erotica

In Search of That Golden Feeling

by Jean Roberta

I learned a new word recently, and that’s always a good thing for a writer.

While reading a list of available books for review that was sent to me by Dr. RS, long-term editor of The Gay & Lesbian Review (Massachusetts, formerly produced at Harvard University), I noticed this title:
Love’s Refraction: Jealousy and Compersion in Queer Women’s Polyamorous Relationships by Jillian Deri (University of Toronto Press, 2015).

I asked RS if I could have it for review. He said I could, but he suggested that a shorter review might be better than a longer one, even though another member of his posse of reviewers had advised him to devote a theme issue to polyamory. He suggested to me that any book with the word “compersion” in the title is probably too abstract and obscure for readers of a scholarly queer magazine.

He sent me the book anyway, and I soon learned that “compersion” means the opposite of jealousy: a feeling of shared joy that results when one’s lover acquires a new playmate or friend-with-benefits. The fact that “compersion” is less-well known than “jealousy” is a clear sign that in Western society, only monogamous couples are considered normal, and that jealousy (even when it inspires murder) is assumed to be the normal reaction to any violation of the monogamous bond.

Even for those who have been “out” as gay men, lesbians, bisexuals or transpeople for many years, the dominant model of sexual/romantic commitment has enormous gravitational pull. RS’s comments about the large, fascinating concept of polyamory showed what looks to me like a queer (inconsistent) streak of conservatism. Although we have been exchanging emails for years about books which may or may not have relevance for an educated LGBT audience, we haven’t had any direct philosophical debates about our personal moral codes for engaging in sexual/romantic relationships.

RS did tell me that he considers polyamory to be a largely imaginary condition, i.e. many more people think about it than put it into practise. This seemed to be his main quibble about running a theme issue: is there an actual polyamorous community? If so, where are these people? (When I mentioned the above book to a friend and colleague who grew up on the West Coast of Canada, he suggested that all the women who were interviewed for the book probably live on Commercial Drive in Vancouver.)

When I mentioned RS’s quibble to the local director of the campus LGBT center, s/he (born female, now identifying as male) laughed and said he could put me in touch with quite a few folks who identify as polyamorous, if I want to interview them for a theme issue of The Gay & Lesbian Review. Egad – I already have enough writing to do, even during my summer break from teaching, but what an intriguing research project. The journalist/researcher side of me wants to meet as many polyamorists as possible, and hear more about how compersion actually feels, since I’m fairly sure I haven’t felt it myself.

If there is a thriving community of practising polyamorists in the small city/large town where I live (population about 200,000, government seat of a Canadian prairie province and home of the Royal Canadian Mounted Police), there is probably a bigger tribe of them under RS’s nose in Massachusetts. Their reasons for keeping a low profile seem painfully obvious to me. After all, it wasn’t that long ago that divorce, the sex trade, and homosexuality couldn’t be mentioned on television.

One of the reasons suggested itself when my spouse (the woman with whom I’ve lived for 26 years) asked why I was reading that book, and why the topic interests me. Her anxiety was clear: was I suddenly planning to hook up with women, or men, or both? If so, was I simply going through a kind of post-menopausal frenzy, or was I planning to embrace a new lifestyle? If I was standing on the edge of a cliff, contemplating a leap onto a dozen mattresses already occupied by welcoming bodies, was I planning to discard her as an outworn First Wife?

I assured her that my interest is scholarly, more or less: as an erotic writer, I have already described polyamorous relationships that are intended to last for a lifetime, but I need more information about how such complex connections actually work, and why/when they don’t.

Lest my spouse sound more suspicious or insecure than I am, reading this book has reminded me of painful experiences in my dating past, when “I’d like to see other people” generally meant “We’re done, so get lost.” Women, in particular, are raised in most cultures to be polite and avoid scenes, which might be good training for humans in general, except when it prevents honest communication. The women I dated before the beginning of my current relationship in 1989 often tried to leave me behind by dropping hints and pulling away rather than by rejecting me directly. Their ambiguous behavior included “friends” who suddenly seemed to occupy so much of their time that they hardly had any left for me – but when I asked, they would assure me that we were still an item, and they certainly weren’t breaking up with me. I would rather march through a field of stinging nettles than go back into that swamp of doubt, dread, humiliation, and resentment.

Re the possibility of my spouse jumping off a cliff onto the mattresses below, I’m sure she could find welcoming bodies down there. In her sixties, she is still attractive, engaging, and a long-term community organizer who seems known to half the town. Years ago, when she made an unusual visit to the local queer bar by herself, she was apparently enticed by a male/female couple who regularly trolled the bar for individuals (usually female) to join them for threesomes. Apparently they assured Spouse that they would treat her well and that she had nothing to fear, but (according to her account the next day), she was turned off by their unvarnished lust, and said no. When I heard this story, my feelings were more mixed. Of course they found her appealing, which validated my taste. I knew who they were, and they had never approached me that way – was I less of a babe? What if she had said yes, and what if the couple had wanted to see her regularly, without me? Hookups that turn out to be peak experiences are not guaranteed to stay casual. I was relieved by her ironclad refusal to even consider it.

Reading a book seems safe enough. And I’m committed to the belief that knowledge, even when it’s painful, is usually better than ignorance, even when it’s comforting. For the foreseeable future, I’m willing to continue down a path of asking questions and seeking answers. Comments welcome.

