GIVEAWAY : three signed paperbacks of my ‘Gentlemen’s Club’

Autumn days are drawing in, so it’s time to snuggle down with hot drinks, blankets, woolly socks and… saucy books!

To celebrate the launch of my ‘Italian Sonata’ (volume two in my Noire trilogy) I have three signed paperback copies of volume one, ‘The Gentlemen’s Club’, to send out. Why not drop your name in the hat here for a chance to win.

I’ll add a personalised message to each copy, before popping them in the mail.

If you can’t wait, The Gentlemen’s Club is currently just 99p/99c on Amazon,  and is free with KU.

G Club flames - emmanuelle de maupassant-_1
Victorian London, 1898

Lord McCaulay falls under the enchantment of Mademoiselle Noire, and her theatre of sexual exhibitionism. Humiliated by her before his peers, he’s intent on revenge, but is drawn only further into her web, entering a dark spiral of erotic obsession. Meanwhile, by day, his path intersects that of young aristocrat Maud, as she struggles to assert her identity against the domination of men.

 

Praise for ‘Noire’

Stylist Magazine UK  called ‘Gentlemen’s Club a ‘mind-blowing’ erotic read

Escapology Reviews – ‘so hot it set the bathroom on fire and a Victorian fainting-fit fire crew had to hose me down’

Voracious Reader Reviews – ‘Have some type of cooling method handy when you sit down to read this… well-written, creative and hot’

Erotica for the Big Brain – ‘Emmanuelle de Maupassant brings a refreshing confidence to her writing. Her work has already begun to enrich the genre, and readers need look no further than “The Gentlemen’s Club” to  understand why.’

Twitter – ‘I could not go to sleep thinking about your book. I stayed up and read it cover to cover. The most erotic novel I recall reading.’ – Guillermo Tomas

Goodreads – ‘I don’t think that I have ever read a book quite as erotic as this one! AMAZING – I love every second!!!’ – Ashley S

Amazon US  – ‘A beautiful example of erotic literature – one that shows the genre to be capable of intelligence and elegance. Wonderful and truly impressive.’ – Malin James

Amazon UK – ‘A masterpiece of erotica: will broaden your sexual mind and sexual appetite. If you buy one book this year, make it this one. I am in great anticipation of the follow up.’ – Pauline

Amazon Canada – ‘This book. This book! It weaves a net about you, it draws you in. It has you shouting ‘yes, yes, yes,’ like Meg Ryan at the diner.’ – Julia Rist

 

The Gentlemen's Club - teaser

The Gentlemen’s Club is available across Amazon,  in print and e-book.

 

Ready for volume two?

Italian Sonata is now enrolled in Kindle Unlimited – and available across all Amazon sites.

Italian Sonata by Emmanuelle de Maupassant - gothic erotic romance

Towering above its island of wave-lashed rock is Castello di Scogliera.

Listen to the rise and fall of the sea, vast and inscrutable, and the cold murmur of the granite. Look up at the narrow windows, and you might think yourself watched.

Something, or someone, has been waiting for Lady McCaulay to arrive…

What dark secrets lie within those walls?

Madness, abduction, imprisonment… murder?

The past does not lie quietly.

Find ‘Italian Sonata’ here

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Author Influences : Donna George Storey

If you’re a fan of erotic fiction, you’re probably familiar with the incredible writing of Donna George Storey, where storytelling and scorchingly hot scenes combine in perfect harmony.

Donna tells us, “Ever since I can remember, I’ve loved the way a good story can transport me to another world, giving the magical sense of living another person’s life. I’d always been drawn to creating stories and characters of my own. I wrote a novella for my senior thesis in college, but then didn’t write creatively for another 14 years! In my mid-thirties, after a stint in academia and the birth of my first child, my urge to write creatively returned with a new intensity. I not only began to write with great passion, but began to read with a new eye and a new appreciation for the art and craft of storytelling.”

“Authors who impressed me at that time were women who had a confident and nuanced sensibility. Virginia Woolf’s To the Lighthouse amazed me for its keen insight into the magic of ordinary life and its effortless movement through the consciousness of  varied characters. Muriel Spark’s The Prime of Miss Jean Brodie and Mary McCarthy’s The Group inspired me with their sharp wit and clear vision of the female experience within a male-dominated society. Their sensibilities and voices drove me to do the same, to the best of my ability — to report on the truth of the female experience, seeing the humor and the beauty in our lives.”

“I found that my storytelling always turned to erotic themes, and felt ashamed to be writing “dirty stories.” Serendipitously, at that time I came upon a trio of inspiring books: The Mammoth Book of International Erotica, edited by Maxim Jakubowski; Best American Erotica 1997, edited by Susie Bright, and Diane di Prima’s Memoirs of a Beatnik. These books showed me that erotica can be intelligent, challenging and mind-expanding, exciting to the mind as well as to the libido. Di Prima’s contention that “there are as many kinds of kisses as there are people on the earth” and her brilliant description of several kissing styles still amazes and challenges me to capture the truth of the erotic experience in my own work. I must add, however, that it’s only the first two chapters of Memoirs of a Beatnik that I liked—the chapters about her affair with Ivan that had plenty of romance and emotion. After that, the book devolves into what it apparently was—stories written for the rent money for a pornographic press. The difference between the two sections was instructive to me. I adore sex stories with some sense of attraction beyond the physical, but am impatient with formulaic writing. Di Prima did actually have an affair with a man like Ivan. I’m not saying all writing is autobiographical in the strictest sense, but that section felt very real. That’s what I aspire to in my writing.”

“I think it’s a myth that writers are solitary geniuses who create their novels from nothing. For me, writing is more like a dialogue with authors who’ve come before, and those destined to come after. There are endless possibilities for the imagination, revealing the secrets of our inner lives. Storytelling is about connection, about expressing experience as freshly and vividly as I’m able, so that I can reach out to my readers, sharing what we rarely can in our ordinary lives. I feel connected to my favourite authors and often pick up their works to “prime the pump” when I’m writing. If I’m having trouble with my concluding sentence or first line, it helps me to read several first lines of good stories. I don’t copy, but I get in the mind-space of “good first line” and it really seems to help! Above all, the vision and humor of Mary McCarthy, Virginia Woolf, Diane di Prima and Muriel Spark encourage me to give the reader my best effort and not hold back. I feel I write better stories, especially erotic ones, when I remember this is not about me, this about us.”

On the subject of film, Donna views it as the ‘premier storytelling form of our age’, alongside television. “When my not-so-mainstream novel Amorous Woman was published, a lot of people asked when the movie version was coming out. Not that they were totally serious, but a movie adaptation is the mark of an “important” work of fiction. I’m impressed by the collaborative nature of making a movie; it’s not just one person’s vision. A successful film requires so many different levels of artistry and co-operation. That helps me appreciate how a published work also involves various levels of dedication—editing, publishing, marketing, reaching the reader. Also, I’ve found “how to write screenplays” books more helpful for my fiction than how-to’s aimed at fiction writers. Robert McKee’s Story is an equally useful guide to writing a good novel. The focus on the structure of the story is particularly helpful, as I can sometimes get lost in the words when I’m writing.”

Lauren Bacall in ‘To Have and Have Not’ (1944) 

Speaking of the treatment of sex in film, Donna laments that the heterosexual male gaze tends to dominate. “Many ‘sexy’ movies don’t reach me emotionally. In considering the ones that have, my list includes In the Mood for Love (2000), Raise the Red Lantern (1991), The Lover (1992) and the conversation in the hotel lounge between George Clooney and Jennifer Lopez in Out of Sight (1998). I’ll add the “You know how to whistle, Steve, don’t you?” scene from To Have and Have Not (1944). What do they have in common? The exploration of the erotic through sizzling words and suggestive images, keeping the viewer suspended in a state of possibility. Actual sex scenes can destroy that magic because they reduce the act to two particular actors, whereas the moments before are tinder to the imagination. What happens off-screen occurs in our own minds and is more exciting than what we see.”

She adds, “My stories are explicit, but these films helped me realize that the sexiest scenes involve the building of tension and desire. It might not be a coincidence that the majority of the films I’ve listed are made in Asia and/or have an Asian theme. Nuance and suggestion tend to be more appreciated in Asia. Out of Sight is pure Hollywood, but they got it right at least in that one scene!”

Donna is currently researching a historical novel set in New York City, in the 1910s. “To my surprise, I’m finding the most exciting source material to be paintings from that time, in particular the Ashcan School artists, and the work of John Sloan. Photography captures things ‘as they are’ (although we know photography is an art… just look at Alfred Stieglitz) while a more impressionistic mode of painting was well established by the early twentieth century. While we might think that photographs would be a better source, to gain a sense of life at the time, I’ve found most to be stiff and posed, due to technological limitations. They’re great for buildings and costume, but a little bit low on life energy. The Ashcan School artists, however, were trying to capture the vitality of the city on their canvases; I think they succeed where photographs of the time didn’t. Photographs express the sensibility of photography, but for this project, I’m really impressed by the way John Sloan can evoke a mood, an entire personality, and a time period in a few lines or strokes of paint.”

Roofs, Summer Night (1906) – John Sloan

Donna continues, “Another theme in John Sloan’s work is his inclusion of the erotic voyeur’s experience within the painting or drawing itself. Japanese pornographic prints of the Edo period often included a figure spying on the lovers, and I appreciate how this adds an element of spice to the scene—as if our own sexual arousal is reflected in the watching figure. I’m thinking of Roofs, Summer Night (1906) and Turning Out the Light (1905). Sloan chooses scenes we might easily observe as a city dweller in less wealthy parts of town. Roofs is set on the rooftop of an apartment building where residents would sleep to gain relief from the summer heat. A man eyes sleeping women in their shifts, enjoying the exposed flesh; there’s no getting around the erotic implications. We can feel the voyeur’s desire for another man’s wife, a hundred and ten years later.”

Turning Out the Light (1905) – John Sloan

Donna notes that Turning Out the Light fascinates her in representing exactly what she wishes to do in her own writing: ‘peek into the bedroom window of the early twentieth century’. “I love how the woman is so voluptuous and eager to proceed with the evening’s activities. I love the subtle way that the man’s anticipation is shown, in his confident posture, and in the look the two lovers exchange. It’s smouldering. That one image inspires me when I need a little juice to keep going with a long and complicated story!”

“Last year I saw a staging of John Patrick Shanley’s Doubt: A Parable. I’d seen the film (2008) several years before and really liked it, but the acting in this particular stage version was excellent, giving me a new understanding of the power of dialogue in advancing a story. I’ve long been aware that dialogue tends to be the most arousing element in an erotic story. I try to step back and listen to my characters speaking to each other, as if I’m watching a play. So, the theatrical experience is an important part of my writing.”

“I acted as I much as I could in high school and in college, becoming someone else for a while. I’m sure that spirit lingers in my creative life.”

Donna George Storey is the author of Amorous Woman and The Mammoth Book of Erotica Presents the Best of Donna George Storey 

Find her at www.DonnaGeorgeStorey.com

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Author Influences : Malin James

 

Malin began exploring erotic fiction about five years ago, with the first piece she ever wrote accepted by Rachel Kramer Bussel for The Big Book of Orgasms, published by Cleis Press. “I doubt I’d have stuck with the genre if Rachel hadn’t plucked it up,” Malin admits. “Writing it was kind17465824._UY446_SS446_ of a lark.”

Since then, Malin has created a wealth of captivating short-story fiction, often inspired by fairy tales, folklore and magical realism, exploring the themes of grief, isolation, alienation, connection, self-discovery, power dynamics and psychological expression through sex. She’s known for her originality, her powerful characterisation and her mastery of beautiful prose.

“Sharing my work with readers is a natural extension of writing. There’s a symbiotic relationship between the story and the reader. Without the reader, a story only gets a half-life, so submitting my work for publication has always been a natural part of 51M-N0h8tLL._SX315_BO1,204,203,200_the writing process,” Malin asserts. “As for what I’d like people to come away with…empathy I suppose. Or resonance. A sense of understanding — feeling understood and, more importantly, gaining an understanding of situations or people who may fall outside their realm of personal experience. My stories should feel like slices of other people’s lives that the reader can experience in some way.”

“The authors who inspire me — Angela Carter, AffinitySarah Waters, Jeanette Winterson, Anais Nin — explore what it is to live, love, hate, and hurt, and they do so beautifully (and arousingly) with sex. They’re an intersection between the literary and erotic,” asserts Malin. “Their exploration of sexual themes occurs with fearlessness and frankness; it’s the lack of implied apology that appeals most to me.”

driversseatShe adds, “The Magic Toyshop and The Bloody Chamber, by Angela Carter, have made me aware of my sexuality in a much more complicated way, while Muriel Spark’s The Driver’s Seat has opened my eyes to my own lack of sentimentality, just as Affinity, by Sarah Waters, has made me aware of how deeply my empathy runs. Angela Carter’s emphasis on sexuality as mundane, profane 81026and transcendent has definitely influenced my storytelling. Muriel Spark’s work has given me permission to be unflinching and unapologetic with my characters, and Sarah Waters has taught me to pay attention to physical and emotional details, which are often more telling than paragraphs of exposition.”

Malin trained as a ballet dancer with the San Francisco Ballet until she was 18 before moving into NYU’s acting program at Tisch School of the Arts and, later, to San Francisco’s American Conservatory Theatre. In her mid-twenties, she began to concentrate her energies on writing. Malin double majored in acting and English, and has a Master’s degree in Comparative Literature (focusing on the medieval period in Spain, France and CretienEngland). She underlines, “My acting training (as well as the critical training I received during my MA) directly influences my writing in many subtle ways: particularly in how I approach characters and the circumstances that inform the narrative arc. I think of writing in terms of lenses and angles—sex is, very often the lens, but the angle is determined by influences, from things I’ve done and read.”

Malin tells us, “My fascination with form and narrative and, most notably, character is grounded in plays and staging.” She particularly notes Fool for Love, by Sam Shepard, for its ‘sparseness, violence and emotional interiority’. The play directly inspired some of the stories in Roadhouse Blues, Malin’s newly released short fiction anthology, event_venus_in_furpublished by Go Deeper Press. Malin also names David Ives’ Venus in Fur, for its ‘cleverly subversive viciousness’ and Prelude to a Kiss, for its ‘use of magical realism to examine a woman’s fear of death’.

“The SF Ballet’s production of Prokofiev’s Cinderella also touched me deeply,” Malin adds. “The Russian composers who drew from myth, legend and fairy tales have influenced me most: Tchaikovsky, Prokofiev and Stravinsky’s ballets have taught me about pacing and the need for emotional hooks.”

Malin admits that, in watching films, she tends to pay more attention to the actorsRita-Hayworth-Gilda-Poster than plot. She names The English Patient, Bram Stoker’s Dracula (directed Francis Ford Coppola) and Gilda (starring Rita Hayworth) as influential films for her writing, as well as Hitchcock’s Rear Window, Shadow of a Doubt and Vertigo. “While they’re all very different, there’s something compelling in their emotional landscape: a tension and melancholic tragedy. That said, one of my favorite movies of all time is Clue; I love the ridiculous humor of it.”

Edward Hopper Summer Evening
Edward Hopper’s Summer Evening

Art is another important influence for Malin. She explains, “Often, a story will start as a central image and evolve from there. Edward Hopper’s paintings are a massive inspiration. All of them: his nudes, landscapes, and slices of observed life. His work has a human element and a loneliness that’s prompted much of my work, directly and subconsciously. Hopper is all over my Roadhouse Blues.

by nicolas laborie - malin james
Malin James, photographed by Nicolas Laborie

Malin is also a fan of Ansel Adams, Jack Vettriano and Jeanloup Sieff and the photography by Nicolas Laborie, Marc Legrange and Marco Sanges, as well as the wonderful studio portraits of Golden Era Hollywood.

Often listening to classical and jazz while writing, Malin says that it encourages her stream of thought. “Debussy’s Claire de Lune, Andras Schiff performing Bach’s Goldberg Variations, and Kind of Blue, by Miles Davis, are the aural equivalent of meditation,” Malin explains, adding, “I love early Tom Waits. Oh, my god, do I love early Tom Waits. And electroswing. like Caravan Palace, and regular swing, as performed by Duke Ellington and Ella Fitzgerald. I also love Billy Holiday and Nina Simone, and Medieval choral music (like the Tallis Scholars). Really, I’m all over the map.”

About Malin James

malin james by nicolas laborie
Malin James, photographed by Nicolas Laborie

“I’m fairly boring in real life,” Malin jokes. “I love to knit and bake and do all introverted things with wild abandon. This restores my mental and emotional energy, for my work. I live with my husband and daughter, who are the loves of my life, as well as two lovely, meddling cats and many, many, many overflowing bookshelves. Outside of writing, I love to read. I would happily spend my life in books.”

Malin’s short stories have appeared in numerous anthologies for Cleis Press, including Best Women’s Erotica 2015 edited by Violet Blue. Her work has been narrated by Rose Caraway for The Kiss Me Quick’s Erotica podcast, as well as for anthologies for her Roadhouse Blues by Malin James jpgcompany, Stupid Fish, including the #8Authors project, Libidinous Zombie. The Master, her fencing novella, came out with Sweetmeats Press in an anthology called The Athletic Aesthetic. She has recently released her collection of linked short stories, Roadhouse Blues, with Go Deeper Press. Read my review (with commentary from Malin) here.

Find Malin at www.malinjames.com

Twitter: @MalinMJames

Facebook: Malin James

and on Go Deeper Press: www.godeeperpress.com

Italian Sonata – the past does not lie quietly

Gothic chills, secrets and intrigue!  

Italian Sonata by Emmanuelle de Maupassant

‘Italian Sonata’ is available for sale from Amazon

(and is free with Kindle Unlimited)

20067544_10211815004044328_703262602_n

Towering above its island of wave-lashed rock is Castello di Scogliera.

Listen to the rise and fall of the sea, vast and inscrutable, and the cold murmur of the granite. Look up at the narrow windows, and you might think yourself watched.

Something, or someone, has been waiting for Lady McCaulay to arrive…

What dark secrets lie within those walls?

Madness, abduction, imprisonment… murder?

The past does not lie quietly.

DSC_3141

A sumptuous Gothic Romance, filled with mystery, intrigue, and the lure of the sensuous.

Italian Sonata is the second volume in the Noire trilogy. 

Purchase here

‘Italian Sonata’ is the sequel to ‘The Gentlemen’s Club‘ 

 

 

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Roadhouse Blues, by Malin James: a review

Roadhouse Blues isn’t just an outstanding collection of erotic shorts, it’s one of the most impactful, heartwarming books I’ve read, in any genre. The residents of Malin James’ fictional town of Styx, in the American South, are vividly alive, their voices as real as our own.

Malin isn’t afraid to explore taboos: our desire for what we know is ‘wrong’, for violence as well as softness. And, she shows how grief and violence mark us – that we bear scars on the inside, as well as those visible on our skin.

Her characters’ dialogue flows seamlessly, revealing to us their inner struggle and their hopes. Malin reminds us that our sexuality is woven through our identity, and that, without it, our stories cannot be fully told.

Contradictions are at the heart of this storytelling, showing that many of the things we yearn for have the power to damage us. Malin shows us the bittersweet and the beautiful, as in Marlboro Man. Her stories have humour, and they’re hot as hell; I adored Down and Dirty, and Krystal’s Revenge Fuck. I love every inch of this collection.

Roadhouse Blues by Malin James jpgWhen authors move us, it’s because they reveal to us our own truths. They show us the best and worst of humanity: our jealousy and possessiveness, as well as our capability for love. In Roadhouse Blues, Malin James explores what we fear and what we desire. She brings us all this, and more.

Malin tells us that her stories always revolve around her characters. “Some, like Mick in Roadhouse Blues and Sarah in Love in the Time of War were inspired by specific people I happened to see walking down the street,” she explains. “Most of the rest are amalgams that pulled themselves together in my subconscious. I’ve always been a people watcher—I’d much rather observe than be the center of the action (I’m a serious introvert). People are endlessly fascinating to me, and observing people first hand kicks up a strong kind of empathy.”

“It sounds really boring, but most of my ideas come when I’m alone and very quiet. I get a lot of nudges when I’m running, or meditating, or awake late at night (insomnia). They usually come in the form of characters or questions, though images prompt them too. If I’m engaged in too much externally, they flutter away, but if I’m very, very quiet, they stay long enough for me to touch them, and then the story goes from there.”

“Saying that, I listened to a lot of early jazz and blues when I was writing the collection. More generally, I tend to go with Bach and medieval choral music, though Miles Davis is a mainstay too. Unless I’m editing. When I’m editing, I do best when there’s nothing but quiet so I can hear the rhythms in the words.”  Meanwhile, Malin drinks huge amounts of tea, which she finds helps her to concentrate. “Not the caffeine per se, more the having of it.”

As to her favourite characters from the collection, Malin loves Maybelline, from Marlboro Man. “Temperamentally, she’s deeply self-contained, but also emotionally vulnerable, in a way that breaks my heart a little. She was one character that came to me almost fully formed. I also love Krystal from Krystal’s Revenge Fuck. I’m not sure I’d ever actually want to hang out with her because wow, she’s a handful, but her intensity and sheer engagement in life are incredible. She was so much fun to write. So. Much. Fun. And Sam, from Good Love. I’ve gotten very attached to Sam. She’s so strong, and resilient, and healthy, and caring. I suspect she and I will see each other again at some point.”

Good Love, without a doubt, was the hardest to write. The recovery aspects were very, very hard and came from a deeply personal (and yet hopeful) place. There were a number of knife edges I had to walk, not least of which was the process of my own recovery from trauma. The Waitress was difficult too. In fact, it wasn’t clear to me where the center of the story lay until the very last couple of drafts. Vanessa’s healing came very close to mirroring my own, and I danced around that for a long time without getting too close. They both challenged me in a cathartic way. Writing them was hard but I’m very glad I did it.”

“I learned about sex from books. Anne Rice, Ian McEwan, Jeanette Winterson, Sarah Waters, Anais Nin and, most pivotally, Angela Carter. These authors introduced me to something new – deeply personal narratives that knowingly walked the line between the mundane and profane. They were my  first introduction to the relationship between sexuality and the psyche – between sex and the self – and it’s that relationship that I keep coming back to again and again.  That is what fascinates me – how people relate to each other, and themselves. Sex can be joyful, painful, wholesome, filthy, simple or profound. If people are the subject, then sex is the lens.”

As to what’s next for Malin, she says, “Something different, I think. Though I’m honestly not sure. I put so much into Roadhouse Blues that I haven’t been able to see past it yet. I’ll probably give myself a little quiet time and space. Whatever comes to me out of that quiet, is the thread I’ll end up following.”

Malin James Roadhouse Blues erotic fiction short stories

Welcome to Styx—a blue-collar, American town where people can do whatever they like, so long as they don’t advertise. From a 1950s diner to the back of a rocking Camaro, the stories in Roadhouse Blues reveal sex that is by turns romantic, raw, triumphant, and desperate. Meet two women grieving the same man, a bartender looking for anything but love, and a hot, brash newlywed who knows she married a cheat. The local garage is run by a kick-ass woman who gives as fierce as she gets, and the strip club is a place full of whiskey and smoke, where memories are exposed as easily as skin.

Malin James is an essayist, blogger, and short story writer. Her work has appeared in Malin JamesElectric Literature, Bust, MUTHA, Queen Mob’s Tea House and Medium, as well as in podcasts and anthologies for Cleis Press, Sweetmeats Press and Stupid Fish Productions. Her first collection, Roadhouse Blues, is published with Go Deeper Press.

