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Confessions Of A Literary Streetwalker: Thinking Outside Your Box



(a hearty thanks goes out to the wonderful K.D. Grace, on whose blog this piece first appeared)

Thinking Outside Your Box…

Or Writing Isn’t Always About Writing

Sure,
we may all want to just cuddle in our little garrets, a purring pile of fur in
our laps, leather patches on our sleeves, a pipe at the ready, and do nothing
but write masterpieces all day and night – with periodic breaks for
binge-drinking and soon-to-be legendary sexual escapades – but the fact of the
matter is that being a writer has totally, completely, changed.

I’m not just talking about the need to be a marketing genius and a publicity
guru – spending, it feels too often, more time tweeting about Facebook, or
Facebooking about tweeting, than actually writing – but that authors really
need to be creative when it comes to not just getting the word out about their
work but actually making money.

A lot of people who claim to be marketing geniuses and publicity gurus will say
that talking about you and your work as loud as possible, as often as possible,
is the trick … but have you heard the joke about how to make money with
marketing and PR? Punchline: get people to pay you to be a marketing genius
and/or a publicity guru. In short: just screaming at the top of the tweety lungs
or burying everyone under Facebook posts just won’t do it.

Not that having some form of presence online isn’t essential – far from it: if
people can’t find you, after all, then they can’t buy your books. But there’s a
big difference between being known and making everyone run for the hills – or
at least stop up their9 ears – anytime you say or do anything online.

Balance is the key: don’t just talk about your books or your writing – because,
honesty, very few people care about that … even your readers – instead fine a
subject that interests you and write about that as well. Give yourself some
dimension, some personality, some vulnerability, something … interesting, and
not that you are not just an arrogant scream-engine of me-me-me-me. Food, travel,
art, history, politics … you pick it, but most of all have fun with it.
Forced sincerity is just about as bad as incessant narcissism.

Okay, that’s all been said before – but one thing a lot of writers never think
about is actually getting out from behind their computers – or out of their
garret to tie in the opening to this. Sure, writing may far too often be a
solitary thing but putting yourself out there – in the (gasp) real world – can
open all kinds of doors. I’m not just talking publicity-that-can-sometimes-equal-book-sales,
either: there’s money to be made in all kinds of far-too-often overlooked
corners.

Not to turn this to (ahem) myself: but in addition to trying to do as many
readings and appearances as I can manage … or stand … I also teach classes.
One, it gets me out of the damned house and out into the (shudder) real world,
but it also, hopefully, shows people that I am not just a writer. Okay, a lot
of what I teach – from sex ed subjects to … well, writing – has to do with my
books and stories but it also allows me to become more than a virtual person.

By teaching classes and doing readings and stuff-like-that-there I’d made a lot
of great connections, met real-life-human-beings, and have seen a considerable
jump in book sales. Now don’t let me mislead you that this has been easy: there
are a lot of people out there who perform, teach, lecture, what-have-you
already so often it means almost starting a brand new career … scary and
frustrating doesn’t even begin to describe it. But, in the end, the rewards
have more than made up for the headaches.

Now you don’t have to read, or teach, or whatever: the main point of this is to
think outside of your little writing box. If you write historical fiction then
think about conducting tours of your city and it’s fascinating secrets and back
alleys; if you write SF then think about starting a science discussion group –
or even joining one. Like art? How about becoming a museum docent? Write
mysteries? Then organize a murder party – or just attend one.

You don’t have to make you and your work the focus of what you are doing. As in
the virtual world, connections can come from all kinds of unexpected directions
– which can then even lead to new opportunities … both for your writing but also
as a never-before-thought-of-cash stream.

My classes and lectures and whatever have not just brought be friends, book
sales, totally new publicity venues, but also ($$) cash!

It’s also a great way of balancing my inherent shyness with the need to get out
there and be a person – which always helps not just sell whatever products you
happen to be selling but can also be extremely good for (not to get too
metaphysical or something) the soul: sure, we all might want to be left alone
in our little garrets to writer, write, write but the fact is that writing can
be very emotionally difficult …. to put it mildly. But thinking outside of
your box you can not just reach new, potential, readers but also possibly find
friends and an unexpected support system.

Teaching may not be for you, readings may not be for you … but I’m sure if
you put your wonderfully creative mind to it I’m sure you can think of a way to
not just get the word out about your work but also enrich yourself as a person.
It might be painful at first, but – believe me – it’ll be more than worth it.

Writing Exercise

 by Ashley Lister

With this being April, and our annual celebration of Shakespeare’s
birthday (April 23rd) looming on the horizon, I figured it was time to
look at the sonnet. However, the sonnet is not a simple warm-up exercise to be
tackled before writing a day’s worth of prose. The complexities of the sonnet
can steal an hour from the most talented writer, and maybe take a month from
the rest of us. I offer this as a project to pick at over the next month,
whenever you’re between bursts of inspiration.

The Rules:

All sonnets contain 14
lines. 

There are three main styles of
sonnet: Petrachan, Spenserian and Shakespearian. Each one of these forms is made
distinctive by its rhyme scheme.

Sonnets are usually written in iambic
pentameter (that is, ten syllables made up of five unstressed/stressed pairings).

Because this month celebrates Shakespeare’s
birthday, I figured it would be appropriate to consider the Shakespearian form.
The Shakesperian sonnet usually follows the rhyme scheme of abab cdcd efef gg.

Sonnet 18

Shall I compare thee
to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:


Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature’s changing course untrimmed:

But thy eternal
summer shall not fade,
Nor lose possession of that fair thou ow’st,
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st,

So long as men can
breathe, or eyes can see,
   So long lives this, and this gives life to thee.

W. Shakespeare

In the example above we can see
the poem divided into the three quatrains (abab cdcd efef) and a final couplet
(gg).

We can also see the volta or turn
on the ninth line. The volta of the ninth line is a traditional turnaround in opinion
from the poet. Note how, in the first eight lines, the persona of this poem has
been telling us that the addressee is lovelier than a summer’s day. Summer is
crap in comparison to the addressee. In the ninth line the direction changes. Shakespeare
moves on to discuss the summer that the addressee will be facing in future
years.

The final couplet, usually,
brings all this together.

