Aug 122014
 
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By billierosie

It is all women’s fault. All of it. Everything, ever since the world began. …But which women? We are used to blaming Eve for her disobedience to God‘s holy decree—and we are wrong to do so. Greek mythology blames Pandora for her insatiable curiosity when she opened up the pretty box. Wrong again. The fault of womankind and consequently every bad thing that has ever, ever, ever happened, is actually the fault of Lilith—Adam’s first wife.

There are many stories about Lilith in ancient Hebrew and Assyrian texts. The stories tell us that God created Adam and Lilith at the same time, and out of the same dust. It seems that conflict arose between Adam and Lilith, because Adam insisted that Lilith should lie beneath him during sexual intercourse. Lilith was furious and refused; she was Adam’s equal. She spoke the sacred and ineffable name of God and vanished in a rage, flying off into the air.

Adam was understandably angry and insisted that she return to him. Adam asked God to help him, so God sent three angels—Senoy, Sansenoy and Semangelof—to find her.

She was eventually found in the Red Sea. The angels threatened her. If she did not return to Adam, her husband, one hundred of her sons would die every day. Lilith countered their threat by telling them to do their worst, retorting that she was created to harm new born children and that is what she would do. But she made an oath that she would not harm a child wearing an amulet with the images of the three angels inscribed on it.

Lilith’s first appearance is probably in ancient Sumerian texts; she also is mentioned in the Dead Sea Scrolls. She is older than Judaism and is the most important of a small collection of named female demons in Hebrew legend.

As far as I am able to ascertain, there is only one Biblical reference to Lilith—in Isaiah 34:14:

Wildcats shall meet with hyenas,
goat-demons shall call to each other;
there too Lilith shall repose,
and find a place to rest.
There shall the owl nest
and lay and hatch and brood in its shadow.

The passage associates Lilith with the night and with repulsive, unclean creatures. She is clearly linked with the demonic world, and I get a sense of her plotting, scheming and finding ways to do harm. As stories around her develop, Lilith becomes associated with endangering pregnancy and childbirth—if she can make things go wrong, she will.

Lilith is also a succubus. Men fear her coming to them in the night, stealing their seed, copulating with them, as they slumber helplessly. She personifies licentiousness and lust. Even holy men feared her; in the Middle Ages, celibate monks kept Lilith’s nighttime visits away by sleeping with their hands crossed over their genitals and holding a crucifix.

Kabbalah has a clear view of Lilith as well.

While it is heavily used by some denominations, Kabbalah is not a religious denomination in itself. Inside Judaism, it forms the foundations of mystical religious interpretation. Outside Judaism, some see its scriptures as standing alone, without need for the traditional canons of organised religion. Kabbalah seeks to define the nature of the universe and the human being, the nature and purpose of existence, and various other ontological questions. It also presents methods to aid understanding of these concepts and to thereby attain spiritual realisation.

Through the teachings of Kabbalah, Lilith maintains a status fixed in Hebrew demonology. She leaves a trail of tragic tales wherever she appears. She strangles children in their cribs and she seduces any man she fixes her gaze upon. She is the partner of Samael (Satan) and with him, she rules the forces of evil. She visits her earthly husband, Adam, as the succubus, stealing his seed, and she copulates with Satan. Lilith gives birth to one hundred children a day and is held responsible for populating the world with evil.

Men and babies have no protection against a sexually powerful entity such as Lilith. She personifies female sexuality and her mythology perceives her sexuality as a terrible threat, disruptive and destructive, going against the natural order of things. Lilith disturbs identity, system, order. She has no respect for borders, positions or rules.

These days, her name is unspoken—either because we don’t know about her, or because we live in the enlightened decades of the twenty-first century. But Lilith still lurks as a sinister entity in the minds of biblical commentators and in the teachings of Kabbalah, and as a powerful entity in feminist readings of mythology. She provides a necessary sexual dimension, which is otherwise lacking in the Genesis story. Genesis, when read in literal terms, portrays Eve not as some wicked femme fatale but as a naive and largely sexless fool.

***

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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Aug 062014
 
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By Sherry Ziegelmeyer

Some authors don’t put much thought into who their target reader is—and it’s one of the most important questions in the publishing game! In some cases, authors slave away for years on a genre where the audience is so miniscule that so much time and effort spent writing a novel for that reader is simply bad business. But ultimately, no matter what genre or niche you prefer to focus on, every book will benefit from a good understanding of who will ultimately buy it. Researching your book’s audience(s) is definitely a step you can’t afford to skip.

As important as it is to research your book’s target audience before writing, it’s just as important to research your audience before embarking on a publicity campaign, so you don’t end up wasting time chasing consumers who will never buy your product.

Be Realistic About Your Audience

Too many authors start publicity campaigns with an unhelpful combination of vagueness and overconfidence, imagining a giant throng of people clamoring to buy their books. Most have some nebulous audience profile in mind that includes millions of potential consumers—with erotica writers, this profile is often built on the assumption that any and all erotica is perfect for “people who like sex.” Don’t we all like sex? I think most of us like sex.

Yet, how many male readers “like sex” with a cock in their bum? That’s a subset of the population of “people who like sex”. And while male/male anal sex does not only relate to gay male readers, trying to entice most heterosexual men into buying gay erotica is going to be a fruitless waste of time and money (time and money better spent targeting the many heterosexual women often found flocking to m/m erotica and erotic romance . . . but more on that later).

The same can be said of authors who specialize in high-end, literary erotica. The type of novels with a fair amount of fetish elements and/or elaborate storytelling involved in the sex scenes . . . that’s a very specific genre, appreciated by an equally specific audience. Even people who “like sex” may be turned off by long passages describing the room in the scene in excruciating detail.

Hit the Right Target the First Time

Whatever type of sex you portray in your books, you probably have a particular vocabulary with which you like to illustrate it—words that not only describe the physical action in a scene, but which also set a specific tone and mood. So take advantage of that insight when creating press releases, cover art, synopses and blurbs, as well as in your social media and any other forum you use to market your books.