Purchase your copy here

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Author Influences : Tabitha Rayne

 

Tabitha Rayne lives with three two-eyed cats and one single-eyed cat, in the country, where she has the joy and heartbreak of rescuing injured animals. She feels certain that, if more people read erotica, they’d ‘reach out to their fellow humans more readily and world peace would ensue…’ #EroticaForWorldPeace

She declares, “My main motivation for writing erotica is to turn my readers on, and make them feel good about that. I also love to explore the inner workings of my characters, by bringing in their sexual and sensual experience. They usually have an obstacle to overcome (like the world dying around them, or a sudden, life-changing injury). It’s their intimate, inner world which drives my work. My writing doesn’t always end in sex or climax, but I like to think it’s always erotically charged. Hooray for erotica! I think it can be overlooked in terms of exploring the human psyche.”

Tabitha adds, mischievously, “It’s not all about the fucking…  though of course, it can be…”

Music is a huge influence in Tabitha’s work. She reveals, “If I want to feel horny, to get in the mood for a big fuck scene, I put on Whole Lotta Love by Led Zepplin. God, that is a sexy song. Honestly, I could go on for hours about music. I go to see bands and concerts a lot and get so fired up. No musical genre is excluded, from country to classical, rap to rock, folk to jazz, dubstep and drum n bass – I love it all.”

“If I ever need to be transported I listen to Chopin’s Valse 64 ,” Tabitha adds. “Then there’s the dark sublime grind of Be Your Dog, by the Stooges; this gets me growling with energy and desire. Music gets me so high. Really, I can hardly bear it. I go for music that grabs me and keeps me pinned – so much so that I panic if someone wants to have a conversation while the track is playing. Led Zepplin, Peaches, Aphrodite, The White Stripes, Handel, Mozart’s  Queen of the Night – from The Magic Flute… chills!”

“I played The Wolf And I, by Oh Land, over and over while writing a werewolf shifter story situated in the animal section of the museum. It was a very visceral story, strongly featuring scent and sound.”

Dance, too, has shaped Tabitha’s writing. “I adore watching rhythmic gymnastics – and ice dancing,” she explains. “I’m absolutely in awe of what humans can do with their bodies. It thrills me – absolutely thrills me – I sometimes pirouette around my garden, as if I’m a ballerina. I’m delighted by the aesthetic of the body being put through physical paces. In my stories, I often refer to the sinews and muscles moving beneath skin. The flutter of a vein, the rise of the chest. The poise of a pointed toe.”

“I saw Mathew Bourne’s version of Swan Lake. It utterly blew me away – it was so raunchy and sexual – beautiful and raw. The males as the swans really brought out a darker, more vicious, side which was delicious.”

Game On by Jack Vettriano

Tabitha’s writing has also been inspired by her love of Surrealism, especially Dali. “I get quite emotional when standing in front of an original painting,” she admits. “I love the sensuality that comes from the power of one artist and a brush. I’m obsessed by the artist/muse dynamic too. It’s a theme I explore over and over. I love the way art can capture a moment in time – especially if that’s a sexual moment, such as Game On, by Jack Vettriano. It makes me think of the electric atmosphere between artist and muse. I wrote The Conference as an exploration of this idea. I met the artist once, and tried to woo an invitation to becoming one of his models… to no avail. I also love Egon Shiele – oh there’s too many! Mucha – oh Mucha drives me wild too.”

One of Tabitha’s favourite films is Wild At Heart, by David Lynch. “I love the energy, passion and sleaze of it. It’s gloriously odd and earthy and sexual – and Nick Cage and Laura Dern are fucking hot. I love how Lynch makes you aroused and disgusted in the same moment. The need to add repulsion and, at times, shame into my work, perhaps that came as a result of watching films like this.”

Tabitha names the film Secretary as an influence on her BDSM stories, saying, “Seeing it portrayed so beautifully on screen was wonderful; it made me feel more comfortable about writing those stories. My work often delves into emotional trauma or mental health issues and how sex (and exploring your sexuality) can help.”

Speaking of her literary influences, Tabitha tells us, “Toni Morrison changed me. She was the first writer, for me, to have sensuality woven throughout every sentence – making it a rich part of her work, rather than a separate thing. In my own writing, I try to keep all things sensual. Not just when I’m writing a sex scene. I like the whole piece to have an air of arousal, of something impending.”

A lover of poetry, Tabitha expounds on Edwin Morgan’s beautiful verse. “It’s so sensual – shockingly so at times. His poem, Strawberries, has me gasping. Finding eroticism in daily things delights me.”

An extract from Tabitha’s The Gamesman

She watched as he kept lifting up logs to split and throwing them onto the pile to his left. His limbs swung in that cocksure way of a person at ease in his own physicality. Beautifully lubricated joints working in perfect unity with the muscles and bones surrounding them. The flex and glide of flesh beneath clothing and muscle beneath flesh. She was actually salivating as her eyes skated across his torso, then his ass, taking in the shape of his peachy cheeks, oh how she’d love to run her hands round and down into the waistband, and cup those perfect globes, feeling for the dip at his hip when he thrusted.

He flung a split piece of log but instead of picking up another straight away, he turned and caught her staring once more.

“Like what you see eh, lassie?”

Taken from British Bad Boys – a boxed set of stories written by bestselling and award-winning British romance authors. No one knows British bad boys better than they do!

Purchase here

About Tabitha Rayne

Tabitha Rayne has been told she is quirky, lovely and kinky – not necessarily in that order or by the same person. She writes erotic romance and as long as there’s a love scene, she’ll explore any genre. She also has a passion for painting nudes.

Tabitha is the designer of Ruby Glow – pleasure for the seated lady, a hands-free sex toy made by Rocks Off. Her Ruby Glow was nominated as ‘Most Innovative New Product’ by Erotic Trade Only, last year, and came second in Good Housekeeping magazine’s Annual Vibrator Reviews.

She has also drawn up plans for a perpetual energy machine using inverted pendulums, and is in the process of designing a hamster wheel: ‘it will be better for their little backs and smoother, for less nocturnal noise annoyance… yes, I have a noisy hamster’.

Tabitha’s novels are with Beachwalk Press and her short stories are included in anthologies from Harper Collins Mischief, Cleis Press, Stormy Nights, Totally Bound, Xcite, Oysters & Chocolate, Ravenous Romance, Burning Books Press, Velvet Books and House of Erotica.

In 2016, Tabitha was named ‘best erotic author’ by Erotic Trade Only, and is a nominee again this year. Last year, she also won the ‘EuphOff’ – a marvellous competition to award parody erotica. In 2015 and 2016, she was named among the Top 100 sex bloggers, by Molly Moore.

Find a full list of Tabitha’s books  here  – including Her Stern Gentleman – a 1950s romp, set on a cruise liner.

Read more from Tabitha at www.TabithaRayne.com and www.thebritbabes.co.uk

Follow her:

on TwitterGoogle + or Facebook

To find out more about the Ruby Glow, click here

Author Influences : Terrance Aldon Shaw

Terrance Aldon Shaw (TAS to his friends) has written more than 70 erotic short stories, 10001405_268601389969496_1314269374_nand is currently at work on a novel The Seven Seductions. His work explores the thoughts, feelings and emotions that accompany the erotic experience.

Having worked as a musician for much of his adult life, eking out a modest living as a singer and a classical composer, TAS stresses that music has been the primary influence on his writing: not just his love for classical works and grand opera but classical-influenced jazz and 70s rock, folk, bluegrass and country, hip hop and rap.

TAS asserts, “There’s nothing that equals the power of music to express emotion, to evoke atmosphere, and establish mood. This is why a film without a score often seems to fall short of its potential, lacking the full measure of visceral impact—just compare the scene in Jaws where the shark attacks the boat, first without John Williams’ music in the background, then with it. Whether conjuring a sense of existential anxiety and dramatic tension, desolation or euphoria, claustrophobic horror or the sublime vastness of space, nothing comes close to music.”

Comparing musical composition with that of writing, TAS underlines, “You have to be able to discern structure. Melody, harmony, and rhythm have to be coordinated to form a coherent statement. When I sit down to write, I consider the musical quality of the words, the prose-melodies that are created by the artful combination of words and phrases gradually built up into the literary equivalent of a symphony (that word, by the way, means ‘sounding together’). The way writing sounds when read aloud is important; if it doesn’t flow, if it doesn’t reach out and tickle the reader’s ear—if it doesn’t make music—it’s not ready to publish.”

Terrance Aldon Shaw Moon-Haunted heart quote 2

As to how we make music with words, TAS advises varying the length of our phrases, never letting rhythms become too predictable, and avoiding repeated syntactical patterns. He emphasizes, “Understand that each word (or each note) carries its own innate energy, like a charged particle. If you arrange words carelessly, putting similar words too close together you drain them of their emotive power.  Finally—and this is quite important, I think—don’t always play your music in the same key. Vary the mood and pace—especially in multi-chaptered works. Occasionally, dark clouds need to roll in and, sometimes, the sun needs to break through the dark clouds, if only long enough to keep the reader interested.”

He adds, “Great music has a sense of flow, an inevitable logic, leaving the impression that every constituent element is perfectly coordinated with every other. In the great operas of Wagner, particularly Die Walküre and Siegfried from Der Ring des Niebelungen, the music never seems to pause. I want that quality of sensuousness—that inevitable sense of flow—to permeate my prose and animate my storytelling .You can’t be a great composer if you only grasp what’s on the surface. You have to appreciate the way disparate elements come together. You have to see it all from the inside.”

Terrance Aldon Shaw Moon-Haunted heart quote 1

TAS is profoundly near-sighted, which perhaps explains his desire to evoke sensory detail. As he comments, “When you’re a storyteller, everything you see and hear and touch has its own story.”

Nevertheless, he has a love of photography, sculpture and painting, and these have influenced some of his stories directly. In Night Vision, based on his own experience, the near-sighted narrator takes off his glasses and sees a jazz ensemble ‘reduced to its essential shapeless elements of light and colour’. As TAS explains, this gave him sudden appreciation of the nature of abstract art. He names ‘the intriguingly distorted figures set in the bleak urban landscape of Di Chirico’s The Disquieting Muses’ as an influence and Jackson Pollack’s Mural, which he believes ‘evokes its own strange multi-verse of fractal layers, like grains of sand under a powerful microscope’. As he notes wryly, “If you can’t find a story prompt there, you’re not looking.”

TAS points out that theatrical and cinematic works ‘all begin with the written word’. He comments, “I’m attracted to the same qualities in film that I find irresistible in books; an evocative sense of atmosphere, and sharp narrative focus (look at Alfonso Cuaron’s Children of Men based on the P.D. James sci-fi novel, or Kathryn Bigelow’s dystopian masterpiece, Strange Days with its seamless tracking shots and breathtaking leaps into the realm of virtual reality). I also appreciate intelligent storytelling that does not patronize the viewer with obvious ‘set-up’ dialogue or linger on superfluous detail: I am reminded of those long stretches of silence in the films of Alfred Hitchcock, so richly detailed—a perfect example of showing as opposed to telling. And then there’s that wonderful Pixar animated film Wall-E, where the poignance of the story is heightened by the lonesome stillness of an abandoned earth.”

He adds, “I also adore movies that engage my playful side (Charlie Chaplain’s City Lights and Modern Times, The Marx Brothers A Night at the Opera and A Day at the Races, Kevin Smith’s Dogma, Monty Python’s Life of Brian, and absolutely anything by Mel Brooks. And . . . and . . . and!  I LOVE Joss Whedon’s stuff for its intelligent ‘meta’ storytelling, its wisecracking archetypes, and its cheeky—very intentional—employment of bathos. These are all things I aspire to in my writing. Effective scene-setting through the evocation of atmosphere, an unblinking eye for crucial detail, and an uncompromising demand for clarity of narrative.”

He also muses, “I’m moved by great dancing in the movies and I admire those who can dance well—their gracefulness is just so often a mystery to me, I can’t help but be dazzled even as I’m sad that I can’t join in with them. In my writing, I often refer to dance, employing it as a metaphor, sometimes citing the techniques, or the physical characteristics associated with dancers.”

Terrance Aldon Shaw Moon-Haunted heart quote 3

TAS asserts that he ‘categorically rejects magical thinking and superstition’, yet admits that tales of fantasy and magic have deeply influenced his own storytelling. Beyond early influences of fairy tales and myths, Shakespeare and the Hebrew Bible, he is drawn to ‘sweeping, mythic, quasi-poetic narratives’: Stephen King’s Gunslinger, and William M. Miller’s Canticle for Liebowitz (which he callsprobably one of the greatest sci-fi novels ever written, and certainly a great work of humanist fiction’).

TAS tells us, “Angela Carter’s Bloody Chamber blew my mind apart and put it back together in the same revelatory instant—such beautiful, daring language! Reading Anais Nin is like soaring across the astral plains and never wanting to come down again. Imagica, by Clive Barker, is a creepy, atmospheric tour de force, while Philip Pullman’s His Dark Materials trilogy is powerfully thought-provoking, exploring the conflict between faith and science, politics, and sex. What all these books have in common is that they’re intelligently conceived, elegantly written, evocative, colorful, always—always!—feeding the reader’s intellect while stimulating the imagination. That’s the kind of book I love to read—and certainly the kind of book I want to write.”

Other books that have stayed with him are The Engineer of Human Souls by Czech author Josef Skvorevski, which he calls ‘a tragi-comic masterpiece of sex, politics and academia as seen through the bemused eye of a cynical college-English professor and political refugee’. TAS notes that Somerset Maugham’s Of Human Bondage, ‘with its deeply sympathetic yet relentlessly unblinking descriptions of suffering’ has influenced not only his writing, but his life.

Unsurprisingly, given his musical ear, TAS also has a love of poetry. He explains, “I came to deeply appreciate poetry through my interest in classical music, and the masterful settings of the great poets by modern composers, like Benjamin Britten and Ned Rorem. When I heard a setting of a poem that affected me, I went out and bought everything I could find by that poet, looking for things that I, too, could set to my own music: everything from medieval lyric fragments, Chaucer and Shakesperare’s sonnets, to Blake, Keats, Shelly, Wordsworth, Coleridge and Tennyson, to Walt Whitmann, Emily Dickinson, W.B. Yeats, Wilfred Owen, Vachel Lindsay, Ezra Pound, T.S. Eliot, e.e. cummings, Sylvia Plath, W.H. Auden, Robert Frost, and Pablo Neruda in translation.”

He continues, “Poetry has taught me the importance of being concise and a sense of rhythm. I loved poetry long before I became serious about writing prose.”

In his writing, TAS gives us all that is ‘distilled within that secret place where love and madness meet’. He tells of what might have been; tales not only of mortality and desire, but of nostalgia, regret, isolation, loneliness and longing, lost inspiration and the search for one’s place in the cosmic scheme of things. These aspects he surveys through the lens of the erotic, inviting us to scrutinize ourselves as sexual beings: naked, vulnerable, passionate, longing. Only in so doing can we know ourselves.

As Mr. Shaw declares, writers ‘live in hope that what they write will have meaning, though it is almost always left to readers to find it’.

 

Works by the author

Terrance Aldon Shaw’s Moon-Haunted Heart comprises fifty short pieces, exploring the The Moon-Haunted Heart (print cover image) 4 - Copy (4)human condition through the lens of the erotic. See my review here.

Eight Erotic Tales print (front) cover 1Another of his short story collections is Take Me Like the World Ends at Midnight. As TAS tells us, “They say forbidden fruit is always the sweetest. These eight short stories are about the thrill of the unexpected; a handsome stranger’s touch in a dark theater, a night of passion with the most unlikely of mystery men; the sheer adrenaline rush of sudden contact; the silent promise of ecstasy.”

 

About the author

Terrance Aldon Shaw (TAS to his friends) lives in a 167-year-old farmhouse in the heart of southeast Iowa’s Amish country. His neighbours do not know what he does for a living. (Sometimes, he’s not quite certain himself.)

 Find Mr. Shaw’s reviews, musings on the craft of writing and short stories on his site: Erotica for the Big Brain

Find him also:

On Smashwords 

On Amazon

On Facebook

On Goodreads

 

Author Influences : Krissy Kneen

krissy kneen author uncertain grace  

Today, I welcome Krissy Kneen. Although now focusing on fiction writing, she has previously written for theatre, for film and for television, and has directed documentaries. Inventive and provocative, she’s written across a range of genres, including erotica, science fiction, horror, memoir, and poetry.

Interested early on in Theatre of the Absurd, she tells us that ‘the obsession morphed into my love of surrealist novels’.

An enduring theme in her work is ‘coming to terms with being an outsider, finding a voice, finding other outsiders, and forming community at the margins’. Krissy explains, “In everything I write, there’s a longing for family and community. People say we only ever have one story to tell and that we tell it over and over in different ways. I really believe this is true. My latest novel, An Uncertain Grace is no exception.”

Badlands remains her favourite film, delving our quest for connection, and alienation from family. She comments, “It does so in such a poetic, minimalist way. I used to watch that movie over and over, and look at it structurally, and try to replicate that structure in my early novels.”

Speaking of her intent, she asserts, “I want a conversation with readers. I want to pose questions and then I want readers to go away and think of answers. This is how I interact with books I read and I love to share that process with others. I don’t have any answers because there are no fixed truths. All I ask of a reader is that they actively participate in the process. I want my book to be a different book to every reader.”

Screen Shot 2017-03-10 at 11.49.23Krissy explains that her love of literature began when her grandmother would pay her 20c for reading and reviewing books. She adds, “I moved on from stories about mice to Moomintroll, and by the time I hit Ray Bradbury I no longer needed the money. The books themselves became the reward. I started to write because books like R is for Rocket and S is for Space by Bradbury left so much space for me as a reader that I needed to add to the dialogue.”

Speaking of other authors’ influence on her writing, Krissy explains, “There are certain books that feel like they’ve unlocked something in my brain and I can feel more space freeing up. This is the most exciting thing for me. I felt it when I read Ray Bradbury as a child and that set me on the path to becoming a writer. Bradbury made me pick up the pen for the first time in a serious way. Before reading The Golden Apples of the Sun, I was dabbling, drawing my own picture books and writing little adventures, but Bradbury challenged me to be serious about the work. I was young but I was ready to be challenged.”

The graphic novel Jimmy Corrigan, by Chris Ware, changed the way Krissy looked at the world, as did Here, by Richard McGuire. Most particularly, she is compelled by their use of nonlinear narrative. She asserts, “This was a revelation for me. I’ve felt the same thing reading Michael Ondaatje, who does amazing things with sentences. Anne Carson unlocked a new space in my brain with her poetry. Similarly, Maggie Nelson melted my brain with Bluets.”

Krissy is inspired by the way poets and graphic novelists play with form, ‘challenging what we think we’re doing as writers and making us want to engage with new forms of storytelling’.

Speaking of Lidia Yuknavitch, she tells us, “When I read The Small Backs of Children, things changed again. I felt her work physically, as if her words were pushing me, challenging me, encouraging me to fight back. She’s made me interested in writing my relationship to my family history, and has shown me new ways to approach the material. I feel challenged to start looking at genetics and family.”

krissy Kneen TriptychIt comes as no surprise that art has inspired Krissy’s work. Her family are visual artists and, as well as designing the sets for a couple of theatre shows in her youth, she enjoyed her own art exhibition. Her Triptych comprises three conjoined novellas, each named after, and referencing, well-known paintings: The Dream of the Fisherman’s Wife, by Katsushika Hokusai; Susanna and the Elders, by Artemesia Gentileshi, and Romulus and Remus, by Peter Paul Rubens. Krissy stresses, “I can’t seem to write anything without the inspiration of the visual arts.” An Uncertain Grace is inspired by a photo created by Sebastio Salgado, which holds a central position in her narrative.

Krissy’s latest release, An Uncertain Grace, is a novel in five parts, about who we are—our krissy kneen author interview uncertain gracebest and worst selves, our innermost selves—and who we might become.

Some time in the near future, university lecturer Caspar receives a gift from a former student called Liv: a memory stick containing a virtual narrative. Hooked up to a virtual reality bodysuit, he becomes immersed in the experience of their past sexual relationship. But this time it is her experience. What was for him an erotic interlude, resonant with the thrill of seduction, was very different for her—and when he has lived it, he will understand how.

Later…

A convicted paedophile recruited to Liv’s experiment in collective consciousness discovers a way to escape from his own desolation.

A synthetic boy, designed by Liv’s team to ‘love’ men who desire adolescents, begins to question the terms of his existence.

L, in transition to a state beyond gender, befriends Liv, in transition to a state beyond age.

Liv herself has finally transcended the corporeal—but there is still the problem of love.

 

Purchase from

Amazon UK

Amazon Australia

Text Publishing

 

About Krissy Kneen

Krissy has six books in publication (with Text Publishing and UQP) and a number of short stories and personal essays published in anthologies, newspapers and journals. Three documentaries written and directed by Krissy have been screened on SBS and ABC TV.

She tells us, “I’ve always gravitated towards work in the arts although I often threaten to quit my job and retrain as an astro-physicist. I may only be partially joking. For relaxation, I paint and experiment with symbiotic cultures of bacteria and yeast in fermented food experiments, most of which are deliciously successful. I am owned and operated by Heathcliff, the neighbourhood cat, who has adopted me and puts me to work as an inconvenient lap and an open-all-hours cat-restaurant. Bi-sexual by nature, I’m lucky enough to have captured and held on to the nicest and most attractive man in the world.”

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Find Krissy at 

https://www.textpublishing.com.au/authors/krissykneen

www.krissykneen.com

www.furiousvaginas.com 

 

Chatting with Janine Ashbless : Angels and Dragons

I’m so excited to be hosting Janine Ashbless today, introducing the second in her Book of IBotE coverthe Watchers trilogy: In Bonds of the Earth. It’s a thought-provoking and immersive novel, setting new standards for paranormal erotic romance.  Janine’s authorial style is unforgettable. She likes to write about magic, myth and mystery, dangerous power dynamics, borderline terror, and the not-quite-human. She takes exciting risks in her storytelling; she’s innovative, and she brings fierce intelligence to all she writes. 

Cleis Press released the first in Janine’s series, Cover Him With Darkness, in 2014, to  outstanding reviews. In Bonds of the Earth is published by Sinful Press and has just been launched.

What do serpents, or dragons, have to do with the angels who fell from God’s grace? Read on…

Screen Shot 2017-03-06 at 13.32.38“Stretching up into the great vertical space of the tower, they had become a living helix of light—a caduceus coiled about the pillar of the world. I thought of all the legends from across the Earth. I thought of the Garden of Eden and the Great Dragon of Saint John’s Revelation; stories bookending the whole of human history.

Oh dear God—was this what they looked like before they took human shape? Giant golden serpents? Winged snakes? Is this what angels are?” – In Bonds of the Earth

Janine tells us, “This is a little story about folklore and wonderful writers’ serendipity—the kind of thing that makes my heart sing, as a confirmed pantser.

I’m writing a trilogy of novels about fallen angels. In the first, Cover Him with Darkness, my heroine Milja releases the damned Azazel from his five-thousand year imprisonment, and I mention in passing that the angels only took human form in Genesis/prehistory, when they acquired mortal women as lovers (thus incurring heavenly wrath, the Flood and so on).

What did these angels look like (if anything) before they became human, then? Well, the answer is in the ancient Hebrew texts, if you dig down. The very word “Seraphim” means “the burning ones” and the word is used in the Old Testament to denote both angelic beings and poisonous serpents. In the Book of Enoch it’s interchangeable with the word for dragon.

Seraphim were, according to Shinan and Zakovitch, originally envisaged as winged snakes Screen Shot 2017-03-06 at 13.32.51with hands (remember that the Serpent of Eden is punished by being made to crawl in the dust, strongly suggested that it previously had other forms of locomotion).

So I went happily with that when filling in the details in the second book of my trilogy: In Bonds of the Earth. Now, my heroine Milja happens to be of Serbian ethnic origin, so I thought I’d have a poke round in Balkan folklore to find any specifically Serbian dragon lore.

And I came rapidly across the word zmaj (or zmey).

Zmaj are benevolent dragons with ram-like heads and winged, serpentine bodies, who protect the crops from the evil demons causing bad weather. Their blood is poisonous. They can change form and take on human aspect, and in this shape their obsessive interest is in getting into bed with human women. In fact, when thunderstorms threatened, Serbian peasants would go round the village and ritually chase the dragons away from young women in order to make them get on with their proper job!

