be more aware of what we are doing. Sound advice.

***

billierosie has been writing erotica for about three years. She has been published by Oysters and Chocolate, in The Wedding Dress. Logical Lust accepted her story “Retribution” for Best S&M 3. She has also been published by Sizzler, in Pirate Booty and in their Sherlock Holmes anthology, My Love of all that is Bizarre, as well as Hunger: A Feast of Sensual Tales of Sex and Gastronomy and Sex in London: Tales of Pleasure and Perversity in the English Capital. She also has a collection of short, erotic stories, Fetish Worship, as well as novellas Memoirs of a Sex Slave and Enslaving Eli, both published by Sizzler Editions in 2012 and available for purchase at Amazon.
billierosie can be found at Twitter, @jojojojude and at her blog.

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Jan 172015
 
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By Nobilis

This week, I collected the fifth draft of the Monster Whisperer novel into one manuscript and sent it off to an editor at Circlet Press to consider for publication. My feelings are, as I’m sure you can understand, complicated. I’m relieved to be done with this phase of the story, anxious about starting the next, puzzled about what to work on afterward, and eager to get rolling on it. All at the same time, or in any combination. But I’ve been through this enough to know that the relief will fade, the anxiety is temporary, the puzzlement is natural, and the eagerness will, in time, need to be nurtured.

I’m enjoying the relief of being done with this novel. Finishing any novel is not easy, and the fact that this is my third hasn’t really made it any easier. But I can’t afford the urge to sit back and rest. There’s more writing to be done, and I know from experience that if I go even just one day without writing, it can easily stretch into two, or three, or a week, and I don’t want that. So I’ve set a goal for myself—to write at least five hundred words a day, every day, in the year 2015. No excuses, no exceptions.

Monster Whisperer is now at a stage where there is nothing I can do about it. It’s out of my hands. Anxiety won’t do me any good, so it’s really best to let it go. Dwelling on it will only lead me to do stupid things like check in with the editor daily on whether she’s reading it. So I need to let it go. The best way I know how to do that is to let myself feel it, acknowledge it, thank my subconscious for its opinion, then go about my day.

I don’t need to work very hard on the decision of what to work on next. I have a story I really need to finish, a novella for a box-set that I’ve been invited to participate in, but it’s not an immediate one and I can afford to spread my efforts around a little. I can’t afford to do that very much though, especially writing only five hundred words a day, so I need to maintain focus. Distractions need to be kept at a minimum. Monster Whisperer took a year to finish; I’d rather not have the next project take that long.

That eagerness to be writing, that desire to feel the intense satisfaction on finishing a manuscript, will need to be preserved and nurtured. Luckily, that gets easier with each finished story. My confidence improves every time, especially when I get positive feedback from people whose writing I admire. But the time will come, somewhere around the late middle of the next story, when I want to just give up. I know it will happen. So I need to fix this feeling in my mind, remember it, come back to it again and again to maintain my enthusiasm. I need to hold onto it the way some people hold onto grudges.

Essentially, my emotional state is very important to my success as a writer—and therefore I need to be able to manage that state, control it, shape it so that it serves my purposes. That may sound like a strange idea. Much of modern culture portrays people as helpless to control their feelings, even victims of them; or else that our feelings should be respected over other modes of thinking instead of in concert with them. I disagree. Our feelings are ultimately under our control, though sometimes only with great difficulty, and only if we maintain a respectful relationship with them rather than pitting them against our rational thought processes or trying to “fight” them. When understood and managed, these feelings can help us achieve our goals.

***

Stories that don’t stop at the bedroom door—or the castle gate—or the airlock.
http://www.nobiliserotica.com
Podcast: nobilis.libsyn.com
Twitter: @nobilis

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Dec 072014
 
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By M. Christian (Guest Blogger)

I’m not too sure whose been spreading the rumors but, believe me, I’d like to get my hands on them.

Not that it’s anything new, I admit. I’ll betcha that for as long as human beings have been putting one word in front of another word for money there’s been a whispering, a murmuring, a seductive allure that all it takes is just the right story, the perfect book, the ideal concept to launch the author from zero to bazillionare.

