Wednesday, February 20, 2008

Sex Scene Examples - for Part II

OK, here are the examples referred to in Part II; I haven't time right now to figure out how to do a link, so will just post them (and trust I'm not violating any rules of blogspot by doing so. If so, I imagine someone will be along to tell me).

If any of you reading this are under 18 (and haven't already read these in the original books--I think they're all from A BREATH OF SNOW AND ASHES--oh, no, the first one's from THE FIERY CROSS)--then you should probably stop reading this Right Now and go do something pure and innocent like playing violent video games in which you rip the heads off orcs, or getting a tattoo on your rumpus.
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You Have Been Warned.
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SEX SCENE EXAMPLES (to go with Part II)

Copyright 2006 Diana Gabaldon

NOTION OF ESCALATION (in a scene, or through a book). Use INCUBUS DREAMS for latter--pick excerpts from near the beginning, and part of that gross oral sex bit and the breast-biting one.

SHOCK (vs. ESCALATION) - use Bonnet scene

DESIRABILITY OF LAYERING

[Escalation]

A sudden rustle of the hay, and Roger slid in behind her. He fumbled a bit, spreading his own cloak over her, then sighed with relief, his body relaxing heavily against hers as his arm came round her waist.

"Been a bloody long day, hasn't it?"

She groaned faintly in agreement. Now that everything was quiet, with no more need to talk, watch, pay attention, every fiber of her muscles seemed about to dissolve with fatigue. There was no more than a thin layer of hay between her and cold, hard ground, but she felt sleep lapping at her like the waves of the tide creeping up a sandy shore, soothing and inexorable.

"'D you get something to eat?" She put a hand on his leg, and his arm tightened in reflex, holding her close.

"Aye, if ye think beer's food. Many folk do." He laughed, a warm fog of hops on his breath. "I'm fine." The warmth of his body was beginning to seep through the layers of cloth between them, dispelling the night's chill.

Jem always gave off heat when he slept; it was like holding a clay firepot, with him curled against her. Roger was putting out even more heat, though. Well, her mother did say that an alcohol lamp burned hotter than oil.

She sighed and snuggled back against him, feeling warm, protected. The cold immensity of the night had lifted, now that she had her family close, together again, and safe.

Roger was humming. She realized it quite suddenly. There was no tune to it, but she felt the vibration of his chest against her back. She didn't want to chance stopping him; surely that was good for his vocal cords. He stopped on his own, though, after a moment. Hoping to start him again, she reached back to stroke his leg, essaying a small questioning hum of her own.

"Hmmm-mmmm?"

His hands cupped her behind and fastened tight.

"Mmm-hmmm," he said, in what sounded like a combination of invitation and satisfaction.

She didn't reply, but made a slight dissentient motion of the buttocks. Under normal conditions, this would have caused him to let go. He did let go, but only with one hand, and this in order to slide it down her leg, evidently meaning to get hold of her skirt and ruckle it up.

She reached back hastily and grabbed the roving hand, bringing it round and placing it on her breast, as an indication that while she appreciated the notion and under other circumstances, would be thrilled to oblige, just this moment, she thought--

Roger was usually very good at reading her body language, but evidently this skill had dissolved in whisky. That, or--the thought came suddenly to her--he simply didn't care whether she wanted--

"Roger!" she hissed.

He had started humming again, the sound now interspersed with the low, bumping noises a teakettle makes, just before the boil. He'd got his hand down her leg and up her skirt, hot on the flesh of her thigh, groping swiftly upward--and inward. Jemmy coughed, jerking in her arms, and she made an attempt to kick Roger in the shin, as a signal of discouragement.

"God, you're beautiful," he murmured into the curve of her neck. "Oh, God, so beautiful. So beautiful...so...hmmm." The next words were a mumble against her skin, but she thought he'd said "slippery." His fingers had reached their goal, and she arched her back, trying to squirm away.

"Roger," she said, keeping her voice low. "Roger, there are people around!" And a snoring toddler wedged like a doorstop in front of her.

He mumbled something in which the words, "dark" and "nobody'll see" were distinguishable, and then the groping hand retreated--only to grab a handful of her skirts and start shoving them out of the way.

He had resumed the humming, pausing momentarily to murmur, "Love you, love you so much..."

"I love you, too," she said, reaching back and trying to catch his hand. "Roger, stop that."

He did, but immediately reached around her, and grasped her by the shoulder. A quick heave, and she was lying on her back staring up at the distant stars, which were at once blotted out by Roger's head and shoulders as he rolled on top of her in a tremendous rustling of hay and loosened clothing.

"Jem--" She flung out a hand toward Jemmy, who appeared not to have been disturbed by the sudden disappearance of his backstop, but was still curled up in the hay like a hibernating hedgehog.

Roger was, of all things, singing now, if one could call it that. Or chanting, at least, the words to a very bawdy Scottish song, about a miller who is pestered by a young woman wanting him to grind her corn. Whereupon he does.

"He flung her down upon the sacks, and there she got her corn ground, her corn ground..." Roger was chanting hotly in her ear, his full weight pinning her to the ground and the stars spinning madly far above.

She'd thought his description of Ronnie as "reeking wi' lust" merely a figure of speech, but evidently not. Bare flesh met bare flesh, and then some. She gasped. So did Roger.

"Oh, God," he said. He paused, frozen for an instant against the sky above her, then sighed in an ecstasy of whisky fumes and began to move with her, humming. It was dark, thank God, though not nearly dark enough. The remnants of the fire cast an eerie glow over his face, and he looked for an instant the bonny big, black devil Inge had called him.