Sons born of a Zmaj father and human mother are zmajeviti with shamanic spirit-walking powers. Many Slavic heroes both legendary and historical claimed descent from dragons.

These similarities with the fallen angels of Hebrew mythology, are—I assume—entirely coincidental. But they made me very excited and very happy! There’s an angel-child in my book and Milja knows just what to think. It all helps in adding depth to the story and to my characters.”

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More about the story

When Milja Petak released the fallen angel Azazel from five thousand years of imprisonment, she did it out of love and pity. She found herself in a passionate sexual relationship beyond her imagining and control – the beloved plaything of a dark and furious demon who takes what he wants, when he wants, and submits to no restraint. But what she hasn’t bargained on is being drawn into his plan to free all his incarcerated brothers and wage a war against the Powers of Heaven.

As Azazel drags Milja across the globe in search of his fellow rebel angels, Milja fights to hold her own in a situation where every decision has dire consequences. Pursued by the loyal Archangels, she is forced to make alliances with those she cannot trust: the mysterious Roshana Veisi, who has designs of her own upon Azazel; and Egan Kansky, special forces agent of the Vatican – the man who once saved then betrayed her, who loves her, and who will do anything he can to imprison Azazel for all eternity.

Torn every way by love, by conflicting loyalties and by her own passions, Milja finds that she too is changing – and that she must do things she could not previously have dreamt of in order to save those who matter to her.

IBotE coverBroad at the shoulders and lean at the hips, six foot-and-then-something of ropey muscle, he looks like a Spartan god who got lost in a thrift store. He moves like ink through water. And his eyes, when you get a good look at them, are silver. Not gray. Silver. You might take their inhuman shine for fancy contact lenses. Youd be wrong.” – In Bonds of the Earth

About Janine Ashbless

Janine’s books have been in print since 2000, with short stories published by Black Lace, Nexus, Cleis Press, Ravenous Romance, Harlequin Spice, Storm Moon, Xcite, Mischief Books, and Ellora’s Cave, among others. She is co-editor of the nerd erotica anthology ‘Geek Love’.

Born in Wales, Janine now lives in the North of England with her husband and two rescued greyhounds. She’s worked as a cleaner, library assistant, computer programmer, local government tree officer, and – for five years of muddy feet and shouting – as a full-time costumed Viking. Janine loves goatee beards, ancient ruins, minotaurs, trees, mummies, having her cake and eating it, and holidaying in countries with really bad public sewerage.

Her work has been described as:

“Hardcore and literate” (Madeline Moore) and “Vivid and tempestuous and dangerous, and bursting with sacrifice, death and love.” (Portia Da Costa)

Janine-Ashbless-photo credit David WoolfallLinks:

You may like to visit Janine’s website

Her blog 

Find her on Facebook

Or locate her on Sinful Press

Purchase In Bonds of the Earth from Amazon UK or Amazon US

From the Apple store or Kobo

Print copies from Sinful PressWaterstonesBarnes and Noble, and Amazon UK

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Chatting with Kay Jaybee: Wickedly Wordy

It’s my pleasure to host the very lovely, and hugely talented, Kay Jaybee, chatting about the power of ‘sexy words’. You know the ones: those we can’t say out loud (or even think) without a certain twitch coming to the lips. It’s not always the obvious words either. As Kay reveals, even those seemingly innocent can have startling effect, depending on how we say them…

Over to Kay, exploring her wicked delight in language, and telling us about her latest release, Wednesday on Thursday. 

“I’m fascinated by words. Their origins, the way we use them and the power they have. bedtime-cuppaWords are, without doubt, the most powerful weapons on earth. Used thoughtlessly, they can cause great hurt and harm; break hearts, minds and start wars. Used well, the results can be beyond rewarding.

My new novella, Wednesday on Thursday was born from my belief in the power of words and from a curiosity I have in the phenomena that is human sexual behaviour. What could happen, I wondered, if someone became obsessed with how individuals react to certain words when used in certain situations? Certain erotic situations.

I won’t pretend that this concept wasn’t a hell of a challenge. The idea remained neglected and scribbled in one of my many notebooks for months before I worked out how to deliver it. I couldn‘t simply write about someone who spent hours sat on the edge of a bed listing off kinky words to someone in a state of undress.

I needed a story.

Something different.

I wanted a way to make the words we associate with sexual activity more interesting and erotically charged than they already are…and I wanted those words to be delivered in a manner that was accessible and understood by everyone – before I twisted it.

And then I saw him.

There was a man sat in the corner of my local coffee shop. He had a very particular sort of smile on his face as he bent over his newspaper, an espresso in one hand, and a pen in the other. There was something about him that told me his mind was full of images that had nothing at all to do with the newspaper crossword he’d started.

His expression, the strong smell of coffee, and his partly completed crossword, started something snowballing in my imagination…

Words turn me on. Intelligence turns me on even more…

I immediately returned to my notebook and asked myself what might happen if a man with a fascination for reactions to words orchestrated his ideas through a serious of experiments. Experiments conducted via crossword puzzles and quizzes.

Suddenly I had a hero who was a crossword puzzle freak – a man consumed with discovering how erotic words make women tick.”

weds-on-thurs-quote-1

There are rumours that the coffee guy has “a thing” about words.

Shrugging off her friend’s concern about the way the man in the cafe stares at her every lunch hour, Wednesday can’t see how his love of words could possibly be hazardous.

The fact is, Wednesday rather enjoys being the centre of an attractive man’s undivided attention. His dark blue eyes alone have provided her with many delicious erotic fantasies, a welcome distraction from the pressures of the real world and a dull job.

It’s totally harmless…

…until there’s an accident with a cup of coffee.

After soaking Wednesday with a hot latte, the coffee guy’s attention suddenly becomes far more enticing—and dangerous.

Drawn into a bizarre world of human behavioural research, where crosswords are used to initiate sexual experiments, Wednesday finds herself driven, not by a desire to further scientific research, but by the need to be rewarded for her hard work by the coffee guy’s captivating research assistant.

A stunning redhead by the name of Thursday…

***

wedsBuy Links

Amazon UK

Amazon US

***

Extract from Wednesday on Thursday

Sat at her usual table, stirring a spoonful of sugar into her latte, Wednesday began her daily cycle of speculation. Who was he? Did he come into the cafe at other times and fixate on other customers? What was going through his mind while he observed her so intently? Why didn’t it bother her?

Most men noticed Wednesday’s chest first; some opted for checking out her arse. A rare few went further with their assessment, and engaged her in conversation before they tried their luck.

But not this man; the one she referred to as the coffee guy.

With a double shot espresso in his hand, the first time he’d set eyes on Wednesday, the coffee guy had started with an unashamed assessment of her chest, then, over a period of several weeks, studied her from the top of her head to the toes of her shoes.

Instinct told Wednesday to avoid the coffee guy at all costs. The way he examined her with his enquiring midnight blue eyes was so unsettling. And yet…

Whenever Wednesday walked into the cafe she frequented during her lunch break, the coffee guy would be there. From the moment she took her first step through the door, his focus would shift from his drink to the queue of customers, where it would become fixed upon her.

She thought she’d imagined it at first, but as time had gone by, Wednesday had become increasingly convinced it really was her he was watching.

It had crossed her mind that maybe she should be scared, that this man could be some sort of voyeuristic stalker. But Wednesday didn’t feel threatened; just intrigued and aroused, although she wasn’t sure why.

Only once had he spoken to her.

A swapped lunch break with her friend Carol had placed Wednesday behind the coffee guy in the queue.

Her coffee had already been in her hand when he’d stepped back and accidentally knocked into her, spilling the beverage down her front in a breathtaking cascade of wet heat.

Wednesday had watched helplessly as the liquid seeped through her black shirt, ran down her purple pencil skirt, and travelled on an unstoppable route into her boots.

Too stunned to talk, she’d tugged the wet material of her shirt outwards, not caring that she might be giving the world a generous view of her cleavage.

‘Wednesday, are you okay?’ The barista behind the counter had rushed to her side, pushing a wad of paper napkins into her hands. ‘You can use the staffroom if you like. There are spare T-shirts in there. Help yourself.’

Feeling like an unwilling contestant in a wet T-shirt competition, Wednesday had rushed towards the door marked Staff Only.

It was only once she’d walked into the staffroom that she realised the man who’d caused the accident had followed her.

‘Your name is Wednesday?’

‘Yes.’

‘I find that rather pleasing.’

Then, without a word of apology for ruining her clothes and potentially scalding her, the coffee guy had disappeared.

All Wednesday had been left with was the lingering blaze of his navy blue eyes, which had heated her flesh just as much as the spilt drink…

***

All this word-ish thinking makes me wonder what your favourite sexy word is?

I have a few – but the one that really ‘does it’ for me is unbuttoning. Unzipping is a close second- and I rather love the word please – said in the right way you understand!

Many thanks for letting me visit today.

Happy reading,

Kay x

 

More about the author

Kay Jaybee was named Best Erotica Writer of 2015 by the ETO, and received an honouree mention at the NLA Awards in 2015 for excellence in BDSM writing.

Kay Jaybee has written over 150 erotic stories, including Wednesday on Thursday, (KDP, 2017), The Collector, (KDP, 2016), The Perfect Submissive Trilogy, (The Perfect Submissive, The Retreat, Knowing Her Place, Xcite 2011-14), The New Room, (Xcite, 2015), The Voyeur, (Xcite 2012), Making Him Wait (Sweetmeats, 2012), A Sticky Situation (Xcite, 2013), Digging Deep, (Xcite 2013), Take Control, (1001 NightsPress, 2014), and Not Her Type (1001 NightsPress, 2013).

Details of Kay’s short stories and other publications can be found at www.kayjaybee.me.uk

bedtime-croppedYou can follow Kay on:

Twitter (kay_jaybee)

Facebook (KayJaybeeAuthor)

Goodreads

and on the Brit Babes Site

Kay writes contemporary romance as Jenny Kane and medieval crime as Jennifer Ash and teaches creative and life writing in the UK as Jenny Kane at www.Imaginecreativewriting.co.uk

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Lingerie Wish Lists

I cannot lie: I have a LOT of lingerie. Where another woman’s pulse might rise at the sight of shoes and handbags, mine elevates at impractical lacy gowns and slivers of silk.

screen-shot-2016-12-01-at-07-32-52Here is a peek inside my underwear drawer, and my tips for some of the loveliest treats out there.

Drop some hints to whoever gets to see your underthings most regularly, or treat yourself (far quicker and just as satisfying!).

You’ve caught me almost in the act, as I’ve just ordered this gorgeous lace dressing gown, from the Figleaves website.

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Figleaves – Gigi collection

The robe is called Gigi, and there are several other little slips of lacy nothing to match. It looks so lovely that I’ll probably order one for my sister too: shhh… don’t tell her.

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Rosie for Autograph: Marks and Spencer

I love simple silk and satin designs too. Marks and Spencers’ Rosie for Autograph range has given us some (affordable) gems in recent years.

I’ve been wearing this dressing gown, in midnight blue floral silk, almost every morning, and there’s not a single snag, despite our dog often climbing on my lap.

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Myla

London based Myla is known for its luxurious, sheer robes: absolutely on my wish-list.

This season, Myla presents its silk heritage range: I’m drooling.

myla
Myra
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Myla
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Rosie for Autograph: M&S

The Rosie for Autograph (M&S) range includes some beautiful 1930s inspired silk nightgowns and chemises, in pastels and in jewel tones (up to UK size 22).

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Rosie for Autograph: M&S
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Rosie for Autograph: M&S

From the same collection, I have several ‘Rosie’ bra and knicker sets. They’re well-made, wash well, are comfy and are heart-stoppingly pretty. The Rosie range has some lovely silk camisoles too.

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Rosie at Autograph: M&S .
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Jewel tones: from Agent Provocateur and Rosie at Autograph

Lots of other customers must think so too, as M&S continues the same range year on year, simply adjusting the colour palette/placement of lace.

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LBD : little black drawers

Like most of us, I have a significant amount of black underwear, but I also tend to buy in flesh-tones (often the best option under pale coloured clothing).

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Nudey-shades, from Agent Provocateur, Freya and M&S

For a smooth-finish, I buy Freya bras (very comfy, and a good selection in larger cup sizes).

Meanwhile, it goes without saying that every woman should go for a regular fitting. If your weight fluctuates, this is especially important. I recommend Bravissimo as a great place for bra fitting (book ahead for this service). Getting your baps out for someone you’ve only met a few minutes previously may seem scary, but wearing an ill-fitting bra is far more frightening in the long run.

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Dita Von Teese collection: Marlene

I’ve noticed that Figleaves is now stocking the sumptuous Dita Von Teese range, which I plan to give a whirl. This red and black set hits just the right note (called Marlene).

If your budget is more generous, there’s British store Rigby & Peller, established in the 1930s and offering the royal bosom uplift since 1982 (as the official corsetiere to H.M.Queen Elizabeth II).

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Aubade

Among their collections, they stock French brand Aubade : the quality of the lace is just as it should be.

Another French brand I love is Simone Pérèle (available from various UK department stores). The accent tends to be on embroidered pieces, making them feel very special.

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Simone Perele:  with embroidered floral motif

When the sales are on, I occasionally allow myself a treat from Agent Provocateur (hooray for the bigger cup sizes).

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Agent Provocateur

Another brand for my wish list is  Ayten Gasson  (silk lingerie made in the UK). They make some super-cute frilly knicks. I plan to investigate…

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Ayten Gasson

In my younger years, (ahem) I would regularly don corsets, suspenders and stockings. Husband and I have now been together for twenty-seven summers and I admit that I don’t bother as often as I used to. However, I’m planning to rectify this.

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Advice on corset wearing, from Victory Lamour

Next time I’m in London, I’m planning to visit What Katy Did, for a corset fitting. I’ve had several recommendations for their good service. To find out more about corsets, you may like to visit Lucy’s Corsetry or Tara at Victory Lamour.

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Eclipse collection, in blue and black, from Figleaves

When it comes to the nitty-gritty of what to wear under tight-fitting clothes, I’m sold on smoothing shapewear.

Such garments are not guaranteed to inspire swoons of lust, and I know it’s not politically correct to admit to potentially restraining your internal organs in the pursuit of a smoother tummy area, but I’ve reached an age (and shape) at which I do feel I need a little help.

Some feature lace or satin panel inserts, which do make them prettier. This slip, in blue and black, from Figleaves, called Eclipse is a good example.

I have control-pants and slips (which render me suitably submissive), from Wacoal, Spanx (available from Debenhams in the UK) and dear old M&S.

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s (this style from Sucking it all in: with Maidenform

Another trusty friend is my tummy smoother, from Maidenform.

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Shapewear is so much nicer with roses on!  (from Maidenform)

My ultimate tips? Unless you enjoy being tortured by your undergarments, avoid bras with cheap, scratchy lace and NEVER wear knickers (or any garment) in a size too small.

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The art of hoiking up one’s melons

If you want to dance, eat a full plate of food, and bend over without passing out, choose wisely.  I once fainted wearing a particularly powerful M&S control slip.

Know only that I learnt my lesson.

One of the joys of lingerie is that it’s a form of ‘dressing up’. Your persona in a diaphanous  1940s inspired Hollywood-esque dressing gown may differ wildly from the version of you who laces on a leather corset. The fun is in the finding out.

emmanuelle-de-maupassant-profile-headerTo hear more from me (giveaways, book reviews, articles, and general gossip) subscribe to my newsletter here

Part Five: Behind the Erotic Pen – interviewing the authors of ‘For the Men’ anthology

This is the final installment in my review of the tantalizing new anthology, For the Men erotic fictionwritten For the Men (and the Women Who Love Them), edited (and narrated) by Rose Caraway

Rose Caraway erotic fiction author interviewTwenty-five tales: from bitter chocolate and acidic citrus, to lush caramel.

In this series, I’ve shared insights from the authors: their thinking as they wrote each tale…

The collection aims to show that erotic fiction isn’t just for women. The  Rose Caraway reading narrating erotic fiction conduit for author passion‘erotic’ in literature has the power to speak to everyone.

In Part One, I looked at the theme of ‘watching and being watched’: our desire to exhibit ourselves sexually, the thrill of revealing, and concealing.

In Part Two, I delved tales filled with tension and conflict, exploring dichotomies of power: giving and receiving, vulnerability and strength.

Rose Caraway  Erotic Fiction audio quote express your sexualityIn Part Three, I looked at stories in unusual settings: futuristic, supernatural, and off-planet: locations thrilling and unexpected.

In Part Four, I examined psychological and emotional depth within some of the stories, taking us to places unsettling, in which to face our own truths.

Here, I present tales which combine fantasy with ‘the everyday’: on journeys, within the home, on the simple Rose Caraway quote on honest and unflinching audio narrationsetting of a farm. We see the meeting of strangers, and passion between those in established relationships.

Jade A. Waters and Spencer Dryden both contribute ‘handyman fantasies’ to the collection. Jade’s 73A portrays the fantasy of sex with a stranger. She recalls a crush on a handyman who came to work on her satellite dish, admitting that she considered trying to get him back for ‘more repairs’. Jade combined that memory with another of a good-looking painter working on a neighbour’s fence. The result is sassy and humorous.

jade a waters author erotic fiction eroticaIt came together like a lust letter in my head!” she admits, adding, “While I think the anonymous sex/no strings attached sex idea often appeals to men, I don’t think that’s lost on women, either.

Jade muses on perhaps Emma Stone or Blake Lively playing her lusty jade-a-waters-for-the-menheroine, with a confident, dude next door as her handyman suitor: Gerard Butler, Wentworth Miller, or Simon Baker.

Spencer describes his tender handyman story, MILF and Cookies, as a ‘holiday romance suitable for the Hallmark Channel, if Hallmark gave us erotic romance, told from the perspective of the male protagonist’. For his fantasy casting, he’d use Matt Damon and would love to hear reader’s thoughts on who’d be suitable for his female protagonist.spencer-dryden-for-the-men

He tells us, “Like many of my short format male POV works, an earnest but somewhat clueless guy falls into the orbit of an enchanting woman… From that, I’m sure something could be inferred about my own romantic encounters!”

Terrance Aldon Shaw’s Making Hay is a re-telling of one of the classic Norse myths: a tale of lust, of longing, of restlessness, and our search for our place in the scheme of things. It’s set on a small tenant farm, such as his paternal grandfather worked upon, struggling to make ends meet and could be set ‘somewhere between the late 1930s and early 1960s’.

He asserts, “I wanted to write a story about men and women working side by side, doing real, hard physical labor, and respecting each other for their work.” He notes that people ‘close to the earth’ tend to be more ‘matter-of-terrance-aldon-shaw-for-the-menfact about sex’. Meanwhile, ‘hard work in close proximity often becomes an aphrodisiac in itself’.

In writing the tale, Terrance gave thought to what a man in this setting would find attractive and desirable. He tells us, “Gunni is not just physically beautiful but is given the great compliment of being ‘a good worker’.” Meanwhile, she is physically strong yet has a certain vulnerability: a ‘subtle duality’ as Terrance puts it.

“I also thought it would be interesting to describe these people’s relationship with the machinery they depend on for their livelihood. (Is Erotic fiction Terrance Aldon Shaw quotethat ‘a guy thing’ or what?) The image of the baling machine as a kind of sexually voracious creature–comprising both male and female characteristics, really gets to the essence of this story.

Terrance emphasizes that the need to harvest promptly, before the hay is ruined by rain, lends a sense of realism and urgency, which underscores the erotic elements in the story.

As for the inspiration behind the tale, Terrance explains, “The god Odin assumed human form to learn the ways of men. He plucked out one of his eyes in exchange for the gift of foreknowledge, and, in the guise of a farm hand, seduced the maiden Gunlöo.”

Terrance Aldon Shaw quote erotic fiction pornA fan of the TV series Vikings, Terrance imagines Kevin Durrand (who plays Harbard, the bard/wanderer) and Alyssa Sutherland (who plays Princess Auslaug) in his main roles, saying that Alyssa ‘would make a lovely Gunni, with just the right amount of vulnerability and spunk’.

Rachel de Vine‘s Hitchhiker gives us a female protagonist with an uninhibited attitude to sex. Rachel recalls her own youthful days of hitch-hiking around Europe, feeling that ‘anything was possible’. Rachel wished to present hiker Jezebel ‘without her being judged and found morally lacking’. She tells us, “I wanted my female character to be bold and fearless, and honest about her intentions and needs.”rachel-de-vine-erotic-fiction

For Jezebel,  and trucker Hermes (the name Jezebel gives to him as the Greek god of travelling), Rachel imagines casting Aidan Turner and Eleanor Tomlinson from the TV series Poldark, admiringhis dark intensity and fiendishly good looks’ and ‘her mass of auburn hair and strong character’.

D. Lovejoy describes Take It Like a Man as ‘a humorous story about a guy whose wife uses her seductive wiles to convince him to try pegging’; meanwhile, he is anxious as to what this means for his manhood. Dahlia explains, “I wrote a story I wanted to read—sexy and funny with a touch of the ‘forbidden.’ I love when erotica uses humor; it’s a great tool for lowering defenses and allowing the reader to dahlia-lovejoy-for-the-menexplore new possibilities and discover new turn-ons. I wanted to show how sex doesn’t have to become stale or predictable. Exploring fantasies together is a great way to connect and keep the fires burning. And things don’t have to go perfectly. It’s fine to laugh together when they don’t.”

As for her leading man, she laments that Seth Rogen doesn’t make erotica.  

Josie Jordan’s The After Party gives the reader a very steamy ménage, her female protagonist entering into a consensual encounter with two men.

She notes, “It’s the first erotic story I’ve written without a woman being thejosie-jordan-for-the-men main character. I figured being approached in a club by a gorgeous girl who wants to go home with you would be a popular male fantasy. Except there’s a twist: she wants his best friend to come too. I thought couples could read this story together and imagine themselves in this situation.”

Josie imagines Channing Tatum as her leading man, and admits that the fantasy is one she has come close to enacting in real life. She muses, “I’ve always wondered what it would be like. I had so much fun fantasizing about it to write this story!”

***

Erotic fiction isn’t just for women. It’s for everyone.

Explore the unexpected, and the uninhibited.

To read more from the authors behind this exciting anthology, you may like to read parts one,  two, three and four.

for-the-men_cover-copy-back-02An audio version is now available to complement the e-book (narrated by huskily voiced, utterly fabulous Rose Caraway.

My darkly erotic story, ‘Labyrinth’, features in final place in the collection, following stories by authors Adrea Kore, Tamsin FlowersRachel Kramer BusselAllen Dusk, Terrance Aldon Shaw, Rachel de Vine, Jade A WatersDorothy FreedD.L. KingChase Morgan, Marc AngelCharlie Powell, Landon Dixon, Sonni de Soto, D. Lovejoy, Erin Pim, J.T. Seate, Spencer Dryden, Winter Blair, Simon Drax, Lynn Lake, Josie Jordan, Daily Hollow, and T.J. Christian.

Find out more here, in Terrance Aldon Shaw’s interview with Rose: on creating an Stupid-Fish Rose and Dayv Caraway interview erotic fiction pganthology attempting to encompass the scope of male desire, on advice to aspiring writers, and the importance of plain speaking when it comes to sex.

You may enjoy a peek at my own interview with Rose, and husband Dayv, on their superb work in creating for-the-men_official-cover-copyerotic audio-fiction and anthologies.

More from Rose, including sexy snippets from each story, and her own interviews with each author, at Stupid Fish Productions.

Purchase your copy of ‘For the Men: And the Women Who Love Them’ from Amazon.

Part Four: Behind the Erotic Pen – interviewing the authors of ‘For the Men’ anthology

for-the-men erotic fiction fantasy For the Men (and the Women Who Love Them) is the latest anthology release by editor (and narrator) Rose Caraway, gathering together twenty-five authors, each with their own, tantalizing flavour, filled not just with strawberry creams but with dark truffles, delicate marzipans and sharp ginger.