But that’s all it is: rumor, hearsay, gossip… hollow promises. Okay, sure, it does happen but I’ll betcha with what little money I’ve made with my own writing that the number of people who it has happened to would comfortably fit in an elevator… and a small one at that. In short, while fame and fortune can and has happened with just one book, the odds are nightmarishly against you.

But the myth—sadly—persists. The reason I’m writing this is perfect evidence: no fewer than four people recently asked me to be their book doctors, yet they all vanished once they understood the reality of what it actually takes to make even a moderate amount of money as an author. All of them had actually written a novel, each of them had put aside money to have it professionally edited, and they’d even started up the long social media ladder… but each one vanished in the space of a few months.

I’m a dreamer … hell, half my waking life seems to be spent drifting from one fantasy to another: from super heroics to an immaculately imagined life as a pulp author in the ’40s, I’m usually lost in the clouds. But while being able to support my very simple lifestyle with my writing income is only one of them, I also really try to make at least that fantasy as real as possible.

Part of that is that I really want to make that happen. I know that it won’t take one novel … hell, it’ll more than likely take dozens and dozens… and that it can sometimes take decades before my work gets noticed and, most importantly, purchased by enough people. Just look at how long it takes to build up a social media presence—and then to turn those numbers into people who actually care about what you say.

In short, I’ve always accepted that writing is a very, very, very long game. I just wish everyone else would … not just because I feel for the pain of their expiring hopes but because it’s making the world a lot damned harder for the rest of us.

For example, I hate National Novel Writing Month, AKA NaNoWriMo—well, actually, I loathe it. Okay, I accept the fact that a lot of people need an impetus to write and that some truly great works have come out of it. But for every great novel and each person discovering the glorious thrill that can come from writing, there are hundreds of thousands of people who think that because they actually wrote A Novel in a Month, they can be the next J. K. Rowling, Stephen King, Stephenie Meyer, or [insert-author of-the-moment here]. They take their book and hire (sigh) a book editor, set up a twitter feed, create a website and a facebook page, sign up for Red Room, and [insert social-media-of-the-moment here] with expectations that they will Hit. It. Big.

As I said, this has always been a problem. There were probably more than a few Sumerian scribes who thought they were going to make more than a few [insert whatever money Sumerians used here—dinnar? Shekels?] and retire to a little mud hut on the shores of the Euphrates—only to take what few coins they made and go into the sheep herding business like their parents wanted them to.

The problem is that this isn’t ancient Sumer—this is 2014 and we aren’t writing on clay tablets. The good news about living in this day and age is that we have seen the death of death, at least where books are concerned. Sure, a few of my early books have crumbled to dust, reduced to a few tattered copies in a few struggling bookstores. But those that have been republished as ebooks will be there for as long as the Internet is.

Don’t get me wrong, I love ebooks—hell, I absolutely adore working for two different ebook companies as a publisher right now—but the downside of this digital literary immortality, with the perfect storm of an exponential increase in the number of books being written and published, is that being noticed as an author has gone from unlikely to utterly impossible. Add to this the people who still think that the pot of gold at the end of the literary rainbow is there for the taking with just one book, and you can see why things have gone totally and absolutely nuts.

Yes, I like to dream; but when I want to make a dream a reality I know that it will take a lot of long hours with my butt glued to my office chair whether I like it or not, with my brain glued to my story whether I’m inspired by it or utterly sick of it, that there’s no Leprechaun to capture, no social media lamp to rub. I’m not perfect—far from it—but I made a decision some twenty-or-so years ago to pursue my dream of being a working writer even though it wouldn’t be easy … and to accept the sad fact that it may never come to pass. But I also understood that a shot at earning a living writing was, for me, completely worth all that work, even if it was never guaranteed to happen. It was also my dream to attempt it—and I’ve been able to live that dream every day for the same last twenty-or-so years.

I have more than a few gray hairs, so I get to say “get off my lawn” now and again: write your novel, have fun, dip your toes into the lake of glorious creativity, know the giddy thrill that can come from creating a work that has never—in the entire history of … history … existed before, do the NaNoWriMo thing but, please, for the love of all that is good and wonderful, don’t step into the world of professional writing unless you are willing to accept the facts of The Long Game.

Please don’t waste the time of editors and publishers—and, most of all, do your readers a service and don’t waste their time by writing just one book, expecting overnight success, before deciding that all this is—sniffle—too much hard work.