How you word the copy of all your publicity, and your overall image branding, will help your target audience decide whether your books will suit their taste—and you can use this to your advantage in your press releases and other publicity activities. Pay enough attention to the connotative qualities of your verbal and visual language, and your target readers will not only know your book is for them, but will start getting excited about it long before they open it up or click “Look Inside!”

If you are writing “fuck books”, for example, your press releases should contain words that arouse the interest of a hardcore just-get-to-the-sex reader (suck, fuck, cunt, slut . . .). Remember that those words tend to attract entirely different consumers than those looking for, say, literary or romantic erotica—writers of the latter, on the other hand, should give potential readers an idea that their story contains “sensual explorations of Sapphic desire, embellished with the heated ecstasy of erotic foot worship.” Sure, there’s some language overlap within the books themselves—literary erotica might talk about cunts and sucking; fuck books will describe something as sensual, etc. As a writer, you want to keep your word choice open and interesting. But as a publicist, you want to remember the tone and mood you’re trying to convey at first glance, so stick to the terms that really get to the heart of your genre (or subgenre, or sub-sub . . .).

The description of the Sapphic desire/foot worship book appeals to a very targeted audience—one who is now aware that this book contains their favorite dynamics and kinks, but who is also aware that your writing style will tend to avoid blunt, fuck-book-esque terms like girl-on-girl sex and foot fetish and, instead, describe things as sensual/ecstatic/erotic. Using the right “keywords” helps you to relate to the person you most expect to pay money for your books. After all, if you have created your stories around your personal likes, you already have a connection to the ultimate buyer for what you are selling. Use that to your advantage, and seek your target consumer where you like to spend your time, using words that you like to see when looking for your own “smut”.

So How Do I Target My Audience?

You can begin to narrow your audience down by asking yourself the following questions:

Which gender(s) am I writing for?

Like it or not, almost all sex novels are marketed—and purchased—at the furthest ends of the gender spectrum: For Women. For Men. If you are presenting an idealized version of sex and romance with sentences like “he approached her jade step, pausing to gently fondle her glistening pearl”, your target audience is probably women. You may be able to sell that book to men, but your target audience is certainly women—and a very wistful, romantic kind of woman at that. Alternately, if you write books that feature rough treatment of sex partners who lack much characterization . . . “the whore gobbled my jizz like a good cum-dumpster should”, you should probably target male readers. While it’s true some women like rough sex and dirty talk, the male demographic for that type of sexual depiction is still much larger.

Whether you choose to play along with these expectations is up to you, but know the risks and do not expect that your groundbreaking, stereotype-smashing stories of gothic heroines who curse and carouse like sailors will support your writing full-time or enlighten the masses in one glorious fell swoop—if you play your cards right, however, you will find the small-but-enthusiastic segment of readers who love your work and hunger for as much of it as you can write.

It’s also worth considering who your viewpoint characters are. In a hetero story, does the male or female lead end up doing most of the speaking and thinking? In whose head do we spend the most time (though, if the answer is “no one’s”, it’s probably a marketed-to-men kind of story) and which characters are secondary and viewed from outside? Roughly speaking, books marketed to women have primarily female viewpoint characters and vice versa.

Is my writing of interest to a particular orientation, kink or lifestyle?

There are many, many ways to be sexual—and thus many, many erotic genres. From homo- and bisexuals, to swingers, to the myriad kinds of fetishists, to bikers, to bisexual swingers with a biker fetish . . . and that’s only the tip of the iceberg to consider. Think about the way your target audience spends their time, their typical philosophical or political outlooks, the words they would use in their daily life and any specific sexual activities they would practice. Think about how your stories fit within different groups and eliminate the groups that your writing tone, style and plot don’t fit well with. Once you have the exact reader profile your writing style fits best with, you’ve found your target reader.

You may have the potential to narrow down your reader to lesbians over 50 years of age, with a penchant for leather and Harleys. Good for you! That’s a very specific audience that you can appeal to in a very focused way.

What words “turn on” my target audience?

Fetishists look for words that describe what they are into: feet, shoes, stockings, smoking, masks . . . the list goes on, but it consists of very specific objects and characteristics. Men who like to read about women being dominated often look for words like humiliated, broken and whore. Gay leather men often look for words like military, rugged and stud. You get the idea. Figure out what words work to get the attention of your target buyer.

How does my target reader describe the way they have sex?

Unless your target audience is very similar to you, spend some time with the type of consumer that you are looking for, learn what words and terms they use for sexual acts. Also pay attention to how they describe themselves by sexual orientation or culture. It will give you a wealth of insider information that will not only make your books more plausible and exciting, but will help you create keywords that you can use to make your product more appealing to a particular consumer. It’s obvious to say “gay sex”, but is that the way a gay person actually describes their sex life to a “breeder”? You won’t be able to answer that unless you do your research.

Is my reader of a specific age?

Some storylines, plots and language will appeal to younger adults, some to a more mature audience. Memories of a World War II fly-boy getting laid in France may get some younger readers, but the majority will be well over 30 and most likely male, depending on what wording is used to describe the ins-and-outs of the story.

Do I have a sub-segment of consumers?

Every type of novel has a main audience, but sometimes there will be cross-over segments and you may want to do two different publicity campaigns, one for the target and one for others that will have an interest, but who but aren’t your main consumer audience. As we’ve stated, for example, gay male erotica sells with both gay men and straight women.  So consider using words that attract both audiences in press releases, book covers and book synopses. If you are selling a book titled Billy Kidd and the Long Gun of the Law, using words like rugged, dominant and fisting will more likely appeal to gay men. Using words like romantic, surrender and pursued will likely play better with females. If you do so skillfully, you can combine these terms in a way that appeal to both audiences.

Use Those Questions as a Springboard

Keep asking the above questions (and adding your own!) until you find the perfect reader for whatever genre of literature you are selling. The more details you can attribute to your target consumer, what they are looking for in a a “good read” and what will convince them your books will be better than what is already available, the better. Then you can work on making your publicity campaign much more attractive to that specific buyer.