Lie back and enjoy it, she thought. The hay made a tremendous rustling--but there were other rustlings nearby, and the sound of the wind soughing through the trees in the cove was nearly enough to drown them all in sibilance.

She had managed to suppress her embarrassment and was indeed beginning to enjoy it, when Roger got his hands under her, lifting.

"Wrap your legs round me," he whispered, and nipped her earlobe with his teeth. "Wrap them round my back and hammer my arse wi' your heels."

Moved partly by an answering wantonness, and partly by a desire to squeeze the breath out of him like an accordion, she flung her legs apart and swung them high, scissoring them tight across his heaving back. He gave an ecstatic groan and redoubled his efforts. Wantonness was winning; she had nearly forgotten where they were.

Hanging on for dear life and thrilled by the ride, she arched her back and jerked, shuddering against the heat of him, the night-wind's touch cool and electric on thighs and buttocks, bared to the dark. Trembling and moaning, she melted back against the hay, her legs still locked around his hips. Boneless and nerveless, she let her head roll to the side, and slowly, languidly, opened her eyes.

Someone was there; she saw movement in the dark, and froze. It was Fergus, come to fetch his son. She heard the murmur of his voice, speaking French to Germain, and the quiet rustle of his footsteps in the hay, moving off.

She lay still, heart pounding, legs still locked in place. Roger, meanwhile, had reached his own quietus. Head hanging so that his long hair brushed her face like cobwebs in the dark, he murmured, "Love you...God, I love you," and lowered himself, slowly and gently. Whereupon he breathed "Thank you," in her ear and lapsed into warm half-consciousness on top of her, breathing heavily.

"Oh," she said, looking up to the peaceful stars. "Don't mention it."

SEX INTEGRATED WITH PLOT - Layering

He'd brought a loaded pistol upstairs with him; that was placed on the wash-stand by the window. The rifle and fowling piece too had been left loaded and primed, hanging from their hooks above the hearth downstairs. And, with a small ironic flourish, he drew the dirk from its belt-sheath and slid it neatly under our pillow.

"Sometimes I forget," I said, a little wistfully, watching this. There had been a dirk under the pillow of our wedding-couch--and under many a one since then.

"Do ye?" He smiled at that; a little lopsidedly, but he smiled.

"Don't you? Ever?"

He shook his head, still smiling, though it had a rueful tinge.

"Sometimes I wish I did."

This colloquy was interrupted by a spluttering snort across the hall, followed at once by a thrashing of bedclothes, violent oaths, and a sharp _thump!_ as something--likely a shoe--struck the wall.

"Fncking cat!" bellowed Major MacDonald. I sat, hand pressed across my mouth, as the stomp of bare feet vibrated through the floorboards, succeeded briefly by the crash of the Major's door, which flung open, then shut with a bang.

Jamie too had stood frozen for an instant. Now he moved, very delicately, and soundlessly eased our own door open. Adso, tail arrogantly S-shaped, strolled in. Magnificently ignoring us, he crossed the room, leapt lightly onto the wash-stand and sat in the basin, where he stuck a back leg into the air and began calmly licking his testicles.

"I saw a man once in Paris who could do that," Jamie remarked, observing this performance with interest.

"Are there people willing to pay to watch such things?" I assumed that no one was likely to engage in a public exhibition of that sort merely for the fun of it. Not in Paris, anyway.

"Well, it wasna the man, so much. More his female companion, who was likewise flexible." He grinned at me, his eyes glinting blue in the candlelight. "Like watching worms mate, aye?"

"How fascinating," I murmured. I glanced at the wash-stand, where Adso was now doing something even more indelicate. "You're lucky the Major doesn't sleep armed, cat. He might have potted you like a jugged hare."

"Oh, I doubt that. Our Donald likely sleeps with a blade--but he kens well enough which side his bread's buttered. Ye wouldna be likely to give him breakfast, and he'd skewered your cat."

I glanced toward the door. The mattress-heaving and muttered curses across the hall had died down; the Major, with the practiced ease of a professional soldier, was already well on his way back to dreamland.

"I suppose not. You were right about his worming his way into a position with the new governor. Which is the real reason for his desire for your political advancement, I imagine?"

Jamie nodded, but had plainly lost interest in discussing MacDonald's machinations.

"I _was_ right, no? That means ye owe me a forfeit, Sassenach."

He eyed me with an air of dawning speculation, which I hoped had not been too much inspired by his memories of the wormlike Parisians.

"Oh?" I regarded him warily. "And, um, _what_ precisely...?"

"Well, I havena quite worked out all the details as yet, but I think ye should maybe lie on the bed, to begin with."

That sounded like a reasonable start to the matter. I piled up the pillows at the head of the bed--pausing to remove the dirk--then began to climb onto it. I paused again, though, and instead bent to wind the bed-key, tightening the ropes that supported the mattress until the bedstead groaned and the ropes gave a creaking twang.

"Verra canny, Sassenach," Jamie said behind me, sounding amused.

"Experience," I informed him, clambering over the newly tautened bed on hands and knees. "I've waked up often enough after a night with you, with the mattress folded up round my ears and my arse no more than an inch off the ground."

"Oh, I expect your arse will end up somewhat higher than that," he assured me.

"Oh, you're going to let me be on top?" I had mixed feelings about that. I was desperately tired, and while I enjoyed riding Jamie, all right, I'd been riding a beastly horse for more than ten hours, and the thigh muscles required for both activities were trembling spasmodically.

