Tips on Writing Good Sex

As a writer of erotic romance, I’m always trying to analyze the ways in which sex strengthens story. I’ve been very vocal in my belief that a story without sex is like a story without eating or breathing. Sex is a major driving force in our lives on many levels that I’ve dealt with in many blog posts. Because it is a major driving force in our lives it must also be a major driving force in story. Sex is a powerful way to create conflict and chaos in a story. It’s a way of allowing our characters to interact on an intimate level. And it’s one of the very best ways to cut through our characters’ facades and get an honest look at who they are when their guard is down and they’re at their most vulnerable. With that in mind, I’ve decided to share a few points that I always find helpful when I write sex scenes. For me, going back to the basics is always a great way to sharpen my skills. And I love to share the things that work for me.

 

Three occasions not to write sex

  1. While writing children’s books
  2. While writing the definitive work on antique saltcellars.
  3. When you’re not a writer, you’re a bricklayer. Even then …

 

Three important reasons to incorporate sex in your writing

  1. Sex adds tension.
  2. Sex adds depth and dimension to a story, and gives it more humanity.
  3. Sex adds intimacy and transparency to the story and helps the reader better know the characters.

 

Three big no-nos in writing sex

  1. Sex should never be gratuitous. If it doesn’t further the story, don’t put it in.
  2. Sex shouldn’t be a trip to the gyno office. Technical is NOT sexy.
  3. Sex should never be clichéd or OTT. (unless it suits the story)

 

Four suggestions for writing better sex scenes

  1. Write sex unselfconsciously. No one is going to believe it’s you any more than they believe Thomas Harris is a cannibal.
  2. Sex scenes should always be pacey. Too much detail is worse than not enough. Sex should neither slow nor speed up the pace of the novel. It shouldn’t be used like an interval in a play. It should not serve as filler to bolster word count. It should always keep pace with the story being told.
  3. Approach sex in your writing voyeuristically by watching and learning from your characters. Their personalities, emotional baggage and behavior traits will dictate how they have sex and how you write it.
  4. You should always be able to feel a good sex scene in your gut. I’m not talking about wank material, I’m talking about The Clench. It’s a different animal. The Clench below the navel is for the sex scene what the tightness in the chest and shoulders is for the suspense scene.

 

The power of good sex can drive a story in ways that almost nothing else can. Good sex can be the pay-off for a hundred pages of sexual chemistry and tension, but the pay-off is even better if it’s also the cause of more chaos, sling-shotting the reader breathlessly on to the next hundred pages and the next.

 

Inspiration, Take Me! I’m Yours

(archives)

It’s elusive, it’s mysterious, it’s exhilarating, and we erotic writers crave it more than the sex we write about. We chase it shamelessly, we long for it passionately, we would gladly make ourselves slaves to its every whim and, no matter how fickle it is, we always welcome it back with open arms. When it’s with us, it’s at least as good as the best sex. And when it’s not, we mourn its loss like a lover. I’m talking about inspiration, of course. It’s the breath of life for every story ever written and the coveted ethereal presence that every writer yearns for.

 

The mythological link to inspiration is especially interesting to me in the light of a life-long fascination with mythology. From my very first novel novel, The Initiation of Ms Holly, which is a retelling of the Psyche and Eros myth, to The Medusa’s Consortium Tales,  and the reframing of Medusa’s story, the Greek myths have inspired me.

 

Greek mythology – mythology oany kind, really — is fabulous inspiration for smutters. The gods are always dipping their wicks where they don’t belong and finding ever more creative ways to do so. Nine months later, viola! A magical child is born, a child with gifts that will be needed to save the world, or at least a little part of it. But there’s one story where the lovely virgin resists, and no wick-dipping occurs. That’s the story of Apollo and Daphne.

 

The Muses serve Apollo, so of course this myth interests me. Apollo is the god oflight and the sun; truth and prophecy; medicine, healing, and plague. He is the god of music, poetry, and the arts; and all intellectual pursuit. Daphne is a mountain nymph and not interested in giving up her virginity to some randy god. While Apollo is pursuing her, she prays to her father, who is a river god, and he turns her into a laurel tree. Ovid claims it’s not Daphne’s fault that she’s not hot for Apollo right back. He claims that Cupid, who is angry at Apollo shoots Daphne with a leaden arrow, which prevents her from returning Apollo’s feelings. But what matters is that she misses out on Apollo’s inspiration.

 

My theory is that the whole mythology of gods coming down from Olympus, or wherever else gods come down from, to seduce humans is really nothing more than a metaphor for inspiration.