So Why Am I Doing This Question Thing?

A targeted publicity campaign should be focused on making sure your publicity activities are taking place where the largest concentration of your target audience gathers. For your publicity to be successful in reaching your perfect reader, you have to identify their haunts and learn their habits! I’ll share some secrets on how to find those places—and how to work within them to your advantage—in my next Write-Sex publicity column. Stay tuned!

***

Do you have specific questions concerning how to generate publicity for your books? Please email questions and comments to Sherry; answers will appear as future WriteSex blog topics.

Sherry Ziegelmeyer is a professional publicist and public relations representative, who happens to specialize in adult entertainment (in all its various forms). She resides in Chatsworth, California, affectionately known as “ground zero of the adult entertainment industry.” When not working on writing press releases, arranging interviews and putting together review kits for her clients (among dozens of other career related activities), she reads a LOT, loves cooking, appreciates beefcake eye-candy, spending time with friends, family and with her assortment of furred and feathered “kids”.

Get to know Sherry at blackandbluemedia.com or www.facebook.com/sherry.ziegelmeyer.

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Jul 262014
 
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By Colin

Once upon a time, the market for erotic fiction was limited to one or two book publishers, occasional anthologies looking for new material, and the odd newsstand porn magazine. These days, a writer looking to publish has an incredible number of venues to choose from, both online and in hard copy formats. Back in the bad old days, no one had heard of an ebook; now, no one has heard of anything else. Not so long ago, a straightforward, contemporary BDSM novel was a rough sell. Nowadays, you can self-publish multi-volume space operas or sword-and-sorcery sagas in which power exchange is a central theme. Oh, and you can make all your characters anthropomorphic animals, if you want.

But some things never change, even in publishing. Hopeful writers—even in erotica, which is a notably hungry market—are still faced with dozens of new anthologies and zines that supposedly offer terrific exposure…but can’t afford to pay for stories. They’re just starting out, you see. As a matter of fact, they can’t actually afford even to send you a free copy of the issue or book that your story will appear in, should they finally accept it. But the exposure you’ll get by publishing with them is absolutely amazing. It’ll get you noticed by all those editors looking to fill slots in their Years’ Best Anthologies. Besides, a lot of their writers actually refuse payment, insisting on letting them print their work for free…and for exposure.

A friend of mine once responded to a call for materials from one such penniless venture with a hand firmly clasped on a not-to-be-mentioned portion of his anatomy and the growled words, “I got your exposure right here!

But all kidding aside, it’s a serious question, one that in my opinion doesn’t come up often enough: should a writer, at any level of experience, produce copy for free?

In most cases, the answer is no. Not because there’s a million dollars waiting for that story just around the corner (there probably isn’t) and not because these people are running scams (at least, not necessarily).  No, you shouldn’t give these people your stories for free for the same reason you don’t go home, cook a gourmet meal, and then serve it up on card-tables in the middle of your city’s business district. True, there might be some folks down there who could use a free gourmet meal, and might well be grateful for it. More likely, though, your prize-winning bouef bourignon will end up congealed and drawing flies, if not jostled by careless passersby and spilled onto the cold, cold ground.

As far as “exposure” goes, that is, to quote a certain old Kansas gentleman, a very overrated commodity. True, in the early days of the e-publishing boom, editors were cherrypicking writers off of Literotica and other free sites like nobody’s business. Today, not so much.

But…

There are cases in which publishing with a “for copies” venue might actually make sense. The big one is if the publisher in question has a reputation. I’m talking specifically about a reputation for putting out quality material, of course, but a reputation for controversy might actually work in your favor as well—always assuming it’s not the kind of controversy that gets your windows broken. I’m sure I don’t need to point out that researching a publisher’s reputation isn’t particularly difficult. Even if they’ve only put out one issue, or a very few books, there may be some reviews and other material about them that you can check out online.  Remember that Google is your friend in these cases.

If the publisher’s project regularly includes well-known writers on its Table of Contents, that’s another big plus. Such a publisher is going to draw readers much more readily than your average “We don’t have any money now, gang, but boy oh boy, just you wait…” outfit. Those readers will then have a chance to read your story as well as the work of the more famous guys.

But let’s say this really is a small-time operation, with plenty of dreams and moxie, but not much mileage yet. No famous writers in their stable, no juicy scandals, no hip street-cred. Is there any reason at all to write for them?

I can think of one: if they’re excited about an unconventional story that you really believe in and want to see published, but which hasn’t lit any fires with other editors. And if all indications are that they’ll publish it well and respectfully.

If, on the other hand, they’re not exciting any comments or (apparently) garnering any readers; if they look like they’re just sitting there, then it’s probably safe to give them a pass. And if all this advice sounds self-serving and a little cold-blooded, well, you’re not the one trying to get people to give you perfectly good copy for free, now are you?

 

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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Jul 222014
 
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One of the questions beginning writers ask us most often is: “How do you know if you have captured the love in your characters’ lovemaking, and aren’t just writing a run-of-the-mill sex scene?” To answer that question, twelve writers offer their own thoughts and advice in this unique WriteSex Author’s Roundtable. In this last post of our “Putting the Romance into Your Sex Scenes” series, romance author Angelica French will discuss the difference between a sex scene and a love scene, and show us how to charge an erotic encounter with romance. Look for personal insights and how-to tips from our participants in this first-ever WriteSex Authors’ Roundtable. —Ed.

***

By Angelica French

I have to learn not to take umbrage. I get it a lot—the sly winks, the horrified looks, the gasps. The queries: How does it feel to write smut? Dirty books? Trash?

I love writing sex scenes. Yeah, I do. Maybe because I like sex so much. Maybe because I feel that sex in all its infinite forms is essential to what it means to be human.

To write sex scenes, I must become a character. I imagine the touches, the emotions, the sounds and smells. I use touch to experience what I am writing so I can capture the sensations accurately. Hubs loves my “research”!