Do You Stick With Authors, or Genres? by Lucy Felthouse

By Lucy Felthouse

This post was originally on the Dirty Birdies blog.

I have a question: what are your thoughts on authors that write in multiple genres and pairings under the same pen name? Does it bother you? Will you still read that author? Will you just pick and choose what genres/pairings from that particular author that you like? Or do you read anything and everything from your favourite authors, no matter what they write?

I’d really love your opinion on this. I’m asking because there seems to be no standard in the publishing industry. I “know” lots of authors because of the wonder that is social media, and some of them (myself included) write lots of different things under the same pen name, whereas others create new pen names when they branch out into something new.

I wouldn’t say I write different genres, exactly, because so far I’ve only written erotica and erotic romance. Though I write in lots of subgenres; contemporary, paranormal, femdom, maledom, BDSM, etc, etc… but I do write different pairings. It’s waaay too late for me to start splitting those up now, and I wouldn’t, anyway, because it’s hard enough work maintaining various websites and social media accounts for a single author name, let alone adding more to the equation. I just make sure to emphasise genres and pairings when promoting new releases, and I always put that information on my website. I can’t control what details my publishers put on their websites and third party retailers, but wherever I can, I make the information available. So hopefully I’m providing my readers with the details they need to ensure they’re only buying books they’re interested in.

So, what are your thoughts on this? Do you wish authors would use different aliases, or doesn’t it bother you?

Also, just for the record, if I moved into something like crime fiction or mainstream romance, I would start a new pen name. But while it’s remotely smutty, I’m sticking with this one 🙂

Happy Reading,

Lucy x

*****

Author Bio:


Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Short and Sweet – Two Places you Might Want to Go

http://www.amazon.com/Inside-Madeleine-Paula-Bomer-ebook/dp/B00DACWBSE/ref=asap_bc?ie=UTF8

As deadlines loom for me, I’m having a bit of a struggle carving out time to write anything. But I thought I’d point you in the direction of a few writers I’ve come across in the process of putting together exemplars for my PhD on new eroticism.

So I thought I’d take the opportunity to invite you into the strange, dark erotic world of a couple of erotic writers you might not have heard of.

Paula Bomer’s Inside Madeleine is a collection of stories, mostly quite long coming of age stories that explore emerging female eroticism with an unflinching eye.

They are all set in the US and may resonate a little more with people who have grown up on that continent, especially in the Midwest, more than with me.

That being said, I cannot praise her highly enough for eschewing pretty much every erotica trope in order to get to the core of what it really means to be a young woman with growing sexual desire and being constantly under pressure to frame it in non-threatening, pretty and comfortable ways.

Bomer most importantly gets into the theme of desire and body image among women in a way that makes for a queasy and uncomfortable ride, and yet manages to bring the fierceness and singularity of how that desire, contorted into strange and erotic shapes emerges.

The novella, Inside Madeleine, ends the collection. I think more than story I’ve read, Bomer gets to grips with what it means to be a slut – a defiant, unrelenting, total slut – in the most visceral way. She unpacks the power of embracing the slur as well as the isolation that it can confer.

The writing is literary in that very post-modern, American way. Not particularly poetic. Stark and Protestant in its refusal of adornment and sentimentality. I would like to see us have the guts to be able to write about desire in perhaps a more measured way,  move past this level of dispassion and yet resist the trap of insipid romanticism.

(There’s a review of Inside Madeleine by Dayna Tortorici in the NTY here)

http://www.amazon.com/Twentysix-Jonathan-Kemp-ebook/dp/B00755MJHU/ref=sr_1_4?s=books&ie=UTF8&qid=1434276965&sr=1-4&keywords=Jonathan+Kemp

The second book, also a set of shorts, I’d like to tempt you into reading is Twentysix, by Jonathan Kemp. Although varying in length, some of the stories in this collection are actually flash fictions. One for each letter of the alphabet, Kemp offers intense, super-concentrated hits of gay male desire.

Unlike Bomer, Kemp luxuriates in language much in the way a poet does, and brings that writing skill to bear on universal themes like time, memory, abjection and the sublime. And although Kemp also acknowledges that unbridled desire has its dark side, he does, in my mind, find more exultant ways of facing down the spectre of that paradox. That’s not to say that his stories aren’t also intensely subjective. They are.

But, while Bomer’s stories are probably not going to find much appeal to a male reader, Kemp manages to transcend the aspect of sexual-orientation specific desire in his stories onto a more universal plane. While the characters are gay, and the sex is unapologetically homosexual, most of the pieces are going to resonate with everyone. He’s got a true gift for peeling away the wrapping and uncovering the kernel of the erotic – the engines that turn our wheels. Also, there is something almost redemptive  in terms of the way he portrays erotic desire pulling us down into depths and up to heights of experience, and often revels in the paradox of doing both at the same time.

(Kemp has a lovely essay on the Pornography of Language Here, at Writer’s Hub)

Happy reading!

Valuing Our Work

by Lucy Felthouse

I had a conversation with someone recently that went something like this:

Woman: Oh, you’ll have to lend me one of your books to read.

Me: I thought you were buying one? (I’d previously given her a business card with a link to my website, etc)

Woman: Oh, I was. But then I thought I didn’t want to spend any money on it, in case I didn’t like it.

Me: (in a jovial tone of voice) That’s my livelihood you’re taking away.

Woman: I’m not! I just wanted to lend one, then I’d give it back.

Me: What, with sticky pages?