How can we apply this to erotic poetry? Let’s try the
following:

Sonnet 18+

Shall I compare thee
to a porno star?
Thou art more lovely and more sexy too:
I’ve yearned to have you naked in my car,
And I would really love to service you:


Sometimes you let me glimpse your muffin tops,
Your shorts reveal your sweet and cheeky cheeks,
The view’s enough to make my loins go pop,
And make me long to have more than a peak:

But I know you’re no exhibitionist,
You’d never ever play games of team tag,

Not even if I got you truly pissed,
Because, I know, you’re really not a slag,

So long as I can hope
there’s half a chance,
   I’ll dream about what’s there inside your pants.

A Lister

Your turn – please share your
sonnets in the comments box below.

  

Erotic Lure Newsletter: April 2013

From the Erotica Readers & Writers Association
By Lisabet Sarai
_______

Dear Insatiable Satyrs and Naughty Nymphomaniacs,

Welcome to the April edition of the Erotica Readers & Writers Association. As is typical for this time of year, we’re in for an extremely wet period. This is especially true if you join me on our monthly tour of ERWA’s lubricious delights.

I usually head to the Erotica Gallery first, to see what sort of mischief my fellow authors have been up to. This month’s offerings are both abundant and exceptionally varied, with seven stories, four quickies (1200 words or under), twelve flashers (200 words) and a quartet of gorgeous poems.

From romance to raunch to sweet regret, Our authors work to keep you wet.
Sorry – reading poetry always triggers a temptation to rhyme…

Do you write erotic fiction or verse? Want a chance to see your work featured in the Gallery? Join the ERWA Storytime list, an online crit group where you can share your sensual or smutty visions with a sympathetic and skilled audience, and perhaps, find yourself published on our pages.For more information on our email discussion lists, go here:
erotica-readers.local/erwa-email-discussion-list

Experience the many moods of Eros:
erotica-readers.local/story-gallery

Perhaps our talented contributors can’t completely satisfy your literary lusts. Fortunately, our Books for Sensual Readers section features dozens of fabulous anthologies and novels to help you scratch that persistent itch. Browsing this month’s stellar selection, I honed in on LA DOLCE VITA: CONTEMPORARY ITALIAN EROTICA BY WOMEN, translated and edited by Maxim Jakubowski. We don’t often get to read erotic tales from non-English sources; this book is a breath of fresh air. Fans of femdom erotica won’t want to miss UNDER HER THUMB, edited by the illustrious D.L. King – a serious afficionado of the genre, as anyone who has read her Melinoe series can attest. GAIJIN, Remittance Girl’s eloquent, disturbing novella, is now available in ebook form from Burning Book Press. Elise Hepner exploits the erotic possibilities of the Snow White story – seven men! – in her romance NOT SO PURE.

If you’re looking for new gay titles, check out Jay Kirkpatrick’s science fiction erotic romance, FREEDOM, about a pair of empaths struggling against the constraints of an oppressive future society. My pick for lesbian fiction is Delilah Devlin’s SHE SHIFTERS, a Sapphic recasting of a sub-genre too long monopolized by alpha males. And if you’re in the mood for a mystery, pick up a copy of my re-released erotic thriller EXPOSURE – which started life as a short story in the ERWA Gallery!

Please remember to click on our links to Amazon or Barnes and Noble if you’re tempted to buy – books, video, toys, or whatever. Every penny you spend at our affiliate sites supports ERWA. We’ve been feeding your fantasies for sixteen years now. Help us keep up the – um – good work!

Reading is sexy – especially here at ERWA:
erotica-readers.local/books

Speaking of movies, we’ve got some fabulous films in the Adult Movies section picked out for you this month. Topping the bill is Dana Vespoli’s dramatic fetish-packed odyssey “Forsaken”. A young woman awakens in the forest, bloodied, amnesiac and alone. Who is she?  Her bizarre search for the truth leads her into extremes of passion and degradation.

Also of note is “Female Fantasies”, a delicious compendium of wildly sensual triple-X encounters instantiating women’s favorite wet dreams. Come wander in this not-so-secret garden. In the pure porn category, I recommend “Secretary’s Day 6”, a playful, explicit paean to those unsung ladies of typing and dictation that’s guaranteed to please the working stiff. And if you appreciate the classics, don’t miss the 1976 debut of busty blonde Carol Connors, in the vampiric flick “The Bride’s Initiation”.

As usual, our video affiliates are ready (and eager!) to fulfill your cinematic desires. All you have to do is choose – not a trivial feat given all the flicks we feature!

Movies to maximize the moisture:
erotica-readers.local/adult-movies

Nothing goes better with a sexy film than a saucy sex toy, and, as usual, we’ve got you covered in that department. From Kegel balls to anal beads, the monthly Sex Toy Scuttlebutt column fills you in (so to speak) with the latest buzz on top erotic implements. This month, we also feature an informative column on how to use cock rings to maximize both safety and pleasure. And before we head over to the next stop on our tour, allow me to call your attention to all the archived articles in the Sex Toy Playground section. Got questions about penis pumps, lubricants, strap-ons, spanking? Get the facts from the experts.

Visit the Playground, to swing and slide:
erotica-readers.local/sex-toy-playground

Inside the Erotic Mind this month, our denizens discuss the question of impotency. It happens to every man at some point; how should you react? We’ve got four fascinating pages of answers to that question, but as one guy puts it, “When all else fails, use your head.”Want to share your thoughts? Just click the Participate link.

Don’t be shy!You’re always welcome Inside the Erotic Mind:
erotica-readers.local/inside-the-erotic-mind

Finally, if you’re one of us perves who are brave enough to bare our fantasies to the world at large, visit our Author Resources page. We’ve added lots of new calls for submissions recently. Maxim Jakubowski is editing the Mammoth Book of Erotic Romance and Dominance. Lucy Felthouse and Kevin Mitnick want urban lesbian fiction for Smut in the City – Sapphic Edition, while LadyLit Publishing wants lesbian erotica for Anything She Wants. Shane Allison is seeking true gay erotic stories for his Men on the Make collection. There’s also a call from Harlequin for “Cosmo Red Hot Reads”, novella length fiction featuring twenty-something “Cosmo Girls”.

We publish every new call on the ERWA blog as soon as it arrives. Meanwhile, a dozen seasoned authors blog each month on topics ranging from the formal structure of stories to the future of erotica. Follow the blog, or subscribe by email, and you can be the first to read monthly columns by sex-writing superstars like M. Christian, Remittance Girl, K.D. Grace and Ashley Lister. Speaking of Master Ashley, he has a new non-fiction book out entitled HOW TO WRITE EROTIC FICTION AND SEX SCENES – a practical, non-nonsense tutorial to help you get through the hard parts to the good parts. Available at Amazon & Amazon UK.