But I do not write smut/dirty books/trash. I write stories about people struggling with the same issues they struggle with in non-erotic romance—it’s just that I add in the very real component of their sex lives as well. This makes some people uncomfortable.

In my erotic romance, Streetwalker, protagonist Carrie wrestles with heavy stuff. She is a victim who refuses to be one—but her refusal doesn’t change the fact that she is, nonetheless, affected by past events—and lives the life she does because of it. Streetwalker is, at heart, is a story of redemption, recovery and renewal. But if you didn’t get past the first page where she is bored while servicing a john, you might not know that.

Streetwalker includes sex scenes and romantic sexual encounters. The difference? To me, sex scenes focus on physical acts in themselves. Romantic sexual encounters focus on emotions.

I included kinky sex, BDSM, straight sex, same-gender sex, and other incarnations of The Act(s). Each of the scenes I wrote, whether tender romance or sex-to-humiliate was difficult in its own way.

In writing about sex, the author has to understand and relate so many aspects of the human psyche. How does it feel to hurt and enjoy the act of hurting? How does it feel to want your beloved to step on your back while you crawl around a room? How does it feel when your heart is uplifted and expanded by someone’s touch—be it gentle or aggressive, tentative or commanding?

How does it feel to try to connect soul and body while making love?

***

After 39 years as an educator, Angelica French “transitioned” to the life of full-time fiction writer. She’s an intrepid cook, game-player, and miniatures lover. She writes culinary mysteries, women’s fiction, historical fiction, short stories, plays, and erotic romance. Angelica has lived in every region of the country except the Pacific Northwest and has loved every single one of them. Her current favorite region is the desert Southwest. She is married to the most extraordinary man and has four children, one daughter-in-law, a grandson, and a dog named Maudie.

For more information Angelica French and her premiere novel, Streetwalker, check out her Guest Author Interview with Romance blog Happily Ever After Thoughts!

 

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Jul 182014
 
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By Nobilis

The ending of a chapter should always, always, give the reader a reason to look up, check the clock, and mutter, “Three hours’ sleep is enough, just this once,” and turn the page to keep reading. It should take discipline for a reader to put down your book. Willpower. Determination. The end of a chapter is an important moment, one that should not be squandered.

The great thing about chapters is that there is absolutely no rule about how long they must be. You could have one word, or ten thousand. This means that you can end a chapter virtually anywhere. Well, okay, ending a chapter mid-sentence is kind of weird, but you can probably think of situations where even that would be the right thing to do.

Chapters should always end with a moment of tension. The cliffhanger is an old standby, and in some stories it’s almost a requirement to end most chapters with the protagonist in sudden mortal peril. That’s not the only note to end a chapter on, however.

A cliffhanger promises a thrilling escape, but there are other promises you can make. You can start a fight scene, or a sex scene, or a chase scene at the end of the chapter. You can reveal a clue to a mystery, an important secret, or new character.

For example, here’s an excerpt from “Monster Whisperer,” a story I’m releasing in my podcast and on scribl.com, chapter by chapter. These are the last three paragraphs of chapter 6. For context, a Chocondris is a plantlike, woody tentacle monster, which is owned by Dale Clearwater, the eponymous Monster Whisperer.

Then the shuttle settled into the water, and the forward hatch hinged downward, revealing a ladder on its inner surface. A tall, dark-skinned man with short black hair wearing a bright green outfit emerged and leapt into the water. He raced up onto the beach and caught up with the Chocondris in mere seconds. He jabbed sensitive flower buds, and the Chocondris flinched and twitched. It spit spores at him, but he ducked under every little cloud without even a speck touching his skin. It tried to grab his arms and legs, but he slipped out of its coils with dizzying alacrity. On the rare occasions it could get a tentacle around one of his limbs, he twisted away, undoing its coil before it could solidify its hold. The Chocondris quivered with rage. It dropped Dale and Christine to bring more of its limbs to bear. The man retreated a few steps, then leapt back under a concentrated assault. He seemed to know exactly how far away to leap to stay out of its clutches as he retreated back toward the beach.

As soon as the Chocondris broke out of the cover of the trees, the shuttle’s capture beam caught it, plucking it like a weed. Like the others, it quickly disappeared inside the shuttle.

“Connie!” Christine shouted, stumbling forward to wrap her arms around the man. “You found us! I knew you’d find us.” She squeezed him hard then stepped away to point, beaming at Dale with her perfectly bright smile. “I told you my brother would find us!”

I went back and forth on whether to include that last paragraph in the chapter. Wouldn’t it be better to end the chapter on the hopelessness of the Chocondris being stolen by the mysterious monster hunter? After consulting with my beta readers, it became clear that no, that was definitely not the right course of action. It’s fine to end on a threat, with some monster appearing and threatening the protagonist with some dire fate, but if the threat evaporates as soon as they move on to the next chapter, the reader will feel tricked and cheated. The end of a chapter should make promises that the next chapter fulfills.

That’s why keeping that paragraph at the end of the chapter is the right thing to do. Instead of promising some kind of conflict with a mysterious monster-hunter, we’re promised an introduction to a new character. The next chapter fulfills that promise.

Generally speaking, that’s the best place to end a chapter if you want to keep your readers engaged with the story.

—–

Learn more about Nobilis and his work at his…

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

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Jul 112014
 
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By billierosie

The fountains mingle with the river
And the rivers with the ocean,
The winds of heaven mix for ever
With a sweet emotion;
Nothing in the world is single,
All things by a law divine
In one another’s being mingle—
Why not I with thine?

Sorry, Percy Bysshe Shelley, it ain’t gonna happen.

Forget it. If that special something is missing, she won’t want to kiss you. Your lips will repel her. Your breath will disgust her. She won’t fall into your arms—no matter how much you weave your magic with those wonderful words—it’s just not going to work.

Am I talking about love? Lust? Sexual Attraction? Infatuation? Passion? I don’t know. I’m probably talking about all of them.