This then, fortunately, diverted the attention away from the conversation and made everyone giggle, and it wasn’t brought up again. But it made me think: what value is put on books? And I mean in all genres, not erotica specifically.

From what I can see, not much. Why do people balk at spending a couple of quid/dollars on an eBook (paperbacks, of course, are a different kettle of fish as they’re usually more expensive) which will hopefully give them hours of reading pleasure (and maybe other kinds of pleasure, too!), and possibly then be read again sometime in the future? Yet they’ll think nothing of spending more on a cup of coffee, which will be gone within half an hour, and not have any lasting impact on their life. The cup of coffee would have been made very cheaply, quickly and easily. Sure, it probably tastes good, but that’s it.

A book wouldn’t have been written cheaply, quickly or easily. Writing isn’t any of those things. Yes, some people can write much faster than others, but that still doesn’t make it an easy task. It’s hard work. Enjoyable, yes, but still hard work, and, most importantly, a valid job/occupation.

I wonder if this is what it comes down to: people thinking writing isn’t a proper job. Because, for the most part, we can set our own hours and have some freedom, it means it’s not real. Therefore, if it’s not a proper job, then we shouldn’t expect to be paid properly.

Naturally, people “in the know” realise this is a load of rubbish. Although I don’t write full-time, I’m gradually building up my volume of writing to boost my overall income. I don’t rely on it, because I can’t. Not by a long stretch. Therefore, it’s important that my work (and every other writer’s) is valued. Even if it’s not a full-time job, it is still a job. Just because we enjoy it, love what we do, doesn’t mean we should do it for free, or a pittance. Folk mistakenly believe that all published authors earn a fortune and therefore, what’s one freebie here or there?

Sorry, not happening. I already run quite a few giveaways on my site, in my newsletter, as part of blog hops, and so on. And they are for people actually interested in reading my work. I hope that they will read one of my books, like it, and buy another. Maybe recommend it to their friends. If they don’t like it, fair enough. Reading is subjective and, as much as I’d like to, I know I can’t please everyone. But at least there’s a chance of gaining another valuable reader. In the case of the woman above, I’m not sure I would have, regardless of whether or not she enjoyed my book. After all, if she’s not willing to spend money, take a chance on a book/writer, then she clearly doesn’t value writing.

I would love to hear your comments on this. Am I crazy? Over-sensitive? What? Should I just lend her a book?

Happy Reading,
Lucy

*****

Author Bio:


Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Passing Judgment

by Jean Roberta

Every writer who has hoped to win a prize, but didn’t, should serve a kind of literary jury duty by volunteering to be a judge in a book award contest. It’s much like being an editor, except that the only payment is fame, glamour, and a sense of accomplishment. 🙂

Last May, I went to the Bisexual Book Awards in New York City, a fun event at which the finalists read from their work. (My “bawdy novella,” The Flight of the Black Swan, was nominated, and so was Twice the Pleasure, an anthology of bisexual women’s erotica, edited by Rachel Kramer Bussel, in which I have a story, “Operetta,” which one reviewer called “a meringue.”) I didn’t seriously expect to win anything, since this is the best attitude to adopt at such times, and I didn’t. However, I was invited to be one of the judges in the “Erotica” category of the awards for books published in 2014. (The ceremony will be at the end of May 2015.)

I was grateful for the honour, and I accepted. Little did I know that over the coming months, 22 books (most in the form of PDFs) would arrive in my inbox and my actual mailbox. They were more diverse than some readers might expect, although writers of erotica generally know how broad our field is. Francesca Lia Block and Alison Tyler of Los Angeles were among the authors of nominated books, and one book was set in Canada. There was BDSM and a multicultural cast of characters. There was historical fiction and suspense. There was magic and shapeshifting, not all of it cute. There was lightness (more meringues) as well as heaviness and graphic murder. There were several self-published books, and several from publishers I hadn’t heard of before; I found this informative.

Meanwhile, in my actual life, there were student essays to grade, pets to feed, meals to cook, and floors to mop. (My spouse and I have been the official cleaning ladies of the local LGBT bar/watering hole for several months. We get paid in money and compliments from bar patrons who find relief in washrooms that show no signs of the previous night’s debauchery.)

The deadline for the Erotica judges’ decisions was March 15, a Sunday. This meant a three-day marathon of reading for me and, I suspect, for the other three judges, one of whom politely resigned due to a personal emergency.

Living in the imaginary world of one novel can be a delightful experience, best enjoyed on a beach or a luxury hotel room. Rushing from the imaginary world of one novel to the next, 22 times, is like being a lunatic or a mystic who can’t turn off the voices in her head. Some of the books were – ahem – more effective on my libido than others, but I didn’t want the state of my crotch to be the determining factor in my decisions.

I added criteria of my own to the official guidelines. I ruled out several books that were thinly-disguised (or undisguised) examples of m/m erotic romance with no sex scenes involving women. One of these novels, in particular, was well-written, moving, believable, and was part of a series starring intelligent, compassionate, three-dimensional characters who change over time. However, I needed a somewhat objective way to eliminate titles until I was left with a choice that could qualify as bisexual in every sense, as well as being quality literature.

None of the books I read seemed to dramatize the tired old joke that bisexuals will jump on anything that moves. Few of them seemed to be written by horny teenagers. Bisexuality, it seems, has come of age.

I asked for a time extension of one day, but I was reminded that the judging had to be wrapped up, sooner than later. When I exchanged emails with the remaining two judges and the organizer, I was surprised at how much overlap there was among our choices for the top five finalists. One novel, in particular, appealed to all of us, so we reached a bloodless agreement to name it the winner.