The collection aims to show that erotic fiction isn’t just for women. The  ‘erotic’ has the power to speak to everyone.

For the Men erotic fiction In this series, I’m sharing  insights from our authors. Read on, to discover their thinking as they wrote each tale…

In Part One, I delved the theme of ‘watching and being watched’: our desire to exhibit ourselves sexually, the thrill of revealing, and concealing.

In Part Two, I examined tales filled with tension and conflict, exploring dichotomies, emmanuelle-de-maupassant-quote-erotic-fictionparticularly relating to power: giving and receiving, vulnerability and strength.

In Part Three, I looked at stories in unusual settings: futuristic, supernatural, and off-planet: locations thrilling and unexpected.

In this instalment, I look at two tales which defy erotic fiction’s reputation for focusing only on the superficial. They demonstrate not only the power to arouse the reader, but to engage us with psychological and emotional depth, taking us to places unsettling, in which to face our own truths : Odd Man, by Sonni de Soto, and Charlie Powell’s Winning Big. 

Sonni’s Odd Man explores the psychology of jealousy, and the fragility of our relationships, built upon assumed identities. Using an intimate narrative voice, she probes our vulnerability.

Sonni drew on her own experience of open relationships in writing her tale, wanting to explore not only the thrill of the fantasy but the ‘train-wreck tragedy’ that can come from attempting polyamory. Her story aims to show that we cannot expect our relationships to remain unchanged by time.

sonni-de-soto-for-the-men-erotic-fictionAs women have been emboldened by feminism and attitudes of sex positivity, becoming more open in articulating their needs (which may include the desire to have sex with more than one person), Sonni believes that men are faced with pressures to find their role. She notes that, in dismantling traditions, men can feel vulnerable, questioning not only the validity of their relationship but their ‘value’ as a man. Her story aims to confront some of those anxieties.

She admits, “It can be scary and, even, disheartening but, instead of looking at this as a relationship-ending inevitability, it can be seen as an opportunity. To grow as individuals as well as partners. As I age, the more it seems that the only way to keep the promise we bought into when we were young is by being open to change.”

In casting a film version of her complex story, she sees Ryan Gosling as her protagonist, Russel Crowe as his romantic rival and ‘someone ethereally beautiful’, like Olivia Wilde, as the woman in their lives. Sonni advocates for evolving and adapting, believing that happiness is ‘something we must strive towards everyday’.charlie-powell-for-the-men

Charlie Powell’s story, Winning Big, is a bittersweet tale, exploring the themes of infidelity and lost love, as well as whether we can love someone without being sexually compatible. She says, “Sometimes, great sex isn’t enough – you can have that with someone and they can still be bad for you. Don’t be surprised if that means you never lose the temptation to go back there…” 

Charlie does not offer a ‘happily ever after’. Her clever, smoothly narrated tale explores the forbidden: our desire to be unfaithful to those who trust us. She explains, “I wanted to show that people are complex.” Her story is set during a hen celebration, when the bride-to-be sees the old flame she has never been able to forget. She is moved to act where she knows she would be best advised to leave well alone.

As for who would play her leading roles, she admits to adoring the film ‘Riot Club’. “I found it very sexy,” she reveals, “…almost against my better judgement. I’d love to reunite Max Irons and emmanuelle-de-maupassant-for-the-men-anthologyHolliday Grainger.” Charlie’s story is set at a race-course, a predominantly male domain, which she notes is an environment she finds inherently sexy.

My own story, Labyrinth, also focuses on uncomfortable themes. It looks at our tendency towards self-destructive behaviour, our struggle to fulfil the roles others expect of us, and our internal conflict, including the compulsion to hurt those we love (whether physically or emotionally).

***

Emmanuelle de Maupassant erotic fiction versus porn what is the difference author quoteMore from the authors behind this exciting anthology in part five.

Erotic fiction isn’t just for women; it’s for everyone.

Taste the unexpected, and the uninhibited.

Twenty-five authors bring you tales of temptation and seduction.

for-the-men_cover-copy-back-02An audio version is now available to complement the e-book (narrated by huskily voiced, utterly fabulous Rose Caraway.

My darkly erotic story, Labyrinth, features in final place in the collection, following stories by authors Adrea Kore, Tamsin FlowersRachel Kramer BusselAllen Dusk, Terrance Aldon Shaw, Rachel de Vine, Jade A WatersDorothy FreedD.L. KingChase Morgan, Marc AngelCharlie Powell, Landon Dixon, Sonni de Soto, D. Lovejoy, Erin Pim, J.T. Seate, Spencer Dryden, Winter Blair, Simon Drax, Lynn Lake, Josie Jordan, Daily Hollow, and T.J. Christian.

Find out more here, in Terrance Aldon Shaw’s interview with Rose: on creating an Stupid-Fish Rose and Dayv Caraway interview erotic fiction pganthology attempting to encompass the scope of male desire, on advice to aspiring writers, and the importance of plain speaking when it comes to sex.

You may enjoy a peek at my own interview with Rose, and husband Dayv, on their superb work in creating for-the-men_official-cover-copyerotic audio-fiction and anthologies.

More from Rose, including sexy snippets from each story, and emmanuelle de maupassant quote porn versus erotic fictionher own interviews with each author, at Stupid Fish Productions.

Purchase your copy of ‘For the Men: And the Women Who Love Them’ from Amazon.

Part Three: Behind the Erotic Pen – interviewing the authors of ‘For the Men’ anthology

I’m delighted to announce my inclusion in a tantalizing new anthology,for-the-men erotic fiction fantasy written For the Men (and the Women Who Love Them)

The collection aims to show that erotic fiction isn’t just for women. The  ‘erotic’ in literature has the power to speak to everyone.

Editor (and narrator) Rose Caraway has gathered together twenty-five tales, each with its own, tantalizing flavour.

emmanuelle-de-maupassant erotic fiction fantasy men womenIn this series, I’m sharing  insights from our authors. Read on, to discover their thinking as they wrote each tale…

In Part One of this series, I looked at how several authors in the collection explore ‘watching and being watched’ in their stories, looking particularly at our desire to exhibit ourselves sexually, at the thrill of revealing, and concealing.

In Part Two, I examined how some of the stories in ‘For the Men’ delve into tension and conflict, exploring dichotomies, particularly relating to power: giving and receiving, vulnerability and strength.

This time, I’m looking at stories which locate our fantasies in unusual settings: futuristic, supernatural, off-planet or elevated from the everyday. They feed into our primal impulses but do so in locations for-the-men-erotic-fiction-tj-christian-quote-enhancedthrilling, fascinating and unexpected.

When we enter the realm of fantasy, there are no limits, so it’s no surprise that two of the tales in ‘For the Men’ have sci-fi settings.

T.J. Christian’s innovative story, Enhanced, evokes stylishly sexy 1982 film Bladerunner, probing the pitfalls of technology, in a society where upgrades to our limitations are the norm. In such a world, the author speculates, wouldn’t we lose sight of what’s real, and what it means to be human, where ‘the lines between human and artificial become blurred’? His story also explores the philosophy that we rarely know someone as well as we imagine, and that our actions (or inaction) directly affects the mental state of others.

T.J. sees his leading man, Tom, played by Adam Driver allen-dusk-for-the-menand his female protagonist acted by the enigmatic Rooney Mara. He adds that Tom’s dislike and resentment of his employer is likely to resonate with many men.

Allen Dusk’s Wayward Drift, set on another planet, gives a nod to the exotic bar scenes from Star Wars. His lead character enters an alien strip club and is bewitched by a dancer with hypnotic moves, who makes him an intimate proposal.

His space pirate might make some readers think of Harrison Ford as Han Solo, but Allen imagines Jason Statham as his lead, and Remy LaCroix as the stripper, slathered in glitter makeup to transform her.

Allen found inspiration for his story during a visit to his local strip club (with his wife). He tells us, “There was one raven-haired beauty who caught our eye, not only because she was jaw-droppingly gorgeous with graceful moves, but because she had this distant look in her eyes that said ‘I’m not here for you, I’m here for your money, so pay up’.”

His tale touches on the theme of loneliness, his main character having developed a relationship with his spacecraft. We see him as a ‘stranger in a strange land’ and as a man with misogynistic tendencies.

Allen notes that most of his erotica work is female-erin-pim-for-the-menfocused but was eager to make this story male centric, turning the lens on male sexual experience and perspective.

Erin Pim takes her erotic tale in another direction entirely, but one firmly set in fantasy, within the format of a crime thriller. She hopes it will appeal to men and women alike. She wrote Undercover Cop as if it were a screenplay, scene by scene, cinematic style.

Her strong female lead uses her sexuality to apprehend the perpetrator of a bank robbery: a role in which she imagines Emily Blunt. For her perpetrator, she imagines Johnny Lester, scruffy, cocky, handsome, and unhinged, or Games of Thrones’ Nikolaj Coster.

She tells us, “Rose’s call for For The Men was an inspiration in itself, as I’d never thought about writing with a man’s aesthetic in mind, and was curious to give it a try.  Rose is a fantastic editor, who continued to ask questions and push my piece to its limit. She even suggested that I read a ‘Stuff You Should Know’ article winter-blair-for-the-menon hostage negotiations.  I want readers of my story to feel sexually empowered enough to act out similar scenarios in their own bedrooms.”

Two of the tales within the collection take sexual fantasy into the supernatural. Winter Blair’s Lonely Spirits is an erotic ghost story in which she imagines Jensen Ackles as her leading man, with his ‘soulful eyes’. Winter aimed to write from the man’s perspective for the action of her story and notes that, to her surprise, her methodology ‘really wasn’t that different’. She notes her intention not only for the reader to be aroused but to contemplate what it is to be lonely, to seek companionship and to find redemption.

Meanwhile, Daily Hollow’s The Devil Went up to the Bronx was written back in 2013, as his first foray into erotica. Firmly tongue-in-cheek, his inspiration was Adam Ezra Band’s music video for ‘The Devil Went up to Boston’. This is a great example of combining daily-hollow-quotehumour with sexy storytelling. In an imaginary filming of the story, he sees Ian Somerholder playing the Devil, and Courtney Cox as Marge.

Adrea Kore, the author of Dance for Me, stresses the transformational potential of our sexual fantasies. She tells us, “If readers feel inspired by this story to own and explore their fantasies, I’d feel my work as ‘sexual provocateur’ is done.”

She relates a reader messaging her to share that they were inspired to perform an erotic dance for their partner after reading Dance For Me, which is set in a high-octane sex club environment. “They both ‘thanked me’ for the sex that happened later!” Adrea smiles, adding that it’s responses such as this that convince her that writing erotica ‘has value beyond adrea-kore-for-the-men-quote-erotic-fictiontemporary titillation’.

Adrea emphasizes the associations between dance and female sexuality, reminding us that ‘they are apparent in so many cultures, from Middle-Eastern belly-dancers to clubs featuring exotic dancers for male titillation in Western culture’. She explains, “In Tantric practices, to dance for one’s Beloved, to express Shakti (the divine feminine) and Shiva (the divine masculine) through movement, making your partner the sole recipient, is one of the sacred rituals for deepening intimacy.”

Speaking of where she gained her inspiration for Dance For Me, Adrea tells us that she’s always been fascinated by the ‘inherent theatricality’ of sexuality, and has been keen to explore the idea of dancing for a man as ‘a gift – expressing desire through the art of dance’.

***

More from the authors behind this exciting anthology: in parts one, two, four and five

Erotic fiction isn’t just for women; it’s for everyone.

Peel back the pages and discover.

Taste the unexpected, and the uninhibited.

Twenty-five authors have pooled their talent to bring you teasing tales of temptation and scorching stories of seduction.

for-the-men_cover-copy-back-02An audio version is now available to complement the e-book (narrated by huskily voiced, utterly fabulous Rose Caraway.

My darkly erotic story, Labyrinth, features in final place in the collection, following stories by authors Adrea Kore, Tamsin FlowersRachel Kramer BusselAllen Dusk, Terrance Aldon Shaw, Rachel de Vine, Jade A WatersDorothy FreedD.L. KingChase Morgan, Marc AngelCharlie Powell, Landon Dixon, Sonni de Soto, D. Lovejoy, Erin Pim, J.T. Seate, Spencer Dryden, Winter Blair, Simon Drax, Lynn Lake, Josie Jordan, Daily Hollow, and T.J. Christian.

Find out more here, in Terrance Aldon Shaw’s interview with Rose: on creating an Stupid-Fish Rose and Dayv Caraway interview erotic fiction pganthology attempting to encompass the scope of male desire, on advice to aspiring writers, and the importance of plain speaking when it comes to sex.

You may enjoy a peek at my own interview with Rose, and husband Dayv, on their superb work in creating for-the-men_official-cover-copyerotic audio-fiction and anthologies.

More from Rose, including sexy snippets from each story, and her own interviews with each author, at Stupid Fish Productions.

Purchase your copy of ‘For the Men: And the Women Who Love Them’ from Amazon.

Part Two: Behind the Erotic Pen – interviewing the authors of ‘For the Men’ anthology

I’m delighted to feature in a tantalizing new anthology, for-the-men erotic fiction fantasywritten For the Men (and the Women Who Love Them), edited by Rose Caraway.

As we know, erotic fiction isn’t just for women; the ‘erotic’ has the power to speak to everyone.

The collection features twenty-five tales, each bite offering a new flavour: from darkly bitter chocolate, to lush caramel, with some tangy surprises.

As a reader, I love it when a story keeps me thinking long afterwards, moving me to speculate. We don’t need all the answers on the page. We, as readers, should be ‘filling in the spaces’, finding parallels to our own experience, or emotional state. Through contemplation of the fictional, we take away some understanding of our own self. For me, this is what’s meant by finding ‘truths’ in fiction. I discover what is true of myself in reading about others’ motivations, behaviours and choices.

In this series, I’m sharing insights from the authors of ‘For the Men’. Last week, in Part One, I looked at stories exploring the theme of sexual exhibition, revealing what is usually concealed, for the delectation of other eyes. Today, I’m looking at dichotomies, particularly those relating to ‘power’.

Adrea Kore, in Dance for Me, explores seduction through performance, showing a woman’s elation and liberation through ownership of her sexuality. Her character reveals herself through dance, and is ‘fully seen’. In this way, she demonstrates both ‘vulnerability and power’.

adrea-kore-for-the-men-quote-erotic-fictionAdrea goes on to say that, in contemporary sexual culture, we tend to think of men being ‘hardwired’ to initiate. In Dance for Me, Adrea presents, first, her male protagonist as the recipient of pleasure, through dance. She explains, “In the second scene, the dynamic is reversed – he becomes the giver and she the receiver. Of course, the sharing of pleasure in reality is not so clearly polarized – the current of energy flows both ways, in varying intensities. Across the two scenes in this story, there’s an exchange in roles of who primarily plays the giver and the receiver.”

In response to editor Rose Caraway‘s call, I wrote Labyrinth: a scenario of sexual and emotional conflict. I look at our self-destructive side, and how we channel that ‘destruction’ onto those we love. In association with this, I wanted to look at our desire to inflict (and receive) pain as well as pleasure. I find it fascinating how these two opposing elements sit alongside each other, whether we speak of physical pain/pleasure or emotional.

My story uses the metaphor of the maze. We are ever seeking, though for what, we emmanuelle-de-maupassant-for-the-men-anthologyare unsure. Within, are our unspoken yearnings, and our fears, our ‘monsters’.   Our inner life is the labyrinth: action following on from action, leading us to where we stand now. We are as we are in this moment, though shaped by moments that have gone before, and the promise of those yet to come.

We are the protagonists of our own stories. We wander our personal labyrinth, slaying ‘monsters’ as we go. This very act of exercising choice, of being active in how we determine our path, brings our sense of ‘being alive’. In this, there is another dichotomy: that of passivity and action.

In a similar vein to Adrea Kore, Rachel Kramer Bussel emphasizes  that ‘dominance is not a one-way street; it’s an interplay’. For Picturing You Naked, Rachel relates ‘the way desire can overtake us, especially at work, when we’re supposed to be thinking about other things’, and the ways in which a dominant/submissive couple can ‘push each other’s boundaries’.

Rachel asserts that, although her businessman talks tough, he is ‘undone’ by his partner’s charm and creativity. She adds, “I liked the idea of him getting flustered by her. They are equally masterful. I want readers to enjoy the wordplay.”

for-the-men-fiction-erotic-rachel-kramer-bussel

As for who might be cast in the role of her heroine, were the story to be filmed, Rachel mentions Emma Stone, for her mischievous personality. 

Dorothy Freed conceived her story, Love Sling, first from a submissive female point of view. She then became curious as to how it would read from a Dominant viewpoint. The second version of the story is ‘longer and more detailed, presenting more of the male protagonist’s feelings and motivations’. She underlines, “I intend my portrayal to illustrate how much care, consideration, and understanding is involved in safe, sane, consensual BDSM.”

Casting a film version of Love Sling, Dorothy imagines actors similar to Mickey dorothy-freed-for-the-menRourke and Kim Basinger in Nine and Half Weeks. 

D. L. King believes her stories speak to men ‘because they can see themselves in the role of the protagonist’. She prides herself on showing ‘the softer, emotional side of the male psyche’ and underlines, “It’s different from its female counterpart, but is there, hiding in plain sight, waiting for the right woman to notice. I notice.”

As to who she’d cast to play her characters in Cupcakes and Steel, she opts for Margot Robbie as her dominant female, and Eddie dl-king-for-the-menRedmayne as her male lead.

Simon Drax’s The Binding of the Babe in the Backseat evokes his own fantasy of being in a position to save a sexy woman (in bondage) from danger. His character does battle, winning the woman’s respect, and his ‘reward’ in her arms.

Full of action, the story quickly evokes tension. Meanwhile, his damsel in distress isn’t passive (she bites off her attacker’s nose). Simon notes the arousing dichotomy of a ‘powerful woman’ being in a vulnerable position.

He pictures Jeffrey Dean Morgan as the Taxi Driver, and Chyler Leigh as Erin.

simon-drax

Discover more from the authors behind this anthology, in parts three, four and five.

***

Erotic fiction offers an amazing space in which to explore. Dare to dip your toe into the unexpected, and the uninhibited.

Twenty-five authors have pooled their talent to bring you teasing tales of temptation and scorching stories of seduction.

for-the-men_cover-copy-back-02An audio version is also available to complement the e-book, narrated by huskily voiced, utterly fabulous Rose Caraway.

My darkly erotic story, ‘Labyrinth’, features in final place in the collection, following stories by authors Adrea Kore, Tamsin FlowersRachel Kramer BusselAllen Dusk Terrance Aldon Shaw, Rachel de Vine, Jade A WatersDorothy FreedD.L. KingChase Morgan, Marc AngelCharlie Powell, Landon Dixon, Sonni de Soto, D. Lovejoy, Erin Pim, J.T. Seate, Spencer Dryden, Winter Blair, Simon Drax, Lynn Lake, Josie Jordan, Daily Hollow, and T.J. Christian.

Find out more here, in Terrance Aldon Shaw’s interview with Rose: on creating an Stupid-Fish Rose and Dayv Caraway interview erotic fiction pganthology attempting to encompass the scope of male desire, on advice to aspiring writers, and the importance of plain speaking when it comes to sex.

You may enjoy a peek at my own interview with Rose, and husband Dayv, on their superb work in creating for-the-men_official-cover-copyerotic audio-fiction and anthologies.

More from Rose, including sexy snippets from each story, and her own interviews with each author, at Stupid Fish Productions.

Purchase your copy of ‘For the Men: And the Women Who Love Them’ from Amazon.

Part One: Behind the Erotic Pen – interviewing the authors of ‘For the Men’ anthology

I’m delighted to announce my inclusion in a tantalizing new anthology,for-the-men erotic fiction fantasy written For the Men (and the Women Who Love Them)

The collection aims to show that erotic fiction isn’t just for women. The  ‘erotic’ in literature has the power to speak to everyone.

Editor (and narrator) Rose Caraway has gathered together twenty-five tales of assorted flavour: from bitter chocolate and acidic citrus, to lush caramel. Some come with surprises, hidden nuggets of pleasure unearthed with each bite.

emmanuelle-de-maupassant erotic fiction fantasy men womenIn this series, I’ll be sharing  insights from our authors. Read on, to discover their thinking as they wrote each tale…

A prominent theme through the anthology is that of exhibiting our sexual selves, of revealing what is usually concealed, for the delectation of other eyes. There are tales not only of being watched, but of watching, illicitly, or through invitation.

Chase Morgan, the author of Night Watch, points out that the very act of reading is voyeuristic (magnified many-fold when we’re reading erotic fiction). He explores this theme explicitly in Night Watch, noting, “I love Rose’s calls because she makes a point to encourage authors to write without boundaries. My intent was to take the reader chase-morgan-for-the-men-anthologydown a darker path.”

He emphasizes that he prefers to leave characters without any particular ‘face’ but, were he to cast actors for a film version of his story, he’d choose Edward Norton, for his ability to use facial expression to convey conflicted feelings.

Speaking of her story, Dance for MeAdrea Kore tells us, “I love dancing, and have often noticed how much men love being ‘danced to’. Giving a man your sensual and sexual attention through movement, eye contact and energy, and touch if you’re actually dancing with them,… it can be a total turn-on for both people. I confess I’ve done it often enough in life to want to explore it in a story.”

Adrea reminds us that dance has long been used to both honour and seduce men. Just think of the days of Salome and her dance of the Seven Veils.

adrea-kore-for-the-men-quote-erotic-fictionShe reveals, “The first half of Dance for Me is only a slight fictionalization of a night out I shall always remember. Gorgeously corseted for my date, it was a spontaneous flow of events – but I got to be ‘the girl in the cage’ that night. The spontaneity of it all meant there was very little time for me to be nervous!”

As to who would take the leading roles in her story, were it to be filmed, Adrea imagines Clive Owen, saying he ‘plays a contained character well’, and the ‘sensually gracious and feline’ Scarlett Johansson.

Marc Angel also indulged a personal fantasy in writing The Bust, delving voyeuristic pleasure, and the theme of infidelity, when a man discovers his wife unexpectedly in the arms of another. He examines the anger and pain evoked at discovering betrayal, as well as arousal and shame.

Marc tells us, “I wanted to explore a less indulged side of male sexuality. marc-angel-for-the-menInstead of reacting with horror or anger if you found your partner having sex with another man…what if you found yourself turned on? It might open a door…”

Marc imagines Bruce Willis as the protagonist, with Scarlett Johansson returning to set as his cheating partner, and Ryan Gosling as the other man.

More from the authors behind this exciting anthology, in parts two, threefour and five.

Erotic fiction isn’t just for women.

It offers an amazing space in which to explore, and it’s for everyone.

Dare to dip your toe into the unexpected, and the uninhibited.

Twenty-five authors have pooled their talent to bring you teasing tales of temptation and scorching stories of seduction.

for-the-men_cover-copy-back-02An audio version is also available to complement the e-book (narrated by huskily voiced, utterly fabulous Rose Caraway.

My darkly erotic story, ‘Labyrinth’, features in final place in the collection, following stories by authors Adrea Kore, Tamsin FlowersRachel Kramer BusselAllen Dusk, Terrance Aldon Shaw, Rachel de Vine, Jade A WatersDorothy FreedD.L. KingChase Morgan, Marc AngelCharlie Powell, Landon Dixon, Sonni de Soto, D. Lovejoy, Erin Pim, J.T. Seate, Spencer Dryden, Winter Blair, Simon Drax, Lynn Lake, Josie Jordan, Daily Hollow, and T.J. Christian.

Find out more here, in Terrance Aldon Shaw’s interview with Rose: on creating an Stupid-Fish Rose and Dayv Caraway interview erotic fiction pganthology attempting to encompass the scope of male desire, on advice to aspiring writers, and the importance of plain speaking when it comes to sex.

