There’s a type of erotic fiction that I’d like to write, but I’m having a hard time making it work. I’ve long been interested in why we’re wired the way we are, why are we turned on by certain things/situations and the evolution of our fetishes. But I’m not thinking of it in any kind of clinical sense. The idea I have is to write an erotic short story that not only captures a character and his/her kink, but also gives some sense of where that kink came from.

One of the big problems I’m having with this idea is, the origin of a fetish often happens long before we tun 18. Our sexual wiring starts when we start, but to explore the things that happen as a child in a piece of erotica without being creepy is difficult.  If I strip away all that is erotic from the part of the story that takes place before the age of consent and turn on the smut in the second part it seems like two separate stories.

Here’s a couple of paragraphs that I was quite happy with. Lisa’s ‘oral fixation’ started when she was about 7 and her dentist, who looked like an old walrus and smelled of Old Spice and pipe tobacco pulled out a couple of her baby teeth. When she was 14 her dentist looked like David Cassidy. The Partridge Family was all the rage and Lisa had a huge crush on him. Neither of these men ever did anything inappropriate to Lisa, but a sexual connection was made in her mind. My attempts to combine those to parts in a way that flows and is erotic, but not creepy have failed.

Here’s another example. When Mini was 6 or 7 years old I took him to a local water park one summer afternoon. The park was crowded with kids splashing in the water and parents sitting in the shade around the sides. I noticed a little girl (maybe 4 or 5) sitting on one of the water jets. She was just sitting there rocking back and forth with a big smile on her face, totally unaware of all the other kids playing around her. I’d love to start a story from that point. Maybe that was the first time she noticed how nice that zone could feel. Maybe her mother notices what she’s doing and makes a huge public scene. Maybe that’s the start of a being an exhibitionist… A powerful image with lot’s of possibilities, but how to use it without being creepy is difficult.

♀ & I were talking about my wiring the other night. When I was in grade 4 I had a teacher who was verbally and pyscologically abusive . I had troubles eating and sleeping, the skin peeled off my hands and eventually I was removed from her classroom. When I was 10, my uncle married his first wife. From the time they got married until I was about 14 she took great delight in tormenting me. She believed I wasn’t masculine enough. She’d slap me around, pin me to the ground and tickle or pinch me until I wet myself then tease me about getting beat up by a girl. I don’t remember either of these women with anything resembling fondness, but when I look back on my dating history, I’ve always been attracted to dominate women.  I get that context is everything. I understand that tormenting a child like that is wrong, but tormenting an adult sissy like that is hot. I’d just like to figure out how to combine those two things into a single story.

Cheers,

♀ & sss

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3 Comments »

1. 

   I understand the situation very well. If you write about your sisters pajama party, or a third grade spanking you are in dangerous territory. Maybe try a flashback or role play situation where the same thing is recreated, only with your wife, the neighborhood PTA, 21 year old student teachers, and Super-nanny.

   Comment by Teresa Bowers — March 11, 2010 @ 6:44 am

2. 

   Hi. I’m really enjoying your site. What you’re talking about here, in my opinion, is a basic writing question that comes up all the time. It’s the question of motivations. And the reason it’s so difficult is because we don’t know our motivations, we don’t know why we do the things we do or why other people do what they do. The quickest way to be wrong about someone is to think you know their motivations. The key is to present the information and let the reader come to their own conclusion. You say what happened, you follow that to a different thought, a memory, describe the room, move back into the action. Allow the reader to link the information or not. But the choice is the readers. For example, in my novel Happy Baby there is a character with a difficult childhood who is into S&M, but I never link his desires with his history, and that’s the power of the narrative.

   There’s lots of exceptions of course, but when you make connections too explicit you’re talking down to the reader. It’s risky to let them come to their own conclusions, your risking that they won’t, they’ll miss your point. And sometimes they will. But that’s where great writing comes from, I think, trusting your reader.

   I hope that’s a little helpful.

   stephen

   Comment by Stephen Elliott — March 22, 2010 @ 7:15 am

3. 

   Thank you. That was very helpful.

   Comment by admin — March 22, 2010 @ 7:51 am

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