Mar 142015
 
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By billierosie

Slowly, slowly, the beacon fire smouldered. In 1897, Bram Stoker struck the first spark when he published his horror novel Dracula. The kindling had been stacked up for centuries, in the form of mythologies, rumours and stories; those creepy tales whispered about Vampires. Creatures of the night; the undead, seeking you out to sink their fangs into your tender jugular and drink your blood; draining you. The stories go back thousands of years. Now, in 2015, the beacons have crossed oceans; the fires flame fiercely, proclaiming that the old stories are still being told and new tales are being written.

Stoker could have had no idea that his short novel would precipitate a whole genre of writing that would hold sway on our collective imagination for decades.

Although Stoker did not invent the vampire, the novel’s influence on the popularity of vampires has been singularly responsible for many theatrical, film and television interpretations throughout the 20th and 21st centuries.

From the beginning of history, vampire-like spirits and beings have been recorded. The Akhkharu were blood-sucking demons, written about back in the time of Sumer. We’re talking about 5,000 years BC. The ancient Chinese wrote about “hopping corpses” which would go around and consume a victim’s life essence (commonly known as chi). Even ancient Egyptian lore had a story where the goddess Sakhmet was consumed with bloodlust. From the earliest of times, vampire-like beings have been prominent in the folklore of several different cultures.

The most well-known versions of vampire myth are those of the Slavic and Romanian cultures, which, due to their proximity, are similar. And it is from Eastern Europe, that Stoker’s Count Dracula originates.

There are several reasons that a person may become a vampire, such as unnatural death, birth defects, or conception on certain days. Romanian legend gave rise to the belief that being bitten by a vampire would doom one to become a vampire after death. Both Slavic and Romanian myths hold the belief that, with the advent of a vampire, there would be deaths of livestock and family members of the vampire. The favoured way to kill a vampire in these two myths is by driving a stake through the heart, decapitation, and if necessary, dismemberment. Slavic and Romanian vampire myths have given rise to the most popular world-view of vampires.

But what’s the fascination? Why the endless retelling of this old story? Are we playing with danger from the safety of fiction? The horror of vampires is very real; I should know. I spent my adolescence terrified of them; especially Dracula. I invented bizarre little rituals to ward him off and keep me safe. Positioning on my left side as I lay in my bed, was paramount—as was a convoluted prayer; a mantra that I would recite over and over again. Sleep would be a long time coming.

The success of Dracula spawned a distinctive vampire genre. The vampire is such a dominant figure in the horror genre that literary historian Susan Sellers places the current vampire myth in the “comparative safety of nightmare fantasy”.

We relinquish control to the vampire. He swirls his cloak around his victim and bites. His teeth penetrate us. It’s a reconstructed image of the sexual act; in fact actual copulation seems tame compared with what the vampire can do. The victim has no control over his ghastly lover. The victim flirts with death.

Sex and death.

But it’s not just the Count we have to fear. He is scary, but his entourage of female vampires more so. Female vampires are predatory and take their pleasure where they will; they are women who take control of the sex act itself. Victorian men—beware! The ideal Victorian woman was chaste, innocent, a good mother. She definitely wasn’t a sexually aggressive huntress.

The three beautiful vampires which Jonathan Harker, Stoker’s narrator, encounters in Dracula’s castle, are both his dream and his nightmare; indeed, they embody both the dream and the nightmare of the Victorian male imagination in general. The sisters represent what the Victorian ideal stipulates women should not be; voluptuous and sexually aggressive—thus making their beauty both a promise of sexual fulfilment and a curse. These women offer Harker more sexual gratification in two paragraphs than his fiancée Mina does during the course of the entire novel. However, this sexual proficiency threatens to undermine the foundations of a male-dominated society by compromising men’s ability to reason and maintain control. For this reason, the sexually aggressive women in the novel must be destroyed.

In a passage highly charged with erotic symbolism, Jonathan Harker writes in his journal,

“I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck—she actually licked her lips like an animal, till I could see in the moonlight, the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth. Lower and lower went her head as the lips went below the range of my mouth and chin and seemed to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck. Then the skin of my throat began to tingle as one’s flesh does when the hand that is to tickle it approaches nearer, nearer. I could feel the soft, shivering touch of the lips on the super sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited, waited with beating heart.”

The vampire lover is receptive erotica personified. You relinquish control; you do nothing, other than give yourself up to the seduction.

Janine Ashbless suggests; “We don’t fantasise about controlling vampires—we fantasise about how we have NO control over them. They are stand-ins for Death itself.”

Stoker’s narrator flirts with the promise of an intercourse so erotic that he will give up his life.

Later in the novel, Count Dracula has made his way to England, and sets about possessing the upper-middle class Lucy.

Once infected by Dracula, Lucy becomes sexually overt and aggressive, and is portrayed as a monster and a social outcast. She feeds on children making her the maternal antithesis as well as a child molester. In order to rectify Lucy’s condition she is sexually overpowered by her fiancée, Holmwood; the scene is witnessed by Jonathan Harker and Van Helsing. Holmwood penetrates her to death with a stake through the chest, a staking which is openly sexual in interpretation:

“The thing in the coffin writhed; and a hideous, blood-curdling screech came from the opened red lips. The body shook and quivered and twisted in wild contortions; the sharp white teeth champed together till the lips were cut, and the mouth was smeared with a crimson foam. He (Holmwood) looked like a figure of Thor as his untrembling arm rose and fell, driving deeper and deeper”

The killing of Lucy is a sort of legitimised gang rape, legitimised because the Victorian balance of sexual penetration from the female domain is back in its accepted station within the male domain.

The reasons for our fear of, and fascination with, vampires change with the times we live in. To Stoker’s contemporaries, Count Dracula posed many threats to Victorian social, moral and political values: he changes virtuous women into beasts with ravenous sexual appetites; he is a foreigner who invades England and threatens English superiority; he is the embodiment of evil that can only be destroyed by reasserting the beliefs of traditional Christianity in an increasingly skeptical and secular age; he represents the fear of regression, a reversal of evolution, a return to our more primal animal state.

Think of the wealth of literature, film and television dramas that we wouldn’t have if Bram Stoker hadn’t written Dracula.

Perhaps they leave you cold—I love them! I’m over my teenage angst about them. There’d be no exotic Lestat, from Ann Rice. No Hammer House of Horror. No vampires with a conscience; M.Christian wouldn’t have written his vampire novel, Running Dry. Neither would Janine Ashbless have written her short story, “The Blood of the Martyrs”. All wonderful stuff; my favourite writers digging around in my agonised psyche.

And then there’s those TV shows; Buffy, True Blood, The Vampire Diaries. A blood-letting, tinged with magic. I lose myself in a world, of exotic, erotic fantasy. A strange world of death and immortality. Stories that speak to us once again of an ancient, horrid rite and fear.

***

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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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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