So now my role in the decision-making is over, and I’m waiting – along with all the authors of nominated books – for the public announcement of the winners in all the categories of the Bisexual Book Awards, which will undoubtedly be scheduled (as it was in 2014) close to the Lambdalit Awards so that writers and fans can attend both.

One thing I know beyond a doubt is that judging, no matter how many rules the judges impose on themselves, is always subjective. And of course, the more nominees there are, the more competition there is.

If your book was nominated for a book award of any kind, but you didn’t win, don’t fret. It’s not you, it’s us.
————–

Standing Up for the Victims of Fifty Shades of Grey (Are You One of Them?)

by Donna George Storey

Just to bring closure to last month’s column, I did indeed see the movie version of Fifty Shades of Grey and I enjoyed it just fine. No doubt Universal held back some extra sex scenes to add to the DVD release. I predict the movie will top $1 billion when it goes to instant download and DVD. Viewers who are too embarrassed to be seen in their local theater will indulge their curiosity—many of these viewers will be men—and if there are extra sex scenes, lots of people who saw it in the theaters will be back to see if this time Hollywood really, truly changes our lives forever with a choreographed show of two more or less naked people pretending to have sex. My fingers are crossed.

Now, I hear you, my dear readers, we’re all sick of Fifty Shades of Grey. But I’m still reeling from all the hate out there, which seems so out of proportion to its target—a humble erotic-romance novel that, in spite of its purported BDSM theme, isn’t nearly as violent as most of the stuff we see on TV. I’m kind of taking the hate personally, to be honest, as an erotica writer, a woman and a person who believes all of this fear, shame, and anger around sexuality is harming the world. Thanks to the bullying curriculum in today’s schools, I know an honorable bystander is supposed to intervene when they see someone being victimized. So to finish up my Focus on Fifty Shades series (this is my last column on this topic and that’s a promise), I felt I had to stand up for five special victims whose rights and well-being are suffering from the phenomenon.

Victim #1: Traditional Publishing

All of us here write and publish erotic books. So how come people all over the world aren’t clamoring to write scathing reviews about how our work is stupid and badly written and people only want to read it to masturbate and also destroy Western civilization, so the reviewer didn’t actually read it, but recommends no one else does either?  We wish. Of course, first we have to sell over a hundred million copies of the various books in our trilogy, become a household word, and thus draw the attention of the voracious and endlessly snarky media. In fact, I’d argue that one of the more important reasons for all the snark is that the traditional power structure of publishing is under attack by hoards of sex-crazed women, both menstruating and menopausal.

Alas, the traditional ways were so elegant and righteous. Aspiring writers would genuflect before teachers and agents and editors and marketers and publishers who would tell them if they were good enough, mess with their stuff to make it more salable, skim off a cut, and conveniently blame the author if money wasn’t made. In return, the power structure would give readers deathless prose, edifying stories about family dysfunction and sex that is always punished, and an endless supply of the “new voice of our generation.” This indeed gave us many first novels by brilliant young men who masturbate with the English language, thus assuring that the reader is too confused to replicate the physical act at home. Morality was thus preserved.

But along comes E.L. James with a built-in fan base and the negotiating power to avoid the usual slave-labor contracts and insist the “experts” keep their hands off of her story. Plus her fans are not behaving like ladies. They are refusing to be shamed. Best-selling popular novels are not new, but novels that get there without the midwifery of the establishment are far more shocking than whips and chains. No wonder everyone in the literary establishment is in a bad mood about it, archly observing in so many words, “Maybe E.L. James will learn to write well after the Revolution.” I wouldn’t predict that editors and publishers will totally disappear, but the power dynamics are in interesting flux and many are running scared. Let us bow our heads for a moment for the passing of the old ways.

Victim #2: E.L. James’ Control in All Things

There is an irony in James’ desire to “exercise control in all things” Fifty Shades, or so the news stories present her as protective of her story against those who want to “improve” it. However, once any story becomes this popular, it belongs to everyone. Although Fifty Shades is soundly criticized for the weakness of its prose, sometimes an author’s distinctive voice can get in the way of making a story our own. Few readers can maintain hours and hours of pure admiration of someone else’s wordplay (Finnegan’s Wake?). We want a story that comes to life in our own heads.

Recently there actually have been thoughtful articles about the book and movie, some even by men. The few males who aren’t compelled to slam both lest their testicles shrink to the size of chickpeas do something similar to what fans do. They explore how the story is personally relevant to them. A.O. Scott’s “Unexpected Lessons From ‘Fifty Shades of Grey’” compares the movie critic’s role to Christian and the audience’s unpredictable tastes to Ana. Robert Hoatson’s “Fifty Shades of Grey is about the trauma of childhood abuse, not sex” empathizes with Christian’s shut-down emotions. And Richard Brody’s “The Accurate Erotics of ‘Fifty Shades of Grey’” points out, without contempt, that one thing Fifty Shades has that most movies don’t is foreplay. The story has taken on the stature of public myth, becoming much more than itself.