Love—unrequited love. Thousands and thousands of words have been written about it, by pens far more graceful and elegant than mine.

And the songs. Memories. Tears. We all have our favourites. Beautiful words, melodies, rhythms and harmonies, reminding us of that one time that special something happened. Making us yearn for it to happen again.

Thousands of Romance writers re-write the same story, over and over again. He’s a bastard. She falls in love with him, despite herself. The reader is in love with him, too. The reader is addicted to the re-telling of the story. The reader believes in that elusive something.

Nobody can bottle it, for sure; that thing that makes it happen. Perfume distillers with all their ancient skills have tried to capture it for centuries. It cannot be done.

If that something is missing, then it can’t be found.

A friend of mine, Lucy, had a guy doing some building work in her house. They started talking—she touched his hand…

Within a second they were in each other’s arms. Within another second their tongues were in each others’ mouths—it happened, just like that. No need to analyse it; there’d be no point anyway. That mysterious, elusive thing had happened.

Time stood still. The overworked phrase suddenly made sense.

What was it? Raw lust? I don’t know; neither does Lucy.

Lucy and the builder are still together, two years later.

But it can hit you at any time. I do believe it. Eyes meet across a crowded room/restaurant/rock festival. And he/she is there. The One. It may only last for an hour, or days. For some it can last a lifetime.

But what is IT? Where is IT? Why does one person make our juices flow, cocks stand to attention, while another person leaves us, well…flaccid and dry?

So I guess I have ended up talking about lust. Does lust come first? (pun intended).

Sometimes it smoulders, long and low. Think of all those office Christmas parties. Folks who, it seems, have barely spared a glance for each other all through the long year, are suddenly together. Alcohol lowers the inhibitions, and it hits you.

That happened to me, long ago. It took twenty years to burn itself out.

Then months ago, I was convinced it was going to happen again. A guy I knew from a long while back. But when we kissed there was nothing. Nada. Rien.

I felt sad, cheated, disappointed.

So did he…

***

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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Jul 072014
 
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One of the questions beginning writers ask us most often is: “How do you know if you have captured the love in your characters’ lovemaking, and aren’t just writing a run-of-the-mill sex scene?” To answer that question, twelve writers offer their own thoughts and advice in this unique WriteSex Author’s Roundtable. Each Monday a well-known romance author will discuss the difference between a sex scene and a love scene, and show us how to charge an erotic encounter with romance. Look for personal insights and how-to tips from our participants in this first ever WriteSex Authors’ Roundtable. —Ed.

***

By Gianna Simone

No question erotic romance has come a tremendously long way in a short period of time—and in my opinion, it’s about damn time! There’s nothing better than a wrenching love story accompanied by scorching sex.

Despite its rise to prominence, though, erotic romance has a major hurdle yet to clear: a misconception that if it’s erotic, a story is “no better than porn.” Everyone who writes erotic romance has likely, at one time or another, been on the receiving end of varying degrees of disdain. I am no exception, having had a similar phrase directed at me very recently. The word “porn” on its own draws very visceral reactions, and from what I’ve experienced, those reactions tend to be on opposite ends of a spectrum. You either love it or you loathe it. One of the latest catchphrases to describe erotic romance is “Mommy Porn”—which, by the way, I happen to despise. It arose from the popularity of 50 Shades of Grey, and seems to me to be a mocking term to refer to the millions of women who were awed by this story, thinking it the be-all and end-all of kinky sex books. Others think “Mommy Porn” is a great way to describe a sexy, erotic love story.

Maybe this is part of my social conditioning, but I’ve found that the word porn suggests to many people—myself included—a certain degradation of the women involved. From my perspective, porn reflects a lack of respect for women. Others will argue with this of course, and that’s okay. Everyone has their own tastes and opinions, and even the porn itself varies (at least a little) in this regard.

Certainly, rough and raunchy sex can be a part of great romance. Especially since for those involved, it’s a hell of a lot of fun. But when reading erotic romance, I prefer something else with that sex—the connection between two (or more) characters that transcends the physical dynamite, where they bond on a far deeper level. Emotionally, intellectually, passionately. It’s sort of become a cliché these days, but there is truth in it—the brain really is a very powerful sex organ. It goes beyond finding someone attractive in the physical sense, and that connection the characters make, to me, enhances the physical side of things. Pleasure is fun for the sake of pleasure, but reach a common point on an intellectual and emotional level, and the pleasure skyrockets!

That’s why romance in all its various forms has always been my favorite genre. At its core, beyond the sexual aspect, a romance is simply a love story. When people fall in love, there’s a joining that goes beyond the tangible, physical level, and to me that is the thread that makes romance a compelling read. There are so many layers to that bond: a need to protect, care for and about, and genuine interest and support for what the other person does and is interested in. Peeling back those layers, as the characters discover them, adds to the obvious appeal of the sexual relationship. Each person continues to learn things about the other that has nothing to do with sex, but tightens the that bond regardless.

For me, the most compelling way to touch on those parts of the relationship is quite simply, emotion. Sex alone does not make a romantic relationship—whether it’s vanilla, kink-lite, or hardcore BDSM. Emotion is the mortar that holds the bricks of the physical side of a relationship together. Of course, in a love story, nothing is ever quite that simple.

Keeping that emotional tension and connection high in a love scene isn’t always easy. In a love scene, the characters already have an unspoken yet intense conversation going on. I tend to focus on a character’s reactions, both physical and internal, to bring out the emotional tension as the scene progresses. Sure, there’s longing and desire, but there’s also excitement, security, trust, worry, apprehension and a host of other things racing through their minds. Yes, eye contact can convey a lot of those feelings, and certainly words can as well, but sometimes there simply isn’t a way to accurately vocalize what someone’s experiencing during an intense sexual encounter. Non-verbal cues such as a lingering caress, accompanied by a piercing stare and a fierce kiss, or a gentle squeeze of a hand, can be key to showing what’s in the characters’ heads while adding another layer to the lovemaking. Each partner’s delight in the other’s reactions show that these two people care for one another’s well-being and pleasure, not just their own immediate gratification.