I’ve said it before and I’ll say it again … until I can’t say anything else: the only time a writer ever fails is if they stop writing!

 

Originally published 8/9/2014 at Lisabet Sarai’s blog, Beyond Romance.

***

About M. Christian
Calling M.Christian versatile is a tremendous understatement. Extensively published in science fiction, fantasy, horror, thrillers, and even non-fiction, it is in erotica that M.Christian has become an acknowledged master, with more than 400 stories in such anthologies as Best American Erotica, Best Gay Erotica, Best Lesbian Erotica, Best Bisexual Erotica, Best Fetish Erotica, and in fact too many anthologies, magazines, and sites to name. In erotica, M.Christian is known and respected not just for his passion on the page but also his staggering imagination and chameleonic ability to successfully and convincingly write for any and all orientations. His short fiction has been collected into many bestselling books in a wide variety of genres, including the Lambda Award finalist Dirty Words and his novels include the queer vamp tales Running Dry and The Very Bloody Marys, the science fiction erotic novel Painted Doll, and the gay horror tale Fingers Breadth.

In addition, he is a prolific and respected anthologist, having edited twenty five anthologies to date. He is also responsible for several non-fiction books, notably How to Write and Sell Erotica.

M.Christian is also the Associate Publisher for Renaissance eBooks, where he strives to be the publisher he’d want to have as a writer, and to help bring quality books (erotica, noir, science fiction, and more) and authors out into the world.

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Nov 302014
 
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By Mistress Lorelei Powers

You’ve carefully described your protagonists: their degree of youth, beauty, and desirable physique. You’ve choreographed the placement of arms, legs, mouths, and genitalia in various positions for maximum satisfaction and ease of description. Maybe you’ve even tested those positions with a willing volunteer to make sure a kneeling submissive of a given height really can reach quite that far with a tongue.

But have you considered how the scene fits into the flow of the narrative? What purpose it serves in the plot?

“But it’s erotica! The whole point of the story is the sex!”

Well, yes and no. The sex is essential, but it isn’t sufficient. Submissions guidelines generally emphasize phrases like “complex plotting” and “storytelling as well-crafted as the sex is hot.” So if you wish to publish your story in an anthology or have your novel accepted for publication, you need to understand how to time a sex scene to make it effective—and incidentally increase your chances of getting the reader and even the editor aroused.


The Role of Sex in Genre

One way to look at the question of how soon and how often is to look at the standards of the particular form you have chosen. Clearly, in a short story, you can’t postpone the first sex scene for 10,000 words, but in a literary novel you just may want to. Pure erotica often has a faster pace than the “erotica plus” genres: erotic romance, erotic suspense, erotic mystery, erotic horror. Old-fashioned pulp porn generally featured a new sexual combination every other chapter.

Many traditional erotic romance novels (AKA bodice-rippers) brought the hero and heroine together about a quarter of the way into the novel, again at the halfway point, and one final triumphant time toward the end. The ones driven by rape plots generally started the action earlier, sometimes in the first half-dozen pages.

In order to get the feel of a form, you must read widely in it. Read the classics of the genre, but also read plenty of contemporary fiction.


The Motives for Sex

Another way to decide where your sex scenes fit into the story is to ask yourself why your protagonists are going to bed. There are innumerable reasons people have sex of any kind. Here are a few:

·    A simple desire for touch

·    Love

·    Wanting children

·    Wanting to establish a relationship

·    Basic horniness

·    To manipulate someone or gain someone’s favor

·    Revenge (usually on someone other than the new partner)

·    Fear

·    Sorrow (grieving people can have incredibly hot sex)

·    Wanting to forget troubles

·    Compulsion by inner demons

·    Boredom

·    Loneliness

·    Curiosity

·    Competition with an established love object or a new flame

·    Hot make-up sex to rebuild a damaged relationship

Think about these motives. They’re not unitary. Each partner may have several motives, some subconscious. Furthermore, the participants may have conflicting motives—a conflict that can drive plot in any of a number of different directions. Most of the noir genre is based on such mismatches, but then so are most romantic comedies.

The motivations for having sex help dictate where the scene should go. If you are working on a story that emphasizes why or how your protagonists get together, the sex should be placed later in the story—as the climax. If a sex scene is the happy ending you have been promising the reader all along, you should place one of them in the final pages to serve as a symbol of happily ever after or at least happily this afternoon.