Take the publishing plunge:
erotica-readers.local/erotica-authors-resources

Our April Web Gem is Dreamspinner Press , winner of the 2013 EPIC eBook Award, publisher of quality M/M romance novels, novellas, short stories, and anthologies.

Launched in May 2007, Dreamspinner Press‘ focus is on romance, supernatural passion, out-of-this-world lovers, kinky explorations, and heated dreams–a little taste to whet your appetite for romantic homoerotica. We hope you take a little time to be enchanted, romanced, and loved by enjoying the publications of Dreamspinner Press.

Authors: Dreamspinner Press seeks gay male romance stories in all genres. We encourage tales that cross genres; for example, a science-fiction mystery or romantic fantasy. Stories can stand alone or be part of a well-developed series. Submission details at:
www.dreamspinnerpress.com/store/pages.php?pID=6&CDpath=0

So, are you as damp as I am? To be honest, after reviewing all the ERWA attractions, I need a cold shower – and not just because I live in the tropics! Think I’ll ask at least one of my lovers to join me…

See you next month – the lusty month of May!

Sinfully yours,
Lisabet

Visit Lisabet Sarai’s Fantasy Factory   
Check out blog
Join Lisabet’s List           

Write, learn, and play on ERWA . Details at:
erotica-readers.local/erwa-email-discussion-list

Permission to Write Badly

By K D Grace

I’ve been thinking a lot about the process of writing
lately and what makes it work. Why is it that sometimes it flows and other
times it just doesn’t? The first time I realised I might be able to exert some
control over that flow, that I might be able to do more than sit in front of a
keyboard and hope the Muse would take pity on me, was when I read Natalie
Goldberg’s classic book, WritingDown the Bones. There I discovered the timed writing. It’s simple
really. You write non-stop for a given amount of time. You write against the
clock, and you don’t stop writing until time runs out. No matter what! You
write whatever comes without fretting over whether it’ll be good. And when
you’re done, some of the end result – even a good bit of the end result – might
be crap. But mixed in with that crap might just be the seeds of something wonderful.

At the time I felt like I’d been asked to write with
my left hand. Even writing for five minutes seemed like a daunting task when I
made my first attempts. But Natalie Goldberg knew what she was talking about. I
was amazed at what came out of the abyss between my ears! It was only after I
read Writing Down the Bones that I
began to write real stories. So why did one book make such a difference?

I finally had something I lacked in the past, something
very important. I had permission to write badly. Every writer needs permission
to write badly. Later Julia Cameron, in her book, The Artist’s Way, called those off-the-cuff, devil-may-care writings morning pages, and she prescribed three
morning pages every day – written without forethought; written in haste. From a
fiction writer’s perspective, she didn’t give them the weight that Natalie
Goldberg did. They were only a part of a plan to open the reader to the artist
within. To her, they were more about venting, sort of a daily house-cleaning
for the brain. In addition to morning pages, Cameron insisted that every creative
person should give themselves what she called an artist date once a week. An artist date was a date with oneself
away from writing.

I can’t count the number of times I stood myself up
for my artist dates. I would have broken up with me long ago if I were actually
dating me. But then I realised that an artist date didn’t have to be dinner and
dancing or shopping or even visiting a museum. An artist date was a change of
pace. It could even be ironing or weeding the garden. In fact the whole point
of the artist date was to create space in which I could disengage the internal
editor and give myself permission to write badly.

So many of us are under the impression that every
word we write must be precious and worth its weight in gold. What I’ve learned since
I discovered the pleasure of writing badly is that on the first draft, every
word is most definitely not precious. On the first draft, every word is a crazy
frivolous experiment. Every word is a chance to test the waters, to play in the
mud, to let my hair loose and run dancing and screaming through the literary
streets. Every word is a game and an adventure. Every word is eating ice cream
with sprinkles for the main course. Every word is shit; every word is compost, and
every word is the ground out of which the next draft will grow. I never know what’ll
work until I try it. I never know what my unconscious will come up with while
I’m writing like a wild crazy person, grabbing words and cramming them in and
rushing on to the next ones – just after I’ve pulled the weeds in the garden.
Without that bold and daring first draft, without opening the floodgates and
letting the words spill onto the page, there’s nothing to work with when the
next draft comes. And when the next draft comes, the words do get precious. Every single one becomes weighty and irritable and
reluctant to fit anywhere but the place it belongs, the place where I feel it
just below my sternum like the point of an accusing finger.

But by the time I get to the second draft, by the
time I get to that place where every word has to be perfect, I’m up for it. I’m
ready to slow down and feel what every word means. I’m ready to find all the
nuance and all the cracks and crevices of meaning in between the words. I’m
ready for it because I’ve been playing up until now, and I’ve been allowing the
words to play. And now, recess is over!

The longer I write, the more I realise what else, besides
Natalie Goldberg’s timed writings and Julia Cameron’s reluctant artist dates,
get me there. And what gets me there is often totally being somewhere else,
somewhere other than writing. Sometimes it’s playing the piano badly, or sweating
at the gym, or weeding the veg patch. Sometimes it’s walking through the
woodland not thinking about anything, Sometimes it’s reading something frivolous.
Sometimes it’s reading something profound. All the space that taking time not to write opens up inside me makes
room for that wild ride of the first draft. And when that first draft is
finished, I have what I need to pick and choose, to sort through and sift, to
change and rearrange until I find the best way to tell my tale. But up until
then, it’s child’s play. It’s dancing naked. It’s shameless abandon and multiple
verbal orgasms.

Writing badly? Permission granted.

Don’t Wait For Your Muse To Strike. You’ll Wait Forever.

Elizabeth Black writes in a wide variety of
genres including erotica, erotic romance, and dark fiction. She lives on the
Massachusetts coast with her husband, son, and four cats.

I recently read an
article about the daily routines of famous writers,
and it made me wonder about muses. Some writers, especially novice writers,
occasionally say that they must wait for their muse to inspire them. The
problem is that waiting for your muse to give you a kick in the pants means
you’ll wait forever, and you won’t get any writing done. E. B. White said:
“A writer who waits for ideal conditions under which to work will die
without putting a work on paper.” The actual day-to-day routine of writing
isn’t nearly as glamorous as suddenly feeling a lightning bolt of inspiration
from your muse, jolting your creativity awake and sending you to your computer,
hands busily typing away until The Masterpiece is born. It requires setting
goals, making a routine, and establishing a support network.