You may enjoy a peek at my own interview with Rose, and husband Dayv, on their superb work in creating for-the-men_official-cover-copyerotic audio-fiction and anthologies.

More from Rose, including sexy snippets from each story, and her own interviews with each author, at Stupid Fish Productions.

Purchase your copy of ‘For the Men: And the Women Who Love Them’ from Amazon.

Siri Ousdahl: contradiction, paradox and CONSTRAINT – a review

Constraint is Siri Ousdahl’s debut in the genre of erotic fiction, although she has written prominently under an alternate author name for many years. She holds several prestigious writing awards and has worked extensively in publishing.

Within this, my critique of Siri Ousdahl’s novel, she joins me to discuss transgressive themes and the contradictions within our psyche. 

Constraint pulls no punches. There is no sweetening of the pill. It is a tale of kidnapping, siri-ousdahl-constraint-emmanuelle-de-maupassant-critiquerape, violence and humiliation.

Our natural response is outrage. How dare one human being treat another this way? The early phases of the story are written clearly with the intention to arouse this reaction from us.

We are told that Alex is a sadist and has always been so, musing, from the youngest age, on ropes, chains and controlled violence. As an adult, he rises to the challenge of exercising precise control. ‘He wants to work out how much he can darken her flesh without breaking her skin.’

It is from this position that Siri Ousdahl unravels her story: winding back and forth, through past and present, and presenting us, readers, ready to judge and condemn, with knots we must unpick.

What should be simple is not, because we are human, and to be human is to be a creature of paradox.

Siri, while no writer can ‘control’ the reactions they inspire in readers, your story clearly aims to manipulate strong emotional responses, shaping them in various ways as the tale progresses. In this way, where do you hope to lead your reader?

This is my first formal erotic writing. In my other world as a writer I’m committed to psychological realism, and my ambition is to elicit a complicated, conflicted reaction from my readers. Very little is unequivocally one thing or another, red or blue or green; everything is tints, shades, and blends. If our understanding of ourselves is at all realistic, it is full of unresolvable contradictions. I wanted to write a sex novel that reflected that.

When I decided to write a noncon BDSM novel, I was my primary reader, so the person I was challenging was myself. I wanted to write a book that was as morally problematic as Lolita and as sexy as The Story of O. I wanted to see whether I could balance unsentimental realism with the poetry of eroticism, telling a story that, ideally, would both repel and attract. I wanted to see how long I could stay on the tightrope without falling off.

siri-ousdahl-author-writing-quote-1Our psyche comprises contradictory elements. Linnea, we are told, is ‘an alloy’, stronger than the metals from which she is made. A powerful metaphor in the story is given through Linnea’s sculptures, which comprise contrasting, yet harmonising materials: hickory and chestnut or oak and walnut. They symbolize Linnea’s inner being. ‘There are three tiny knots… clustered like moles on a woman’s shoulder.’ This metaphor continues. ‘The twisting shapes hint at lovers entangled ankle to throat’, bound by fine steel wire, brass straps, clear glass bands, rough rope knotted. Linnea’s art is a visual representation of what she desires for herself: bondage and forced compliance. We are told that ‘wood fucks wood’ and that the scent is ‘musky, human’.

Later, we read that Alex and Linnea’s bodies are a ‘sculpture’, representing ‘blood and hunger’.

Siri, you use Linnea’s art to reveal her state of mind (both during her captivity and beforehand). Can you tell us more about your research into the art world and how you’ve used art to bring layers of meaning to the story?

As a child, I didn’t study art (though I drew a lot), but I was raised in a family that valued art, much of it carved wood and stone sculpture. I’m sure my mother would not be thrilled to know how often I touched the art, running my hands along the shapes, marvelling at the three-dimensionality of it, its gravity.

I knew Linnea was a sculptor almost before I knew anything else about her. She was strong-muscled and ‘saw’ with her hands. Her art needed to be nonverbal, because I’m entirely verbal. Her sculptures were very clear in my head from the start, and I wish I had some of them!

Her photorealistic paintings were a surprise to me, but as I spent time in her head, trapped in the siri-ousdahl-author-quote-writing-4enclosure, I knew she would become obsessive about the walls: that she would make art from this constraint, as well.

I did a lot of research into the women of the abstract expressionist movement, and I developed immense respect for them. A woman artist of the first half of the twentieth century – in any movement – was in a horrible situation: her work ignored or treated with contempt, expected to model for and/or have sex with the men who defined whether she would ever be taken seriously.

As we enter deeper into Constraint, we’re given insight into the mind of kidnapper Alex, and the subject of his fixation, Linnea. Neither are as they seem and, as the story unfolds, the paradoxes within their natures are made more explicit.

A central theme of the story is our inward battle: our desire for self-determination and our wish to surrender some part of ourselves, to forfeit control, to allow another human ‘under our skin’, even (or sometimes, especially) where we know that surrender has the power to harm us. Most love stories explore, to some extent, this contradictory push and pull. In Constraint, there is an overt ‘battle’ between Linnea and Alex.

We’re told that the attraction for Alex is the paradox of the situation: that he enjoys Linnea’s compulsion to fight him, while witnessing her simultaneous arousal, seemingly against her wishes. He enjoys the ‘battle’ yet also wishes ‘for her to want him as much as he wants her’. We witness Alex’s violence towards Linnea, yet also his tenderness. ‘She has rolled close to him in her sleep, with her hands tucked close to his ribs and her face pressed against his shoulder… He…turns his face into her sleep knotted hair and breathes and breathes and breathes.’

We also see Alex’s compulsion to lose himself to a place of otherness, of transcendence. ‘He snaps the switch lightly against his forearm. It’s barely a touch, and the bright sting is no more challenging than walking out into icy-cold air or biting into raw ginger, but a faint white stripe flares and flushes red, a color shift as sudden as an octopus shifting camouflage. He observes this siri-ousdahl-author-writing-quote-3with interest. He is dropping into the strange, abstract space where she stops being entirely real to him, where he stops being real to himself: the no-place that is all places, and their bodies become geometries and his body and brain divide themselves into pieces simultaneously dissociative and entirely, pulsingly, engaged.’

While whipping Linnea, Alex ‘…does not think as he builds rhythms, patterns… He switches to using both floggers, infinite eights overlapping. And faster, until he is breathless, fighting a strange wild laugh that is rooted not in his mind but his body’s work… Linnea is barely present in his mind; she is also the entire focus of all his attention.’

Meanwhile, we learn that, as a child, Linnea played games of self-torture for pleasure. ‘In her teens she started to make sense of it all. She read Réage, Millet, Nin, Roquelaure, McNeill; eventually (with a horrified blend of alienation and recognition) de Sade.’ Linnea ‘knew she longed for bondage and all the sorts of torment ingenious men and women had developed. She was hungry for the whip, the collar, marks.’ She ‘knows that her body will respond in complicated ways—as it always has been complex, pain and pleasure tangled like necklaces tossed onto a bed…’

In this way, they are sexually well matched. We are told that their ‘games and rituals’ are such as ‘their natures decree’. Linnea watches coyotes outside, dancing, playing, fighting, then mating: another metaphor for her relationship with Alex.

Siri, can you tell us more about the psychology of the dynamic between your siri-ousdahl-author-quote-writing-6protagonists?

 I was a lot like Linnea as a girl, with a high tolerance for pain and a craving for adventure that was not satisfied by my quiet upbringing. I did many dangerous and stupid things, all of them exhilarating. I was also a pain in the neck, for reasons I did not then understand: My mother says that I would ‘cruise for a spanking’, restless and clearly pushing rule after rule until I eventually did get spanked – ‘and then you would calm right down, happy and settled’ – which is how I remember it, as well.

My nature decreed what I wanted, even as a child. As I became sexual in my late teens, I found I moved effortlessly into BDSM, though I didn’t always understand how to get what I needed until I was in my 30s. As an adult, I have both topped and subbed for floggings, whippings, bondage, D/s, and many other things. When I write, I write from experience.

Despite this, I think I understand Alex better than I understand Linnea. Writing is basically a top’s game: I write something to elicit a response. I design a scene and then execute it and if I do it right, the reader feels things they didn’t expect. I am in charge, though the reader can always safeword out, put down the book and walk away.

In exploring the theme of constraint and freedom, we see the metaphor of inside and siri-ousdahl-author-quote-writing-6outside spaces – looking inward and outward. Linnea struggles against Alex’s constraint of her freedom, but we come to see that her constraint is also internal. ‘She’s a coyote in a leg-hold trap, chewing at her own ankle.’ When she asks what he wants from her, he laughs, evading, ‘because the answer is love and he cannot admit that’. Linnea evades, as well. ‘It is not the house and enclosure that blocks honesty; their constraints travel with them.’

Alex seeks tension. He ‘draws a narrow line around Linnea and longs for the moments she breaks past them… What hawk comes to your hand without training, without bribes and constraints…? How is this different than other, more conventional relationships?’ He muses that even true love is built from ‘unconscious accommodations, invisible chains.’

The non-consensual elements of Constraint are, by nature, disturbing, while yet having power to arouse. It is this very juxtaposition that makes the story compelling, since we are encouraged to examine paradoxes within our own behaviour. You’re exploring where many authors fear to tread. Siri, what inspired you to choose this theme, of our contradictory, paradoxical, self-destructive nature, and of the constraints we carry within us?

A correctly structured BDSM experience (or relationship) has clear rules and expectations, but many ‘traditional’ experiences do not: in most relationships, love and trust change meaning unilaterally, over time, without negotiation. A lot of BDSM fiction is actually terrible BDSM: even if the sex/play itself is safe, sane, and consensual – even if there are contracts – the characters lie, manipulate, gaslight, misdirect, and cheat their way into the relationship.

Alex is, at least, honest about what he wants, to the extent he understands it.

Having delved into Linnea’s romantic past, Alex challenges her lack of intimacy with siri-ousdahl-author-writing-quote-2anyone. She resists, saying, “No one is anyone’s.” Later, taunted by dominatrix Klee, Linnea asserts, “I am not yours. I am no one’s.” Klee responds, “So sad. We all belong to someone…”

We see Alex’s desire topossess’ Linnea, to make her love him, while this can never be true until she wishes it to be so, until she recognizes an emotional connection to him.

The relationship between Linnea and Alex progresses, through shared intimacies, until she feels that he is ‘seeing her, actual her, instead of whatever he usually sees when he looks at her’. We read that he sees ‘she is her own person’.

By the closing pages, he has accepted that his non-consensual treatment of her has been unacceptable, to the extent that he is willing to suffer any consequences (including imprisonment). He notes that he no longer has ‘certainty that his decisions are the right ones’.

Alex tells Linnea explicitly that he loves her and offers that she may choose what happens next, even if it means her turning him in to the police. He has the power to continue as he did, but recognizes his error in having attempted to force her love.

Meanwhile, Linnea admits to Alex that she believes he knows her as no one else does, and chooses to submit because it is what SHE wishes, not because it is forced upon her. ‘Her skin is her own. She is not afraid of him. She never has been; fear was never the thing that kept her here.’

Siri, did you consider other conclusions to Constraint or, for you, was this ending inevitable?

As with The Story of O, several endings are possible. This is the HEA ending, or as close as a story like this could honestly have – and it is dependent on where I typed ‘The End’. I can’t believe they bdsm-erotic-fiction-story-of-o-pauline-reagewill stay together as things are, but there’s a sequel I have thought about that starts six months from now, when Linnea has left Alex and ends up in Switzerland, using Klee, Berndt, Vadim (and others) to make sense of her experience. Can they return to one another after that? Depends on the next book.

There’s also a less romantic ending where she escapes or he lets her go and she returns to her life (or a life) without talking about this to the police – which is how women often address rape. And an ending where she does turn him in, and has to then deal with the fact that she will never be as satisfied sexually, as seen by her partner, as she was with him.  

Fiction, within the safety of its pages, invites us to explore what disturbs us, to process what is written and to respond. It asks us to reflect upon our own behaviour, our motivations and compulsions. The non-consensual theme of Constraint is liable to inspire controversy, reaching as it does into realms of discomfort for many readers. To anyone who would criticize the story as eroticism of rape, how would you respond?

It’s fiction. In what way is this different than reading book after book about a murderer? If someone is fucked up enough to think that an erotic novel gives them permission to rape someone, the problem is the rapist’s. That said, we do live in a culture permeated with sexual violence against women; the (substantial) percentage of women who like to read or watch noncon and dubcon erotica are as conditioned to this as the men who think it’s okay to rape. A hundred years from now, if we sort out rape culture, will books like this still be being written? I don’t know, though I have theories.

I am an intelligent, philosophically inclined woman who values honesty in interpersonal dealings. I am writing this book as a direct response to the artificiality of most noncon and dubcon fiction. Is it eroticizing rape? It is also engaging directly what what’s wrong with eroticizing rape. It’s a complicated stance.

Siri, your language is both precise and lyrical. Which authors have inspired you in creating your distinctive voice?lolita-nabokov

I was thinking a lot of Lolita while I was working on this. Nabokov never sets a foot wrong: every word is exactly calibrated. I was also thinking a lot about the French writer Alain Robbe-Grillet’s strangely opaque voice.

I’ve no doubt that readers will anticipate further works from you. Can you share what’s in store?

I do write fiction under another name, and some of Siri’s readers may recognize her voice elsewhere. I have thought about writing about Klee as a young woman in 1970s France: how did she become the woman she is? I was partway through the book when I read a recent Vanity Fair article about erotic novelist/octogenarian dominatrix Catherine Robbe-Grillet, wife of writer Alain (and what a strange coincidence that was). Robbe-Grillet has a lot in common with Klee, I realized.

siri-ousdahl-constraint-emmanuelle-de-maupassant-critiqueI’m also researching an erotic fantasy novel! Yes, research: I can’t bring myself to write anything without lots and lots of reading ahead of time.

Thank you once again to Siri for taking time to discuss her intent in writing and the complex psychologies of her work.

If you’d like to read Constraint, you’ll find it for sale, here.

You can also find Siri at Visconti Press

Read more from Siri on motivations in writing erotic fiction here, as part of the 130 Authors series.

You may also like to read critique of Constraint written by Remittance Girl, here, and by Terrance Aldon Shaw, of Big Brain Erotica, here.

 

Women Writing The Erotic: Part Three

erotic-fiction-women-writersIn this series (within the 130 authors survey), I’m sharing women’s views on exploring sexuality through fiction. If you haven’t already read Part One or Part Two,  it’s best to begin there.

Here, we look at what first inspired these women authors to tackle sexual themes, and the significance of gender to their work.

In writing erotic fiction, sex is the lens through which we explore our world and our identity. Our writing is a pathway to knowing ourselves: physically, mentally, and emotionally.

In expressing our understanding of our sexual self, looking at how erotic impulse shapes us, we recognize that we are more than intellect, and more than emotion. We are also ‘of the body’.

Ina Morata tells us, “Sex is the medium I use to investigate psychological boundaries: my personal insecurities and fears. I explore who I am and see how far I can push myself. Erotica, more than any other genre I’ve worked in, allows me to do this without feeling contained or isolated. Writing erotica has been the best move I’ve ever made; I’ve evolved so much since I began.”

Remittance Girl urges us to write with honesty, and without fear, embracing whatever understanding of pleasure and eroticism is true for us. She notes, “Society offers rigid ideals of the right and wrong way to experience, pursue and satisfy desire… It’s hard to conceive of new eroticisms, because we fear that people will judge us if we veer too far away from the accepted.”

RG asserts “As writers, we all write a little of ourselves into our stories, and we all have a tendency to protect ourselves. This is especially true, I think, with erotic fiction. Our understanding of what is erotic, how to be erotic, how to ‘see’ pleasure, use pleasure, give pleasure seems to reflect so strongly back on ourselves.” She warns us to be brave in how we write, avoiding self-censorship through fear of judgement.

Meanwhile, writing the erotic can help in eroding sexual stigma, encouraging women, and men, to voice their desire more honestly. As Rose Caraway asserts, “I want to break down notions of sex being ‘bad’. We mustn’t be afraid or ashamed.”

First Inspirations and Influences

A remarkable number of the women taking part in the 130 authors survey have a background in the visual and performing arts, which they universally acknowledge as an influence on their writing. Jane Gilbert studied art history, as did Nya Rawlyns. Meanwhile, Renee Rose, Malin James and Adrea Kore trained in dance. Jade A Waters has studied circus arts. Madeline Moore has worked as a screenwriter for television, while Krissy Kneen and Tobsha Learner have worked in playwriting, and Adrea in stage direction. Jade, Malin, Lee Savino, Elizabeth Black and Suzette Bohne’ Sommers have also worked in theatre. I could go on…

Adrea Kore describes her search for ‘new and evocative ways of writing about feminine desire and describing the desiring female body’, influenced by her time as a sculptor’s life model, her study of dance and theatre, and her many years in stage direction. She notes her fascination with stories ‘of growth, transformation and dislocation, felt through and mediated by the body’ and ‘translating the physical arts into words: my experiences of dancing and life-modelling’. She relates, ‘…more arduously, carving out narratives of sexual trauma. Death. Then, the sensual pleasures. Sex. Light, dark, light, dark. lidia-yuknavitch-author-quote-eroticAlways this dance, and writing has helped me embrace the totality in the supposed contradictions.’ – read more here

Tobsha Learner began exploring feminist/sexual themes while studying sculpture, before moving into playwriting. There she continued to delve sexuality and gender, and became inspired to write her first erotic short story collection, Quiver.

(find out more about Tobsha here, in my interview).

Krissy Kneen similarly began by writing for the theatre, alongside film, and comes from a family of painters and sculptors, which she cites as an influence. She notes, “There are so many facets of the erotic. I’m drawn to those which lead me to extend myself. I explore. The surrealists taught me to go beyond the knowable and I have followed that call.She stresses her ‘never ending quest to express sex as a growing changing thing’ and emphasizes her ‘desire to transgress’, saying, “I’ve been boundary pushing since I started writing about sex. I experience the world in a very physical way. It’s how I relate to the world in general.”

Malin James trained as a ballet dancer with the San Francisco Ballet before being accepted into NYU’s acting programme, noting that her acting training influences her writing in subtle ways. She states that her writing of erotic elements wasn’t a conscious decision but the result of feeling stifled by avoiding sexual themes. Malin says, “I write to explore and reflect experiences. I like digging beneath a constructed, social surface to get at an emotional reality.”

Donna George Storey describes her writing style as literary, feminist (focusing on the female experience) and realistic. She lived in Japan for three years, receiving a Ph.D. in Japanese literature, and her writing is influenced by Japanese poetics and the literature of the ‘pleasure quarters’. She states her desire to ‘report on the truth of the female experience’. Her storytelling ‘always turned to erotic themes’ and she believes that erotica can be intelligent, challenging and mind-expanding, exciting to the mind as well as to the libido’. She recalls being struck by Di Prima’s ‘brilliant description of several kissing styles’ [in ‘Memoirs of a Beatnik’], saying, “It still amazes and challenges me to capture the truth of the erotic experience in my own work.”

(more on first inspiration here)

The Compulsion To Write

Some women note a very early awareness of sexuality, and a desire to express this on the page. Cecilia Tan wrote on this topic in childhood notebooks and diaries, even from the age of six.

nya-rawlyns-erotic-fiction-quote-women-writersOthers discovered the liberation of writing much later.

Nya Rawlyns asserts, having spent ‘seven decades on this planet’, that writing is never passive. It is a ‘contact sport, dangerous, exhilarating, totally engaging’. She underlines, “I’ve worked at several different careers, and had an uncommon amount of tragedy and strife in my life. I have scars aplenty and I wear them with pride, along with the wrinkles of failure and the thinning skin of hope.” Nya notes her excitement at writers ‘peeling away the socially acceptable and revealing layer-by-layer the most intimate cravings of tortured souls’. She tells us, “I want to step far outside the boundaries of acceptable and explore the intersect of pain and pleasure, right and wrong, good and bad, need and desire.”

Elizabeth Safleur states,I can’t imagine writing anything that doesn’t involve sex on some level. Sex is part of the human experience. It’s one thing every human being has in common – either by avoiding it, being scared by it, recognizing its power (or not), having it, or trying to get it. How anyone can leave out such a powerful element in a story about love, I’ll never know.”

Cate Ellink recounts, “At a manuscript development week with other unpublished female writers, I realized that I was the only one comfortable writing fully depicted sex scenes. I began to see it as a strength, which gave me courage to move into the erotic genre and look at publication.”

Brantwijn Serrah recalls being ‘wildly curious’ about erotic novels. She tells us, “I read short stories first, as I imagine most do. Unfortunately, the first I read was incredibly disappointing. I felt so let down, I decided to write my own… and found compelling, emotive energy from the exercise.”lidia-yuknavitch-author-quote-women

KD Grace comments that it was never her intention that her stories be only erotic, but that she has ‘always found sex to be a fantastic catalyst’. She asserts, “Few actions can change a story more dramatically than sex properly placed. I can’t imagine trying to tell a story without sex included. Neither can I imagine writing sex that isn’t an integral part of a story.”

Kay Jaybee admits to feeling surprised by her impulse to write erotic themes. “I had no intention of writing erotica that first day, sat in a cafe in Scotland at the age of 33. I was daydreaming out of the window, having not written a thing since I left university, when an idea suddenly came that was so naughty it shocked me. It wouldn’t let me go, so I wrote it down on a napkin. The story was taken by Violet Blue three months later. That was nearly twelve years ago, and I’ve never looked back.” She adds that it’s now ‘an obsession’. “If I ‘m not writing, I’m not me.”

Lily Harlem echoes this sentiment, saying, “I ‘have’ to write; it’s very much part of my daily life. I simply write because I love to.”

Telling Women’s Stories

One of Madeline Moore’s first erotically themed tales (writing as Madeline de Chambray) was for an anthology entitled Amazons: tall tales of strong women, about a woman who loses her breast to cancer.

nya-rawlyns-women-writers

Alexis Alvarez asserts her desire to see ‘female-centric’ portrayals of BDSM and sexuality in fiction. She explains, “Most stories, for all of their modern settings and vocabulary, remain stuck in a patriarchal mind-set.”

Donna George Storey emphasizes, “I definitely identify as a woman writer. One of the main reasons I write is because I believe we need more female voices in the chorus of literary expression. I know we are supposed to respect the creative effort of every artist and applaud a writer’s attempt to write across gender. When someone does this well, it is a pleasure to read (plus I applaud every effort to empathize with people who are different from ourselves). However, often, I find that when men write female characters, they don’t connect with the deeper aspects of the female experience. Women (and other groups discriminated against) have not had enough of a chance to share their own experiences honestly. Those are the stories I feel are worth my time to read and write.”

Malin James comments ‘being a woman is the only gendered experience of which I have first hand experience’. She continues, “There are issues, such as sexual abuse, reproductive health and abuse in relationships, upon which I take an entirely gendered view. My perspective on these issues is reflexively female and, while I strive for a balanced perspective, I honor and acknowledge that bias.”

Zak Jane Keir tells us, “I write as a woman; I identify pretty much as a woman and a feminist (this is not making any claims to superiority over men, transpeople or the gender fluid, just a statement that I am content to be me). I like to write about women and women’s sexual autonomy and their independence.”

Within and Beyond Gender

Cate Ellink asserts that she prefers to write from a female perspective, since it is the one she knows and feels confident with, worrying that an attempt at male perspective would weaken her storytelling. Similarly, Christina Mandara is adamant that she writes with strong identification as a woman and believes that, in writing men, she is less skilled than a male author would be.

Madeline Moore states, “Even when writing from the point-of-view of a man, I’m a female writer.” She believes, ‘the discrepancy between what men think women want and what a woman actually wants is enormous’.cecilia-tan-erotic-fiction-quote

However, a number of women authors note their desire to write without a predominantly female voice, preferring to focus on character, regardless of gender. Cecilia Tan underlines, The gender of the character is irrelevant. I’ve written more male protagonists than female, as well as trans characters and characters who magically change gender partway through. I’m biologically female, and my social identification is female, but my self-identification has never been particularly female/feminine.”