If your story arises from the complications of the relationship, the first sex scene must appear earlier. In either case, the sex should change things for your protagonists.


The Consequences of Sex

Once your protagonists have gotten together, they have to face the consequences of that sexual act. Complications are the bone and blood of plot, and sex can create a lot of complications.

The desire for sexual fulfillment, whether plain vanilla or a specific kink, is one of the most powerful of all drives. I’ve seen good sex (not to mention failed sex) radically change people’s lives by:

·    Helping them find new confidence and a powerful new sexual/social identity

·    Beginning and ending marriages, creating and rupturing families, causing long-distance moves, resulting in career changes

·    Shifting the balance of power in a love triangle, ultimately dissolving the triangle and severing several relationships

·    Beginning a number of friendships and ending a few

·    Signaling to one party that they were now in a relationship—an assumption the other party didn’t share

·    Serving as glue for a long-term relationship that was otherwise deteriorating

·    Causing a breach between my date and his hyper-religious mother, who threw him out of the house when he refused to stop seeing me

·    Causing pregnancy—a result that can be joyful, disastrous, or anything in between

·    Prompting one party to have a crisis of faith

·    Triggering unexpected memories and feelings (of love, anger, terror, despair, giggling)  in one or both parties

·    Ending with an intervention by the cops

And that doesn’t even go into the matter of the enraged house-sitter waving a machete, who didn’t realize that the homeowners had given us a key and permission to meet there. Can you see the plot possibilities here?

To be effective, sex needs to be woven in and through your story. The urge to have sex or to frustrate someone else’s desires can set your protagonists and the other characters in motion. Once sex has occurred, it can be the catalyst for unexpected changes. Keep on following the trail of desire, frustration, and fulfillment, and you have a plot in which the sex isn’t gratuitous, but essential for the story. And that’s the kind of story that readers—and editors—love.

***

Lorelei Powers, also known as Mistress Lorelei (pronounced LOR-eh-lye, and named for Germany’s famous siren of the Rhine River whose seductive music lured sailors to their doom), is the author of the BDSM how-to classics The Mistress Manual and A Charm School for Sissy Maids, as well as the short story collection On Display. She is a bisexual, polyamorous sadist and lifestyle Domme. She has started using her surname to avoid confusion with her respected colleagues, Lorelei Lee or Lorelei of BedroomBondage.com.

By profession, Lorelei Powers is a writer and editor. Under various other names she has published a number of books, articles, and stories. She also teaches writing classes, gives workshops and presentations on BDSM technique, and offers private coaching sessions by phone or in person for Dom/mes and submissives.

She blogs about BDSM at The Mistress Manual and about sex, feminism, politics, and naked men in bondage at Gallery of Dangerous Women. Follow her Twitter feed at @MsLorelei.

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Nov 242014
 
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By Colin

There are certain questions every writer is asked sooner or later.  “Where do you get your ideas?” is the one everyone thinks is the biggie, but that one has never actually been posed to me.  “How about I give you some ideas and you write the stories and we split the money?” is, I’m sad to say, one I actually have heard.  Guy I went to high school with.  Had all kinds of great ideas, but…you know, he just didn’t have the time.

There’s one question, though, that’s unique to writers of erotica, usually delivered in a hushed—even fearful—tone of voice.  “Does X know the kind of writing you do?”  For “X” pencil in your parents or your co-workers or your pastor or possibly even your spouse.  Seriously, though, I don’t think Dan Brown or James Patterson gets that question a whole lot, and I’m comfortably certain J.K. Rowling doesn’t.

Naturally, everyone will have a different answer to that question.  In my case, the members of my family who are closest to me know what I write, and don’t seem overly uncomfortable with it…but it’s also a don’t-ask-don’t-tell kind of thing.  None of them are particularly interested in reading any of my books or stories, but I doubt they would be even if I wrote cozy mysteries or sword and sorcery.  Most of my friends know, but there aren’t too many of them to worry about.  My co-workers at my Beloved Day Job definitely don’t know, and if I have anything to say about it, they won’t find out anytime soon.

Another question sometimes comes up, this time from the writers: “Is it a good idea to keep your erotica a secret?  Can you really manage your writing career effectively if you’re not able to reveal your true name?”