I’d like to talk about one of the ways I personalized the story. I’m a hopeless analyzer. I get through the superhero movies my kids choose for family outings by analyzing the arc of the fight scenes and measuring the contrived sentimental punch of the scenes with dying parents and lonely, but gifted children. Perhaps not surprisingly, one of my favorite parts of Fifty Shades, book one, is that much-maligned contract Christian presents to his submissives. Many people call it boring, ridiculous and unromantic. For me it was the first time I felt a real connection to the book and decided to keep reading. Some readers and critics have been outraged that Christian would seek to control Ana’s schedule, clothes, grooming, eating habits, and sexuality, including masturbation, and justify it all as being for her own good. Around the “Availability” clauses, it struck me through the legalese that all women must negotiate these issues as we take our place in a patriarchal society. Ana’s lucky enough to be able to negotiate directly, but the rest of us have to find more creative ways to say no, some of which bring dire consequences to our well-being. And the enforcers in real life—our families, our peers, our religion and, worst of all, women’s magazines–are often more exacting than boyfriends. Throughout history and across cultures, women are constantly under scrutiny to look right, eat right, and limit our sexuality to the proper partner. The whole series of novels is about Ana’s negotiation of a contract, which she never signs. In real life women don’t have to sign to be shackled in those handcuffs.

By the way, there’s an equally problematic version of the social/sexual contract for men, including expectations about work, emotions, sexuality and so forth. It would probably be more authentic for a man to explore this in detail, but Christian’s character is a decent illustration of these expectations and how they can mess you up.

Victim #3: The Pretense that Women Get Respect in our Society

Some of the loudest voices calling Fifty Shades a danger to society are those that argue it encourages women to pursue abusive sexual relationships and more damaging still, read bad prose. In an effort to save us from this fate, so many commentators have felt compelled to insult women and female tastes without restraint. One particular critique amused me. Basically this man said we all know Fifty Shades is written badly and the story is stupid. But we also have to figure out why it works so well so we can duplicate its success. Excuse me, but how can you expect to understand, not to mention bank on, something if you despise it?

Now I know one of the main ways we define ourselves as cool is to feel contempt for others. But as a recovering I’m-too-good-to-read-Fifty Shades snob, I’m really glad I read the books. At the very least, it means I’m not a total jerk for opining about something I know nothing about.

As Alyssa Rosenberg wrote in “Men, stop lecturing women about reading romance novels” (a rebuttal to William Giraldi’s infamously misogynistic screed against Fifty Shades in The New Republic), “Romance novels are attractive not just because they are a gratifying escape but also because they sometimes feel like a respite from the significant hostility that a lot of literature shows women.” Isn’t it the truth? All too often female characters are ornamental girlfriends, the reason for the hero’s quest, or the evil castrating witch, but seldom a character we can relate to and respect. Okay, maybe if we look good in a black leather bodysuit, we’ll get the token female lead in the superhero buddy film. In any case, Rosenberg continues, “Romance novels are a tonic, a form of reassurance that someone is interested in ordinary women’s inner lives and is rooting for us to resolve our conflicts about work, love, and what we deserve from our relationships.”

So, yes, if you want women to buy your writing—and women are the fiction market by a big margin–you have to create a compelling story that treats female characters and their concerns with genuine respect. Should be easy for you, right, buddy? Now go get rich.

Victim #4: Christian Grey

We’re all familiar with the characterization of Christian Grey as a stalker who creepily appears at Ana’s side at whim, due in part to his vampire ancestry. Some insist that thanks to the popularity of Fifty Shades, controlling, abusive men will now have women lining up outside their doors.

If we allow that the Fifty Shades novels are guides to real-life relationships as these critics apparently do, I think we need to look at Ana’s behavior as well. In the first book and movie, she insists Christian show her the worst the pain can be in his playroom. He–though not very wisely for a supposedly experienced Dom dealing with a very inexperienced sub–whips her six times with a belt on her bare ass with no warm-up. She then calls him a sick pervert and breaks up with him. Did this bother anyone else? Not the belt part, because Ana explicitly asked for something that. But if you pressure someone you care about to make himself vulnerable then immediately recoil at his repulsiveness without any meaningful discussion or processing, this is emotional abuse. So, to all the young men out there, let this be a lesson—if a woman does this to you, it is not a promising foundation for building trust in the relationship.

Except of course, it turns out to be the right move for a continuing relationship because (spoiler alert!) Christian decides to let her determine the nature of their sexual encounters, thus giving up the sort of BDSM he was trying to sign her up for. Yet Ana is hardly more trustworthy emotionally in the later books. From a “realistic” view, Ana is in her early twenties and has never had a boyfriend. But Christian gets blasted for his possessiveness and jealousy, when she is just as guilty. Her deep love is supposed to be the salve to heal Christian’s damaged heart, but she is jealous of every woman past or present who even makes eyes at her handsome but romance-novel-loyal boyfriend, so jealous that she regularly contemplates leaving him. The second and third novels swing between Ana wanting to save his wounded inner child with every fiber of her being then wondering on the next page if she should dump him when the going gets even a teeny bit tough. Another shockingly thoughtless act is when she forces him back to the playroom because of her own curiosity, although he has avoided it like a recovering alcoholic stays away from booze. Christian’s life was ruined by a “crack whore” birth mother and a Mrs. Robinson type who seduced him into the BDSM lifestyle at 15. These are bad ladies to have in your life, but I wouldn’t be so sure his luck with women had changed all that much with Ana.

Our young men deserve more maturity and kindness in their relationships. I hope the guardians of our social order will speak up for their welfare when the sequels come out and it’s Ana now jerking Christian around by the emotional leash.