Madeline Moore tells us, “I’ve always written from a male perspective as well as female, just as I’ve always written characters of colour and I’ve written sexual orientations and fetishes that differ from my own.”

KD Grace raises an interesting point in her belief that writing from a male perspective gives her ‘permission to explore erotic themes more directly’.

A growing number of women authors feel the same way, choosing to write M-M erotic fiction, stating the motivation that protagonists can be more easily presented as ‘equals’, without navigating social baggage of the roles/expectations of M-F power balance.

Writing Our Own Truths jeanette-winterson-author-quote

Tobsha Learner notes the struggle to find ‘a sexy word for vagina – something that purrs as well as has claws’. Her comment is playful but she touches upon an issue at the heart of women’s writing of the erotic.

Our sexuality is multi-layered, and the ways in which we express our desire are just as complex. We are fluid. We are changeable. We are the tiger and we are the pussy cat.

We, as writers, are exploring the many facets of desire.

We are liberating our voices.

As the reader, you can liberate yours too.

Further Reading 

Coming Soon…

Writing Craft

Authors’ Recommended Reads

Author Inspirations: film, theatre, dance, fiction, art, music

My thanks go to the following authors for giving their time and for their candid answers; my thanks also to authors who contributed their views anonymously.

Tobsha Learner, Laura Antoniou, Susan St. Aubin, Shanna Germain, Remittance Girl, Malin James, Janine Ashbless, Adrea KoreKristina LloydCecilia Tan, Donna George StoreyKathe Koja, Justine Elyot, Sorcha BlackCari Silverwood, Siri OusdahlZander VaneTamsin Flowers, Krissy KneenZak Jane Keir, Jade A WatersKD Grace, Kay Jaybee, Nya RawlynsSessha Batto, Rose CarawayTabitha RayneElizabeth Safleur, Devi AnseviK. L. Shandwick, I.G. Frederick, Jacqui Greaves, Ina MorataFinn MarloweElsa Holland, Elizabeth SchechterLucy Felthouse, Alexis AlvarezLily HarlemMadeline MooreRia Restrepo, Scarlet Darkwood, Victoria Bliss, Jane GilbertCharlie Powell, Cate Ellink, Lee SavinoElizabeth BlackFelicity Brandon, Nicolette HugoAmelia SmartsSue MacNicol, Cassandra ShawArdent RoseSylvia Storm, Renee Rose, Rachel de Vine, Cherry Wild, Patient Lee, Pandora Spocks, Suzette Bohne’ Sommers, Molly Synthia, Meg Amor, Lizzie Ashworth, Cara Bristol, Finn Marlowe, C.A. Bell, Brantwijn Serrah, Aubrey Cara, Kathleen Bradean, Stormchase, Lisa Fox, Allyson YoungEmma JayeDee Maselle, Christina MandaraSue LyndonRebecca Branch, Molly Moore, Vanessa WuJaye Peaches, Ashe Barker, Tilly Andrews and Catherine Mazur.

Women Writing The Erotic: Part Two

women-writing-erotic-fictionIn this series (within the 130 authors survey), I’m sharing women’s views on exploring sexuality through fiction. If you haven’t already read Part One, it’s the best place to begin.

Here, we look at recurring themes within erotic fiction. 

What do we find to challenge and empower us?

What motivates us to write within this diverse, often liberating, yet sometimes misunderstood genre?

Writing ‘sex’ is a pathway to understanding. We recognize that we are more than intellect, and more than emotion. We are also ‘of the body’.

In writing erotic fiction, we use sex as the lens through which we explore our world and our identity.

We, as writers, look at how sexual impulse shapes our motivations, and how it impacts our relationships.

We speak our desire and, in doing so, our voices only become more powerful.

At its best, erotica reaches far beyond formulaic parameters and the ‘comfort’ of perceived ideals.

At its best, there are no parameters.

Kristina Lloyd asserts, “The erotic disrupts, destabilizes and threatens order, both personal and social, and its power is widespread and pervasive.”

lidia-yuknavitch-author-quote-truth-of-bodyChristina Mandara voices the opinion that women’s reading material is being dictated to them: a view shared by Sorcha Black, who believes, “The policing of women’s sexuality includes censoring what we read.”

While being receptive to critique (as would be expected in any genre) we, as authors, need to stand resolute in our belief that sexuality is a valid theme for literary exploration, and that we have the power to write as we see fit.

I.G. Frederick notes, with frustration, “It’s perfectly acceptable to use sex to sell anything from cars to beer, but we’re discouraged from examining the impact of sex on relationships in works of fiction.”

Many of the women taking part in this survey note commercial ‘constraints’ within the genre — such as are difficult to ignore for any writer seeking to earn an income from their work. However, we can argue that responsibility lies with us, as authors, to become less commercially risk-averse. If we write from a place of truth, we’ll find our audience.

Brantwijn Serrah praises erotica’s ability to play with possibilities, assisting ‘readers and authors in exploring new ideas about sexuality’.

Fiction Mirrors and Identifying the ‘Self’

In exploring the psychology of desire, how we behave ‘in the raw’, erotic fiction invites us to open our minds to all possibilities. It has the power to delve not just our fantasies but our truths. It holds a mirror to versions of our ‘self’ rarely let out in polite company; within that mirror, we gain deeper understanding.

nya-rawlyns-author-quote-erotic-fiction-literature-21st-century-emmanuelle-de-maupassantRemittance Girl, in her article, On Writing Erotica, explains her desire ‘to articulate the conflict within ourselves, to make sense of it, and then to reach out to others via the page’. Nya Rawlyns believes the genre has the power to ‘redefine how we see ourselves and our society’.

Sessha Batto emphasizes that her goal is ‘to trace a character’s growth, as revealed through sex’ and to ‘dig deeply into a character’s personality and motivations’, as ‘catalysts for growth and personal discovery’.

Malin James states,Authorial intent comes down to one thing: I want to understand.” She underlines that fiction ‘can reflect the human condition in all its individual, specific forms. It can explore the cause and effects that drive our lives and form our emotional realities.” She adds, “I write to explore and reflect experiences. I like digging beneath a constructed, social surface to get at an emotional reality.” – read more from Malin on her intent here and hereremittance-girl-quote-fiction-reality-author-erotic-fiction

Fantasy v. Realism

Fantasy (all the ‘what ifs’ of our imagination) is a well-recognised aspect of erotic fiction. If not here, then where else, can we explore ‘the forbidden’. As Malin James stresses, “While a great deal of erotica falls into a realistic vein, much of what people actually want is that which they can’t (or don’t feel they can) have in real life. This is why rape fantasies, incest and other transgressive sexual acts continue to sell erotica and generate clicks.” – more on ‘fantasy’ here

 Janine Ashbless sees fiction as ‘a safe area in which to let our darker selves, our fears and our desires, out for a little exercise…’

It may seem contradictory to seek out greater realism within erotic fiction.siri-ousdahl-author-quote-erotic-fiction-21st-century-emmanuelle-de-maupassant-sex However, the majority of writers with the 130 authors survey assert a desire to write recognizable, diverse characters, and situations, with psychological depth, to better allow readers to empathize, and enter into alternate possibilities.

Siri Ousdahl declares, “I’d like there to be a larger place for high-quality, graphic sex writing: fiction that is not coy, does not romanticize or trivialize, and is psychologically realistic.”

Tobsha Learner comments,I like to make my characters normal people with fallible, normal bodies of all ages. The premise being that lust, sex and love is not just something that happens to gorgeous under thirty year olds, with ridiculously youthful and beautiful billionaires.” She asserts, “There is a certain joyful bawdy finger up to the Heavens when such coup de foudres fall upon our heads, whether we be 80, 50, 30 or 16.”

Similarly, CA Bell declares, “I’d like to see sexy, real, and honest writing: no billionaires who can shag for hours and come five times a night.” In her own words, Elizabeth Safleur writescontemporary billionaire erotic romance with a lot of fantasy’ but admits that she’d ‘like to read stories that involve real people, who aren’t great at being together (yet) and figure it out’. She adds, “Instead of the sex being amazing right off the bat, what did they do to make it great? I’d like to read something that allows for insecurities… vulnerabilities can be sexy.”

Diversity

Krissy Kneen tells us, “I’d like to see a broader range of people represented, fat people, old people, the disabled, all types of sexual orientations. I’d also like to see more gender fluidity. I think the masculine/feminine divide is boring and needs to be retired. Manly men and femme women is a cliché that really must go.”

Zak Jane Keir is keen to see more trans characters represented in stories remittance-girl-erotic-fiction-quote(where the plot extends beyond the surprise reveal of them actually being a §transperson). She laments the ‘generic’ in erotic fiction.

Sorcha Black also asserts her goal of challenging assumptions about gender roles and sexual attraction by avoiding ‘stereotypes’. She explains, “A lot of my characters are sexually fluid and are also into kink. I don’t have to limit myself to what’s expected. It’s far too easy to paint caricatures.”

On the theme of ‘perfection’, Madeline Moore states, ”We’re all looking for it and when we’re in love we believe, for a brief time, that we’ve found it.” However, she laments that women often feel that sexual encounters should be ‘perfect’, while men have ridiculous expectations of ‘perfection’.

Lily Harlem underlines her interest in exploring flawed characters, ‘because no one in real life is perfect or makes the right decisions all of the time’. Meanwhile, Donna George Storey notes that fantasy sex is ‘soothing’ but that she’s ‘now trying to capture something more real’. She explains, “I appreciate that erotic fiction often explores a world where characters are free of sexual repression. You meet a gorgeous partner, fall into bed immediately, and the physical tobsha-learner-erotic-fiction-quoteexperience is fantastic even though you don’t know his/her name. The female version usually has the gorgeous partner falling in love for the first time in his life after the aforementioned great sex.” Donna asserts, “I’d like to see more celebration of the magic of sex between people who know each other well. I’d like to acknowledge that time and trust are important in creating a situation where great sex can happen. Couples who’ve been together for a long time are not necessarily bored with each other. They can go deeper, they can play, they know each other well enough to trust it will be mutually enjoyable.”

Cecilia Tan notes her aim to write ‘power dynamics between lovers’ and the ‘ways they explore each other’s inner lives, imagination, and fantasies’.

In the realm of BDSM themed erotic fiction, Nicolette Hugo would like to see ‘alternate sexuality explored more positively’, stating her irritation with ‘sadism being relegated to villains.’. KD Grace explains, “I’m sick to death of weak, cardboard women being written as subs and mean, unlikable, men being written as Doms (or, even worse, as really creepy, stalker types). I want depth, I want a connection that has more to do with what drives the characters, and with the chemistry between them, and less to do with the trappings.”

Zak Jane Keir expresses her desire ‘to share a worldview that isn’t entirely mainstream’.

Meanwhile, Adrea Kore reminds us, “Human sexuality is vast, varied, and complex. The spectrum of people’s turn-ons and kinks is almost verging on infinite. And so is writing about it. As authors, we don’t all have to be covering the same ground… there is room for diversity.” – more here

Themes: Identity

Many authors view ‘identity’ as a prevalent theme, often expressed through understanding of the self (and what motivates our behaviour). Cate Ellink describes this as ‘finding your place in the world’. Malin James notes that she is drawn by the fluidity of the concept of self, and ‘sexuality as a window into deeper understanding of ourselves and each other’.

Cari Silverwood asserts that her stories aim to make us question our ‘relationship with the world and humanity’, to the point where we are ‘uncomfortable and, even, disturbed’. She embraces writing fiction with ‘an inherent moral challenge’.

Remittance Girl, in exploring darker elements of human nature — ‘guilt, emmanuelle-de-maupassant-erotic-fiction-writing-quotemistrust, fear and emotional wounding’ — shows characters obliged to ‘reconstruct their identity in the light of what they’ve done’ –more here. We watch her characters push through their inner-sanctions, and see how they deal with the consequences. In this way, her work exposes our uncertainty and our inconsistencies.

Elizabeth Safleur states her fascination with the theme ofbecoming more yourself’, telling us, “Most of my women are fiercely independent… [but] often find it difficult to reconcile that quality with their submissive and other kink/BDSM yearnings. I’ve noticed a new pattern lately, which is people believing they don’t deserve love, not deep down. Who said writing isn’t cathartic?”

Brantwijn Serrah also explores the theme of identity, of ‘who we are in our most naked moments’. She asserts, “It’s amazing to me how much can be understood through our sexual self.” Nicolette Hugo similarly refers to ‘acceptance of self’ as a theme in her work.

Themes: Truth and Deceit

So many authors, across the centuries, have sought ‘truth’ and, conversely, examined the deceits we perpetrate.

Erotic fiction well lends itself to exploring ‘grey areas of morality’, as Tobsha Learner calls them: to the small lies we tell ourselves, to our unspoken motivations, to the ways in which we manipulate or make use of others. Nicolette Hugo refers to this ‘moral duality’ in her own work, alongside ‘the marriage of sex and violence’.

Donna George Storey states her major theme as ‘the lies we tell, whether malevolent or benevolent… and especially lies involving sex’. Donna explains, %22we-must-kill-the-false-woman-who-is-preventing-the-live-one-from-breathing-%22-quote-helene-cixous“I love exploring the slippery relationship between truth and fiction. The stories I value convey truths that spring from careful thought and deep feeling, truths we often keep secret from others and ourselves. Exploring those truths is what I aim for when I write.”

Sessha Batto views sex as ‘a vehicle of revelation, a way to expose characters when they are most open and vulnerable’. She writes sex to ‘expose the parts we tend to keep hidden’.

Themes: Freedom and Constraint

Another common theme for exploration is that of the nature of freedom (as explored in Siri Ousdahl’s novel, ‘Constraint’). We speak of sexual liberation as a form of ‘freedom’: to make our own choices, without inhibition or shame.

The pursuit of freedom is a preoccupation of my own, although I little realized it when I began writing, exploring the myriad ways in which women are ‘pinned’, ‘exhibited’ and ‘dissected’ by society.

Cecilia Tan takes this idea further in linking sexual expression to creative expression. “Just last weekend I was in a workshop for writers where I discovered that one of my main underlying themes is equating sexuality with creativity at a metaphoric level. My characters tend to be not only on a search for love and sexual gratification; this is usually tied up with their need for creative or artistic expression.”

cecilia-tan-erotic-fiction-quoteShe adds that the public versus private face of a person can exist not only in terms of their sexuality (how they express it to the world versus how they are in private) but their art form (dance, painting, sculpture, music, songwriting, writing, and so on).

Themes: Connection, Yearning, Trust

Tobsha Learner asserts, “The erotica reader doesn’t just want to look; they want to be in the skin of the protagonists. They need to feel the aching frustration and longing and then the blissful release of orgasm, both in the emotional, physical and sometimes spiritual sense.”

Tobsha underlines the importance ofpsychological foreplay’ in erotic fiction (a factor that is largely irrelevant to pornography) – more here.

Lily Harlem asserts her exploration of the ‘many complications that arise from the emotions of love and lust’ – a theme mentioned by many who responded to the 130 authors survey. A significant number underlined, as we might expect, interest in delving the complexities of connection and, as Malin James calls them, ‘social and sexual power dynamics’.

Kay Jaybee, alongside quite a few of the respondent authors, is fascinated by the BDSM world. She tells us, “I don’t inhabit that world, but the psychology of it, the dynamic of total trust that it requires, is an endless source of inspiration.” Meanwhile, Madeline Moore tells us that she writes about people who are ‘in a state of yearning’ or ‘obsession’.

sign-my-death-with-your-teeth%22-author-quote-helene-cixousThemes: Mortality

Shanna Germain notes her desire to break open the relationship between sex and death, to ask her characters ‘How are you going to handle this? Will you grow and change? Will you show your true self? Or will you hide?’ Malin James, too, finds herself returning often to explorations of mortality and ‘the relationship between sex and death’, as does Christina Mandara. 

Cultural Relevance

Shanna Germain underlines that, of all genres, erotica (and horror) most reflect ‘the mores of our current culture’. She tells us, “Sci-fi looks ahead, fantasy looks back, literary fiction looks askance. But erotica looks right at the now and says, ‘This is happening, in the streets, in the bedrooms, in the bars.’ Where will erotica, as a genre go? It will go where the culture goes. I hope it goes somewhere open-minded, joyous, and hot as fuck.”

As Remittance Girl asserts, “I hope that I can play some small role in the evolution of erotic writing and help, if only in a tiny way, to push it into the light, and towards being recognized as a fertile and unconstrained form of critically recognized literature.” She urges us, “We are adventurers. We are explorers. Be brave. Dare to write what frightens and unsettles us, as well as what delights us. In doing so, we may write words worth remembrance.” – more here

It’s time for us to write our own rules.

We can be whoever we wish to be.

Own your sexuality, own your voice, own your words.

In Part Three: Inspirations, influences, and the relevance of gender

Further Reading 

Coming Soon…

Writing Craft

Authors’ Recommended Reads

Author Influences: music, theatre, dance, fiction, art

My thanks go to the following authors for giving their time and for their candid answers; my thanks also to authors who contributed their views anonymously.

Tobsha Learner, Laura Antoniou, Susan St. Aubin, Shanna Germain, Remittance Girl, Malin James, Janine Ashbless, Adrea KoreKristina LloydCecilia Tan, Donna George StoreyKathe Koja, Justine Elyot, Sorcha BlackCari Silverwood, Siri OusdahlZander VaneTamsin Flowers, Krissy KneenZak Jane Keir, Jade A WatersKD Grace, Kay Jaybee, Nya RawlynsSessha Batto, Rose CarawayTabitha RayneElizabeth Safleur, Devi AnseviK. L. Shandwick, I.G. Frederick, Jacqui Greaves, Ina MorataFinn MarloweElsa Holland, Elizabeth SchechterLucy Felthouse, Alexis AlvarezLily HarlemMadeline MooreRia Restrepo, Scarlet Darkwood, Victoria Bliss, Jane GilbertCharlie Powell, Cate Ellink, Lee SavinoElizabeth BlackFelicity Brandon, Nicolette HugoAmelia SmartsSue MacNicol, Cassandra ShawArdent RoseSylvia Storm, Renee Rose, Rachel de Vine, Cherry Wild, Patient Lee, Pandora Spocks, Suzette Bohne’ Sommers, Molly Synthia, Meg Amor, Lizzie Ashworth, Cara Bristol, Finn Marlowe, C.A. Bell, Brantwijn Serrah, Aubrey Cara, Kathleen Bradean, Stormchase, Lisa Fox, Allyson YoungEmma JayeDee Maselle, Christina MandaraSue LyndonRebecca Branch, Molly Moore, Vanessa WuJaye Peaches, Ashe Barker, Tilly Andrews and Catherine Mazur.

Women Writing The Erotic

women-writing-erotic-fictionIn this series (within the 130 authors survey), I’ll be sharing women’s views on exploring sexuality through fiction.

Which themes tug to be unravelled and explored?

What motivates us, challenges us, empowers us – as readers and as writers?

Women are not only the predominant readers of erotica but form the lion’s remittance-girl-erotic-fiction-author-quoteshare of authors, and our voices are growing louder.

More of us than ever are letting rip on the page, opening our sexual imagination. As we know, when it comes to erotic fantasy, it’s more fun when you’re sharing.

Women continue to face battle after battle for equal rights, respect and recognition, across every sphere imaginable, but when it comes to erotic fiction, our feet are firmly under the table.

Perhaps, just perhaps, we’re stepping into an age where we’ll have the freedom to read (and write) what we damn well like: within the pages of erotic fiction, and beyond.

In her interview with The Paris Review, Ursula K. Le Guin nailed it in saying: ‘Don’t shove me into your damn pigeonhole, where I don’t fit, because I’m all over. My tentacles are coming out of the pigeonhole in all directions.’

ursula-k-le-guin-women-writers-emmanuelle-de-maupassantThere’s still a degree of censorship, and traditional publishers remain somewhat cautious about stepping outside of the box, but, if we keep writing up against the boundaries, inch by inch, they will surely come down.

As Remittance Girl notes, on her website manifesto: ‘As a woman, I have inherited the burden of thousands of years of social, religious and sexual oppression. My understanding of self, my agency, my language and my sexuality were born, molded and twisted by that oppression. I am happy to have a discussion on why I write what I write, but I will not tolerate being told what I can or cannot write about.’

Brantwijn Serrah admits to considering using a pseudonym for her first title outside of the  genre, believing that preconceptions exist as to who can write what. She asserts, “Erotica, being conceived as a subgenre of romance, seems to be the realm deemed most appropriate for women to write, while adventure, fantasy and science fiction appear to be realms reserved for men. The perception that women are good for sex while men are the ones trusted with more “serious” business is an offensive and disappointing reality.”
adrea-kore-author-quote-erotic-fiction-sexuality-emmanuelle-de-maupassant

Remittance Girl comments, “Erotica can be breathtakingly beautiful because it’s about us at our most naked, our most vulnerable. It is an exposure of both our passions and our hideous flaws. Our destructive jealousy, our brittle pride, our hunger for what doesn’t belong to us, our need for the strange and the transgressive.

I’m keen to see men embracing erotica too: sending a big cheer to all men writing and reading sexually-themed stories (read more about male authors of erotic fiction here). However, when women write ‘the erotic’ it makes my heart sing.

Some would argue that gender is irrelevant to how we approach the page as writers, that we have the ability to portray any human being, from any time in history, and from anywhere. All that’s needed is imagination.

emmanuelle-de-maupassant-author-quote-erotic-fictionIt’s true that some elements of the human condition are universal. We all, surely, know what it is to love, to despair, to smile, or to regret. We know the fragility of life and we share wonder in the world we inhabit.

And yet, as women, aren’t we best placed to portray what it’s like to walk in our skin?

Double-standards, Repression and Censorship

As little girls, we’re taught all the things we should never mention, and never do; for many of us, it’s a lifelong journey to free ourselves of inhibition.

Adrea Kore reminds us, “Women writing and speaking about their own desire, being open with what gives them pleasure and turns them on … even finding the words for that is something that is still seen as taboo in corners of Western culture, let alone in comparison to cultures where women are more repressed ideologically, and socially.”

helene-cixous-author-quote-laugh-of-the-medusa-write-yourself-your-body-must-be-heardAs Cecilia Tan states,  “I was put on Earth to write but it wasn’t until I started writing erotic fiction that I found my voice. I want a world where sexual freedom, not sexual oppression, is the norm, and so I write about sexual pleasure and fulfillment.”

Ina Morata comments, “Sex is the medium I use to investigate psychological boundaries: my personal insecurities and fears. I explore who I am and see how far I can push myself. Erotica, more than any other genre I have worked in, allows me to do this without feeling contained or isolated.”

Adrea sees erotica writing, particularly as a female author, ‘as a political act jeanette-winterson-author-quote-books-fictionas well as a creative one’. She explains, “French feminist Helene Cixous phrased it beautifully in an essay called ‘Laugh of the Medusa’ – ‘Write yourself. Your body must be heard.’ I think this applies to all women’s stories, but particularly those around sexuality. The political aspect of it, the desire to confront and subvert, is a strong motivation for me – as strong as the desire to seduce and arouse.”

Brantwijn Serrah notes that her focus is on women’s pleasure and the satisfaction of ‘the sexual spirit we are programmed, as women, to suppress or deny’. She notes, “When I write from a male point of view, I’m aware of the disparity, the ‘privilege’ of men to express sexual interest while women still struggle with this.”

Lily Harlem explains that she loves to write heroines who ‘break the rules’, but laments adrea-kore-erotic-fiction-author-quotethat some readers have criticized her writing of female protagonists who lack ‘the same moral compass’ as themselves. She notes, “I call these cardboard cut out heroines. From my personal experience, people make crazy decisions when it comes to love and passion.” She asserts that ‘flawed, impulsive, manipulative heroines’ breathe life into fiction.