"Perhaps later," he said, eyes narrowed in thought. "Lie back, Sassenach, and ruckle up your shift. Then open your legs for me, there's a good lass...no, a bit wider, aye?" He began--with deliberate slowness-- to remove his shirt.

I sighed and shifted my buttocks a little, looking for a position that wouldn't give me cramp if I had to hold it for long.

"If you have in mind what I think you have in mind, you'll regret it. I haven't even bathed properly," I said reproachfully. "I'm desperately filthy and I smell like a horse."

Naked, he raised one arm and sniffed appraisingly.

"Oh? Well, so do I. That's no matter; I'm fond of horses." He'd abandoned any pretense of delay, but paused to survey his arrangements, looking me over with approval.

"Aye, verra good. Now then, if ye'll just put your hands above your head and seize the bedstead..."

"You wouldn't!" I said, and then lowered my voice, with an involuntary glance toward the door. "Not with MacDonald just across the hall!"

"Oh, I would," he assured me, "and the devil wi' MacDonald and a dozen more like him." He paused, though, studying me thoughtfully, and after a moment, sighed and shook his head.

"No," he said quietly. "Not tonight. Ye're still thinking of that poor Dutch bastard and his family, no?"

"Yes. Aren't you?"

He sat down beside me on the bed with a sigh.

"I've been trying verra hard not to," he said frankly. "But the new dead dinna lie easy in their graves, do they?"

I laid a hand on his arm, relieved that he felt the same. The night air seemed restless with the passage of spirits, and I had felt the dragging melancholy of that desolate garden, that row of graves, all through the events and alarums of the evening.

It _was_ a night to be securely locked inside, with a good fire on the hearth, and people nearby. The house stirred, shutters creaking in the wind.

"I do want ye, Claire," Jamie said softly. "I need...if ye will?"

And had they spent the night before their deaths like this, I wondered? Peaceful and snug betwixt their walls, husband and wife whispering together, lying close in their bed, having no notion what the future held. I saw in memory her long white thighs as the wind blew over her, and the glimpse I'd had of the small curly mat between them, the pudenda beneath its nimbus of brown hair pale as carved marble, the seam of it sealed like a virgin's statue.

"I need, too," I said, just as softly. "Come here."

He leaned close, and pulled the drawstring neatly from the neck of my shift, so the worn linen wilted off my shoulders. I made a grab for the fabric, but he caught my hand, and held it down by my side. One-fingered, he brushed the shift lower, then put out the candle, and in a dark that smelled of wax and honey and the sweat of horses, kissed my forehead, eyes, the corners of my cheeks, my lips and chin, and so continued, slow and soft-lipped, to the arches of my feet.

He raised himself then, and suckled my breasts for a long time, and I ran my hand up his back and cupped his buttocks, naked and vulnerable in the dark.

Afterward, we lay in a pleasantly vermiform tangle, the only light in the room a faint glow from the banked hearth. I was so tired that I could feel my body sinking into the mattress, and desired nothing more than to keep going down, down, into the welcoming dark of oblivion.

"Sassenach?"

"Um?"

A moment's hesitation, then his hand found mine, curling round it.

"Ye wouldna do what she did, would ye?"

"Who?"

"Her. The Dutchwoman."

Snatched back from the edge of sleep, I was muzzy and confused, sufficiently so that even the image of the dead woman, shrouded in her apron, seemed unreal, no more disturbing than the random fragments of reality my brain tossed overboard in a vain effort to keep afloat as I sank down into the depths of sleep.

"What? Fall into the fire? I'll try not," I assured him, yawning. "Goodnight."

"No. Wake up." He shook my arm gently. "Talk to me, Sassenach."

"Ng." It was a considerable effort, but I pushed away the enticing arms of Morpheus, and flounced over onto my side, facing him. "Mm. Talk to you. About--?"

"The Dutchwoman," he repeated patiently. "If I were to be killed, ye wouldna go and kill your whole family, would ye?"

"What?" I rubbed my free hand over my face, trying to make some sense of this, amid the drifting shreds of sleep. "Whose whole...oh. You think she did it on purpose? Poisoned them."

"I think maybe so."

His words were no more than a whisper, but they brought me back to full consciousness. I lay silent for a moment, then reached out, wanting to be sure he was really there.

He was; a large, solid object, the smooth bone of his hip warm and live under my hand.

"It might as well have been an accident," I said, voice pitched low. "You can't know for sure."

"No," he admitted. "But I canna keep from seeing it." He turned restlessly onto his back.

"The men came," he said softly, to the beams overhead. "He fought them, and they killed him there, on his own threshold. And when she saw her man was gone...I think she told the men she must feed the weans first, before...and then she put toadstools into the stew, and fed it to the bairns and her mother. She took the two men with them, but I think it was _that_ that was the accident. She only meant to follow him. She wouldna leave him there, alone."

I wanted to tell him that this was a rather dramatic interpretation of what we had seen. But I couldn't very well tell him he was wrong. Hearing him describe what he saw in thought, I saw it too, all too clearly.

"You don't know," I said at last, softly. "You can't know." _Unless you find the other men_, I thought suddenly, _and ask them_. I didn't say that, though.

Neither of us spoke for a bit. I could tell that he was still thinking, but the quicksand of sleep was once more pulling me down, clinging and seductive.

"What if I canna keep ye safe?" he whispered at last. His head moved suddenly on the pillow, turning toward me. "You and the rest of them? I shall try wi' all my strength, Sassenach, and I dinna mind if I die doing it--but what if I should die too soon--and fail?"