Victim #5: Me-Too Books and Movies

There are some benefits to getting older. I know when something is advertised as the sexiest book or movie ever, it won’t be. Or when a magazine promises to teach me the four tricks that will blow a man’s mind in bed, I won’t learn anything new. And I know that because of the success of Fifty Shades that New York and Hollywood will green-light many projects that won’t do so well. The decision-makers will not conclude that in their rush to cash in, the appeal of Fifty Shades was not carefully analyzed and respected. They will more likely say that women actually don’t like sexy stories as much as we all thought or feared. Having lived through several cycles of excitement over the profit potential for erotica followed by disappointment when a project that receives no support doesn’t sell, I sense we’re bound for another round of the same.

I don’t want to end this column on a negative note by suggesting that all erotica writers will suffer when the publishing and movie industries make the same mistakes all over again. In other words, that we are victims of the Fifty Shades frenzy. I prefer standing up for the victim rather than identifying as one. Let’s just say I hope the clear evidence that women will pay good money to see their fantasies and desires portrayed in the media will create a permanent shift in our favor in the plans of the powerful scions of the Imagination Business.

In the meantime, we must keep writing what we love and support each other and a sex-positive culture. The fight for honest erotic expression continues!

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

Fireworks of Yore

by Jean Roberta

Erotica, fantasy and historical fiction seem to overlap in all sorts of delicious ways. If there is a fairy tale left in any of the traditional collections that has not yet been rewritten in a sexually-explicit version – or several – it must be fairly obscure. Greek and Roman mythology have also been heavily mined for modern-day erotic plots, and so have famous works of fantasy by known authors. The calls-for-submissions on this site usually include at least one that calls for stories about sex in the land of Faerie or on Mount Olympus.

So far, so good. However, much of the sex that occurred in Western culture in the actual past was necessarily forced or forbidden due to Christian laws. Any couplings that did not involve a husband and a wife had to be hidden, and were likely to result in drastic punishment for at least one partner if discovered. Marital sex was based on a husband’s legal ownership of his wife, who had no recognized right to refuse sex or pregnancy.

In short, what we know about traditional attitudes toward sex in the past few centuries is quite a bummer. (And on that note, laws against anal sex were widespread.)

Of course, fantasy literature doesn’t have to be based on historical reality. Authors and their characters can grow wings and fly away from anything that kills the buzz. But what if a certain authentic flavor is called for?

Ancient Greek and Roman myths and legends involve quite a bit of sex, even as written by contemporary Greek and Roman authors (Homer, Aristophanes, Ovid). However, the “affairs” of male gods, especially Zeus, tend to involve the capture and rape of mortal maidens, followed by further abuse by other deities (e.g. Zeus’s wife Hera) or mortal relatives. Attraction that is really mutual is likely to be illicit and therefore doomed.

Traditional British and European ballads, as recorded in a literate era (1700s-1900s), tend to be more violent than I remembered from having studied this material in the 1970s. I recently skimmed through one of my old textbooks, The Ballad Book, for inspiration, and found plots dealing with incest, with illegitimate, murdered babies, with the murders of women by the men who had seduced them, and of husbands by their wives, as well as a few lighthearted accounts of rape as a joke and abduction as a plot device. At one time, ballads were like tabloid newspapers for the common folk who couldn’t read or write. And as they say, no news is good news.

Then there are early written versions of older stories such as the Morte d’Arthur by Sir Thomas Mallory of the 1400s, about King Arthur and his knights of the Round Table. I recently skimmed through my old copy of this book after reading a call-for-submissions for “Arthurian” erotica.

The story of Arthur’s mother is intriguing in Mallory’s very brief version as well as in Marion Zimmer Bradley’s doorstop of an “Arthurian” novel, The Mists of Avalon. Igraine, before she becomes Arthur’s mother, is married to the Duke of Cornwall. He and the King of England, Uther Pendragon, wage war. Uther, aided by his court magician, Merlin, appears to Igraine disguised as her husband, “lies” with her, gets her pregnant, and then marries her after it is revealed that her husband was killed by the King’s forces before the crucial act in which Arthur was conceived. In due course, Arthur is able to establish his legitimacy as the rightful heir to King Uther.

Igraine’s feelings about all this are not recorded by Mallory. Does she ever love her husband, the Duke of Cornwall? If so, how does she feel after discovering that she has been deceived? Does she welcome her child by the imposter? (In Mallory’s version, Igraine has borne at least one earlier child, Arthur’s half-sister.)

In my version of the story, young Igraine is married to the much older Duke of Cornwall for diplomatic reasons, but King Uther has the “right of the first night” with the new bride. She finds him attractive, but she is still taken aback to discover that she is not to be deflowered by the man she has just wed. And then there is the siege in which the two men in Igraine’s life square off. Whatever the outcome, it will be bad news for at least one of them. Then there is the scene in which the King appears under a “glamor,” shouting a medieval version of “Honey, I’m home!” Does Igraine believe this man is really the Duke, her husband, or does something about him seem off? How does she react?

I sent my first version of this story to an editor, who responded by saying gracious things about my writing style, which she found suitable to the period. However, as she pointed out, the sex was not sexy enough. I saw the editor’s point. The problem seemed to be Igraine’s ambivalence. She needed to be more enthusiastic in the sex scenes with at least one of the men in her life. She couldn’t just be shown submitting to the inevitable.

Mutual orgasms – fireworks of the flesh – were required.