MAKING GOALS

Have you made yearly
goals for yourself? What do you hope to accomplish this year in your writing
career? You do treat your writing like a vocation, don’t you? If you want to be
taken seriously as a writer, you must take writing seriously. Don’t treat it as
a hobby if you intend to make real progress. That means making goals and
establishing a routine. Sounds dull? Maybe, but it works. That’s the reality of
being a writer. It’s not all absinthe parties and movie contracts.

Make goals. List
five things you want to accomplish this year as a writer. Which projects do you
intend to finish? Are you aiming for specific markets and publishers? Would you
like to self-publish? You need to pin down a few workable, realistic goals for
the year. My workable, realistic goals for this year are to finish my erotic
novel “Alex Craig Has A Threesome”, write one human sexuality article
every two weeks for a company that just hired me, write my blog posts
(including my monthly one for ERWA), submit several short stories to good
anthologies (both erotic and dark fantasy), and work on promoting my
self-published books as well as write at least one more (for now). Those are
laudable goals for one year. They are specific. You can pin them down. They
aren’t ephemera floating about your muse’s head.

ESTABLISH A ROUTINE

Once you have goals,
you must meet them. That means work. Establish a routine, even if your schedule
seems impossible. It isn’t. There is always a moment you can find for writing
and achieving your goals.

Joan Didion’s
routine interested me because it’s similar to mine. In a 1968 interview, she
said the following:

I need an hour alone before dinner, with a
drink, to go over what I’ve done that day. I can’t do it late in the afternoon
because I’m too close to it. Also, the drink helps. It removes me from the
pages. So I spend this hour taking things out and putting other things in. Then
I start the next day by redoing all of what I did the day before, following
these evening notes.

I don’t wait for my
muse to inspire me. I have a set routine that I try to follow every day. I work
best in the mornings, being a lark (definitely not a night owl). I start my day
by brewing a pot of coffee, turning on some ambient music like Brian Eno or
nature sounds to music like Dan Gibson and Tony O’Connor, and I read and answer
my email. Then I check Facebook. I stay there for about a half hour, reading,
posting, promoting, and waking up as I drink my coffee. By that time it’s about
7 am. I then work on either an article, a blog post, or a story for one to
three hours. Sometimes I multi-task and work on all three, one hour each. By
noon, I finish that portion of my day, and I enjoy lunch with the occasional
glass of wine or champagne. Then I begin the second half of my day. Afternoons
I devote to research, more article and blog writing, and sex toys reviews. If
I’m working on a fiction story, I may go over what I had done the previous day.
I, like Didion, cannot go over what I had written that morning because I’m too
close to it. I need some distance. So 24 to 48 hours gives me enough distance
so that my judgment isn’t clouded when I look over my work. I then do the exact
same thing the next day – I play Tetris with my writing; move things here,
rewrite things there.

I’m aware of how
lucky I am to make a living writing, and I know most writers aren’t that
fortunate. They have day jobs, children to tend to, spouses that need
attention. They’re exhausted and over-extended. Still, a writer must write.
We’re driven. Find a time every day to write, even if it’s only for fifteen
minutes. Use that fifteen minutes well. You’d be surprised how much progress
you can make in a mere fifteen minutes.

Each writer’s
routine is a personal matter. What works for me most likely won’t work for you,
and vice-versa. You must find your own routine and become familiar with your
inner, day-to-day clock. Carry a notebook and pen around with you, and write
down any inspiring observations or thoughts that come to mind during the day
lest you forget them by the time you are sitting in front of your computer.

Another way to
establish a routine is to go by word count rather than time. I don’t usually
aim for a specific amount of writing time because my days vary. I aim for a
minimum of 1,000 words per day in a short story or longer work and 300 per day in an article. Writing
according to word count is one good way to get your voice out there. If you
can’t muster 1,000 words per day, try for 500. Or 100. Each writer sets
different goals depending on the busyness of his of her life.

ESTABLISH A SUPPORT
NETWORK

Part of a writer’s
routine that may be somewhat neglected is to establish a support network.
Considering the volatile nature of writing and publishing, all writers need
support, and that support may come from friends, online colleagues, and family.
Not all erotica writers are fortunate enough to have supportive friends and
families. Some of my Facebook colleagues have told me stories of how their
spouses, children, and friends do not take their vocation seriously, especially
because they write erotica and erotic romance. They have been judged and met
with disapproval over their choice to write erotic literature. Find at least
one good friend you can fall back on when you get yet another rejection, when
your family snubs you, or your new book isn’t selling. Please do not suffer alone.
A support network is vital for your emotional and mental health. Also turn to
your support network when things are going well. It’s good to have someone to
crow to when you get an acceptance, you win an award, or you finally snag that
agent.

As writers, we often
get so caught up in our daily lives and dreams that we don’t set workable goals
or take the time to plan ahead, meet deadlines, and treat our writing like the
job it is. Once you break down your writing into goals, a routine, and a
support network, you are well on your way to enjoying the path on which writing
takes you.

ABOUT ELIZABETH BLACK

Elizabeth Black
writes erotica, erotic romance, speculative fiction, fantasy, and dark fiction.
She also enjoys writing erotic retellings of classic fairy tales. Born and bred
in Baltimore, she grew up under the influence of Edgar Allan Poe. Her erotic
fiction has been published by Xcite Books (U. K.), Circlet Press, Ravenous
Romance, Scarlet Magazine (U. K.), and other publishers. Her dark fiction has
appeared in “Kizuna: Fiction For Japan”, “Stupefying
Stories”, “Midnight Movie Creature Feature 2”, “Zippered
Flesh 2: More Tales Of Body Enhancements Gone Bad”, and “Mirages:
Tales From Authors Of The Macabre”. An accomplished essayist, she was the
sex columnist for the pop culture e-zine nuts4chic (also U. K.) until it folded
in 2008. Her articles about sex, erotica, and relationships have appeared in
Good Vibrations Magazine, Alternet, CarnalNation, the Ms. Magazine Blog, Sexis
Magazine, On The Issues, Sexy Mama Magazine, and Circlet blog. She also writes
sex toys reviews for several sex toys companies.

