In 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. 
Always 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.
Others 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.”
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.
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’.
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 
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
- First Inspirations
- Why Write Erotic Fiction?
- Fantasy and Realism and Erotic Fiction
- Lines in the Sand: transgression and censorship
- Hidden Identities: writers of erotic fiction
- What the Future Holds: 21st century erotic fiction
- Publishing’s Dirty Secret
- Women Writing The Erotic: Part One
- Women Writing The Erotic: Part Two
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 Kore, Kristina Lloyd, Cecilia Tan, Donna George Storey, Kathe Koja, Justine Elyot, Sorcha Black, Cari Silverwood, Siri Ousdahl, Zander Vane, Tamsin Flowers, Krissy Kneen, Zak Jane Keir, Jade A Waters, KD Grace, Kay Jaybee, Nya Rawlyns, Sessha Batto, Rose Caraway, Tabitha Rayne, Elizabeth Safleur, Devi Ansevi, K. L. Shandwick, I.G. Frederick, Jacqui Greaves, Ina Morata, Finn Marlowe, Elsa Holland, Elizabeth Schechter, Lucy Felthouse, Alexis Alvarez, Lily Harlem, Madeline Moore, Ria Restrepo, Scarlet Darkwood, Victoria Bliss, Jane Gilbert, Charlie Powell, Cate Ellink, Lee Savino, Elizabeth Black, Felicity Brandon, Nicolette Hugo, Amelia Smarts, Sue MacNicol, Cassandra Shaw, Ardent Rose, Sylvia 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 Maselle, Christina Mandara, Sue Lyndon, Rebecca Branch, Molly Moore, Vanessa Wu, Jaye Peaches, Ashe Barker, Tilly Andrews and Catherine Mazur.
Christina 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.”
Remittance Girl, in her article, 
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.
(where the plot extends beyond the surprise reveal of them actually being a §transperson). She laments the ‘generic’ in erotic fiction.
experience 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.” 
mistrust, fear and emotional wounding’ — shows characters obliged to ‘reconstruct their identity in the light of what they’ve done’ –more 
“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.”
She 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: Mortality
share of authors, and our voices are growing louder.
There’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.
It’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.
As 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.”
as 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.”
that 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.
some authors mention a desire to explore the realm of non-consent.
preoccupy 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.“
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.”
desire. 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.”
thing that truly inspires me to silence the inner critic and just write and enjoy the pleasure of speaking the unspeakable.”
and our fears. We emerge changed and, as RG tells us, we ‘expose something true’ of ourselves (more 
Emmanuelle de Maupassant 