It’s true that there are certain disadvantages to going beyond a mere pseudonym—plenty of writers use those, even those working well outside of genre fiction—to actually hiding your true identity.  It can put you in the odd position of almost trying to avoid publicity, and that ain’t good.

But it’s a good idea to remember that, in the minds of a great many people, writing erotica isn’t okay; in fact, for those folks, it’s very much the opposite.  Even if they have a stack of back issues of Barely Legal hidden under their bed, or are practically paying the mortgages of the good folks at clips4sale.com, chances are they don’t have much personal investment in their smut.  Which means that in any public debate on the subject, they’ll likely agree with the loudest voice at the table.  Which is often a negative voice, unfortunately.

Even if you completely hide your identity, outing yourself as an erotica writer to friends and family can be problematic.  Double that for co-workers; people do mysteriously lose their jobs.  That economy, boy, we thought it was looking up, but…hey, you know how it goes.

Okay, fine, you say.  But isn’t it sort of dishonest to not be totally open about your writing?  Doesn’t it imply you have a paper-thin commitment to your art?

If you’re the kind of person with a cast iron ego and/or nothing to lose, or one who relishes a fight, or if you’ve built your life (income source included) within a sex-positive subculture, then that kind of total honesty might just be for you.  For the rest of us, a good first step might be to make a list of those things in your life you can’t realistically afford flack on: custody of your children, say, or your job, or your family’s good opinion.  Gird your loins and proceed accordingly.  And remember, there are worse things than working behind a pseudonym; your identity is one of the few things in life you control.

***

Colin is a fetish writer and the single most prolific professional author of tickling erotica working today, with dozens of books to his credit. www.gigglegasm.com and www.ticklingforum.com.

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Oct 232014
 
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By Mistress Lorelei Powers

In no genre does the admonition Write what you know apply more powerfully than in writing about sex. The average reader of a police procedural will never be involved in a murder investigation, and thus their image of the process is likely to be formed by their books, as well as other media: movies, TV shows, newspaper and internet accounts of investigations. With the help of Google, a fluent writer may be able to fake a way through and produce a story this average reader finds plausible, but the work is likely to echo every cliché of the genre.

By contrast, almost everyone has some kind of sex, and people who practice specific kinks know the difference between fantasy and reality. When Anne Rice admitted she had written the Beauty series (originally published under the name A. N. Roquelaure), she claimed she didn’t actually practice BDSM herself. Every kinkster I knew believed her. There were too many problems with the books, and not just because she portrayed some unsafe practices.

You may have been fantasizing about a particular act or orientation for years, but fantasies are an unreliable guide. So are many stories. To hear some people talk about sex between women, scissoring is the be-all and end-all. In 35 years of sex with women, I have yet to scissor. I can’t even figure out the instructions.

Trying to write about an unfamiliar sexual subculture or practice has serious pitfalls. My personal favorite is a slash fan-fiction story in which one gay man “fisted” another’s cock. I had outrageous visions of one man plunging his whole hand into the other’s urethra. The author didn’t know about anal or vaginal fisting (the practice of slowly, gently inserting the whole well-lubricated hand inside your partner); she just wanted to say that her character grabbed a cock in his fist. Oops.

So does this mean you can never use your imagination, or that you have to limit yourself to writing your own experiences? Not at all. There is a place for research in erotica, as with any other fiction.

1. Read all about it. First, check out the how-to manuals and memoirs. In the past 20 years, there has been an explosion of useful and informative books about all kinds of sex. There are superb books on the theory and practice of same-sex love, just about every form of BDSM, erotic hypnotism, enema play, fisting (both vaginal and anal), and more forms of sensation play than I can name. Now that ebooks are so common, you can download anything in peace and privacy.

Check out reviews in places like Goodreads or specialty forums before you buy; not all books are created equal. Steer toward nonfiction; many fictional depictions are inaccurate or actively unsafe. Movies can show how things work physically, but most are insanely unrealistic about the culture and feelings of participants.

Then you may want to go to the library, preferably a university library. Your local library may allow interlibrary loan from nearby academic libraries. You would be amazed what you can find in scholarly books. There are serious psychological and philosophical studies of homosexuality, transgender, transvestism, sadomasochism, and other sexual variations. Books on queer studies and gender studies may be densely written, but they can also offer insights.

