Tuesday, August 30, 2016
Sunday, August 28, 2016
Friday, August 26, 2016
by Jean Roberta
My original plan for this post was to discuss words for sex acts and sex organs, as did Lisabet Sarai earlier this month. Context is very important to me, and this is why some of the shorter pieces that have been posted in ERWA Storytime make me uneasy, especially if they refer to such characters as “the office slut.” Has any woman who works in an office ever considered herself The Office Slut?
I don’t object to the word “slut” per se, but context is crucial. The purpose of most offices is to produce a product or a service other than sex. If someone in the office is known as the official Slut, she is probably not taken seriously as an assistant or editor, or whatever role she was hired to fill. (For more on this subject, see Nine to Five, the 1980 movie about working women in which Dolly Parton plays the role of a private secretary who is ostracized by everyone in the office because everyone thinks she is having an affair with her boss. She isn’t.)
Even literary erotica sometimes implies what porn films explicitly promise: that viewers/readers can visit a kind of alternative dimension, where great sex is always happening, and it is available to everyone who visits there. Rumors about actual places on earth where, supposedly, anyone could have consequence-free sex with anyone else at any time flourish best in real-world environments where sex is hard to get (e.g. high school, most workplaces, jurisdictions where “obscenity” is broadly defined and highly illegal). In the Land of Blooming Orgasms, supposedly, no one has to experience the frustration, rejection, humiliation, or competition for mates that characterize the real world.
A traditional double standard of sexual morality lends itself to belief in the Land of Blooming Orgasms. An extreme division of women into the good and the bad, based on sexual history, usually divides Virgins from Sluts as though these words defined different personality types rather than phases in a life. (Everyone starts out as a virgin, but anyone who stays that way for a lifetime has been deprived of much valuable experience.) Sluts can be imagined as having constant sex with random strangers whenever they are out of sight, not doing something more mundane.
The biological differences between males and females might encourage males (straight, gay or bi, but not trans) to believe that some women have sex constantly. Men know that they simply aren’t equipped to get aroused, ejaculate, then repeat the process again, and again, and again. Even the mightiest stud has his limits. Females, however, can be penetrated in every orifice as many times as they want – and if their desire has limits, the ability of others (armies or gangs) to rape them has no limits.
And therefore the myth of the constant Slut pops up in various contexts, and is often treated more seriously than it deserves. When I had sex for the first time with a boy I liked, it was a fumbling affair of mutually-missed opportunities. I was a teenager, and I had only a vague idea of what to do. Nonetheless, as soon as the boy had caught his breath, he said: “You must have done this a lot.” Apparently one fuck had transformed me from a nice girl with no experience into the eternal Slut. I was tempted to respond with teenage snark. (Well, I’ve spent the last five years in a whorehouse in Tiajuana.) Luckily, I didn’t say what I was thinking. I realized even then that the school gossip network would have accepted that statement, embroidered it, and circulated it throughout our small town.
This leads me back to erotic writing, a more wholesome exercise of imagination than gossip about actual people. References to the Office Slut, the Town Slut, the Wild Slut of the Jungle, or the Interplanetary Slut suggest fantasies about the Land of Blooming Orgasms. This is escape literature or masturbation material, and its charm is obvious. It’s not realistic, and intelligent authors don’t intend it to be mistaken for realism.
However, the tone of a piece of erotic writing isn’t always clear, or consistent. (If your goal is to write something entertaining and unbelievable, snark is good.) References to the Office Slut can sound negative, not because sexual skill or experience are necessarily bad, but because women are so often accused of being Sluts instead of whatever they appear to be: secretaries, administrators, students, teachers, mothers, faithful companions.
If I’m reading a piece about Captain Luscious of the Starfuck Fleet, I would like to see some reference to her actual ability to fly a space vehicle, even if it’s only mentioned in passing. This information would raise her above the level of a cartoon, or an insult. In the real world, even sex workers eat, sleep, do laundry, pay bills, meet friends for coffee, and raise the children for whom they need to earn money.