Elizabeth Safleur underlines, “Men and women are still pressured to conform to certain standards. What’s odd is how hypocritical those standards can be. Be attractive! Be Sexy! Attract a mate! Yet, not too much. The minute anyone takes full ownership of their attractiveness, sexuality and relationships, they are deemed too aggressive or too [insert negative label of choice]. Both men and women fall under pressure, albeit differently, to conform to others’ ideas of what is acceptable. I can’t help but tell these stories because I see (and have experienced) the cost of burying yourself and your sexual urges under layers of ‘I shouldn’t be like this’ or ‘I shouldn’t want this’. I hope people find kindred spirits in my characters.”

Writing Beyond Conventions

Almost half of the authors responding to the 130 Authors survey mentioned, to some degree, discontent with formulaic, restrictive expectations and publishing ‘rules’.

Shanna Germain asserts that she wants readers to ‘question assumptions’. She explains, “I like to give people a slant-mirror. Not a perfect reflection of themselves, but a could-be reflection.”

Nya Rawlyns adds, “Much of what passes for erotica today feels stale, too often reflecting romance tropes. Lust and desire, needs and wants… all have consequences. I’m interested in how an individual changes under conditions of denial or when personal and other boundaries are smashed.”

Similarly, Jade A Waters states, “Sex is transformative. I tend to take my characters on journeys of discovery, often as an echo of something I’ve learned in my own life.”

Erotica lends itself well to exploration of ‘grey areas of morality’, as Tobsha Learner calls them: to the small lies we tell ourselves, and to the ways in which we manipulate or make use of others.

Adrea Kore emphasizes, “Erotica writes into areas of the human sexual psyche and behaviour that some genres gloss over or shy away from. Erotica brings into the light contradictions between our inner sexual desires and our outward behaviour. What do we secretly long for, and to attain that, what lengths would we go to?” (more here)

In particular, kristina-lloyd-author-quote-erotic-fiction-21st-century-literature-emmanuelle-de-maupassantsome authors mention a desire to explore the realm of non-consent.

Christina Mandara laments, “I love non-consensual elements in erotica but the world at large has decided that this isn’t acceptable. It seems that women, particularly, must have consensual, hearts and flowers stories.”

Kristina Lloyd feels similarly that there is potential to explore ‘the erotic’ beyond the ‘shackles of romance conventions’.

As Anne Rice notably stated in The Guardian newspaper (2012), erotica writers seek freedom to explore. With particular reference to women, Ms. Rice states:As a feminist, I’m supportive of equal rights for women, and that includes the right of every woman to write her sexual fantasies and to read books filled with sexual fantasies that she enjoys. The whole world knows women are sensual human beings as well as men. It’s no secret anymore that women want to read sexy fiction just as men do, and there’s a new frankness about the varieties of fantasies one might enjoy. So many cliches have been broken and abandoned. And this is a wonderful thing.” 

Sorcha Black believes that many books named as ‘too graphic or taboo’ are those aimed at women. She underlines, “The policing of women’s sexuality still includes censoring what we read.”

Malin James asserts that her writing of erotic elements wasn’t a ‘conscious decision’ but that she began to feel stifled by avoiding sexual themes. She notes, “It stifled my work and, as a writer, that sort of self-censorship was discouraging and unproductive. Censorship is a complicated issue and to ina-morata-author-erotic-fictionpreoccupy myself with it as I write would be to stymie the story before it’s even formed. While I acknowledge the reality of censorship, I try not to let it, or fear of it, influence my writing. I serve the story. If it trips censors, so be it. I have the luxury of pulling it and sending it elsewhere.“

KD Grace voices a view raised by a significant number of those who took part in the ‘130 authors’ survey: the lack of respect for the erotic fiction genre in the literary world. Ina Morata echoes this, saying that writers outside of the erotic fiction genre have challenged her, asking why she doesn’t write in a genre more ‘befitting’.

kd-grace-author-erotic-fiction-literature-quote-21st-century However, KD Grace stresses that this generates an attitude of ‘us against the world and circle the wagons’ and a real sense of camaraderie among erotica writers (with little of the petty jealousy I’ve seen among writers in some other genres).’ She feels the erotica writing community as ‘a family’, saying, “That encouragement has meant a lot to me through the years.”

Writing Women’s Sexuality

Adrea Kore remembers being in her mid-twenties, studying feminism and theatre, and dating a poet, when she discovered Adrienne Rich’s poem ‘In My Rose-wet Cave’. She recalls the image, of ‘being underwater, and yet botanical. Fragrant and secret. Hidden away, deep-hued and moist’. She tells us, “I was intrigued and delighted. And I began to search for more of this kind of writing, that could re-invent the feminine body, the feminine experience of adrea-kore-erotic-fiction-sex-sexuality-author-quote-taboo-underworld-emmanuelle-de-maupassantdesire. I think it put light on the seed already in me to find new and evocative ways of writing about feminine desire and describing the desiring female body.”

Tabitha Rayne notes that writing erotic  fiction, ‘felt like discovering a new colour‘. “I couldn’t stop expressing myself in the erotic. It was like opening a door to myself,” she asserts.

Donna George Storey tells us, “When I got the courage to start writing again as an adult (after getting my B.A. in creative writing and then taking a long writing break as I felt I had nothing interesting to say), all the stories that came out had to do with sexuality. I still find the erotic experience the one adrea-kore-author-quote-women-writing-erotic-fictionthing that truly inspires me to silence the inner critic and just write and enjoy the pleasure of speaking the unspeakable.”

Susan St. Aubin comments, “I’m interested in the mystery of human life, and sex is a big part of that, perhaps the thing that most illuminates the mystery.”

Rose Caraway, speaking of her work in audio narration of erotic fiction, tells us, “Together, we’re helping people awaken, at their own pace. Each story narrated acknowledges sexuality, our own and others’, because it’s being read aloud. Those words want to be heard, making us stronger, so that we can better express and own our sexuality.” (more from Rose here)

Adrea notes her fascination with ‘feminine experience of the world’ and stories ‘of growth, transformation and dislocation, felt through and mediated by the body’. She explains, “These were the things that I began to write about: Love and longing. Loss. Translating the physical arts I most loved into words: my experiences of dancing and life-modelling. Then, more arduously, carving out narratives of sexual trauma. Death. Then, the sensual pleasures. Sex. Light, dark, light, dark. Always this dance, and writing has helped me embrace the totality in the supposed contradictions.” (read more on this topic from Adrea here)

Kristina Lloyd relates this to her own journey, saying, “Through writing, I’ve learned so much about my own sexuality and desire. Writing has given me an understanding; it has allowed me to own a sexuality I’d been conflicted about and confused by when I was younger.”

Emerging Changed

Remittance Girl tells us that ‘all fiction carries the traces of its author’. She asserts, “The difference between really good writing and mediocre writing is not when the characters emerge changed, but when you know, as a reader, that the author has also emerged changed.” 

In writing, we gain greater understanding of our motivations, our pleasures jeanette-winterson-author-quoteand our fears. We emerge changed and, as RG tells us, we ‘expose something true’ of ourselves (more here).

Adrea Kore adds, “Language and ideas, once encountered, live inside you, and can effect changes, both subtle and catalytic. Words endure. And the feelings they conjure up in the body can endure too, leaving traces, imprints in the cells, the memory.” (more here)

Write your own truths, write your own pages.

Our voices are here to be heard.

READ ON – Women Writing the Erotic: Part Two and Part Three

Women authors tell us what compels them to write in the erotic genre, including the themes which refuse to lie quietly, their influences and inspirations, and the relevance of gender to their work. 

You may also be interested to read:

Also coming soon…

Writing Craft

Authors’ Recommended Reads

Author Influences: theatre, music, art, film, fiction, dance

Among the women writers taking part in the 130 Authors survey were:

Laura Antoniou,  Susan St. Aubin, Shanna Germain, Remittance Girl, Malin James, Janine Ashbless, Adrea Kore, Tobsha LearnerKristina LloydCecilia Tan, Donna George StoreyKathe Koja, Justine Elyot, Sorcha BlackCari Silverwood, Siri OusdahlZander VaneTamsin Flowers, Krissy KneenZak Jane Keir, Jade A WatersKD Grace, Kay Jaybee, Nya RawlynsSessha Batto, Rose CarawayTabitha RayneElizabeth Safleur, Devi AnseviK. L. Shandwick, I.G. Frederick, Jacqui Greaves, Ina MorataElsa Holland, Elizabeth SchechterLucy Felthouse, Alexis AlvarezLily HarlemMadeline MooreRia Restrepo, Scarlet DarkwoodVictoria Bliss, Jane GilbertCharlie Powell, Cate Ellink, Lee SavinoElizabeth Black, Felicity Brandon, Nicolette HugoAmelia SmartsSue MacNicol, Cassandra ShawArdent RoseSylvia Storm, Renee Rose, Rachel de Vine, Cherry Wild, Patient Lee, Pandora Spocks, Suzette Bohne’ Sommers, Molly Synthia, Meg Amor, Lizzie Ashworth, Cara Bristol, Finn Marlowe, C.A. Bell, Brantwijn Serrah, Aubrey Cara, Kathleen Bradean, Stormchase, Lisa Fox, Allyson Young,  Emma Jaye, Dee MaselleChristina MandaraSue LyndonRebecca Branch, Molly Moore, Vanessa Wu,  Jaye Peaches, Ashe Barker, Tilly Andrews and Catherine Mazur.

Under the Skin: with Tobsha Learner

Erotica.

Too formulaic? Clichéd? Predictable?

It’s impossible to lay these failings at Tobsha Learner’s door. Original in the extreme, she writes to explore, to fling open doors, to see where language might take her.

She is a risk-taker.

tobshaauthorshotRejecting typical notions of what constitutes ‘literary quality’, her own narrative voice is distinctly lyrical yet she also weaves a good tale. Ms. Learner is a story-teller.

British-born Tobsha originally trained as a sculptor of stone, before she began sculpting words. After around 25 years as a playwright, she moved into novels (thrillers and historical fiction) and her sexy, soulful fables, glittering with lashings of the erotic. Tobsha aims to deliver more than titillation. She delves the psychology of characters, exploring power-play and moral ambiguity.Her first collection of short stories, Quiver, has sold over 200,000 copies. Her latest novel, Picture This, is a study in corruption,quiver the erotic gaze and the creative process.

Tobsha, as writers, we process and refine our experiences, influences and thoughts onto the page, inviting our reader to then enter their own process of interpretation. As we know, there are some stories that change us forever. Years later, we recall how such books made us feel, even if we cannot recall the details. Which authors have stirred you to new understanding of yourself?

I tend to go for the DNA of plot. As a child, I was deeply obsessed with the Robert Graves edition of the Greek myths.

In my thriller writing, I’ve referenced a number of these consciously: Orpheus and Eurydice, the Minotaur, and Medusa.

tobsha-learner-yearnI lost my father when I was 16, while in the middle of studying King Lear for my O’ levels, so this play has particular emotional power for me. Various Shakespearian characters fascinate me: Ariel, Puck, Ophelia, King Lear (and his fool) and Falstaff (an incarnation of Bacchus really).

Many stories have thrown new light onto my own emotional experiences, as has some poetry. In terms of short story craft, authors who stand out for me include Greene, Dahl, Chekov, Bukowski, Nin, Poe, Maupassant, Lawrence, Turgenev, Nabokov, Isaac ben Singer and Wilde.

16171282I’m eclectic in my influences. Definitely, when I discover a new writer who has broken a rule, or who perhaps has an original onomatopoeia to her/his prose, it can be inspiring.

Which themes tug at you?

Each author has an emotional template resonating under each story or narrative, regardless of their conscious intention. For me, quintessentially, it’s free will versus determinism. In terms of my erotic writing, I look at how instinct and sexual desire can over-ride the rational.

tremble-by-tobsha-learner-paperback-2012Are you influenced also by film?

My original training as a scriptwriter (and my experience as a playwright) has influenced my writing, in that I try to make it as visually simulating and visceral as possible. I tend to like films with a magical blend of great dialogue and plot but which also use the craft of film making to tell the story: mise en scène, visual subtext, great editing and so on (such as in the early Coen brothers’ Blood Simple).

As a former sculptor, tell us your artistic influences.

I once played with the idea of basing an erotic short story around a very graphic 19th century sculpture of a male angel in Prague Caste. He was a very defined, handsome man with wings of about eight foot tall (everything in proportion!). I’m inspired in the moment but then it all gets fermented and used later in imagery far less consciously.

louise-bourgeois-maman-1999-steel-35-ft-in-height-tate-modern-london
Louise Bourgeois, Maman (1999) Tate Modern, London, 35 ft

I might be expressionistic (as opposed to cubist!). Certainly, as I get older this evolves like an underground stream of passing references and obsessions. I know I’m a little baroque in language (and I don’t necessarily like this about my work). I love the video instillation of Bill Viola, some of the drawings and sexual themes of Emin, and I really appreciate the cultural madcap commentary of Grayson Perry. When I was a sculptor in training, I was orientated to the narrative/figurative – with, I guess, similar feminist/sexual themes to Louise Bourgeoise. Lately, the abstract and more muted sublime has begun to appeal.

1710567Tell us a little about your writing processes.

I’ve developed a very specific writing process that really heralds back to my playwriting training at N.I.D.A [the Australian equivalent of RADA]. Paul Thompson was my lecturer and mentor then, and he taught us to breakdown each scene with ‘units of action’: what happens in that scene physically and plot-wise. Beforehand, I’d develop character backgrounds (for all characters – detailed for protagonists) as well as undertaking research and creating a plot line. I know this is very unromantic in terms of how people like to imagine writers sitting down to a blank sheet, weaving from their imagination, but I truly believe in the craft of writing (talent being about 10% of the equation, and the rest sheer bloody-mindedness and making the discipline of writing a daily habit).

Do you listen to music while you write?picturethis-cover-tobsha-learners-next-book-picture-this-will-be-available-on-amazon-from-november-2017

I can only write to classical music, without lyrics, but, at other times, I enjoy The Clash, T. Rex and Nick Cave.

How did you approach the writing of your latest release, Picture This, set in the art world of New York?

I interviewed a number of gallery owners and artists, as well as visiting locations. I drew on my experiences as a sculptor and observed artist friends’ ways of seeing. I explore the dilemma that all working creatives face, of ‘commerce versus the artistic soul’.

tobshaauthorshotTobsha Learner was born in Cambridge and raised mainly in North West London but has lived and worked in Melbourne, Sydney, Los Angeles and London. She is the author of three volumes of short stories (Quiver, Tremble and Yearn) seven 2116855novels and dozens of plays. Her latest release is Picture This. Besides writing erotic fiction, she is known for her historical fiction, and for her thrillers (writing as T.S. Learner  – The Sphinx, The Stolen and The Map).

Read more about Tobsha Learner here, in her interview with The Sydney Morning Herald, or view her chatting about her work here.

www.tobshaserotica.com

www.tslearner.co.uk

picturethis-cover-tobsha-learners-next-book-picture-this-will-be-available-on-amazon-from-november-2017More about Picture This

English instillation artist Susie Thomas finds herself investigating the supposed suicide of her female lover Maxine, a young sculptress, while embarking on an affair with notorious gallery owner Felix Baum.

Tobsha is among 130+ authors who took part in my recent series of articles on ‘Writing Erotica’. Find out more here.

An interview with Joey W Hill

Joey W. Hill is passionate about her craft. The author of over forty titles, she believes in writing compelling characters who explore ‘their darkest sexual needs’. Love is at the heart of her stories, as she takes her readers on a cathartic emotional journey.

Here, she reveals how she began writing from a young age, tells us what inspires her, and offers advice to new writers.

Joey, do tell us how you began writing fiction… 

I was reading before I ever started school, thanks to my wonderful mom teaching me. Stories that had a central love story or an abundance of romantic elements were the ones that most captured my interest. The more I read, the more I wanted to be part of those worlds, and somewhere along the way I realized the closest I could come to joining them was creating those worlds myself.

I wrote my first novella in 5th grade and spent my teenage years learning about craft, the business and writing a multitude of short stories and novels. I entered college as a creative writing major but that’s where my intentions took a turn. I became involved in the animal

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Joey’s desktop companions: Jeremy Renner, Thor, Jax (Sons of Anarchy) and Jayne (Firefly), Batty Minion and fuzzy stork guy

rights/animal welfare movement and spent the next ten years giving that my primary energy. Then, one day, it was as if a switch flipped and said, “It’s time to get back to writing stories.”

I’m glad for that hiatus, not only because I supported a great cause still dear to my heart, but because it provided the vital life experience necessary to write emotionally intense Dom/sub stories. I couldn’t have done that in my teens or early twenties, because I just didn’t know enough about love, disappointment, sacrifice, and what it takes to make a relationship work.

 

What brought about the incorporation of more explicit erotic elements, and why are they integral to your work?

Since I started writing in 5th grade, my understanding of erotic elements was a lot different then than it was about 15 years later (laughter). However, even as an adolescent and teenager, there was sex in my books. I knew what sex was and had reached the age that it intrigued me. I think it fascinated me differently than it does most adolescents, however.

Aside from the typical interests caused by hormones, intellectually, the power of it, the way it intertwined with emotions and helped define a relationship, absorbed me. I was also intrigued by the spiritual elements: in the way sex can be used to take love to a deeper level (as with Tantra) and in how various faiths/cultures have used it in their rituals. When I embraced the Wiccan faith in my mid-twenties, I loved the idea of sex being used to raise spiritual energy in the Great Rite.

Back in my teens, my (then dormant) submissive orientation was driving my interest as well. I had a subconscious sense of how deep, intense and diverse sexual expression could be. If I still had my hands on those early manuscripts, I’m pretty sure there would be more than a hint of Dom/sub dynamics to come, because the spicy romances I read as a teenager were the bodice rippers whose heroes are barely disguised Doms.

When I was young, I had my Ken doll put my Barbies in the dungeon and tieJoey W Hill author quote erotic fiction interview them up, so it really shouldn’t have been a surprise when I wrote my first Dom/sub romance in my late twenties. And yet, it was. I initially intended Make Her Dreams Come True to be a spicy romance, but instead it became a day-long exploration between a Dom and a sub in a mall environment. It not only surprised me that it took that turn; what it unlocked inside of myself was even more surprising. I finally understood and embraced my own submissive side. When I began the exploration of my orientation, I channelled what I was feeling and learning into an exploration of all aspects of the Dom/sub relationship on the written page.

 

Can you remember how you first felt on discovering that you could write a scene able to ‘arouse’?

I’m not sure I ever thought about it consciously. I was always captivated by the spiritual and emotional power of sexual relations, so writing stories that reflected that was as intuitive as breathing. While I do love to hear “oh, that scene was hot” or “that character melts my panties”, what I like most is to hear that the emotional component added extra wattage to the erotic quotient, because that’s what ratchets it up for me. If I can’t pull heartstrings and stroke the libido at the same time, I know it still needs work. I believe that arousal works best for women when body, soul, heart and mind are all involved.

 

 

What do you hope to accomplish through your writing?

Whenever I have a reader contact me to say that I’m an auto-buy and on their keeper shelf, or that my work gives them an escape, a chance to feel better about life, or has helped them through a rough patch, I know that I’m doing exactly what I hope to do. I think a writer needs to write for themself first;  I must write a story I love before I can give it to anyone else.

I don’t write to motivate people to any kind of action, because I don’t feel that’s the role of a romance author. However, I do think that, when we do our job right, we help people feel good. People who feel good tend to reach out and perform kindnesses for others. This makes the world a better place overall.

 

NightsTemplarJoeyWHill
Joey’s latest release in the ‘Vampire Queen’ series

What has been your experience of the publishing industry? Have your experiences matched your expectations?

Ups and downs, like any business. Not too long after I was first published, in 2000, both my ebook publishers closed down. Fortunately, soon after, I found a good home with a supportive erotic romance publisher. That was my primary home for fifteen years, before their business troubles convinced me it was time to turn my hand to self-publishing. I’m also published by a NY house.

With the recent shake ups and struggles related to ebook pricing, Amazon’s influence on the market and other dynamic factors, it’s been harder than usual to predict the best ways to pursue this business. I’ve always spread my eggs across multiple baskets, having books with my NY house, as well as with a small press, and through self-publishing. I pursue an eclectic market strategy, always evolving. When push comes to shove, it’s mostly up to the author to make her/his book successful, if it’s going to happen at all.

To answer the question directly, the publishing business is pretty much what I expected it to be. Often unfair but, overall, a system where persistence, hard work and writing a good book pays off. You sometimes have to push through with a battering ram, and lose family, friends, home and sanity in the process. But don’t let that discourage you! (lol)

 

Have you been shamed or otherwise discouraged for your choice of writing?  

I’ve always been straightforward about what I write, yet courteous and considerate about where and with whom I discuss particulars. That behavior seems to go over well, no matter my audience. There is a continuing misconception that erotic romance is low quality adult bookstore porn, and a BDSM romance author is a trashy, outrageous character with the morality of a crack whore.

Meeting me (and many other erotic romance authors, who are a talented, wonderful group) helps people correct that impression, and allows them to take a closer, more balanced look at the genre. I act, sound and look like exactly what I am: a middle-class, well-educated, pretty traditional, Southern-polite kind of girl.

When I worked a day job as an administrative assistant, I did have a board member who had a problem with me. They tried to “expose” what I write in an attempt to discredit me. However, since most of my customers and my employers already knew (because of my professionalism/openness about it, as noted above), the attempt fell flat.

My family doesn’t necessarily understand why I write what I write, but they’ve been very supportive, particularly my mom. Also, I have no idea how I’d do any of it without my husband’s help and support.

 

While erotic fiction has many loyal fans, it’s often denigrated as ‘pulp’. What would you say in its defense?

Stories that present sex in a positive, respectful or sacred way make many people uncomfortable, let alone those that explore alternative sexual practices. It’s easier to trivialize these as “mommy porn” than to acknowledge that Joey W Hill author quote erotic romance interview, to help them embrace their libido in a context we understand – love, commitment, family. My hope is that we’ll grow up enough one day as a society to understand that, but I often fear we’ll never evolve beyond the mentality of two ten-year-old boys snickering over a Penthouse they’ve found in the trashcan.

 

What appeals to you about the work of other authors within the erotic genre? 

I hate that I’m not able to read more but, often, it’s too much like a busman’s holiday. I can’t turn off the internal editor:  “oh, I like how she did that transition” or “he really needed some better character development there”. Those thoughts make it REALLY hard to get lost in a story, which is the best part of reading a book.

VJ Summers is probably one of my favorite erotic romance authors, though she’s currently on a short (I hope!) hiatus. She connects you to her characters quickly, writing stories that make you feel interested, aroused, moved, and invested: as you want to in a love story. That sounds so simple, but it’s actually quite difficult.

I also love Alexis Hall’s For Real and Glitterland, and look forward to reading more of his brilliance. Denise Rossetti’s Phoenix Rising series is a personal favorite in the paranormal/erotic romance arena, as is Shelby Reed’s Fifth Favor and Michelle Polaris’s Bound Odyssey. I also recently finished Master of No One by Tricia Owens, which was excellent.

What all of these books have in common is their strong craft, great characterization, and their integration of erotic elements within the emotion of the story. I expect the same quality from my erotic reads as I do from any other genre, and these authors deliver in these titles. On my GoodReads page, you can see my reviews for various erotic books, and find out which other genres motivate my work (grin).

 

How would you describe your current writing style, and what are your inspirations?

I write emotionally intense, character-driven, BDSM love stories. The characters always lead the way for me. I don’t care for complicated political or action plots, though I do use these when my stories demand them. For me, the excitement and drama is in the relationship.