 

Consider all the different forms in which Zeus visits his paramours. He takes the form of a swan with Leta, he visits Danae in a shower of gold coins, he approaches Europa as a white bull. Writers understand that inspiration can take absolutely any shape, and often the very shape we least expect.

 

The gods aren’t always gentle in their seductions. Hades drags Persephone off to the underworld screaming and kicking all the way. Zeus turns Io into a white cow, who is tortured and tormented by Hera. In the form of an eagle, he abducts Ganymede and drags him away to Mount Olympus. Writers know well that inspiration doesn’t always come in a gentle form. In fact one of my creative writing teachers used to advise her students to go to the place inside themselves that most frightened them, most disgusted them, most disturbed them, and that’s the place where they would find inspiration, that’s the place from which their writing would be the most powerful.

 

Finally, whether inspiration comes in gentle, beautiful forms or whether it drags us kicking and screaming and tears us from limb to limb, the result will be something greater than what it sprang from. From the seductions of the gods, the children born were always larger than life. They were heroes and monsters and fantastical creatures, but they were all born of that joining of divinity and humanity, they were all the result of what happens when something greater penetrates the blood and the bone and the grey matter that is our humanity. What comes from that inspiration may indeed be monstrous or fantastical, but it will always be, in the mythical sense, born of the gods.

 

Which leads me back to Daphne and Apollo. The cost of inspiration is the loss of innocence. We are seduced, we are penetrated, we are impregnated with something new, something fresh, something possibly even frightening, something that we, as writers must carry to term and give birth to. But none of that can happen without yielding to the seduction. Daphne became a tree, unable to move, unable to think, unable to ever be penetrated or inspired. One can only imagine what may have resulted from the willing union with the god of light and truth and poetry and the arts and all the things we writers crave. I’ll be honest, I fantasize about Apollo. I fantasize about inviting him right on in and saying I’m yours. I’ll take all you can give me, and please, feel free to stay as long as you like. Though, in truth, in my fantasy, I skip the dangerous and scary bits. And encounters with inspiration can often be dangerous and scary.

 

There is a cost to inspiration. It’s the obsession we all know as writers, the one that won’t allow us to think about anything else in the waking world and sometimes even in the dream world until we get the very last word down, until we make it shine exactly the way we conceived it, exactly the way it penetrated us. My heart is racing just writing this because every writer knows what it feels like, and every writer lives for it to happen again and again and again. So yeah, forget the tree rubbish, laurel or otherwise. Inspiration, take me, I’m yours. Have your way with me. I couldn’t be more willing if I tried.

 

Chapter 12 of Concerto

Chapter 12  I Believe You

 

 

 

I slept all the way to Portree. I suppose it was a testament to how unwell I really was. Perhaps it was also a testament to how much I preferred the peaceful oblivion I found in sleep over the harsh reality of the waking world. It wasn’t that I expected to return to my pianist in the dream world. Whether anyone believed me or not, I knew in my heart of hearts what had happened to me had been so much more than a dream.

In my state of confusion and unhappiness, sleep was the best option. Besides, I couldn’t bring myself to be sociable, and Ian didn’t seem to mind. In fact, he hadn’t even turned on the radio, but left me in blessed silence making no effort to cheer me up. While he had been nothing but kind to me, I certainly had to be a major inconvenience, one that took him away from his work. It couldn’t have been his plan to taxi an invalid around all over the Scottish Highlands. And yet, I sensed no resentment from him, though in all fairness, I wasn’t conscious long enough to sense much of anything.

I didn’t wake up again until the door opened on my side of the Land Rover. For a confused moment I looked up into the eyes of my pianist, but when I slid my arms around his neck, it was Ian who spoke to me urgently, peeling me off him and chafing my hands in his. He looked nearly as confused as I was, but mostly he looked concerned. “Ms. Alan? Wake up. Are you okay? It’s me, Ian McLaren, remember?”

All I could manage was a deep breath and a nod. In that shared moment of embarrassment, he could not have missed the deep disappointment that must have flashed across my face when I realized who he was, and more importantly, who he wasn’t.

“We’re here,” he said when I gave no further reply. He helped me out and supported me with an arm around my waist until I could gain my bearings.

As he shut the door, I glance around me and reconsidered the wisdom of getting into vehicles with strange men. “Where’s here?” I asked. “This isn’t Portree.”  We were parked in front of a large cottage, which looked to be as much of a building site as the smaller cottage where my pianist had been.

“Just outside Portree, actually,” came the reply. “This is my Aunt Maggie’s place. Well one of them anyway. This one I may well buy off her when I’ve finished the renovations. It suits me.”