In Prince of the Universe, Merry suffered badly at the hands of an alien from the planet Aldarra. When another Aldarran, Prince Vega, shows up on earth, she wants him out of her life ASAP. Vega is not quite sure what Merry’s been though, but he is determined to get past it and show her the passion they can share. Here’s an example of how aware he is of her emotions, and how he reassures her not to be afraid. Slowly, she begins to trust him, even if only a little:

 

Vega took Merry’s hands and placed them on the bed beside her. “I will not restrain you, but you must keep your hands here. Do not move them.”

She squeezed her eyes shut for a few moments, and another tear broke free. When she spoke, her voice quivered with fear. “I don’t know.”

“You can do this.” He ran a finger down her nose and she opened her eyes. The terror had eased, but a trace still lingered.

He would banish her fear, would show her that to give herself to him in this way was pleasurable, that he would take care of her needs and not harm her. He began by gently caressing her cheek, wiping away the tear that escaped her clenched eyelids. He continued tenderly stroking her face, her hair. He leaned over, and followed the path of his fingers with his mouth, smoothing soft kisses along her cheeks and forehead, brushing across her closed eyelids. The stiffness slowly left her body and he leaned close to her ear, nibbling lightly at the delicate skin. Her body once more began to quiver, but he no longer detected terror. Apprehension perhaps, but even that slowly faded. Her fingers clutched at the sheets, and he smiled at her efforts to obey his instruction.

He licked around the edge of her ear, and the thought he wanted her to do the same to him flashed in his thoughts. His own ears, with their contours so different from a human’s, were a very powerful erogenous zone. Did Merry get the same excitement he did from the act of having her ears licked? He repeated the motion, supremely pleased when she gave a little moan. He drew away to study her. The flush of passion stained her cheeks and a shuddering breath rippled through her, the pulse at the base of her neck jumping. He pressed his mouth to the spot, the taste of her perspiration sweeter than drucaray, his favorite sugary treat back home. He licked the spot and moved his mouth along her throat. The trembling that overtook her told him he had broken through her fear. His cock throbbed. Soon she would beg him.

He lowered his hands slowly to her breasts, and touched her with soft caresses until a moan escaped. Her eyelids fluttered, and she focused an unsteady stare on him. The haze in her eyes now came from passion, and his body heated in response.

Some uneasiness still lurked under her desire, waiting for the right prompt to free it and destroy the pleasure she felt. He needed to utterly extinguish every trace of her fright before he could see to pleasuring them both.

“Vega?” A tremor of agitation laced her voice.

“Do not fear.” He realized his expression of concern may have revealed his anger at the way she’d been previously treated. Forcing a softened countenance to his face, he resumed caressing her breasts, trailing his fingers around her nipples until they hardened and stood up straight. He pinched them, and drew a groan from her. He rolled the pebbled buds in his fingers and a fierce quiver swept over her. When she pushed into his hands, giving him more of her flesh to touch, he lowered his head and licked one hard nipple.

She squirmed when he sucked the tip deep into his mouth, lightly grazing her with his teeth. Her flesh writhing against his drove his need to a new level of torment. A low moan escaped her and her wiggling grew more intense, her hips undulating against him. Her response pleased him, and sent a bolt of delight sizzling through him, settling with ferocity in his now excruciatingly hard cock.

 

So there you have the physical sexual connection, and an emotional bond that arises from one partner caring about what the other feels. When I read an erotic romance, those are the things I’m looking for—the things that will not only get my body hot and flustered, but touch my heart as well.

***

Gianna Simone writes erotic BDSM-themed romance novels in just about every genre. A born-and-bred Jersey Girl with Brooklyn roots, she still lives where it all started. She married her very own alpha male many eons ago, and still has plenty of passion left over to read and write hot, sexy and emotional stories about people both glamorous and not-so-glamorous. And some of them are even downright un-heroic, which is part of what makes them so sexy, in her opinion!

You can find Gianna at her blog and her books at her Amazon Author page.

 

 

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Jun 302014
 
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One of the questions beginning writers ask us most often is: “How do you know if you have captured the love in your characters’ lovemaking, and aren’t just writing a run-of-the-mill sex scene?” To answer that question, twelve writers offer their own thoughts and advice in this unique WriteSex Author’s Roundtable. Each Monday a well-known romance author will discuss the difference between a sex scene and a love scene, and show us how to charge an erotic encounter with romance. Look for personal insights and how-to tips from our participants in this first ever WriteSex Authors’ Roundtable. —Ed.

***

By MJ Flournoy

Back in the day, certain genres were geared exclusively to the male reader. The language was coarse, graphic and to the point—no flowery language, no building of sexual tension. That old adage, slam bam, thank you ma’am, pretty much summed it up.

Today, readers expect more, demand more and, of course, receive more. While early examples of male-oriented porn insisted on “just the facts, ma’am”, modern readers expect the genre to deliver the same erotic punch, but with heightened sexual tension. The genre has moved from behind the counter and under young men’s mattresses into the cultural mainstream as writers have increasingly described sex with excitement, passion and titillation—all while pulling the reader right into the action.

I much prefer to write love scenes than sex scenes. Does that mean the characters must be in love to engage in sexual activity? Not at all. It means the writing must engage the reader by considering all the senses, rather than limiting the scene to physical actions. Our readers have become connoisseurs of fine erotic literature. They want to feel the sexual tension, to enjoy the sensual tease of anticipation, to explore with the characters the pleasure of the sexual experience.

In my writing I seek to deliver the passion, tension and pleasure of an erotic encounter that will pull you into the emotional, sensual, tactile arousal of the characters—you should enjoy the experience along with them. The emotions and feelings of the fictional people in whom you’ve invested your time deliver as much or more erotic stimulation than graphic language in itself. The reader, when pulled into the scene with deep characterization, feels, experiences, and enjoys the masterful touch of a skilled lover.