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Joey’s garden view from her desk, complete with mermaid and fairy companions

As far as inspirations, I love relationship stories, where the characters figure out conflicts together, rather than enduring a frustrated string of “misunderstandings” that only get resolved in the final pages. Nora Roberts was the first author I read who did away with the “misunderstanding” crap and focused on letting her characters resolve emotional obstacles together. Although she is not an erotic author, her command of sexual tension has heavily influenced how I built this in my own stories.

Laura Kinsale, Kathleen Woodiwiss and Penelope Williamson are other influences. They avoid the “expected”, writing steamy love stories with unforgettable characters that squeeze your heart in your chest and make you cry. Diana Gabaldon’s Outlander series is the cherry-on-the-top. Her Jamie and Claire relationship is unforgettable.

 

What advice would you share with ‘new’ writers? 

I always give aspiring authors three pieces of advice: know your craft, know the business, and never give up. Sounds simple, but there are hours of work and tons of emotional and physical energy involved in all three of those.

Know your craft – Learning the craft of writing is like learning any complex skill. It takes practice, studying the style/craft of authors that you love, reading books about craft, attending workshops, joining a writing group that can critique your early attempts and give you feedback (which also teaches you to be brave enough to subject your work to review), and more practice, practice, practice. You never write the best book you can write. You attempt to write it with every new project, whether you’ve written one book or fifty.

Know the business – these days, this is even more of a challenge, because you can seek a home for your work with small press, self-publish, or try for the NY houses. Fewer authors are going NY, however, since some of the NY houses hold onto a lion’s share of rights. Small presses tend to offer short term contracts (more than seven years is a mistake, and for digital media, three to five years  makes far more sense), and quicker turnaround of royalty statements/payments, while allowing you to retain subsidiary rights, and the freedom to provide input into the prep of your book.

In self-publishing, you control all those aspects, which makes it a very appealing choice for authors with an established following. I still recommend that aspiring authors seek out a publisher for their early work, however, because a good publisher tests your craft and helps you determine if your work is ready to be published. You only get to make a first impression once, and you don’t want to have to win back readers you alienated by putting stuff out there that was weak craft/immature writing. Yes, getting published is hard, and yes, sometimes, editors can’t see past the latest trends to something of quality, but that’s

NOD-WTW-Cover-lrg
The latest in the ‘Nature of Desire’ series, from Joey W Hill

why small press is an even better training ground, because they are far more likely to consider the quality of the writing than whether you’ve written “the next Twilight” (name your trendy title here).

To learn the business, attend industry or online conferences, check out industry publications like Writer’s Digest, and RT Book Reviews and read articles/blogs by established, successful authors. It’s the age of the Internet, so you have to use discretion to weed out the good from the chaff but, if you do, you’ll find good info to help you learn about this crazy business. Once you get published, those same sources will help you learn to market, since that’s pretty much all on you unless you’re one of the few Chosen Ones who become the favoured child of a publisher with a large marketing budget. No sour grapes there—just the way the business is, and getting resentful or angry about it doesn’t help your career in the slightest.

Never Give Up – Only you can decide how much effort you want to put into becoming a good writer and getting published. You’re also the one who decides how far along that road you want to go. Some people decide they’re going to just write for themselves, and, honestly, that’s valid. At its heart, writing is about the passion we feel for telling a story. The publishing business can suck that passion right out of you if you don’t develop the right combination of inner creative sensitivity, outer rhino skin, and unflagging professionalism. If you think you have that combo, the secret is to not give up. Persist, persist, persist. Keep writing better and better stories, learn more about the business, and keep trying to meet your goals.

Thank you so much!

Want to learn more about Joey or ask her anything else?

Free excerpts from her works are available on her website, www.storywitch.com. Additional vignettes, character interviews and graphics inspired by her work can be viewed at the fan forum site, here. You can also find her on TwitterFacebook and GoodReads.

Empress of the Erotic: an Interview with Rachel Kramer Bussel

Rachel Kramer Bussel interview erotic fiction writingEmpress of the erotic, Rachel Kramer Bussel, is an icon in the world of erotic fiction and blogging. Her credentials are unsurpassed. Besides contributing to more than a hundred anthologies and having edited sixty herself, her articles have appeared in the hallowed halls of the New York Post, the San Francisco Chronicle, and Time Out New York, as well as in Penthouse, Cosmo UK, and the Village Voice.

Rachel’s passion to encourage other authors has led to her conducting erotic writing workshops worldwide and, for five years, she hosted the In The Flesh Erotic Reading Series in New York City, helping introduce authors to the wide-eyed public. She holds a bachelor’s degree in political science and women’s studies from the University of California at Berkeley.

Here, she reveals what inspires her to write ‘the erotic’, advice she shares with novice authors, thoughts on the current face of publishing and avoiding the ‘formulaic’.

Rachel, what first inspired you towards sexual themes, and what impact did the writing process have on you?

My first few erotica stories were largely inspired by events in my life. I’d been reading erotica for a few years without any intention of writing it. I was just curious. In my college years, just as I was exploring sex, including queerness and kink, dating women, discovering I was bisexual, I found erotica. Some of the earliest anthologies I read were the Best American Erotica series and Shar Rednour’s lesbian first time anthologies Virgin Territory I and II.

I seem to remember the writing coming fast and furious. I’ve always tended to think in full sentences, whether I’m writing fiction or non-fiction. I never plotted back then (and rarely do now), but rather had a vague sense of where I wanted the story to go. I didn’t overthink the writing, or the process of sending it out, or using my real name. All of those could have given me pause, and maybe even scared me into not submitting my work, because I was in law school or had just dropped out.

It’s sometimes odd to me to read or hear one of my early stories, because of course there are things I’d do differently now. However, I like that I just dove right in, without stressing about all the what-ifs. It made it a fun experience.

Have your motivations changed since those first years?Best Women's Erotica of the Year Rachel Kramer Bussell erotic fiction interview writer author writing

I’m still excited about erotica, but I have to work harder to write it now because I don’t want to be repetitive. As an anthology editor, I read hundreds of stories, so I often look beyond erotica recreationally, choosing mystery, YA and memoir. I do also read within the genre, to remain aware of trends, and it’s great to see so much more erotica on bookstore shelves, as well as e-publishing thriving.

Besides writing to ‘arouse’ the reader, do you have other aims?

I’m interested in exploring aspects of sexuality and attraction largely ignored by pop culture: specifically bisexuality, polyamory, promiscuity, men and women with larger bodies and body image, male submissives, fetishes, or affairs. I don’t sit down to intentionally humanize and eroticize fat people (and those who love and are attracted to fat people) or male submissives and so on; it’s a by-product of the types of characters I tend to write. That’s not to say I don’t also write about people who have seemingly “perfect” or “normal” lives (those terms being subjective) but even then I try to subvert those standards, looking beneath the surface. Their lives may not be so glamorous and carefree, and their erotic (and perhaps other) desires run deeper than the surface.

In what ways has writing ‘the erotic’ empowered you or promoted your self-knowledge?

Writing erotica has made me more open-minded and empathetic. Getting inside the heads of characters who do things I’d never do has been a wonderful challenge and has taught me so much, as has editing similar stories. It’s shown me that humans can eroticize anything.

Rachel Kramer Bussel interview writer erotic fictionWhat do you want readers to take away from your work?

Foremost, I hope they enjoy the process of reading. I never want them to feel like they’re slogging through my writing. I want it to entertain but I also want to make them think, perhaps even more than arousing them; to think about how they relate to the sexual dynamics of the story, or about what I left out, or about what happens beyond the page. I want to arouse readers but I feel that it’s up to the reader to take away whatever they choose.

Which authors inspire you and in what ways?

I’m a huge fan of L. Marie Adeline’s S.E.C.R.E.T. trilogy, about a group of women who join forces to facilitate women down on their luck in living out their most exciting sexual fantasies. It’s incredibly hot but also about forming a community, supporting women and giving them the autonomy and authority to decide what’s arousing to them. Plus, it’s a progressively developing love story. Even against this highly fictional setting, where women swoop into the lives of strangers and arrange sexual trysts, there was a reality that made the sex scenes even hotter. I truly cared about the characters.

That’s also what I liked about Everything I Left Unsaid by M. O’Keefe. It’s about a Rachel Kramer Bussel erotic fiction writer interviewwoman who’s left an abusive, violent marriage and is in hiding, slowly giving herself permission to explore her own sexuality again. It’s an erotic romance but, true to the character, much of her sexuality in the book takes place by herself, but inspired by her new love interest.

That element of reality is something I also enjoyed about Let It Shine, by Alyssa Cole, a romance set during the civil rights movement, which builds tension and passion between the protagonists, who have a history as childhood friends. Every interaction is laden with tension and a push/pull dynamic. It’s a slim but wonderful book.

On a lighter note, I really loved the humor in Nuts, by Alice Clayton. It’s madcap and zany (when the protagonists meet actual nuts go flying everywhere around them) but very sexy.

Your LitReactor classes (teaching elements of erotic fiction) have an excellent reputation, and have been a starting point for many successful authors in our genre. Which key pieces of advice do you find yourself offering?

Often in my LitReactor classes, beyond any specifics about the genre, the best erotica writing advice I give is that we should believe in ourselves. I think overcoming that hurdle is a vital first step. Even in a small class, people self-censor, or don’t let their imaginations travel freely. They’re nervous or worried about what people will think. I’m Rachel Kramer Bussel quote erotic fiction writingsure this hinders many would-be erotica writers. It’s not the same as writing mystery or sci-fi or other genres. Even though there’s now more openness about erotica reading and writing, and about alternative sexualities, it can still be awkward to tell your neighbors that you write erotica.

I face that as well. When I meet someone new and we seem to get along, I never know if I’m going to ruin a budding friendship by outing myself as an erotica writer. So, I totally get that fear. However, I think you have to forcibly set it aside while you write. Pretend it doesn’t exist. You can tackle it when it’s time to decide whether you want to find a broader audience and, if so, what name you want to use.

The processes of writing and submitting work seem to get conflated in people’s minds, as if strangers can immediately see the words as you type them. Nobody ever has to know you write erotica if you don’t want them to, not even your significant other or best friend. Writing, exploring, digging as deep as you can into what turns on your characters, are the building blocks of my online and in-person writing classes.

The criticism we seem to hear time and again of the erotic genre is that it’s Rachel Kramer Bussel interview erotic fiction writingformulaic, in content, and in style.

Varying your writing style is important. It’s helpful to step out of your usual style sometimes, even if it’s just as a “throat-clearing” exercise. Doing so gives you a greater appreciation of different points of view and, I’ve found, can give a story a different rhythm. In my story “The End,” which was published in Best American Erotica 2016, I use a more fast paced tone. I’ve written in first person, second person and third person and all have taught me different things about the storytelling process.

As an anthology editor, this variety is essential. I want the reader to experience a range of sexual practices as well as a range of characters and types of stories: historical, futuristic, contemporary, or from different points of view, using various tenses or pacing.

How far do you think publishers are risk-averse? While commercial success is the bottom-line, in what ways would you like to see publishers pushing boundaries?

I don’t know if I’d say publishers are risk averse, though perhaps they are more so than I realize. I see some pretty edgy content being published by mainstream publishers, like Lilah Pace’s Asking for It, which came out from Berkley in 2015 and is about a woman who has a rape fantasy. There are so many new publishers. Writers can push boundaries (and can self-publish).

The market for what was once considered taboo has expanded since I started reading erotica, 20 years ago. We’ve had many cultural shifts; even the romance market is more open to sexual variation. I believe that’s helped normalize a lot of kinky practices, male and female bisexuality, open relationships and other aspects of sexuality.

You’re extremely open in your persona as a sex-blogger and author of erotic fiction. Do you ever find yourself fielding disapproval?

I don’t consider any of my work a “persona” although there are, of course, aspects of my personal life that I don’t share (though not many). I’ve been lucky in avoiding much negative feedback. Occasionally I’ll write a nonfiction essay or article and have people disagree, or think I’m making things up, as either a storyteller about my life or as a journalist. One notable one was when I wrote about taxicab hook-ups for The Village Voice and someone told me I was lying. Now, obviously, as a journalist, I have no way to fact check people’s sex stories, but I have pretty good radar for knowing when people are telling me a true story. It can be challenging for people to conceptualize that what they know of sex personally is their subjective viewpoint, not a universal truth.

 Rachel Kramer Bussell erotic fiction interview writer author writing Thinking of the positive feedback you’ve received over the years, do you have any stand out stories?

My first story, “Monica and Me” (a fantasy about a woman who’s a barely changed version of me having sex with Monica Lewinsky) is a favorite. You can listen to it on Rose Caraway’s podcast The Kiss Me Quick’s.

Also “Doing the Dishes”, which is about a woman with a dishwashing fetish. I gave a public reading over ten years ago and still have people remarking on it. It was loosely inspired by a real life experience of washing a lover’s kitchen full of dishes, but I took that concept and ran with it. You can also listen to it, here, on The KMQ podcast.

Having edited around sixty anthologies, do you ever feel that you’re on a treadmill? Do you yearn to undertake a radically different project?

While each anthology is different, the basic process of anthology editing is similar. I have an idea, acquire a book contract with a publisher, post a public call for submissions, read all the stories that come in, winnow them down to the ones I think best suit the theme and go well together, and edit and arrange them. What’s kept me from becoming bored with that process is that I’m always working with new writers and receiving submissions from around the world. I love it when a writer completely surprises me, either with an unusual take on a given theme or with a new approach to writing or sexuality that I hadn’t considered before. In that sense, it feels fresh each time.

I have a lot of other things I’d also like to do. I’ve never wanted to only be an erotica or sex writer because I’m interested in a wide range of topics. This year I’m exploring SEO copywriting as well as entertainment blogging. As a freelancer, I never know what I’ll be working on in a week’s time, or in a month or a year. I like the surprise element but plan to edit anthologies as long as I have readers for them!

Can you share some future plans?Best Women's Erotica of the Year 2 Rachel Kramer Bussel erotic fiction writer interview

Because I’m a freelancer, my workload tends to change monthly, and sometimes weekly or daily, so I don’t necessarily know what’s next. I do debate whether I want to keep editing anthologies or try something new, but editing the Best Women’s Erotica of the Year series has made me more passionate about the process and determined to publish as many authors as I can for as long as I have that opportunity. Other than that, I’ll do my best to keep writing for new publications and stay open to new possibilities.

Thank you Rachel for sharing your plans, your motivations and your inspirations.

Find Out More

Find out more about Rachel’s LitReactor classes here, next taking place in 2017

Or her private erotica writing consulting, via eroticawriting101.com

Look out for various events around the release of Best Women’s Erotica of the Year, Volume 2, at the start of 2017. To subscribe for exclusive book giveaways via Rachel’s monthly newsletter, sign up at www.rachelkramerbussel.com

You can find samples of Rachel’s writing here, and can follow Rachel on Facebook or Twitter: including alerts on ebook sales (several are upcoming)

London Triptych, by Jonathan Kemp: a review

 

Jonathan KempJonathan Kemp explores hungers we cannot explain and paints images not only intensely erotic, but tender.  Here, in London Triptych, he shows us the unfolding of three men’s lives, each an unravelling ribbon, fluid, twisting, looking back upon itself. Their stories are confessionals, inviting us to enter the nocturnal, hidden recesses of the psyche. Meanwhile, London’s shadows and secrets echo those within our protagonists, and remind us that we readers, too, have our untold stories.

Each of the tales within the ‘triptych’ takes place, primarily, in London, though separated by five decades. We see the details of the setting change, while the themes remain eternal: our desire for what we cannot articulate; our struggle to express ourselves freely; our eagerness to navigate the ‘geography of possibilities’; our delight in love, glorious, overwhelming and unexpected; and the vulnerability of that state.

1890s rent boy Jack Rose falls into an almost unwilling passion for Oscar Wilde, leading towards a path of disappointment and betrayal.  1950s artist Colin tentatively explores his sexuality, against a backdrop of prudery and prejudice. In the 1990s, David awaits release from prison, telling of the lover who deceived him.

Jonathan Kemp

With each interchanging narrative, we learn more of each protagonist’s history and motivations, and we see the ways in which their stories resemble one other. They do not go in search of love. Rather, it surprises them, catching them off guard. They experience transcendence and then misery: a change in their worldview.

Sex is central to the story, an enduring, irresistible force, with or without love. It is the engine driving each of our narrators to discover a version of the ‘self’ yet out of reach.

Jack Rose tells us: ‘I became a whore in order, not to find myself, but to lose myself in the dense forest of that name.’

However, love is the transformative emotion. Love enervates and destroys, bringing ultimate joy and torture. We are shown its ability to shed light on our restricted, repetitive paths.

Kemp explores what it has meant to be homosexual in a world which views those desires as dangerously inverted, and shows us the tension between pleasure and danger, when there are ‘no laws but those of the body’:

‘When you can be free, free to pursue any desire, acquire any knowledge… it’s the most terrifying place to live. It’s dangerously beautiful…’

Jonathan-KempAs ever, Kemp’s storytelling goes beyond action and consequence, or the clever use of dialogue to reveal character, or the exploration of eternal themes. His talent lies in his use of language, probing words for their secrets, for their ‘blood-beat’, for their ability to reveal ‘meaning held within the contours of the skin’. He returns, again and again, to the inadequacy of language to express the erotic truths of the body, the ‘cannibal, animal hunger’ of desire.

And yet, he, as few authors can, animates the ‘universal language of lust written on the body and spoken by the eyes and fingers’.

He shows us that sex can take us to other destinations within the ‘self’, as if ‘opening doors that lead to other corridors, and other doors’: ‘I am here without knowing how. Suddenly, terrifyingly present. Here, now, lost and hot…

Meanwhile, London itself embodies the elusive, enchanting paradox of existence. It is a place of anonymity, and simultaneous intimacy; London is the unseen, legion-faced (and thus faceless) listener, inviting the narrators to share their secrets. It is a place of judgment (all three stories bring to bear the presence of the law and prospective punishment for homosexual transgression) and of liberation. It is a place of contradictions, just as we are contradictory.

 

Jonathan Kemp 26 Ghosting London TriptychJonathan Kemp teaches creative writing and comparative literature at Birkbeck College, London.

London Triptych, his first novel, won the Authors’ Club Best First Novel Award in 2011 and was shortlisted for the Polari Prize and the Green Carnation Prize.

He is also the author of Ghosting (my review here) and 26, my review here.

Hear directly from Jonathan Kemp, on how the novel came to be, here, in an interview with Polari Magazine.

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Also, you may like to visit this article, featuring Jonathan Kemp: Men Writing Erotic Fiction

 

 

 

 

Darkly Delicious Victorianesque Erotica

 

 

 

The Gentlemen’s Club: set in London, 1898

Recommended by Stylist Magazine UK‘A mind-blowing read that balances kinky Victoriana with beautifully crafted prose.’

Buzzfeed: 9 Erotica Books That Should Be More Famous Than ‘Fifty Shades Of Grey’: layered protagonists and hot, hot writing.

Bookbub: 8 Series That Take ‘Fifty Shades’ to the Next Level: wild escapades yet tasteful and scintillating: highly recommended.

‘A beautiful example of erotic literature – one that shows the genre to be capable of intelligence and elegance. Wonderful and truly impressive.’  – Malin James

‘This book. This book! This is the book I wish I had written. The language…oh, the language! It grabs you and propels you smack dab into Victorian London from the first paragraph. It weaves a net about you, it draws you in. Iit has you shouting ‘yes, yes, yes,’ like Meg Ryan at the diner, because finally there is a well-rounded, well-written, exquisitely crafted story which redeems the genre.’  – Julia Rist

‘I don’t think that I’ve ever read a book quite as erotic as this one. Ms. de Maupassant! AMAZING – I love every second!!!’  – Ashley S

‘The writing is crisp and evocative, the plot anything but Victorian, with plenty of exceptionally well rendered scenes to titillate even the most jaded reader of erotica.’  – KT McColl

 

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Damage by Josephine Hart: a review

Damage is a tale of desperate erotic obsession, and its inevitable path to destruction.

The narrative, told by the male protagonist, eminently respectable, and respected, cabinet Damage Josephine Hart a review minister Fleming, is clinical in its formality, in keeping with his social position. His life revolves around public service, and the care of his family and, at the heart of this seeming ‘order’ he is deeply unhappy.

This very formality, with its lack of true passion, has suffocated him, so that we have some understanding of his leap from empty order into consuming chaos, into the danger of an affair with his son’s fiancée, Anna.

The icy detachment of this narrative is a perfect foil to Fleming’s inner turmoil and the depth of his catastrophic infatuation. His spiralling descent is forever tempered by a façade of civility and order. Josephine Hart’s sparse, simple, even elegant language balances the fevered undercurrents of Fleming’s psychological state.

DAMAGE_610‘… my life would have been lost in contemplation of the emerging skeleton beneath my skin. It was as though a man’s bones broke through the face of the werewolf. Shining with humanity he stalked through his midnight life towards the first day.’1992 film Damage Jeremy Irons Juliette Binoche Josephine Hart a review of the book Emmanuelle de Maupassant

His affair with Anna is both an awakening and a dream-state, a loss of self to the intoxication of desire, and a finding of the self.

Fleming tells us: ‘I eased her gently to the floor. Leaving my elegant disguise on the sofa I became myself.’

We are left in no doubt that destruction is inevitable, that Fleming is at the precipice. There are no mitigating circumstances, and we know that there will be no happy ending, or forgiveness. What we see is a chillingly honest portrayal of sexual obsession, and our potential for destruction: lives damaged, or soon to be so.

Many will be familiar with the wonderful film of the same name, starring Jeremy Irons and 1992 film Damage Jeremy Irons Juliette Binoche Josephine Hart a review of the book Emmanuelle de MaupassantJuliette Binoche, directed by Louis Malle, in which we witness more of the sexual nature of the affair. In her book, Hart does not describe sex at length, and yet we are left in no doubt that the acts are intense.

Fleming tells the reader: ‘We were made for other things. For needs that had to be answered day or night – sudden longings – a strange language of the body.’

They involve a degree of mild violence and of domination (there are references to slavedom, to being tied, and blindfolded, of Anna giving herself over to his will, of being physically ‘arranged’). These scenes leave us with a sense of the brutality of Fleming’s sexual desire, and of Anna’s desire to submit to it.

… there would be time for the pain and pleasure lust lends to love. Time for body lines and Damage-film-still-007angles that provoke the astounded primitive to leap delighted from the civilised skin…There would be time for words obscene and dangerous. There would be time for flowers to put out the eyes and for silken softness to close the ears.’

This is a love story of sorts, as Fleming proclaims in the closing lines, but the journey is heartbreaking, unsettling, terrifying. It is a nightmare from which the protagonists cannot wake. We are shocked, horrified, even to the bitter close, but cannot look away.

Hart reminds us that, when tragedy strikes, as when Anna’s brother Aston kills himself ‘silence, separation and sadness… become a way of life’ trapping us ‘in the unresolved agonies of long ago’. In some part, this is offered as a reason for Anna’s detachment, but we are not invited to judge, only to witness.

We see Fleming acknowledge his folly, cruelty and deceit. He takes full responsibility, never Josephine Hart Damage review by Emmanuelle de Maupassantattempting to apologize or make excuses. He is in the grip of what he knows will destroy him, and we abhor him for it. And yet, we see that he is powerless, just as Anna is powerless.

They are presented as equally culpable and yet, equally, without blame. They are damaged and are destined to destroy not only themselves but others.

At one point, Fleming asks Anna: ‘Who are you?’ and she replies: ‘I am what you desire…’ While Fleming fantasises about the possibility of leaving his wife and living with Anna, she realises that their relationship is outside of normal bounds and social conventions. It is only there that it can exist.

1992 film Damage Jeremy Irons Juliette Binoche Josephine Hart a review of the book Emmanuelle de MaupassantJosephine Hart achieves something rare in this novella: a helplessness that speaks deeply to the reader, a knowledge that, however sane and ordered our life, we carry our own destructive flame, the potential for our own acts of ‘damage’.

Publishing’s Dirty Secret: erotic fiction in the 21st century