I stopped and only stood staring at the stone facade. As if he anticipated my next question, he said, “You’re in no condition to travel on to Glasgow today. In fact, you shouldn’t even be out of bed. Aunt Maggie tells me you’re in no hurry to get back, and I don’t fancy taking you to A and E with a relapse.”

When I still didn’t move, he turned to face me. “I’m happy to call my sister to stay if you’d prefer, or my cousin Patricia.”

I shook my head and forced a little chuckle. “I trust you, Ian.” I wasn’t entirely sure that was completely true, but at the moment, I was too tired and too ill to care.

The building site that was the outside of the cottage did not reflect the glorious inside, which was done up like a Victorian summer cottage, many of the furnishings and features clearly from the period. “Your work or your aunt’s,” I asked running a finger along the edge of a beautifully restored wrought iron table with a matching mirror in the slate tiled entryway.

“A bit of both. She has nearly a sixth sense for period design. Me, I’m just a builder with a love of history.”

“You don’t speak like a builder,” I said as he helped me out of my jacket.

“You know a lot of builders, do you?” He replied with a chuckle.

“Never actually met one before you, so I guess I’ve got no real data to go on.”

“You’re a writer, surely you don’t judge a book by its cover.” With that he led me down the hall into a small warm kitchen tiled in emerald green and white and nodded to the table. “Sit.” He nodded to a small kitchen nook tucked into a sunny corner, and I settled. “Maggie threw together some of her world famous potato leek soup last night. There’s plenty here for both of us, and you need to eat.”

I watched as he put a small pot onto the stove and then took a baguette from the breadbox and began slicing it. “It doesn’t seem to bother you, playing nursemaid to a crazy lady.”

“As far as jobs go, I’ve had worse.” He plugged in the kettle and set out two mugs. He didn’t deny the crazy lady bit though, and I didn’t really feel like hearing one more person tell me that I’d only imagined the whole thing.

“Besides,” he added giving the soup a stir, “it’s not every day I get to play chauffer and host to Sophie Alan, acclaimed writer of romance.”

“Not that acclaimed,” I said, holding the teacup in my hand for warmth once he’d given it to me.

He sat down across from me. “An author whose imagination is a fertile, exciting place.”

I sat the cup down and heat climbed my cheeks. “Is that a hint?”

“Actually that’s a quote on the cover of your last novel,” he said with a quirk of a smile. Then he got up to serve the soup.

“Yeah, well that was awhile ago. That imagination is not nearly as fertile and exciting these days.” Too late, I realized I’d left myself open for the lecture, which I didn’t get.

“Thus the weekend at my aunt’s cottage.” Before I could respond, he set a bowl of soup in front of me. “Eat. You need to eat to get better.”

He had effectively left me with nothing to say, and once again, he made it easy for me to do just that. We both ate looking out the window at the cottage garden awash in watery sunshine. I barely managed the soup before I was all but falling asleep at the table. He escorted me upstairs and into a suite that would have totally delighted me in its Victorian elegance had I not been too exhausted to care. He simply helped me off with my shoes, settled me onto the big mahogany bed and covered me with a large tartan throw. “Rest awhile,” he said. “I’ll be downstairs when you wake up.”

I woke from a dream of piano music, the melody my pianist was playing when I first met him. The room now bathed in evening shadows and the lace curtains wafted gently on a cool breeze. As the events since that weekend flooded back to me, I groaned and clenched my eyes tight hoping that if I lay there long enough I’d return to the dream world and the music would lead me back to him. When that didn’t happen, I got up and made my way to the bathroom to pee. In spite of the music in my dreams, the house was silent, that kind of peaceful silence one never finds in the city.

As I splashed my face with warm water, I realized I was hungry – something I’d not been since before my weekend at the cottage. It must be getting near dinnertime, I figured. The discomfort of not knowing exactly where I was and being completely at the mercy of a man I barely knew drove me downstairs.

My bare feet made no sound on the wood floor at the bottom of the stairs. Soft light from elegant glass wall sconces glowed with golden warmth, a warmth that made the place feel homey and comfortable rather than overdone. Fire crackled in a fireplace in a small study off the main hallway. I knocked softly on the doorframe and stuck my head inside. “Ian?” Tentatively I stepped over the threshold. The walls were lined with bookshelves full to the brim. Other than that, the room was sparsely furnished. There was a small day bed made up in a deep window alcove with a duvet pulled neatly over a cascade of pillows, and there was a modest desk with a large leather office chair. The reading lamp on the desk lit the pages of half a dozen books spilling over the desk along with a journal brimming with notes and sketches of building features and landscapes. It looked as though Ian had just stepped out. Perhaps he was hungry too.