I did a substantial rewrite after getting the editor’s permission to ignore the original maximum word-count. I tried to show more ecstasy in the scenes of Igraine with the King, who is much more of a dream lover than one might expect because he is under a curse: a witch has ensured that if he ever ravishes an unwilling woman, he will die. To live long enough to beget an heir, he must become an accomplished seducer, and he must stop the moment his partner is really turned off. He has come to enjoy the challenge that this curse presents, and therefore he is in no hurry to be released from it.

Since the witch has placed her curse on King Uther’s whole army, an Age of Chivalry is born. Is this detail suitable to the historical period? Not on your life.

Like the inhabitant of a castle under siege, I am waiting for news about whether my story is now fit to survive the editor’s weeding-out process. I can only hope that the fantasy elements – specifically the female-centered sexual pleasure – don’t cancel out the period flavor.

Writing about Days of Yore appeals to me, but some aspects of the past simply don’t mesh with modern concepts of equality and consent. A touch of glamor seems necessary.
————————-

The Dreaded Sucknopsis

by Lucy Felthouse

http://www.freeimages.com/photo/1327383

Ahh… the dreaded sucknopsis. Otherwise known as the synopsis. I’m sure many of the writers reading this post are already groaning or resembling the man in the photo at the mere mention of the word, and I don’t blame them.

A necessary evil, the synopsis is basically one big fat spoiler of your work. Describing your tale from beginning to end, including any plot twists, surprises and things to make your readers gasp. I hate writing them. There are several reasons for this. One, because of the spoiler aspect. I know that a synopsis is not something ever intended for a reader to see – otherwise what would be the point of them reading your book? They already know what’s going to happen. No, these are aimed at publishers who may potentially publish your work – they want to know that your work has a plot, a point, a beginning, a middle and an end, and so on. And they’re absolutely right. They don’t want to end up contracting something that’s crap. But it feels so wrong to me to write something down that’s saying what’s going to happen, especially since, for the most part, a synopsis is written before the actual story.

And, following on from that, often with my work I don’t know exactly what’s going to happen until I start writing. Even if I’ve done character profiles, chapter by chapter planning, etc, my creative brain often throws things in at the last minute, literally flowing from brain to fingers to keyboard, which may alter what happens next, throwing me off the line of the synopsis. Mostly, it’s a change for the better, too, so it makes sense to go along with it.

Also, writing a synopsis for something, especially if you haven’t written the book yet can make you lose all enthusiasm for the work. You’ve written four pages on exactly what’s going to happen, ending and all, and now you’re bleurgh about writing the thing. Hence the term sucknopsis – which I didn’t coin, by the way. It’s been around for a long time, and it’s easy to see why 😉

So, how do you feel about writing a synopsis? We’re all different, so maybe there are some of you out there that actually like writing them. Speak up!

Me… nah! Give me a blurb any day. Let me tease you, taunt you, and, above all, not give the plot and any surprises away! I want to make you gasp… in the best possible way 😉

Happy Reading,
Lucy x

*****

Author Bio:

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

The Discussion

by Jean Roberta

[NOTE: This blog was supposed to go live on January 26, but too much multi-tasking caused me to miss my turn. Please excuse me for posting late.]

Those of you who read this blog are probably aware that a writer’s mind is a busy place, somewhat like Hyde Park Corner in London, England, where random strangers can show up and argue with each other. (That’s the only real-world location I know of that is designated for such activity.)

Apparently there is a stampede among writers to self-publish and sell the work on social media, including the various Amazon sites. Even non-writer friends have advised me to do this and thereby make lots of money. Hence the following internal argument.

Inner Cheerleader: Jean, you don’t have to limit yourself to working with established publishing companies. They just want to make money by selling your work.

Jean: Yes, just as the university that employs me just wants to recruit fee-paying students to sit in my classes. Everyone has a financial motive, even charity organizations. They “just” need to make a profit so they can spend it on good causes.

You sound like various bystanders who have reminded me that I don’t have to limit myself to: 1) writing about sex, 2) writing about women, 3) writing about lesbians, gay men, bisexuals or trans folks, 4) writing about Canadians (or about Canadian settings), etc. (Sarcastically) Why don’t I expand my range by writing stories about White Anglo-Saxon male American billionaires who fall in love with younger, poorer women? Oh, that’s been done.

Inner Cheerleader: But you need to keep up with current trends. What sells? Why couldn’t you tap into the zeitgeist? You can’t depend on publishers to promote your work. They don’t do that any more. Your colleague knows a woman who claims she is planning to retire from teaching in a university because she can earn a living by writing about sex with Bigfoot. There’s a market for that.

Jean: I don’t understand the appeal. I don’t think I could write that stuff convincingly.

Inner Cheerleader: If sincerity is your thing, you could exploit it. Why don’t you post a series of articles about your experience in the sex trade?

Jean: That was in the early 1980s. I don’t want to become known as Ye Antique Harlot from Times of Yore. It’s bad enough that the local media sometimes contacts me when there is a change in the laws about prostitution – because they can’t find anyone currently making a living that way. I really don’t want to speak on behalf of marginalized people young enough to be my grandchildren, who are already silenced by legal threats and social stigma.

Inner Cheerleader: But people want to read about sex. You need to have more of a public image. Why don’t you have some sexy photos taken of yourself, and post them in every place that will accept them?

Jean: You seem to be forgetting my age. You have no solid evidence that thrusting my greyish-brown bush (surrounded by cellulite) or the thin skin of my cleavage in the face of the public at large would lead to sales of my writing.