In addition to
writing, she has also worked as a gaffer (lighting), scenic artist, and make-up
artist (including prosthetics) for movies, television, stage, and concerts. She
worked as a gaffer for “Die Hard With A Vengeance” and “12
Monkeys”. She did make-up, including prosthetics, for “Homicide: Life
On The Street”. She is especially proud of the gunshot wound to the head
she had created with makeup for that particular episode. She also worked as a
prosthetic makeup artist specializing in cyanotic blue, bruises, and buckets of
blood for a test of Maryland’s fire departments at the Baltimore/Washington
International Airport plane crash simulation test. Yes, her jobs are fun.
 😉

She lives in
Lovecraft country on the Massachusetts coast with her husband, son, and four
cats. The ocean calls her every day, and she always listens. She has yet to run
into Cthulhu.

Visit her web
site at http://elizabethablack.blogspot.com/

Her Facebook
page is https://www.facebook.com/elizabethablack

Follow her at
Twitter: http://twitter.com/ElizabethABlack

Unspeakable

by Jean Roberta

Everyone who writes erotica and posts it in semi-public space, such as the ERWA lists, knows the basic rules: no non-consensual sex presented for arousal, and no sex of any kind involving characters under the age of consent in their jurisdiction. In North America, this is generally understood to be eighteen, the current legal age of adulthood. And “underage” sex in a story can include masturbation by a horny teenager who is clearly not being coerced or manipulated by anyone else.

Did your earliest sexual feelings take you by surprise long after you had reached puberty, had your first drink, learned to drive, developed crushes on a few other people, and voted for the first time? I thought not. The years between twelve or thirteen, when physical transformations change a child into a youth who looks more-or-less adult, and eighteen, when one’s adult status is recognized by the rest of the world, are full of new experiences. Whether or not these experiences include a technical loss of virginity, they are likely to include coming to terms with itches and urges that can feel like demonic temptation, especially if one has been taught (as I was) that “nice girls” never have them, and “nice boys” don’t act on them.

In today’s cultural climate, there seems to be an enormous gulf between the general parental belief that teenagers can be persuaded to abstain from sex because it isn’t good for them and the teenage tribal pressure to “hook up.” Regardless of how an individual responds to that pressure, it’s hard to imagine how a teenager today could be as sexually ignorant as my grandmother (born before 1900) was said to be on her wedding night. Even the kids who aren’t doing it are thinking about it. This was largely true fifty years ago, when the “Baby Boom” kids, born just after the Second World War, reached adolescence. Our parents were usually vague about why they didn’t want us to listen to rock-and-roll, but we knew.

What everyone knows is still what no one can afford to say out loud. I am well aware that young people with little knowledge or experience of sex, and no legal rights, are more vulnerable to abuse than are their elders. This is why the legal concept of “statutory rape” (sex committed by an adult with someone not old enough to give meaningful consent) makes sense. But there is a huge difference between not wanting a younger generation to be hurt (if that can be prevented) and pretending that completely banning all descriptions of their sexuality can make it go away.

Two recent events illustrate the problem with the current prohibition on “kiddie porn.” A respected colleague of mine in the university where I teach was charged with downloading child porn on his computer at work. This case hit the local media in January, and the newspaper article claimed that someone in the university had reported him to the police. Since then, Colleague seems to have disappeared without a trace. No one I’ve spoken to knows any details – or if they do, they’re not telling. He was supposed to be tried in February, but no outcome has been reported.

This case makes my head swim and my heart ache. Considering that literary scholars have an interest in the early lives of the writers they study, and considering that Colleague has studied such diverse topics as the novels of Benjamin Disraeli (British Prime Minister under Queen Victoria, the first from a Jewish family), the stories of Oscar Wilde and the history of the detective novel, I wonder what “child porn” actually means in this case. I’ve been acquainted with Colleague for years; we’ve worked together on the organizing committee for gay/lesbian/bi/trans/genderqueer Pride Week and we’ve discussed strategies for teaching grammar to first-year students. He never seemed like a predator to me. Who reported him for what? And for what purpose?

In February, about a month after my colleague’s arrest, a conservative professor of political science at the University of Calgary gave a talk at another university which was recorded on a cellphone, then posted on Youtube. Tom Flanagan, the professor, was recorded saying:

“I certainly have no sympathy for child molesters, but I do have some grave doubts about putting people in jail because of their taste in pictures.”*

Within a week, Tom Flanagan was notorious for supporting “child porn.” All the Canadian institutions with which he had been associated have uninvited him, cancelled agreements and generally distanced themselves from him.

I never thought I would agree with a conservative on anything, but I can’t help recognizing some common sense in Professor Flanagan’s statement. “Pictures” can include cartoon images or even suggestive drawings of young bodies. They can include sepia-toned photos of naked children taken in the nineteenth century by the likes of Lewis Carroll, author of Alice in Wonderland, which were regarded as sentimental images of Innocence personified by a Victorian audience, but which look creepy to suspicious viewers now.

I don’t know if the material that attracted my colleague’s interest showed the actual abuse of an actual person. That question seems crucial to me, and as long as I don’t know, I can’t have a clear opinion on the case.

So far, both my colleague and Professor Flanagan have been stigmatized and ostracized; this is what I know beyond a doubt. I don’t know if any actual child or youth was harmed by either of these men. As academics, they both had the ability to influence a vast number of young adults, mostly over the age of majority. And university students have an obligation to evaluate what they hear, based on its merits.

As a university English instructor and an erotic writer, I can’t pretend I’m not nervous. Literature, even the stuff not labelled “erotic,” shows a spectrum of human behaviour, including some that my students’ parents might not approve of. I don’t mention my own work in class, but some of my former students have discovered it. So far, my academic supervisors have been incredibly supportive of everything I do. I hope their support never wavers.

In the current social climate, I would hesitate to write or post any expression of underage sexuality, including my own quirky fantasies and drawings from many years ago.

Braver souls than I have posted well-written, thoughtful work in the ERWA lists that seem to feature underage characters – but their ages are never clear and in some cases, they discover their sexuality in some other era or some other world than ours. It`s always tempting for erotic writers to sift through our own fantasies and experiences for ideas, and to consider the first spring buds of our current sexual identities. Writing about early lust shouldn`t be so dangerous.

There have been moral panics in the past about the supposed dangers of homosexuality or any sexual activity that becomes known to anyone besides the participants. Panic tends to obscure details and shut down debate.