Words are my tools and my palette to make these scenes come alive for readers. Describing sexual acts—especially the one known by most people as the sex act—in coarse graphic detail is easy, using words to evoke an erotic image in the reader’s mind isn’t. Graphic language detracts from the mood of the scene. Throwing the f-bomb around doesn’t measure up as erotic to me. I prefer to use more descriptive language that appeals to the senses and stirs up a vicarious emotional and physical experience. I want my readers to feel the romance inherent to the sex, not just witness it from a detached remove. After all, the characters aren’t just “going through the motions”—and neither should the reader.

A Matter of Trust

In this scene from my novel A Matter of Trust, we find Jolie suffering from shock after experiencing a vision foretelling her own death. She touches Mac seeking reassurance from his physical form. It is in reaching out and connecting with him that she pushes the darkness away and restores the equilibrium to her world. Their joining is an affirmation of life and living.

Excerpt: A Matter of Trust

“It’s over, the danger’s gone.” Mac continued to stroke her back holding her, cradling her against his chest.

“The house exploded, we were…”

Mac’s arms tightened around her. “It didn’t happen, won’t happen.”

Jolie shivered, shock stealing into her system. In her mind she saw again the carnage from the explosion.

“There, those windows.” Her gaze fixed on the wall of glass that framed a breathtaking view of the lake.

“Hush, we’re safe.” Mac’s lips brushed her cheek offering comfort. “Your warning prevented what could have happened.”

Clinging to Mac, Jolie focused on him, his strength, his energy, his unique maleness that caused her body to hum with feminine longings. She luxuriated in the explicit sexiness that was Mac. With him filling all her senses, there was no room for terror, for fear. Only Mac.

Need built within her. Her body throbbed with awareness at his touch. His hands traced over her. Deep cravings awakened. She snuggled closer to him. The spicy scent of his cologne and unique male essence filled her senses causing the chill slowly to subside. He lowered his lips to hers and the flames that licked at her had nothing to do with fire and everything to do with passion.

“You’re safe.”

He lifted his head, lips slowly gliding across her cheek to find the tender flesh of her neck just below her ear. His teeth found the soft flesh of her ear lobe and a soft moan escaped her throat. She tilted her head, granting him easier access. Her arms circled his neck, pulling him closer.

“God yes. Make me feel alive.”

Mac’s answer was a low growl deep in his throat.

His hands landed on her butt, and pressed her against the hard ridge of his erection. Jolie rubbed herself against him, filled with the power of her own femininity. He throbbed growing harder with each movement.

His hands slid up her back, found the tail of her shirt and slipped beneath to caress away the coldness that had invaded her body. Liquid fire replaced her chills burned a path from her shoulder blades to her ribs. Slowly, his fingers crept up until they found the mounds of her breasts.

“You’re sure?”

“I need you, now.”

This moment had been inevitable since the first time he’d touched her, running his hands over her body searching for the non-existent wire, Jolie thought, while he stripped the shorts from her body leaving her vulnerable. His lips followed the path of his hands down her body. She could no longer resist this attraction to him that left her feeling off-balance and needy and now that need had grown much too strong to deny any longer.

He held her, pressing her back against the cool plaster of the wall as one leg insinuated itself between her thighs. His fingers teased her nipples as his lips plundered her mouth. Jolie found herself riding his thigh, her hips rocking against him as tension built within her. With unerring precision, she reached lower; her hands found the fastening of his jeans, unbuttoned then unzipped them. Her fingers sought the shaft that pressed insistently against her. He shifted his body slightly to grant her better access. Her fingers closed around his engorged flesh and he groaned deep in his throat, pressing deeper into her hand. Need filled her. She wanted him, wanted to feel him inside her, feel the power of his body while he fed the hunger that threatened to consume her.

From one pocket Mac produced a small foil pack. He pressed it into her hand. A challenge issued, blatant need, like electricity, spiraled from his fingertips to hers when he deposited the small trophy within her grasp. Her hand trembling she accepted his offering, unwrapped it and quickly sheathed his length with it.

“Put your legs around my waist.” He lifted her.

Jolie followed his instruct and was rewarded with the pressure of his fullness against the heated mound at the juncture of her thighs. He pulled her shirt up and over her head and pressed her back against the smooth cool surface of the wall. His hot, moist lips claimed her nipples, one after the other through the thin material of her bra. Then even that meager barrier was gone.

One hand moved down to tease her intimately and Jolie arched her back, tightening her legs around him, urging him closer. He found the throbbing center of her desire and pressed home with one swift, sure stroke. He filled her completely, stretching her, electrifying nerves that had never felt so alive. He braced her against the wall, his mouth plundering hers, even as he plunged to the depths of her. Tension built within her, she felt herself spiraling out of control, sailing away into the stratosphere, past the rings of Saturn and on into the void of space beyond. In her mind’s eye she shot across the midnight sky like a rocket before she shattered into a million pieces, her pleasure raining across the heavens spewing behind her like the tail of a comet.

Mac followed her into the stratosphere, urging her on, demanding more, seeking more, giving more. She felt the intensity of his climax, the coiled strength of his whipcord muscles beneath her hands, the straining of his body when he reached ultimate release. The pleasure built to the point where it was too much to bear . Quickly she followed him toward a powerful climax that left her trembling and depleted. She whispered his name and collapsed against his chest.

In the darkness Mac lowered her to the floor and Jolie found her legs would not support her.  He followed her down, his body cradling hers when they lay on the smooth hardwood.

 

 

MJ Flournoy lives in Georgia, USA. MJ writes romantic suspense with paranormal elements. MJ’s motto is “If it is to be, it’s up to me.” When not writing, MJ enjoys traveling, reading and doing any type of research. Connect with her via her website, Facebook page and tweets.