Besides, the sexiest stories are those that suggest the possibility of good sex in the messy, complex world where people actually live.
Wednesday, August 24, 2016
by Kathleen Bradean
Two months ago, I asked readers to tell me what topics they'd like for us to cover. Martin asked how to avoid redundancy in sex scenes while writing a novel. I tried to pass that on to Lisabet and Donna, and they did answer, but this question deserves deeper investigation.
For purposes of discussion, I'm going to over-simplify a few things, such as an observation that there are two types of erotica novels. The first is a fun romp of sex scenes loosely tied together. The other is the exploration of a character through the lens of sex and sexuality.
If you're writing the first type, the aim is variety. A Donna mentioned, avoid redundancy by bringing in different or multiple partners, using different sexual acts, adding elements such a voyeurism, and increasing the stakes be it more intense BDSM or the possibility of being caught or whatever fits the plot. The result should be light and fun for both the characters and the readers. (I don't mean light as an insult. It's difficult to maintain an upbeat tone page after page. I couldn't write a breezy story if my life depended upon it. But I do enjoy reading them.)
If you're writing the second type, you're probably going to have fewer sex scenes than in the first type, but that's up to you and what best fits your story. You can use all the tools available to the previous type, but this isn't sex just for the sake of sex. This is a carefully crafted sexual encounter designed to transform the character. Titillating your audience isn't necessarily your aim or an inadvertent outcome, although there is absolutely nothing wrong/right/good/bad if it happens. Redundancy shouldn't be a problem here because you are focusing on what this particular encounter means to a character at this specific point in their life. Since your character should be changing throughout your novel, at each sex scene they have a slightly different take on what's happening and you're going to help them grow through it. So even if in both scenes the sexual positions and partners are the same, the emotional outfall might be very different. Maybe the first time the character is over the moon that this person wanted to have sex with them, but the second time, they feel used or sad. You also have the luxury of writing bad sex/sex gone wrong/discomfort with what happened/mixed or complicated feelings. We learn a lot through setbacks in life, and so should our characters.
Martin, I hope this is what you meant by redundancy. If not, let me know.
Feel free to add your thoughts on this.
Posted by Kathleen Bradean at 12:00 AM
Sunday, August 21, 2016
He could scarcely look at her without imagining her rounded limbs wound with rope, her neat bosom bared to his pinching fingers, her lively brown eyes hidden by the blindfold that would give him license to use her however he chose. His prick swelled to an uncomfortable bulk inside his trousers. He was grateful that the motoring duster he wore concealed the evidence of his excitement.
“You’re a clever little slut,” Andrew muttered through gritted teeth. “I’ll wager this isn’t your first time eating a man’s prick.” He wound his fingers into her hair and held her head still. “Open!” Jerking his hips, he drove his cock down her throat with bruising force.
Friday, August 19, 2016
Where did the summer go?
I hope you've spent yours writing suitably steamy stories. If so, today is your chance to share a bit of them!
The ERWA blog is not primarily intended for author promotion. However, we've decided we should give our author/members an occasional opportunity to expose themselves (so to speak) to the reading public. Hence, we have declared the 19th of every month at the Erotica Readers and Writers Association blog Sexy Snippet Day.
On Sexy Snippet day, any author can post a tiny excerpt (200 words or less) in a comment on the day's post. Include the title from with the snippet was extracted, your name or pseudonym, and one buy link.
Please post excerpts only from published work (or work that is free for download), not works in progress. The goal, after all, is to titillate your readers and seduce them into buying your books!
Feel free to share this with erotic author friends. It's an open invitation!
Of course I expect you to follow the rules. One snippet per author, please. If your excerpt is more than 200 words or includes more than one link, I'll remove your comment and prohibit you from participating in further Sexy Snippet days. I'll say no more!
After you've posted your snippet, feel free to share the post as a whole to Facebook, Twitter, or wherever else you think your readers hang out.