In the case of the two profs accused of being defenders and consumers of “kiddie porn,” I really hope that cooler heads will eventually prevail and that the whole truth will come out. Enforced silence has never supported justice. Or creativity.

*For more information, see: http://www.ctvnews.ca/canada/tom-flanagan-says-he-was-trapped-into-child-porn-comments-1.1180824#ixzz2OQWe6Yqo

Writing this Novel Part V

by Kathleen Bradean

Now that you’ve let your first
draft sit for a while it’s time to turn it into a second draft. Some writers
produce such a clean first draft that the second draft goes quickly then all
they have to do is copy edit and submit. I am not one of those writers. I wish
I were, but it isn’t meant to be. Night Creatures took five drafts, but I had
some unique problems that I’ll discuss later. The first draft is the time to
throw everything onto the page. The second draft is when you cut excess or add
depth and bring the story arc into its final shape. If you see copy edit level problems,
of course fix them, but don’t get bogged down in that yet. 

In each scene, if your characters
have moved to a different location, have you described where they are early on to anchor your reader? Good! But are you giving me too much detail?
Not good. Your imagination might have constructed an amazing coffee house with
the quirkiest baristas on the planet and fascinating regulars, but confession
time – as a reader, I scan over this kind of stuff if it goes on too long. Give
the reader a quick impression, not a blueprint. It’s an amazing trick of the
human mind that with only a few details our imaginations can fill in the rest
of the scene. Make your words count. Load them with atmosphere. Blonde wood and steel evoke not just décor but also a soundtrack and
vibe, and it’s different than what you’d imagine if I’d called the place dark and cozy.

Have you used at least three
senses to make a scene come alive? Think about the coffee shop. Since your
characters are probably talking you already have hearing, but add little
touches such as an ambulance going by outside or the clatter of dishes as a
table is cleared or that weird swooshy sound the milk steamer makes. If you’ve described the setting, you’ve already evoked seeing. Give it
dimension by letting your characters react to what they see. Maybe they feel
self-conscious when the teenagers two tables over whisper and giggle, or
your characters are self-conscious teenagers who whisper and giggle.
Since it’s a coffee shop it probably smells like coffee, but what else? If it’s raining outside, coats are probably giving off that damp wool smell. If you’re out on a patio, you could smell traffic fumes or the herbal scent of a planter or even the doggy smell of the Golden Lab at the feet of the woman two tables away.    

Read through your draft to make sure your characters are consistent. Yes,
they change over the course of the story, but there has to be a progression. In
the novel Adventures of Huckleberry Finn, Huck is comfortable
with slavery at the beginning of the story. His entire world tells him is right
and he doesn’t question it. By the end of the story, he’s decided that even if
it means he’ll go to hell, he’s not okay with slavery and he believes,
strongly, that Jim is a man, a full human being, the same as him. That is a
huge change. But from the opening lines to the end of the story, Huck Finn is a
consistent character. Every action he takes and bit of dialog is absolutely
believable as something Huck Finn would say or do.

Everyone comes from somewhere. They
don’t spring to life as full grown adults when your story begins. (Well, yes,
they do, since you created them, but to make them seem real, you have to
pretend they existed before you started recording their story) They have a past
that made them who they are and that’s probably important info to share with
your reader. However, beware the dreaded info dump! Cramming all the backstory
into the first chapter is a sure way to bore your reader. Insert clues to your
character’s past along the path of the story and reveal those things only at
the point where they matter. Occasionally this will call for a longer passage,
but if you can keep it to a line or two you’re better off, because long
passages can drag your story to a standstill and it’s harder to overcome
inertia than it is to maintain forward momentum. (Law of physics as applied to
storytelling)


Foreplay. I don’t mean with your characters (although that’s fun stuff to read) I mean your readers. Don’t just toss them into a sex scene. Seduce them first. Use your sensory writing to evoke a mood then mercilessly push buttons to get them hot and bothered. Tease them. Manipulate them. Make them feel the warmth of a lover’s breath just under their ear so they’ll shiver. Make them want a lingering touch next. Take your time. Do a thorough job of it. It will leave them with the impression of a great sex scene even if you never describe a sexual act.
 

While you were writing your first
draft, your subconscious was lurking in the background. Occasionally, while you
were distracted, it slipped ideas into your work. Sneaky. By the time you
finished your first draft, you may have become aware of those ideas. Many works
in erotica are voyages of personal discovery. The protagonist chooses to find
what they want and seizes control of their sexuality and life. That’s an
empowering message. I’ve also read stories that are about forgiveness, loss,
faith, love, and despair. You name an aspect of the human condition and it can
be addressed in erotica. Think about your work from the high-level view. A
literary viewpoint. Do you detect an idea or theme? Think about ways to enhance
it in the second draft (if it interests you).

Reflecting on your work will give
you a lot to tackle in your second draft, and expanding on the ideas your
subconscious seeded in the first draft will add depth to your story.

 

I knew before I finished the first
draft of Night Creatures that I had
to move a key scene. Talk about painful. If only it were as simple as
cut and paste. But no, of course not. Events happen in sequence. One flows into
another. By changing the timeline, I had to go through each scene and ask ‘do
they know this yet?’ If not, I had to eliminate the reference. In the
first draft, things can be wrong. Typically in the second draft, errors are
fixed, but in my second draft, I was creating potential errors all over
the place.

As if I hadn’t made things hard
enough, I also decided to delete two characters from the story. A cast of thousands
may be impressive on a big movie screen but too many characters are confusing as hell on the page. Although
I already had a limited cast, by eliminating the additional characters I tightened the focus on the main two. A reader once commented that my stories sometimes make her feel like she’d been shoved into a wardrobe with two people and the air is running out. I take that claustrophobia as a compliment.

Deleting characters can cause huge plot problems. Let me restate that. Deleting characters should cause huge plot problems. Everyone on the page should be there for a specific purpose, like cogs in a machine. If you can remove one and nothing changes, they shouldn’t have been there in the first palce. (I’m talking about main and secondary characters here, not the extras in the background)  When I removed the two from mine, a key part of the plot suddenly didn’t happen, so I had to transfer their actions to one of the remaining characters. Different characters have different motivations
even if they do the same thing. (For example: I eat sashimi because I like it.
R will only eat it when it’s served to him and it would be rude to refuse it.)  That meant, yes, exploring the motivations of the character and making sure they made sense. That was a lot of work, and typically the kind of stuff you do as you’re writing the first draft. Maybe instead of calling this one my second I should have called it First Draft version B.