And what answer was there to that?

"You won't," I whispered back. He sighed, and bent his head, so his forehead rested against mine. I could smell eggs and whisky, warm on his breath.

"I'll try not," he said, and I put my mouth on his, soft against mine, acknowledgement and comfort in the dark.

I laid my head against the curve of his shoulder, wrapped a hand round his arm, and breathed in the smell of his skin, smoke and salt, as though he had been cured in the fire.

"You smell like a smoked ham," I murmured, and he made a low sound of amusement and wedged his hand into its accustomed spot, clasped between my thighs.

I let go then, at last, and let the heavy sands of sleep engulf me. Perhaps he said it, as I fell into darkness, or perhaps I only dreamed it.

"If I die," he whispered in the dark, "dinna follow me. The bairns will need ye. Stay for them. I can wait."

[end section]

BONNET - Shock/Suddenness, rather than escalation

Feet trampled back and forth overhead, and she could hear voices, but most of the words were too muffled to make out. There was a chorus of jovial shouts on the side nearest shore, and cordial feminine shrieks in reply.

The cabin had a wide, paned window--did you call it a window on a ship? she wondered, or had it some special nautical name?--that ran behind the bunk, raked back with the angle of the stern. It was made in small, thick panes, set in leading. No hope there of escape, but it did offer the possibility of air, and perhaps information regarding their whereabouts.

Repressing a qualm of nauseated distate, she clambered across the stained and rumpled sheets of the bed. She pressed close to the window and pushed her face into one of the open panes, taking deep breaths to dispel the aromas of the cabin, though the smell of the harbor was no great improvement, rife as it was with the smell of dead fish, sewage, and baking mud.

She could see a small dock, and moving figures on it. A fire was burning on the shore, outside a low, whitewashed building roofed with palmetto leaves. It was too dark to see what, if anything, lay beyond the building. There must be at least a small town, though, judging from the noise of the people on the dock.

"Care to join the party, sweetheart? Or have ye started without me?"

She whirled on her knees, heart hammering in her throat. Bonnet stood inside the door to the cabin, a bottle in one hand and a slight smile on his face. She took a deep breath to quell the shock, and nearly gagged on the stale scent of sex that wafted from the sheets under her knees. She scrambled off the bed, heedless of her clothes, and felt a rip at the waist as her knee caught in her skirt.

"Where are we?" she demanded. Her voice sounded shrill, panicked to her own ears.

"On the [ ]," he said patiently, still smiling.

"You know that isn't what I mean!" The neck of her chemise had torn, and most of one breast was exposed; she put up a hand, pushing the fabric back in place.

"Do I?" He set the bottle on the desk, and reached to unfasten the stock from his neck. "Ah, that's better." He rubbed at the dark red line across his throat, and she had a sudden, piercing vision of Roger's throat, with its ragged scar.

"I wish to know what this town is called," she said, deepening her voice and fixing him with a gimlet eye. She didn't expect that what worked on her father's tenants would work on him, but the assumption of an air of command helped to steady her a bit.

"Well, that's an easily gratified wish, to be sure." He waved a casual hand toward the shore. "Roanoke." He shucked his coat, tossing it carelessly over the stool. The linen of his shirt was crumpled, and clung damply to his chest and shoulders.

"Ready, darlin'? Ye'd best take off the gown; it's hot."

He reached for the strings that tied his shirt, and she moved abruptly away from the bed, glancing round the cabin, searching the shadows for something that could be used as a weapon. Stool, lamp, logbook, bottle...there. A piece of wood showed among the rubble on the desk, the blunt end of a marlinspike.

He frowned, attention fastened momentarily on a knot in the string. She took two long steps and seized the marlinspike, yanking it off the desk in a shower of rubbish and clanging oddments.

"Stand back." She held the thing like a baseball bat, gripped in both hands. Sweat streamed down the hollow of her back, but her hands felt cold and her face went hot and cold and hot again, ripples of heat and terror rolling down her skin.

Bonnet looked at her as though she had gone mad.

"Whatever will ye be after doing with that, woman?" He left off fiddling with his shirt and took a step toward her. She took one back, raising the club.

"Don't fucking touch me!"

He stared at her, eyes fixed wide, pale green and unblinking above a small, odd smile. Still smiling, he took another step toward her. Then another, and the fear boiled off in a surge of rage. Her shoulders bunched and lifted, ready.

"I mean it! Stand back or I'll kill you. I'll know who this baby's father is, if I die for it!"

He had raised a hand, as though to grasp the club and jerk it away from her, but at this, he stopped abruptly.

"Baby? You are with child?"

She swallowed, her breath still thick in her throat. The blood hammered in her ears, and the smooth wood was slick with sweat from her palms. She tightened her grip, trying to keep the rage alive, but it was already dying.

"Yes. I think so. I'll know for sure in two weeks."

His sandy eyebrows lifted.

"Hm!" With a short grunt, he stepped back, surveying her with interest. Slowly, his eyes traveled over her, appraising her one bared breast.

The sudden spurt of rage had drained away, leaving her breathless and empty-bellied. She kept hold of the marlinspike, but her wrists quivered, and she lowered it.

"Is that the way of it, then?"

He leaned forward and reached out, quite without lascivious intent now. Startled, she froze for an instant, and he weighed the breast in one hand, kneading thoughtfully, as though it were a grapefruit he meant to buy at market. She gasped and hit at him one-handed with the club, but she had lost what readiness she had, and the blow bounced off his shoulder, rocking him but having little other effect. He grunted and stepped back, rubbing at his shoulder.