Thursday, August 18, 2016
As I’ve written here before, it seems that every generation believes it invented sex. Given the long history of the human race, this idea is physically impossible, of course, but it is not wrong in spirit. Each individual does indeed “invent” sexual experience for herself with every passing day. Yet one of the fascinating surprises of my research into early twentieth-century erotic culture is that many aspects of what we consider “modern” sexuality—“respectable” girls pursuing and enjoying sex, finding boyfriends at dances or other amusement places, and generally rebelling against wait-until-the-wedding values—were flourishing all the way back in 1910.
Sexual freedom was especially abundant in one famous locale at the bottom edge of Brooklyn: Coney Island. I had the pleasure of visiting Coney Island for the first time earlier this month, and while its glitter is somewhat diminished from its heyday in the early 1900s, the spirit of carnival and sensual liberation lives on.
The desolate sands of Coney Island were first developed into a high-class hotel resort in the mid-nineteenth century. With the advent of cheap trolley, steamboat and rail service, Coney soon became the playground of the people, an affordable way for working families to escape the heat of the city. In the early twentieth century, the enclosed amusement park was born at Coney. Steeplechase Park, Luna Park and Dreamland lured millions of visitors to frolic every summer. Rides included roller coasters (also known as “scenic railways”), tunnels of love, trips to the moon or exotic terrestrial lands, and reenactments of fires and floods.
But the real attraction of Coney Island was sex. Sea bathing only became popular in the late nineteenth century. Bathing suits covered far more flesh back then than they do today, but they were quite skimpy by the standards of 1900 dress. Shedding corsets and waistcoats led to untrammeled fun. Gotham: A History of New York City to 1898 notes that bathers were acting “precisely as if the thing to do in the water was to behave exactly contrary to the manner of behaving anywhere else.” (p. 1136)
Even more insidious to morals were the mechanical rides. From 1897 to 1964, Steeplechase Park’s headliner ride--a mechanical horse race that allowed for two riders to share the saddle, one behind the other--provided a well-known opportunity for couples to get closer than they ever dared in the parlor of a Sunday. Roller coasters allowed young women to clutch their male escorts tight and scream. Tunnels of love such as the Old Mill allowed couples to spoon and cuddle without a chaperon. “Three times through the Old Mill was considered equivalent to the engagement ring, and sometimes once even did the trick,” write Oliver Pilat and Jo Ranson in Sodom by the Sea: An Affectionate History of Coney Island. An old Coney Island joke runs thus:
“You shouldn’t have done it Sam,” Sarah said after the Old Mill ride.
“But I didn’t do anything, Sarah!”
“Not a thing, Sarah.”
“Well, somebody did!” (Sodom by the Sea, p. 217)
Sweethearts often went to Coney together to dance and dine, have their photos taken and their fortunes told, but the resort was also known as a place to meet a stranger of the opposite sex for a day of fun. Young working-class women could enjoy all of Coney’s pleasures for the price of trolley fare, as single young men were on the lookout for a pretty girl to treat with the promise of at least a kiss or two. Common wisdom has it that the clever girls managed to board the train home without surrendering any sexual repayment, but one wonders if the girls weren’t caught up in the anything-goes spirit of the place as well. Rent-by-the-hour hotels were certainly a mainstay of local business. (For more on the Coney Island sex excursion, see Kathy Peiss, Cheap Amusements: Working Women and Leisure in Turn-of-the-Century New York 1880-1920).
Today Coney Island still offers cool breezes on a hot summer day, as I can well attest. You can still ride Deno’s Wonder Wheel and dare yourself to try the roller coasters and spook houses. You can still eat a hot dog from Nathan’s in its centennial year and get your fortune told for a quarter from a waxwork grandma. She told me to expect a letter soon and refuse the next opportunity to travel because my “best interest lies in staying at home.” Grandmother also foresaw a great financial change in my status in the near future and suggested I drop in another coin to learn more.
Most marvelous of all, however, was the thought that people have been seeking sensual pleasure at Coney for over a century in the very same ways we do today. To all the couples who got engaged in the Old Mill and kissed under the boardwalk and dared to cuddle on the Steeplechase horses—you were the present and future of Eros in America.