Between changing the sequence of events and eliminating characters, the second draft left me with a lot of work to do. (Thus the five drafts.) I wouldn’t have made those changes
if I hadn’t strongly felt they were necessary. Unfortunately, I can’t explain
to you why I felt they had to be made or how you might sense that your story
arc needs that kind of revision. (I hope for your sake that it never does. This is why I often say “This is what I do, but I don’t recommend it to anyone.”) Readers might feel that the way a story was
told was the only way it could have unfolded, but writers know that there were
many possibilities. More than one path can lead to the same destination. Part of
choosing the path is talent, part of it is craftsmanship, all of it is the
mysterious (wonderful) process of creativity.         

What are the areas you concentrate
on in a second draft? Do you have bad habits you try to catch?

Next time: editing 

 ~~

This series has been reposted on my personal blog, as well as a few additional entries.

The Importance of Getting Out and About

By Lucy Felthouse

As someone that works from home, and spends much of my time in front of a computer, I thought I’d write an article on the importance of getting out and about. It’s easy, particularly when you have lots to do, to just keep pounding away at that keyboard, barely looking up until it’s time for lunch or dinner. I know, I’ve done it myself many times, though admittedly I do also spend quite a lot of time looking out of the window, especially when I’m thinking, or if there’s anything going on, which is rare.

But it’s also important to get out and about. Don’t worry, this isn’t a lecture on health or anything, it’s more of a piece about how staring at the same four walls isn’t overly good for the imagination. I take my dog for a walk every day (granted, the walks are shorter when the weather is horrible), and I don’t work weekends. During those times, I do my best to go and see something a little different, have some fun. Because it’s those experiences that fire the imagination, even when you’re not expecting it. Even if you don’t get any inspiration while you’re walking or visiting a place, you may clear your brain of the dull stuff and give yourself time to think about your next story. As putting one foot in front of the other doesn’t take an awful lot of brain power, you can think about your characters, your storyline, your setting. Or, if you’re busy chatting to someone or doing something exciting, you can rest assured that whatever you’re doing may later spark a story idea.

I can attest to all of the above. Staring at the screen, or the four walls doesn’t really help when I’m seriously stuck with someone. However, walking the dog gives me time to think up new ideas, or to work out how I’m going to start a story that’s been floating around in my head for a while. This time is invaluable.

When it comes to visiting interesting places, be it cities, stately homes, ruins or stone circles, I just live for the moment, take lots of photos, and if something comes to me later about that place that I can write about, then that’s just a bonus. I’ve written about tons of places after the fact, including London, Paris, The Peak District, various stately homes, and so on. It’s great fun, but it does give me awful wanderlust!

I know that everyone is different and works in different ways, but if you do find yourself stuck, then I can highly recommend getting out somewhere. Go and walk in the countryside, explore a town or city with no particular aim in mind or visit a tourist attraction. You’ll be surprised at what it can spark in your creativity. Even if it doesn’t, though, at least you had fun. And fun is a valuable commodity in itself.

Happy Writing!
Lucy x

Instinct

By Lisabet Sarai

I have a
confession to make. I’ve never read any writing how-to book from
beginning to end. Years ago, I started Susie Bright’s How to Write
a Dirty Story
, but abandoned it about half way through, partly
because I found the author’s tone patronizing and partly because the
smell of ink from that very early POD volume was giving me a terrible
headache. The other classic writing texts that are supposed to be on
every author’s bookshelf – Stephen King and the rest – I’ve never
even opened. I don’t own a copy of the Chicago Manual of Style
or Strunk and White, either, though my paperback Roget’s
Thesaurus
is definitely the
worse for wear.

After reading
Garce’s post this month, I began to feel rather creepy about my basic
disinterest in studying the nuts and bolts of the writing craft. I
recognized the validity of the concepts he explains so succinctly –
the narrative arc and the character arc, the “Coming to Death”
moment. The questions he articulates, the inquiries as to what the
character wants, where a story is going and how it should flower, are
the sort of things I think about when I’m critiquing someone else’s
work. When I’m writing my own stuff, though, nothing could be further
from my mind. Intellectual analysis has little to do with the
process. I write from instinct.

At this point
you’re probably snorting with disgust at my presumption. “She
thinks she’s got so much talent she doesn’t need to study the
masters,” you might be thinking. Or, “Right, she was born
knowing about characterization and conflict, suspense and catharsis.
A regular Mozart of the written word.”

Honestly, I don’t
think that at all. I do believe I’m moderately skilled at the craft
aspects of writing, but that’s not due to some fabulous genetic
endowment. Rather, it’s the product of more than half a century’s
experience, reading and writing – plus a certain amount of early
education.

My life was filled
with words from its very first months. Before I could talk (hard to
believe such a time ever existed!), my parents read to me, both
fiction and poetry. All through my childhood, my father told us
fantastic tales of ghosts and monsters and wrote delightful doggerel
that he set to music. He and my mom taught me to read at four years
old, and almost immediately I began creating my own stories. I was
writing poems by the time I was seven. Nobody ever showed me how. I
guess I must have been emulating what I’d read and heard. It just
seemed a natural thing to do.

Reading was my
absolute favorite occupation throughout my childhood. My mom had to
force me to put my book aside and go out to play. I continued to
write all through elementary school, high school, college and
graduate school. And of course, I continued to read.

I adored the
literature classes I took. There, we undertook the sort of analyses
that Garce writes about, dissecting tales ancient and modern to see
what made them tick. Although I majored in science, I tried to
balance my schedule with at least one humanities course each term. I
still recall the intellectual thrill I derived from the Shakespeare
seminar in which I participated as a freshmen, the high I got from
Russian literature in translation course in my junior year.

I still love to discuss great books. A few months ago I spent more
than an hour Skyping with my brother (who lives half a world away)
about Erin Morgenstern’s The Night Circus. We specifically set
up the call for that purpose, and I enjoyed every minute.

So even though
I’ve never deliberately studied the art of narrative, at least as
applied to my own writing, I seem to have acquired a significant
amount of knowledge by osmosis.

When I sit down to
write, I don’t consciously identify the “MacGuffin” that drives
my story, even though it must be there somewhere. I may or may not
know at the outset when and where my characters will experience that
moment of total despair, when all seems impossible. If I don’t know,
I simply trust that I’ll recognize the crisis when I get there. The
story unrolls in my mind, a journey along a road where some parts
may be foggier than others, but with a structure that seems to shape
itself around the premise, the setting and the characters, without
much deliberate effort on my part.