It was only as I turned to make my way back down the hall to the kitchen that I noticed the grand piano in the room across the hall. My heart stuttered, my mouth went dry. I heard myself cry out as though from a great distance, as though I were suddenly someone else, someone moving outside myself. In truth, I might have been someone else sleepwalking across the hall and into a music room astonishingly similar to the one I had been in when, for a brief time, I was someone else, someone from another age, someone very much in love with my pianist. In that strange weaving of present and past, I was marginally aware of the evening light streaming through French doors. A well-tended patio garden lay just beyond and, unlike the building site that was the front of the cottage, the back was an exquisitely landscaped lawn leading onto the cliffs that hugged the sea.

As I ran an unsteady hand over the smooth, cool wood of the piano, flashes of my pianist overwhelmed me. It was hard to breathe. It was hard to think. It was hard to focus on anything but the instrument before me and the man I would forever connect to it. Even knowing what I now knew, even though all I had seen and experience made no sense and no one thought it had actually happened, I couldn’t keep from anticipating. I couldn’t keep from hoping that any minute he might appear at the door, settle himself before the keyboard and play for me.

All the while that wild haunting deluge of music, which was the first I’d heard him play, ran through my head in minute detail. I could hear the intricate ebb and flow of the counter melody. I could hear the drive and surge of the base line, I could hear each modulations, every tempo shift, every crescendo. I could hear it all, and I could see the hands of my pianist in the intricate dance of its creation. I dropped onto the bench and traced the keys, recalling the feel of those warm, strong hands beneath mine as we moved fingers together shaping the melody.

With a tentative touch, I played the first note, and then I played the next and the next – only just the melody and all only with one hand. But it was there, and so was what I didn’t play. I heard it all in my head. In my mind’s eye my hands rested atop his, relaxed, easy, as the melody coursed through both of us together, and I played. I played it all through a haze of tears, from beginning to end, to the point at which he
took me into his arms, to the point at which the music became a living, breathing being with power over us both. It was only then that I realized I was no longer alone. When at last I stopped and wiped my nose on the back of my hand, Ian stood at my side, breathing labored, shoulders tense. With a groan, he stumbled to sit down next to me on the bench, and with a hitch of breath he said very softly. “I believe you.”

 

If you’ve missed an episode of Concerto, here are the links.

 

Concerto Part 1: A little Night Music

Concerto Part 2: Distractions

Concerto Part 3: Too Much to Bear Alone

Concerto Part 4: Writing and Waiting

Concerto Part 5: A Duet in a Storm

Concerto Part 6: Remember How it Feels

Concerto Part 7: Unsettled

Concerto Part 8: Into the Storm

Concerto Part 9: Me, But Somebody Else

Concerto Part 10: Find Me

Concerto Part 11: Making Sense of it All

 

A Berry Yummy Time

Huckleberry picking with my sister in Oregon. I’ve wanted to do it forever, but could never seem to manage my visit to coincide with the elusive fruit in season. Finally I managed! And the experience did not disappoint. The only disappointment was that we didn’t get to camp while we picked.

 

 

Official picking tools: a plastic ice cream bucket clipped onto a belt to free up both hands for the yummy, but backbreaking, task at hand.

 

 

The delightful fruits of our labours are the wild cousin to the blueberry, smaller and much more tart, tiny round packets of tastebud titillation.

 

 

In the UK, they are closely related to bleaberries and bilberries. We picked three days and over that time managed nearly three gallons of berries. LOTS of work.

 

 

But time spent in the sunshine on the wild flank of Mount Hood is SO worth the effort.

 

 

And yes, it was sunny, though from the distance where I’d taken this photo, the clouds hadn’t cleared yet. This is a little closer to our destination.

 

 

Oh, and did I mention lunches at one of the best cafes in the world?

 

 

We seldom picked later than three in the afternoon.

 

 

By that time the back was not caring at all about the belly’s greed, and of course we ate almost as many as we picked. Well, in the beginning at least.

 

 

I had to pick frantically to keep up with my sister who is an expert at the job. She always managed more than I did, even with her ‘one for the bucket, one for the mouth’ technique.

 

 

And then there was clean-up before we headed home. The remnants of huckleberry stains from three days of picking were still with me when I got on the plane back to the UK.

 

 

At home, the berries had to be cleaned and bagged, then put in the freezer.

 

 

All this happened while we laughed and chatted about the wonderful day we’d had.

 

 

BUT! We always made sure we’d left plenty out for the best part of the day, the reward at the end …

 

 

Homemade huckleberry pancakes for dinner!