Learn about safety, culture, history, and terminology. Read enough to understand how various members of the subculture relate to their sexual practices and to others who share their orientation. You’ll discover that every subculture is a cluster of micro-cultures, some of them deadly foes and others allies. Practices that seem the same to the outsider may have entirely different meanings. A drag queen and a sissy maid both dress in feminine garb, but their aims and clothing are profoundly dissimilar. And both are different from a transgender woman. Know the distinctions, or you’ll piss everybody off—including your intended audience.

2. Make friends in the community. The Internet makes this a thousand times easier than it was twenty years ago. If you’re writing about people who take on animal personas, find an online forum for furries. (And learn the difference between furries and yiffing.) Lurk first. Reading forum threads and participating in group chats are excellent ways to understand a subculture. Approach individuals with respect. Remember, they are not here as zoo displays, nor are they obliged to answer intrusive questions.

You may also find in-person meet-ups where people gather to meet others who share their tastes. Some are informal, public events (sometimes called munches) where people dress in ordinary clothes and don’t do anything more surprising than drink diet soda. Others are parties or clubs where people go to play—a word that has a much broader meaning than you may be aware of. Look for events for newbies. Not everyone is lucky enough to live in an urban area where there are plenty of venues, but even rural areas have their gatherings. I used to drive 110 miles to go to BDSM parties in a neighboring state.

3. Practice, practice, practice. When you learn specific techniques from a book—for example, how to peg your partner with a strap-on—test it out in person with a willing volunteer. When I first started pegging, I was startled and impressed at the sense of power it gave me. I was also surprised that relatively small motions could create such an intense reaction. That’s something I wouldn’t have known without doing it myself.

Now excuse me. I have a naked woman in my bed, and we’re going to try to see if we can manage to scissor without falling off or breaking an ankle.

***

Lorelei Powers, also known as Mistress Lorelei (pronounced LOR-eh-lye, and named for Germany’s famous siren of the Rhine River whose seductive music lured sailors to their doom), is the author of the BDSM how-to classics The Mistress Manual and A Charm School for Sissy Maids, as well as the short story collection On Display. She is a bisexual, polyamorous sadist and lifestyle Domme. She has started using her surname to avoid confusion with her respected colleagues, Lorelei Lee or Lorelei of BedroomBondage.com.

By profession, Lorelei Powers is a writer and editor. Under various other names she has published a number of books, articles, and stories. She also teaches writing classes, gives workshops and presentations on BDSM technique, and offers private coaching sessions by phone or in person for Dom/mes and submissives.

She blogs about BDSM at The Mistress Manual and about sex, feminism, politics, and naked men in bondage at Gallery of Dangerous Women. Follow her Twitter feed at @MsLorelei

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Aug 302014
 
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By Nobilis

They say that an author shouldn’t pay attention to the market. They say that if an author writes to get on board with some popular trend, rather than following inspiration, the result will be lackluster fiction that arrives too late to catch the wave, and the author will more likely than not end up frustrated.

For what it’s worth, this is true. Most market trends are too short-lived to exploit this way, given how long it takes to write a good novel, edit it, and get it out into the market. (Of course, they said steampunk was a passing fad, and look where we are now—this rule is certainly not universal)

But there’s another kind of market trend that authors are very well served to follow.

My friend Starla Huchton has written two novel series (serieses?). The first was a science fiction romance called the Endure Series, set in an underwater research colony, where the hero and heroine, in addition to negotiating the difficulties of a new romantic relationship, must thwart a terrible global conspiracy. I loved it. The second is the Evolution Series, a superhero adventure romance that I’ve only just started reading but also promises to be quite enjoyable.

The thing is…Starla never finished the Endure Series. What’s worse, the third book ended on a cliffhanger. She promises she’ll get to it, but it’s not on her immediate project list. I confess to feeling no small amount of frustration with this, but I keep it to myself* because Starla Huchton is not my bitch. I don’t have any right to demand she finish the series or even resolve the cliffhanger.

Ever.