I do spend a
significant amount of mental and emotional effort on the prose itself, attempting to capture the elusive nuances of experience in mere words.
I’m also focused on the big ideas that underlie the action, struggling
to birth the sort of startling, original tale that transfixes me with
admiration when I am playing the role of reader.

That’s what I find
most difficult about writing. All the craft in the world won’t make
up for a ho-hum concept. All too frequently, I have the
uncomfortable sense that the story I’m working on has been
written a hundred times before – sometimes even by me. I listen to
Garce complain about his so-called lack of talent even as he produces
tales so wild, terrible and beautiful that they bring tears to my
eyes, and I try not to be envious.

That’s something
no craft book can teach.

Still, discouraged
as I sometimes am, I don’t stop writing. Through a combination of
nature and nurture, it appears that I’ve absorbed the so-called rules of story
structure. They’re part of me now. I probably couldn’t prevent myself
from following them, any more than the Canada geese could abort their
annual flight south.

Sex and Power, Night and Day

Dreams and fantasies—we treat them as if they’re night and day. Night dreams speak to us in inscrutable codes that require the interpretation of Sigmund Freud or a book on dream symbols. On the other hand, our daydreams, sexual fantasies included, are generally read as transparent, a simple expression of will and desire. If you fantasize about being tied up by a billionaire, your husband had better get nervous the next time Bill Gates happens to drop in on your monthly book club meeting.

This literal view is often applied to erotica, sexual fantasy’s bookish sister, as well. Erotica writers (who we all know don leather corsets and thigh-high stockings every morning whatever their sex) write stories about their own experiences. Erotica readers in turn are highly disposed to act out these stories at home. I’ve been told by two different people that all the farm supply stores in Iowa sold out of rope soon after 50 Shades of Grey soared to fame. I suspect it’s an urban legend, but it proves my point. Our society is rather blinkered and literal-minded when it comes to sex.

This might be one reason why some people are hesitant to write erotica or openly share their fantasies. A woman who gets turned on by an aggressive lover obviously wants to be raped in real life and is ambivalent about sexual equality in society at large. If a man likes dominatrix stories, surely the only thing stopping him from signing on with an official domme is the cost. I haven’t yet seen a quick-n-easy explanation for the M/M boom of fiction by women for women (hmm, good old-fashioned penis envy times two?), but maybe that proves my point, too.

By simplifying sexual fantasy in this way, it may seem we succeed in transforming our uncontrollable, mysterious imaginations into something safe and explicable, while reminding us that unbridled sexual urges are weird, transgressive, and often illegal. In any case, it keeps people quieter about the steamy dramas in their heads.

Except erotica writers.

The apparent danger of a more complex, nuanced view of sexual desire is yet one more reason why sexually explicit writing must be denigrated as filth and trash. However, if you read an erotic story (which includes daydreams and fantasies) with a careful eye, I’m sure you’ll find it as rich and elusive and worthy of analysis as any literary short story. Freud already showed that can be done. But the recent attention to (and many would say misunderstanding of) BDSM got me thinking about how power infiltrates this process of reading and writing erotica at every level, even without rushing out to buy up the rope supply at your local feed store.

If you think about it, sex and power have something very important in common. From childhood on, we’re forbidden to discuss either openly. I hardly need elaborate on the fact that sexual information is deemed harmful to minors, but our society’s power structure is equally off limits. As children we’re not supposed to question the authority of our parents, teachers or other adults. Those who do are punished, if not physically as in the past, then by diagnosis of a behavioral problem and medication. And besides, we live in a democracy where everybody is equal, and if anyone is losing the race up the ladder, it’s their own lazy fault, so what’s to critique?

Nevertheless, in the media and our lives at school, home and church, we constantly witness the workings of both sexual feelings and power play, but we can’t acknowledge them honestly. At best, they’re hidden behind safe cliche. Thus, I would argue, these two forbidden elements of human interaction are forced below the surface, into the darkness of night, if you will, and can become suggestively entwined in our imaginations. Erotic stories break one taboo. Erotic power play stories battle two—which is why they may be so compelling.

Equally appealing, for me anyway, is the true pleasure of considering the possible “meanings” of a sexual fantasy and its power dynamics. There are no right answers in this exercise, of course. Rather the more possibilities you can come up, the better.

Take the ever-popular femsub story. The simple reading is that women naturally liked to be dominated by the superior male, and these fantasies are an honest expression of a timeless female desire. I’m a feminist, but to be fair, maybe there’s something to this (especially if you replace “female” with “human”). But take a closer look at someone else’s story or your own, and what else could be going on? Wow, the subordinate partner seems to possess power—less obvious but critical to the game. Because the dominating partner—whether boss or billionaire, duke or doctor—desires the sub and aims to know and please her.

But why stop there? I’m reminded of the controversial scene in Dorothy Allison’s Bastard out of Carolina where Bone transforms her step-father’s sexual abuse into masturbatory fantasies. Could femsub fantasies be a way to work through the subordination and repression women still face today? If the authority figure is ordering us to be sexual, then we can be obedient good girls by complying while also enjoying sensual pleasure. Could it be that a cool, distant dom also gives us permission to get off without the prescribed romantic relationship making us honest women?

For men, I’ve noticed that delayed ejaculation is a common power play device in erotic stories. What might be going on here? Might it recreate a man’s experience of sexual scarcity and helplessness, his satisfaction fully subject to the only important question on earth—will (s)he or won’t (s)he? Does it play with the reality that everyone, men included, are punished and ridiculed for sexual feelings outside of a very narrow scenario, and god knows exhorted to wait, wait, wait? Yet, doesn’t it also show a very macho self-control over a powerful desire? And the payoff is that we all know when the tension has been building for a long time, the release is all the more powerful.

Of course every fantasy and every story will have its own unique elements—my goal is not to endorse another form of simplification. Rather, I’d like to encourage erotica readers to enjoy power’s slippery lubricant along with the other more visible and tactile varieties. To me erotic stories are much more than a masturbation aid. They are windows to our unspeakable desires within and our complex relationship with our culture’s sexual values and myths without. The mystery of night and the intensity of day all mixed up together.

So bring on the billionare and let the fun begin.

Donna George Storey is the author
of Amorous Woman (recently released as an ebook) and a new 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

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