Long live the Coney Island of the mind!
Donna George Storey is the author of Amorous Woman and a collection of short stories, Mammoth Presents the Best of Donna George Storey. Learn more about her work at www.DonnaGeorgeStorey.com or http://www.facebook.com/DGSauthor
Monday, August 15, 2016
Thursday, August 11, 2016
By Mikey Rakes
When you begin writing, focus on simply getting the story on the page, and worry about the mechanics later. Remember, however, that you don't want your reader pulling back at a crucial moment. Sex scenes are more than a way to titillate the reader. They must help to move the story along and expand the reader’s knowledge of the characters involved. Sex scenes enable the reader to understand your characters and grasp their normality. We all realize when we first fall in love the reality is...we fuck like bunnies. Sex is a part of life. In the case of same sex couplings, in our writing, we must be hyper-aware of the use of pronouns. Help the reader understand what he/she is doing to him/her, and your readers will love you for the extra effort they may never realize you've made. Make it seamless, baby.
Wednesday, August 10, 2016
I'm astounded by writers who write one thing and one thing only: straight erotica, mysteries, science fiction, horror ... you name it. Their flute has only one note. They might play that one note very, very well, but they often neglect the rest of the scale. Not to go on about myself, but my own moderate accomplishments as a writer are the direct result of my accepting a challenge or two. I never thought I could write erotica—until I did. I never thought I could write gay erotica, until I did. Who knows what you might be great at? You won't know until you try.
A writer is nothing but pure potential, but only if that potential is utilized. If you only like writing straight erotica, try gay or lesbian. The same goes if you're queer: try writing something, anything, that you'd never in a million years think of doing. Maybe the story will suck, and that certainly does happen, but maybe it'll be a wonderful story or teach you something about your craft.
Challenge yourself. If you don't like a certain genre, like Romance, then write what your version of a romance story would be like. You don't like Westerns? Well, write one anyway: the Western you'd like to read. Of course, like a lot of these imagination games you don't have to sit down and actually write a Western novel. Instead, just take some time to visualize it: the characters, setting, some plot points, a scene or two. How would you open it? Maybe a tumbleweed blowing down a dusty street, perhaps a brass and black iron locomotive plowing through High Sierra snow? Or what about the classic Man With No Name staring down a posse of rabid outlaws? Who knows, you might be the best Western—or mystery, science fiction, gay, lesbian, straight etc.—writer there ever was, or maybe you'll just learn something about people, about writing. Either way, you're flexing, and increasing the range of your work.
This flexibility isn't just good in abstract: look at the books being published, the calls for submissions, and so forth. If you only like to write stories that one are particular style, flavor, or orientation, you'll notice you have a very, very limited number of places that would look at your work. But if you can write anything, then everywhere is a potential market. Write one thing and that's exactly how many places will want to look at what you do. Write everything and you could sell anywhere.
In other words: try! If you don't try, you won't know if you're any good. Some writers only do what they know and like because they don't want to face rejection, or feel they'd have to restart their careers if they change the one thing they do well. I don't believe any of that. If you can't handle rejection, then writing is not the life for you. Getting punched in the genitals by a rejection slip is part of the business, and something we all have to deal with. As far as a writer's career goes, no one knows what shape that'll take, or what'll happen in the future. Planning a job path in writing is like trying to roll snake eyes twelve times in a row: the intent might be there, but the results are completely chaotic. In the same way, a simple little story can turn out to be the best thing you're ever written, or an unexpected experiment can end up being a total artistic change.
Playing with new themes, genres, and styles is fun. Experiment on the page, in your mind, and who knows what'll pop up? Go to a bookstore and pick up something at random, read the back cover, and then spend a fun couple of hours imagining how you'd write it. What style would you use? What kind of characters? What settings? Even sit down and write some of it: a page, or even just a paragraph or two. It might suck, but that's the risk you always take trying something new—but it also could open a door to something wonderful.