That’s speaking as a reader and a fan. Now I’m going to switch around and put on my author hat. I have also written speculative romance stories. There’s the far-future genderfuckery romance series, The Orgone Chronicles. There’s the Roma Fervens series, steampunk romances set in ancient Rome. And my near-future stories are all set in the same universe, which I call Tales of Love and Engineering. I’m currently not working on any of them. Instead, I’m experimenting with a science fiction serial, Monster Whisperer, which I’m producing as premium content on my podcast and releasing in both ebook and audio on Scribl.

And the reason for this is simple: Money. The other series just never sold big. They sold some, for which I am grateful to everyone who bought them, but they never hit that mysterious ignition point that gets a title climbing the charts. So I’m trying something new, to see what happens with it.

That’s why Starla’s decision to focus on the Evolution series at the expense of the Endure series makes sense. If the Amazon rankings mean anything at all, the Evolution series is selling far better than Endure ever did. It doesn’t necessarily mean that Evolution is better than Endure, but it does mean that it fits better with what people want.

I’m not talking about naked greed here. If I wanted to make the most money with the least effort, I wouldn’t be a writer, that’s for certain. No, I’m talking about using money as a measure of reader interest. When someone is willing to lay down five or ten dollars for a story, that means they want it more than they want something else they’d spend that five or ten dollars on.

I love all my stories. I could work on any of the series that I mentioned previously. But people don’t seem to want those stories as much, so they’re on the back burner. I could happily work on any of them. But the lack of interest on readers part spills over into a lack of interest on my part. I’ll keep trying new things, both in terms of subject matter and publishing venues, learning and growing and exploring, and along the way maybe something will catch the public’s interest in a big enough way that I’ll say: “Oh, you want to throw money at me to write more of this? Why, thank you! I do believe I shall.”

*Generally. I recognize the irony in posting it publicly here, and hope Starla will forgive me.

***

Learn more about Nobilis and his work at his…

Website: www.nobiliserotica.com
Podcast: nobilis.libsyn.com
Twitter: @nobilis

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Aug 212014
 
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By Ardath Mayhar, reprinted from Writing Through a Stone Wall: Hard-Won Wisdom from Thirty Years as a Professional.

In its simplest definition, a plot is the shape taken by your story. It is the sequence of events that presents your characters, reveals their backgrounds, shows their problems, and leads the reader through all the complexities of the story to the solution of those problems.

It can be attacked chronologically, which is the simplest and best plan for a beginner. It can also come in non-sequential segments, welded together over the length of the tale to make a coherent whole, through the skillful use of such devices as the flashback.

If you are a real storyteller, you will usually find that your stories work themselves out in intricate detail, either beforehand as an outline or as you write. So don’t worry too much about plots … a good one is instantly recognizable.

If something that seemed promising turns out to be a dud, don’t sweat it. We all waste some effort, but all that effort amounts to practice that helps us to deal more effectively with our next project.

A plot can be built, just like a child’s house of blocks. You introduce your main character, find his immediate interest/problem/difficulty. In a short story there may be only one, but in a novel you will need several. You may even need several minor characters, each with a problem that affects, in some way, the overall story.

Once you understand the situation with which your protagonist must deal, then you can work out, step by step, exactly the way in which he will tackle it, the obstacles that will get in his way, the other people who interfere, and the final and climactic situation in which he either conquers or accepts his own circumstances.

There is a rather mechanical way in which to add suspense and conflict. Give that character a break and make it seem that he has surmounted his problems … and then pull the rug out from under him. Create a wavelike undulation between triumph and near-tragedy (modulated to suit the sort of tale you are telling).

The sequence of events can develop your character’s strengths and his intelligence. It can try his emotional stability. And the protagonist and his solution can arrive together at the end of the tale.

This is useful for a beginner, but do not feel that you have to stick with this format. Some of the best stories spin themselves out in your mind, forming their own shapes and rhythms.

There are incredible numbers of kinds of stories and as many ways in which they can be told. As Kipling said,

There are nine and sixty ways
of constructing tribal lays,
and every single one of them is right!

Remember that you are the only person who can write your story, and once you develop your ability to professional standards nobody can tell you that this is the wrong way to do it. Make the plot work for you, and make it fit your characters.

The newspaper every morning and the news every night can be full of plot ideas. Nobody need ever go without the raw material for a story, if they keep their eyes and ears open.