"Could be. Well, then." He frowned, and tugged at the front of his breeches, adjusting himself without the slightest embarrassment. "Lucky we're in port, I suppose."

She made no sense whatever of this remark, but didn't care; apparently he had changed his mind upon hearing her revelation, and the feeling of relief made her knees go weak and her skin prickle with sweat. She sat down, quite suddenly, upon the stool, the club clanking to the floor beside her.

Bonnet had put his head out into the corridor, and was bellowing for someone named Orden. Whoever Orden was, he didn't come into the cabin, but within a few moments, a voice mumbled interrogatively outside.

"Fetch me down a whore from the docks," Bonnet said, in the casual tone of one ordering a fresh pint of bitter. "Clean, mind, and fairly young."

He shut the door then, and turned to the table, scrabbling through the debris until he unearthed a pewter cup. He poured a drink, quaffed half of it, and then--seeming belatedly to realize that she was still there--offered her the bottle with a vague "Eh?" of invitation.

She shook her head, wordless. A faint hope had sprung up in the back of her mind. He did have some faint streak of gallantry, or at least decency; he had come back to rescue her from the burning warehouse, and he had left her the stone for what he assumed to be his child. Now he had abandoned his advances, upon hearing that she was with child again. Perhaps he would let her go, then, particularly if she was of no immediate use to him.

"So...you don't want me?" she said, edging her feet under her, ready to leap up and run, as soon as the door opened to admit her replacement. She hoped she could run; her knees were still trembling with reaction.

Bonnet glanced at her, surprised.

"I've split your quim once already, sweetheart," he said, and grinned. "I recall the red hair--a lovely sight, sure--but it wasn't so memorable an experience otherwise that I can't be waitin' to repeat it. Time enough, darlin', time enough." He chucked her negligently under the chin, and gulped more of his drink. "For now, though, Leroi's needing a bit of a gallop."

He glanced at her again, eyes lingering on her body, and pulled once more at the crotch of his breeks. "Sure, ye've a fine arse, too. 'Twould do in a pinch, but I never did have the taste for boys."

Before she could draw breath to reply to this, the door opened, and a young woman slid through, closing it behind her.

She was likely in her twenties, though with a missing molar that showed when she smiled. She was plump and plain-faced, brown-haired, and clean by local standards, though the scent of her sweat and waves of freshly-applied cheap cologne wafted across the cabin, making Brianna want to throw up.

"Hallo, Stephen," the newcomer said, standing on tiptoe to kiss Bonnet's cheek. "Give us a drink to be starting with, eh?"

Bonnet grabbed her, gave her a deep and lingering kiss, then let her go and reached for the bottle.

Coming down onto her heels, she looked at Brianna with detached professional interest, then back at Bonnet, and scratched at her neck.

"You'll have the two of us, Stephen, or shall it be me and her to start? It's a quid more, either way."

Bonnet didn't bother answering, but thrust the bottle into her hand, whipped off the kerchief that hid the swell of her heavy breasts, and began at once to undo his flies. He dropped the breeches on the floor, and without ado, seized the woman by the hips and pressed her against the door.

Guzzling from the bottle she held in one hand, the young woman snatched up her skirts with the other, whisking skirt and petticoat out of the way with a practiced motion that bared her to the waist. Brianna caught a glimpse of sturdy thighs and a patch of dark hair, before they were obscured by Bonnet's buttocks, blond-furred and clenched with effort.

She turned her head away, cheeks burning, but morbid fascination compelled her to glance back. The whore was standing balanced on her toes, squatting slightly to accommodate him, gazing placidly over his shoulder as he thrust and grunted. One hand still held the bottle; the other stroked Bonnet's shoulders in a practiced way. She caught Brianna's eye on her, and winked, still saying, "Ooh, yes..oh, YES! That's good, love, so good...." in her client's ear.

The cabin door quivered with each meaty thump of the whore's backside, and Brianna could hear laughter in the corridor outside, both male and female; evidently Orden had brought back enough to supply crew as well as captain.

Bonnet heaved and grunted for a minute or two, then gave a loud groan, his movements suddenly jerky and uncoordinated. The whore put a helpful hand on his buttocks and pulled him close, then relaxed her grip as his body went limp, leaning heavily against her. She supported him for a moment, patting his back matter-of-factly, like a mother burping a baby, then pushed him off.

His face and neck were flushed dark red, and he was breathing heavily. He nodded to the whore, and stooped, fumbling for his breeches. He stood up with them and waved toward the littered desk.

"Help yourself to your pay, darlin', but give me back the bottle, aye?"

The whore pouted slightly, but took a final deep gulp of the liquor and handed him the bottle, now no more than a quarter full. She pulled a wadded cloth from the pocket at her waist and clapped it between her thighs, then shook down her skirts and minced across to the desk, poking delicately among the litter for scattered coins, which she picked out with two fingers, dropping them one by one into the depths of her pocket.

Bonnet, clothed once more, went out without a backward glance at the two women. The air in the cabin was hot and thick with the scent of sex, and Brianna felt her stomach clench. Not with revulsion, but with panic. The strong male reek had triggered an instinctive flush of response that tingled across her breasts and gripped her inwardly; for a brief, disorienting moment, she felt Roger's skin, slick with sweat against her own, and her breasts tingled, swollen and wanting.

She pressed both lips and legs tight together, and curled her hands into fists, breathing shallowly. The last thing she could stand right now, she thought, the very last thing--was to think of Roger and sex, while anywhere within miles of Stephen Bonnet. She resolutely pushed the thought aside, and edged closer to the whore, searching for some remark with which to open conversation.