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Jun 232014
 
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One of the questions beginning writers ask us most often is: “How do you know if you have captured the love in your characters’ lovemaking, and aren’t just writing a run-of-the-mill sex scene?” To answer that question, twelve writers offer their own thoughts and advice in this unique WriteSex Author’s Roundtable. Each Monday a well-known romance author will discuss the difference between a sex scene and a love scene, and show us how to charge an erotic encounter with romance. Look for personal insights and how-to tips from our participants in this first ever WriteSex Authors’ Roundtable. —Ed.

***

By Sabrina Luna

Hi!  I’m Sabrina Luna and I’m an author of paranormal and erotic romance stories.  Yes, I personally see a big difference between a written sex scene and a romantic sexual encounter. Over the years, I’ve written both.

When I started writing in the late 1990s, I was a member of an online group which focused on ‘erotica’. Basically, erotica consists of a scene or short story which focuses only on the sexual relationship between the characters. There is very little building of a romantic relationship and the primary goal of the story is to stimulate the reader’s libido.

Then, around the year 2000, erotic romance hit the book market. Romance stories which allowed the readers to enjoy what was happening to the characters in the bedroom became popular and, since then, there’s been no turning back. Nowadays, readers can find any level of sexual heat in erotic romance stories. However, in my honest opinion, well-written erotic romance stories show a growth in the characters’ relationships as well exploring their sexual chemistry together.

The last piece of short erotica I wrote had a sexually adventurous couple who were more ‘buddies’ than romantic partners. It was a fun story to write—but, as the author, I found myself hoping they’d get together in the near future.

What can I say? I guess I’m an erotic romantic at heart. The last few erotic romances I’ve written have focused on building the relationship between the characters and using their sexual encounters to spark and cultivate their feelings for one another throughout the story. And, at the end of the story, there is a commitment in their relationship. The couple can either live happily ever after—or my personal favorite kind of ending, happy for now.

So, to me, there is a big difference between a written sex scene and a romantic sexual encounter. And, although I enjoy writing and reading both kinds of stories, I prefer an erotic romance with both a good relationship *and* sexual chemistry.

***

Sabrina Luna is an author of paranormal & erotic romances and, recently, became an indie ebook author, too. She enjoys haunting bookstores and coffee shops, listening to classic rock, and attending movies and munchies with her fellow geek-peeps.

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Jun 202014
 
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By Colin

A number of years ago, when I was just starting to seriously write fiction, I showed a new story to my girlfriend of the time.  She read it as carefully as she read all my work, and afterwards said, “I didn’t like the main character.”

At the time, her response surprised me—and not because I disagreed with her. The protagonist was, basically, kind of a whiny, selfish perpetual adolescent, using his desire for a lover to mask all those tiresome elements of his personality. That was actually the point of the story, and at that phase in my development as a writer I thought it justified making my leading man into a twerp.

The reason I was surprised by my girlfriend’s critique was that it was basically an emotional response to one character. Normally she focused on internal logic or the strength/weakness of my writing itself—in other words, things that could be critiqued rationally,  described objectively and fixed. How could I address a reader’s subjective, gut-level response?

Years later, the answer has come through to me: I dunno, but you’d damn well better try.

If you read through reader reviews of erotica—not those by professional critics, but the kind of emotionally engaged feedback that readers post on Amazon and Goodreads when they’ve just finished the story and absolutely must let the world know what they love or hate about it—you’ll see the question of likability comes up quite a bit, especially when the reader’s response is negative. And I don’t just mean they’ve panned the characters and judged the rest of the story on its various merits, but that the whole story has fallen flat for them because they didn’t like the characters. It’s phrased in different ways: I couldn’t relate to Rosalyn; I couldn’t stand Derek; I didn’t really have any strong feelings about Mitzi; I didn’t connect with the cougar shifter; I didn’t exactly hate Razglord, but I just didn’t like him

It’s true that—at first glance, certainly—a great many famous characters in fiction aren’t “likable” as such. Sherlock Holmes, for instance, isn’t terribly likable; he’s fascinating, certainly—who among us wouldn’t love to sit down and have a real conversation with a mind like that? But he doesn’t inspire much in the way of warm fuzzies.

On the other hand, Dr. Watson is quite thoroughly likeable. He’s warm, loyal, relatable, and generally seems like a great guy to go out and have a drink with. He’s an excellent counterpoint to Holmes’ slightly chilly charisma; it may be that the balance of, and tension between, their personalities is the reason so many people love the Holmes stories.

Love—as I’ve said in at least one other column—is a key word here. People have an emotional response to stories and characters in stories, just as they do to real people. Give them a character that evokes a strong positive response, and they’ll likely love that person, whether it’s Dr. Watson or Sam Gamgee or Harry Potter or whoever. They’ll read and re-read the books, recommend them to friends, start blogs about them and write their own fan fiction about the characters. This seems particularly important in erotica and romance, where so much of the stories’ subject matter is about pleasure.

The story I gave to my old girlfriend all those years ago had nothing in the way of a likable character. Now sure, not all stories have to evoke warm fuzzies in their readers. Some very worthwhile stories are basically dark, and some important characters are basically bastards. But my character didn’t have much in the way of redeeming characteristics—be they heroic, interestingly villainous or relatably human. He wasn’t even rotten to the core, he was basically just a sophomoric jerk. If you met him in real life, you wouldn’t even hate him, you’d just think, “Poor screwed-up kid,” and do your best to avoid him in social situations.

Compare that kind of character to the narrator of Dostoyevsky’s Notes from Underground, who’s very similar in a way: immature, socially awkward, not terribly pleasant to be around. The difference is that Dostoyevsky’s guy has a certain self-awareness; he knows he’s a twerp, and part of the point of the story is that we come to feel something for him, and understand that we ourselves might not be utter paragons. Or look at Wuthering Heights—sure, it’s impossible to imagine that book without Heathcliff, but without Catherine it’s even worse: just a book about a sadistic schmuck out on a farm somewhere.

Sympathetic characters speak to readers even when they’re not terribly likeable people. When a natural likability comes through in a character, readers respond even more powerfully; it can provide an all-important balance between characters, and make the difference between a flavorless, tiresome story and one readers will take to their hearts and cherish forever.

 

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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