Inner Cheerleader: Photoshop is your friend. And you could be mysterious about your age.

Jean: The birthdates of published writers appear in their books. It’s a way of establishing legal identity.

Inner Cheerleader: Well, why don’t you write a tell-all autobiography, focusing on sex?

Jean: That sounds like a lawsuit waiting to happen. Besides, my actual life is less satisfying in several ways than the stories I make up, which I why I write fiction in the first place. Most people like a plot arc: character sets forth on a journey, encounters difficulties, dragons and orcs, but discovers inner resources, soldiers on, and reaches a place of resolution. That is not a summary of my life, or any actual life I know of. Metaphorically, a life journey can be like that, but we all live in the mundane world.

I like to discuss my life-experience indirectly, by writing: 1) fiction, and 2) non-fiction. Sometimes poetry, though that seems to attract few readers these days.

Inner Cheerleader: I give up. I tried to help you. Don’t blame me if you never become a successful writer.

Jean: Dear narrow-minded aspect of my psyche, your conception of “success” is not the one accepted by most of the scholars I know. Whether my words succeed in lasting longer than I do, only time will tell.

—————

Print v. Ebook: The Never-Ending Debate

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 three cats. Visit her web site, her Facebook page, and her Amazon Author Page.

Print versus ebook? That’s the big question. According to Waterstones, ebook sales have plummeted while print book sales have soared. Then again, according to The Guardian, print book sales have declined as readers migrated to ebooks.

The Guardian described the dilemma in this fashion:

A review of 2014 from book sales monitor Nielsen BookScan shows that while the decline in sales of print books in the UK slowed last year, with value sales down 1.3% to £1.39bn, and volume sales down 1.9% to 180m, the performance for printed adult fiction was markedly worse. The adult fiction market was the worst-performing of all areas of the book business, down by 5.3% in 2014 to £321.3m, with volume sales down 7.8% to 50.7m. In 2009, printed adult fiction was worth £476.16m.

The decline is even greater when paperback fiction is removed from the picture: according to Nielsen, hardback adult fiction sales plummeted last year by 11.6% to £67.9m, with just three titles – by crime and thriller bestsellers Lee Child, CJ Sansom and Martina Cole – selling more than 100,000 copies.

“The ebook has quite demonstrably hit the commercial end of the fiction market,” said the Bookseller’s editor Philip Jones. “Almost any drop in adult fiction sales can mainly be put down to the migration to digital, which is obviously still continuing. We think consumer ebooks this year will be worth £350m, with most big publishers reporting ebook growth of double digits – and almost all of that will be in fiction.”

Which way is it? Are ebooks on their way out or are print books on the rise?

Articles like these have predicted the end of the ebook “trend” since digital formats became popular with the emergence of the Nook and especially the Kindle. That simply is not the case. Information Today reports that “The most recent AAP data, from December 2014, covers the first three quarters of 2014 and shows that revenue from 1,209 publishers was up 2.8%. “In terms of formats, ebooks were up, hardbacks were down, and paperbacks were up. Total ebook revenues increased by 5.6% over 2013 (to $1.2 billion from $1.13 billion),” The Digital Reader’s Nate Hoffelder notes.”

Deloitt’s 2015 Canadian Technology, Media, and Telecommunications predictions indicated that print book sales would climb four times higher than ebook sales. High end literary fiction such as Gillian Flynn’s “Gone Girl” sell well in print. Children’s books also continue to do well in print.

Print books have their benefits as well:

There’s nothing quite as satisfying as holding a paperback or hard cover book in your hand if you’re a writer.

You can sign print books. Yes, you may sign ebooks with an ebook signature but it’s just not the same.

Having physical books for potential readers to handle and buy at conventions makes it easier to sell books than pushing ebooks on browsers in the same venues.

There is satisfaction in the feel of a print book. The tactile sensation of holding paper and the “new book smell” are very appealing.

Sadly, some do not consider ebooks “real” books. A physical print book may hold more psychological clout than a digital book.

It seems that people are not reading less. A contrasting report showed that readers are migrating from print books to ebooks. Ebooks are the wave of the future, and they have many benefits:

You can store hundreds of books on an ebook reader, which is great if you don’t have much room for numerous bookcases.

Readers of erotic fiction in particular are especially attracted to ebook readers because these ereaders give them privacy. They don’t have to worry about getting the raised eyebrow from onlookers who see a paperback with
scantily clad women and muscle-bound beefcakes on the covers. Ebook readers are lightweight and easy to use.

You can adjust the size of the font with an ebook reader. This especially benefits those with poor eyesight.

Some ebook readers light up, eliminating the need for a book light.

Ebook readers don’t crease or get coffee stains on the pages.

As before mentioned, erotic romances sell well in digital format. According to erotic writer Selena Kitt, sales of erotica alone have driven the rise of the ebook and ebook reader more than any other genre. Despite that fact, major retailers have cracked down on questionable titles including incest, pseudo incest, bestiality, and rape fantasy as well as the new trend monster porn (think Bigfoot or a T-Rex as the love interest, and you have this very strange subgenre.). Despite the pitfalls and fickle nature of some retailers, erotic fiction continues to be the top
seller of all the genres.

Despite many doomsday predictions, ebooks and ebook readers aren’t going away. Not by a long shot. Print books will always be popular, but ebooks are here to stay. It really doesn’t matter whether or not a person picks up a Kindle or a paperback. As long as they read, book retailers, publishers, and writers will be happy.

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