The whore sensed the movement, and glanced at Brianna, taking in both the torn dress and its quality, but then dismissed her, in favor of finding more coins. Once she had her pay, the woman would leave, going back to the docks. It was a chance to get word to Roger and her parents. Not much, perhaps, but a chance.

"You...um...know him well?" she said.

The whore glanced at her, eyebrows lifted.

"Who? Oh, Stephen? Aye, he's a good 'un, Stephen." She shrugged. "Don't take more than two or three minutes, no bones about the money, never wants nothin' but a simple swive. He's rough now and then, but he don't hit unless you cross him, and no one's fool enough to do that. Not more than once, anyroad." Her gaze lingered for a moment on Brianna's torn dress, one brow lifting sardonically.

"I'll remember that," Brianna said dryly, and pulled the edge of her ripped chemise up higher.

"I was that surprised," the whore went on, eyeing Brianna with open curiosity. "He's never had two girls together, so far as I know, and he's not one as wants someone to watch while he's at his pleasure."

"I'm not--" Brianna began, but then stopped, not wanting to offend the woman.

"Not a whore?" The young woman grinned broadly, exposing the black gap of her missing tooth. "I might ha' guessed as much, chickie. Not as it would make no nevermind to Stephen. He sows as he likes, and I can see as how he might like you. Most men would." She looked at Brianna with dispassionate assessment, nodding at her disheveled hair, flushed face, and tidy figure.

"I expect they like you, too," Brianna said politely, with a faint feeling of surreality. "Er...What's your name?"

"Hepzibah," the woman said, with an air of pride. "Or Eppie, for short, like." There were coins still left on the desk, but the whore left them alone. Bonnet might be generous, but evidently the whore didn't want to take advantage of him--more likely a sign of fear than of friendship, Brianna thought. She took a deep breath and pressed on.

"What a lovely name. Pleased to meet you, Eppie." She held out a hand. My name is Brianna Fraser MacKenzie." She gave all three names, hoping the whore would remember at least one of them.

The woman glanced at the extended hand in puzzlement, then gingerly shook it, dropping it like a dead fish. She pulled up her skirt, and began to clean herself with the rag, fastidiously wiping away all trace of the recent encounter.

Brianna leaned closer, bracing herself against the odors of the stained rag, the woman's body, and the hot smell of liquor on her breath.

"Stephen Bonnet kidnapped me," she said.

"Oh, aye?" said the whore, indifferent. "Well, he takes as he likes, does Stephen."

"I want to get away," Brianna said, keeping her voice low, with a glance at the cabin door. She could hear the sound of feet on the deck overhead, and hoped voices wouldn't carry through the heavy planks.

Eppie wadded up the rag and dropped it on the desk. She rummaged in her pocket, coming out with a small bottle stoppered with a plug of wax. She still held her skirts up, and Brianna could see the silvery streaks of stretchmarks across her plump belly.

"Well, give him what he wants, then," the whore advised, taking out the plug and pouring a bit of the bottle's contents--a surprisingly mild scent of rosewater--into her hand. "Chances are he'll tire of ye in a few days and put ye ashore." She wiped the rosewater lavishly over her pubic hair, then sniffed critically at her hand, and made a face.

"No. I mean, that's not what he kidnapped me for. I don't think," she added. She wasn't positive what he had taken her for; the whim of a moment, or had he some plan in mind? Perhaps he would decide to put her ashore, if he had changed his mind about raping her--but it wasn't a chance she could count on.

Eppie recorked the bottle, and dropped both it and the rag into her pocket.

"Oh, he means to ransom you?" Eppie eyed her with a little more interest. "Still, I've never known scruples interfere with the man's appetite. He'd take a virgin's maidenhead and sell her back to her father before her belly started swelling." She pursed her lips, a belated thought coming to her.

"So how did you talk him out of havin' you, then?"

Brianna put a hand on her stomach, smiling wryly.

"I told him I was pregnant. That stopped him. I wouldn't have thought--a man like that--but it did. Perhaps he's better than you think?" she asked, with a wisp of hope.

Eppie laughed at that, small eyes squeezing half-shut with hilarity at the thought.

"Stephen? God, no!" She sniffed with amusement, and jerked shut the strings of her pocket. She lifted her skirt again, tying the pocket carefully out of sight between skirt and petticoat.

"No," she went on, more matter-of-factly, "Best story you could tell, though, if you don't want him at you. He called me down to him once, then put me off when he saw I'd a cake in the oven--when I joked him about it, he said he'd once taken a whore with her belly the size of a cannonball, and right in the midst of it, she give a groan and the blood come spurting out of her fit to drench the room. Put him right off, he said, and no wonder. Left our Stephen with a horror of swiving girls what are up the spout. He's takin' no chances, see."

"I see." A trickle of sweat ran down Brianna's cheek, and she wiped it away with the back of her hand. Her mouth felt dry, and she sucked the inside of her cheek for moisture. "The woman--what happened to her?"

Hepzibah looked blank for a moment.

"Oh, the whore? Why, she died, of course, poor cow. Stephen said as how he was struggling to get into his wet breeches, all soused with blood like they were, and he looked up and saw her layin' still as stone on the floor, but with her belly still wriggling and twitching like a bag full o' snakes. Said it come to him sudden that the babe meant to come out and take its revenge on him, and he fled the house right then in his shirt, leavin' his breeches behind."