On the other hand, a theme is something frequently overlooked by the novice writer. It is integral to a mature work of fiction (or, indeed, nonfiction), as you can prove for yourself by reading some of the themeless works now sprouting on the newsstands.

Most themes can be stated in cliches. Cliches become such because they are so true and so succinct, and the underlying premise that forms the thread upon which your story is strung must partake of some bit of human truth.

Do you recall Dickens’ A Christmas Carol? It has several themes, one of which is “It is never too late to change.” Another is “Money alone cannot make you happy.”

Most stories and almost all books have more than one theme, if you look closely enough. In your own work, you may be able to look back, as you near the end of your labors, and see several interrelated themes wound through your story.

It is a strange thing that seldom if ever do you think out your theme at the beginning of your writing process. It develops, along with the plot and the characters, as you work.

Yet, if you are deeply involved in the story you are telling, and the lives of the people about whom you are writing, you will find that a theme twines itself into it, without your having to think about it consciously.

A story that is all theme would be very dull work. But a story without any at all is taffy candy for the mind.

Keep a watchful eye on your work and analyze it when you are done. Make sure you dig deeply into your subject, so as to tap the thematic stream that runs beneath all good stories. Make your plot complex enough to be interesting, yet not so complex as to become soap opera.

Flashback, mentioned earlier, is a most useful device in creating a nonsequential plot. It is, however, often done very badly, at too great length, or at a point at which it interrupts the flow of the story. A long flashback at the very beginning of a tale, for instance, can make the reader forget just what was happening to the protagonist at the spot at which he went into this revery.

The past must become the protagonist’s temporary present, in order for a flashback to work well. For instance:

Jonathan looked both ways, hesitated, and then set his right foot into the street. He had never quite recovered from that terrible day…

The truck swerved into the wrong lane, heading directly for him, as he tried to spring back to the safety of the curb. Tires squealed on wet pavement, and as he squirmed desperately backward, something immensely heavy and painful crossed over his foot and ankle. The blackness that rolled over him came as a welcome relief…

Jonathan looked down at the warped and twisted leg. He couldn’t go on reliving that instant of his life forever, he knew. With a sigh, he stepped awkwardly into the crosswalk and limped to the other curb.

This is flashback. Brief ones are best, usually, but there are whole stories that are actually very long flashbacks.

Some highly effective work has been written using a sort of mosaic of plot elements, demanding mental alertness on the part of the reader. Kurt Vonnegut’s Slaughterhouse 5 is a good example of this technique.

This, however, is not something that you learn to do. It must come as an inevitable way in which to approach the story you have to tell.

Any or all of these techniques can work for you. Just have the nerve to play with them, practice with them, and make them a part of your repertoire.

***

Ardath Mayhar (1930-2012) died on February 1. Mayhar began writing science fiction in 1979, although she had been publishing poetry since 1949. During the course of her career, she published more than sixty novels in various genres, often using pseudonyms, including John Killdeer and Frank Cannon (for Westerns).

In the late 1980s and early 1990s, she and her husband, Joe Mayhar, owned The View From Orbit Bookstore in Nacogdoches, Texas; she sold the store after his death. Her novels, many of which mixed science fictional and fantasy elements, included the four-volume Tales of the Triple Moons series, the Kyrannon Shar-Nuhn series, and Battletech: The Sword and the Dagger. Her 1982 novel Golden Dream was based on H. Beam Piper’s “Fuzzy” series. In 2010 she published Slaughterhouse World.

Perhaps even more important than her own poetry and fiction, Mayhar served as a mentor to numerous other science fiction, fantasy, and horror authors. She provided editorial advice, taught workshops, and often worked as a book doctor. She was a fixture at Texas science fiction conventions for more than 30 years, although a decline in health limited her attendance in the last years of her life. A poem published in the anthology Masques earned her the Balrog Award in 1985. In 2008, she was named the SFWA Author Emeritus during the Nebula Award Weekend in Austin, Texas. —SFWA, February 13, 2012

In addition to her contributions to the field of science fiction and fantasy, Mayhar is the author of over sixty books and has won or been nominated for over two dozen awards including Margaret Haley Carpenter Prize, the Omar Award, the Mark Twain Award, the Spur award, and the William Allen White Award, for her historical novels, character studies and poetry. —WriteSex Ed.

 

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