 

 

 

 

Out Now—A Werewolf State of Mind by Lucy Felthouse (@cw1985) #PNR #shifter #werewolf #romance

Blurb:

Anneke’s typical day at the office is thrown into disarray when she finds her next patient is an unwitting werewolf. And it doesn’t end there.

From the moment Caleb Kitt walks into Doctor Anneke Lund’s office for his psychiatry session, she knows his problem isn’t mental. He’s been experiencing night terrors, having violent and bloodthirsty dreams, and waking up naked in strange places. But he’s not losing his mind, as he suspects. He’s actually a werewolf—he just doesn’t know it yet.

Anneke isn’t just a psychiatrist—she’s also an empath, meaning she can read minds, and influence thoughts and behavior. She rarely uses her powers, but recognizes she may have no other choice as Caleb must be convinced of his supernatural status before the next full moon arrives. When it does, though, she finds herself going way beyond her duty of care to ensure Caleb doesn’t hurt or kill anyone when he transforms. But at what cost?

Please note: A Werewolf State of Mind was previously published in Coming in Hot: Rescue Me boxed set.

Available from: https://lucyfelthouse.co.uk/published-works/a-werewolf-state-of-mind/

*****

Excerpt:

The intercom buzzed. “Anneke?” came the voice of her receptionist, Ellen. “Your one-thirty is here.”

Anneke pressed the button to respond. “Thanks, Ellen. Send him in.”

“Will do.”

Anneke took a moment—knowing she had a few as her patient made his way from the reception area, down the short corridor and to her office—to pull up and glance at his notes on her computer. There wasn’t much information, since he was a new patient, but there was a brief description he’d given of the problem, which had spurred him on to book the psychiatric consultation with her in the first place.

Caleb Kitt was a thirty-five-year-old personal trainer who, in his own words, thought he was losing his damn mind. He was experiencing night terrors, having violent and bloodthirsty dreams, and waking up in strange places—certainly not where he’d gone to bed.

A multitude of potential diagnoses popped into Anneke’s head, but she refused to jump to any conclusions. There was no way to know for sure what his problem was, not without speaking to him, hearing his story, finding out more. And if she struggled to get to the root of his issues using traditional methods, there was always her back up plan.

Anneke was an empath. Her unique talents comprised of mind reading, mild mind control, and being able to sense supernatural creatures. However, using those talents was always a last resort. She preferred to do things the right way, the way she had been trained to in her years at medical school. It felt like cheating otherwise, and she couldn’t help feeling it was unethical to tap into people’s brains without their knowledge or consent.

For the vast majority of the time, she didn’t have to use her gifts—just her skill and hard-earned education. But occasionally—very occasionally—when a patient wasn’t being forthcoming, or their problem proved elusive, tricky to diagnose, she would reluctantly tap into her powers. Rather that than have a patient suffer unnecessarily, when she had the tools to help them. This fine balancing act between using her paranormal abilities and her training and education made her an incredibly effective psychiatrist, and she had to be incredibly careful not to come across as too good, too quick at diagnosing patients, otherwise she’d attract attention for all the wrong reasons. She dreaded to think what would happen if people found out what she could do.

There came a knock at the door.

“Come in!” she called, minimizing all the programs on her computer screen, activating the screen saver, then getting to her feet.

The door opened, and a tentative looking, but incredibly handsome man entered the room. To her surprise, a millisecond later her gifts kicked in and she realized what his problem was—he was a werewolf. And he clearly didn’t have a clue.

She frequently sensed other supernatural creatures when she was out and about—in the street, the supermarket, the cinema. But this was the first time she’d ever had one walk in to her office, as a patient. This was going to be interesting, to say the least.

*****

Author Bio:

Lucy Felthouse is the award-winning author of erotic romance novels Stately Pleasures (named in the top 5 of Cliterati.co.uk’s 100 Modern Erotic Classics That You’ve Never Heard Of, and an Amazon bestseller), Eyes Wide Open (winner of the Love Romances Café’s Best Ménage Book 2015 award, and an Amazon bestseller), The Persecution of the Wolves, Hiding in Plain Sight and The Heiress’s Harem series. Including novels, short stories and novellas, she has over 170 publications to her name. Find out more about her writing at http://lucyfelthouse.co.uk, or on Twitter or Facebook. Join her Facebook group for exclusive cover reveals, sneak peeks and more! Sign up for automatic updates on Amazon or BookBub. Subscribe to her newsletter here: http://www.subscribepage.com/lfnewsletter

Release blitz organised by Writer Marketing Services.

 
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