She chortled at this amusing vision, then snorted and settled herself, brushing down her skirts. "But then, Stephen's Irish," she added tolerantly. "They take morbid fancies, the Irish, especially when they're gone in drink." The tip of her tongue came out and passed reminiscently over her lower lip, tasting the lingering traces of Bonnet's liquor.

Brianna leaned closer, holding out her hand.

"Look."

Hepzibah glanced into her hand, then looked again, riveted. The thick gold band with its big cabochon ruby winked and glowed in the lanternlight.

"I'll give it to you," Brianna said, lowering her voice, "if you'll do something for me."

The whore licked her lips again, a sudden look of alertness coming into her heavy face.

"Aye? Do what?"

"Get word to my father or my husband. Tell them where I am, and tell them--" she hesitated. What should she say? There was no telling how long the [ship] would stay here, or where Bonnet would choose to go next. The only clue she had was what she had overhead in his conversation with his mate.

"Tell them I think he has a hiding place on Ocracoke. He'll head there sooner or later--by the end of the month. He means to rendezvous with someone at the dark of the moon, and I think it will be there. Tell them that."

Hepzibah cast an uneasy glance at the cabin door, but it stayed shut. She looked back at the ring, longing for it warring in her face with an obvious fear of Bonnet.

"He won't know," Brianna urged. "He won't find out. And my father will reward you."

"He's a rich man, then, your father?" Brianna saw the look of calculation in the whore's eyes, and felt a moment's misgiving--what if she should simply take the ring and betray her to Bonnet? Still, she hadn't taken more money than her due; perhaps she was honest. And there was no choice, after all.

"Very rich," she said firmly. "So is my aunt. She has a plantation called River Run, just above Cross Creek in North Carolina. Ask for Mrs. Innes--Jocasta Cameron Innes. Yes, that's best--send word there."

"River Run." Hepzibah repeated it obediently, eyes still fixed on the ring.

Brianna twisted it off and dropped it into the whore's palm before she could change her mind. The woman's hand closed tight around it.

"My father's name is Jamie Fraser; my husband is Roger MacKenzie. Can you remember?"

"Fraser," Hepzibah repeated uncertainly. "Oh, aye, to be sure." She was already moving toward the door.

"Please," Brianna said urgently.

The whore nodded, but without looking at her, then sidled through the door, shutting it behind her.

The ship creaked and swayed underfoot, and she heard the rattle of wind through the trees on the shore, over the shouts of drunken men. Her knees gave way then and she sat down on the bed, careless of the sheets.

[end section]

Tuesday, February 19, 2008

The Art of Sex - Part II

WRITING ABOUT SEX WITHOUT BLUSHING

Copyright 2008 Diana Gabaldon

These are actually the notes I used last time I taught a workshop at a writers conference on how to write about sex. Now, bear in mind that I normally use something like a stream of consciousness when I do workshops. [g] Since I'd never taught this one before, though, and it was my first attempt at consciously verbalizing what I know about the subject, I did make a sort of hasty outline, which I present as follows, accompanied by a rough paraphrase of the kind of thing I said.

[ahem]

Let me preface things here by observing that human beings are hardwired to be interested in sex. This fact is not lost on advertisers, which is why you have skimpily-clad young women straddling motorcyles and the like.

This being so, you have a valuable tool (but one to be used with discretion) as a writer; if you write about sex, the majority of readers will pay attention. (Some will avoid scenes involving sex altogether, of course, out of personal feelings. If you're writing for such an audience, you probably aren't including a lot of sex.)

1. CHARACTER - THE KEY TO GOOD SEX

The point here is that you need to know who your characters are, and how they may (or may not) respond to the situation in which they find themselves. I _have_ met writers who feel an obligation (and a heavy one they find it) to insert sex scenes here and there, in order to satisfy what they see as the demands of genre or editor.

I have one friend who wrote historical romances for years, without actually liking the genre very much. She said the historical research made it bearable to write the stories, but she simply couldn't force herself to write (what she referred to as) "fnck scenes" after a few books. She'd put off the dire necessity as long as possible, procrastinating and moaning to her next-door neighbor (who _did_ like historical romances) about how horrible this was. Finally the neighbor offered to write the "f-scenes" _for_ her, an offer she hesitantly accepted, figuring it was the only way she was going to be able to finish the book.

In this situation, everything worked out happily; the neighbor (who was also a writer, though unpublished) had fun writing the sexual encounters, my friend then smoothed the style so that the inserted scenes fit with the rest of the book, and a good time was had by all--including, we trust, the eventual readers.

But the point here is only _you_ can prevent forest--no, wait. Only you can decide--on behalf of the characters--whether they really want to have sex here or not. They may _not_. And if not, you're going to have a terrible time trying to force them to do it. Personally, I advise against it. Just listen to them; they'll tell you whether they want to, don't want to, think they want to, but would like to just make out for a little first...

Beyond deciding _whether_, the characters also decide _how_. Or they should. Sexual encounters _can_ be impersonal, but unless that's the deliberate effect you're striving for (and you might be, under some circumstances), you should treat a sexual encounter between your characters as an emotional transaction.

This doesn't necessarily mean pages and pages describing the characters' feelings. Bear in mind that dialogue is the single best and most economical tool you have in hand for describing character; it's also one of the best means of describing the emotional transaction taking place between them in a sexual context. Good characters talk in bed. [g]

2. THE LANGUAGE OF SEX IS EMOTION -

Ergo, in a good sex scene, you're dealing with the emotions of the characters, and not so much with the mechanics of what they're doing.

Note, also, that _because_ people are naturally interested in sex, any emotional transaction that takes place in a sexual atmosphere will have a heightened impact. NB: All sex scenes are not necessarily of the "I want him/her--let's do it" variety. They don't _have_ to involve mutual affection--or even physical attraction (though that's often there, even if not expressed). Anger, hate, and coldness can be expressed in the context of sex, just as well as the more positive emotions--and the sexual context will heighten these, as well.

(Note that a sex scene can be used for any of the usual purposes as a regular scene--exposition of plot, development of character, etc.)

Returning to the notion that we're dealing principally with emotion, rather than mechanics. This means you don't need to spend pages and pages following the blazing trail of sensation as his fingertips gently explore the slopes of....well, I mean, you don't. But neither does this mean that you don't need to say _anything_ about what's happening physically.

By and large, you can "anchor" a sex scene for the reader by providing small cues regarding the physical action, and allowing the reader's imagination to fill in the rest for themselves.

EXAMPLE 1: Sexex1

Note in this example, a) how we shift the atmosphere to a tone of sexual suggestion via the cat, b) how character is revealed through dialogue, and c) how the scene deals with the physical details of the encounter.

3. CHANGE OF FOCUS

I have two bamboo hangings on the wall behind my desk: one from Japan, one from China. The Japanese one is a view of Mount Fuji, with a wooded shore in the foreground, a pagoda peeking out of the trees, small, white-sailed ships scudding across the water. Everything is soft, impressionistic, rendered in broad strokes.

The Chinese one is a close-up of a flowering branch with birds. It's done in exquisite detail; you can see the shading of individual petals, the iridescent feathers on the birds' necks. Hundreds of tiny, precise brushstrokes.

They're both good pictures, and both with a strong Oriental influence (naturally). The major difference is the _focus_ of each picture--long-shot vs. close-up.

Effective fiction (by and large) _varies the focus_. You don't want to tell a whole story from an emotional distance; likewise, showing things in close-up becomes claustrophobic fast. Ergo--and this goes for _any_ kind of scene, not just sex scenes--you want to vary the focus. If you start out in close-up--with a woman feeling her lover's breath on her earlobes, say--you may then want to take a step back, and she hears the chime of church bells in the distance, reminding her that she's committing a fearful sin--but then his mouth moves lower...and we're back in close-up.

When you're writing about sex, you're exploring the geography of intimacy, and you do this using the same techniques you use to maintain pacing and interest in any other narrative.

(See later, distillation/metaphor vs. literalism/detail - both valid, but different impact. Actually, I never did get around to talking about this, but this is where it is in the notes. [g])

EXAMPLE 2: I can't attach this, for copyright reasons, but it was pages 286-292 in INCUBUS DREAMS, by Laurell K. Hamilton. What you should be noting here is a) the use of brief bits of dialogue to define character, b) the change in focus, between the (very explicit) descriptions of touching/action and the protagonist's thoughts (including, even, a small chunk of backstory about one vampire's eyes), and c) that while this is a sex scene between what are essentially strangers, and strangers who have _no_ emotional involvement with each other, it's by no means impersonal.

4. NON-SEX SEX SCENES

Again, a sex scene is not just the traditional four legs in a bed. It's possible to have an entire narrative suffused with sexual feeling (example: THE SHADOW OF THE WIND), but which has relatively little in the way of direct sexual contact (that book has precisely two scenes involving actual sex, each one about two paragraphs long).

It's also possible to write a scene that deals explicitly with sex--and infuses the text with sexual feeling--but that isn't a traditional sex scene at all.

EXAMPLE 3: (this is a short one, so I'll just include the text, rather than doing an attachment)

From RED ANT'S HEAD

Copyright 2008 Diana GAbaldon

[Here we have a man sitting in a meeting, watching the female police officer who's conducting the briefing.]

I like jewelry on women.

People figure that historically men gave jewelry to women because a) they could afford it, so everybody would know how rich they were, and b) it made the women happy, so the men got sex, and that made them happy. I'm not saying this isn't true, but the fact is that jewelry on a woman is a real turn-on, no matter how the lady feels about it personally.

It's about ownership, is what it is. It's captivity. Put a chain around a woman's neck, put rings on her fingers, and she's yours.

She wears it on her bare skin, where everyone can see. On places you'd kiss, like the hollow of her throat, the lobes of her ears, the insides of her wrists. Where her pulse beats. It's metal and gems, a hard wet gleam where she's soft and tender. You're hard and she's soft, oh yeah.

Delicate chains and heavy links. Both good. Those tiny gold and silver chains, like spiderwebs against the skin; they could be broken with a touch, but they're worn willingly. Heavy links and bands of gold play up the fragile bones and slender throats--you can imagine them helpless, chained to the wall...or to a bed.

Spiderwebs and slave collars. Power and possession.

When you decorate a woman with jewelry you aren't just showing off, you're staking a claim. Throwing a net of gold and silver over her. You touch her skin when you put it on her, close the catch of a necklace on the back of her neck, on the soft bare skin under her hair, where you might bite her...later.

Older women know this. And that's why young women are always told not to accept jewelry from a guy unless they're serious about him; because a guy who wants to put chains on a lady is for sure serious, at least about what he wants to do with her.

She wore a wedding ring and gold-and-onyx studs in her ears. A tiny gold cross on a spiderweb chain at her throat. I couldn't take my eyes off it.

**********************

OK, see how that works? There's no interaction at all in this scene; the characters aren't touching, talking--or even, directly, aware of each other. It's not a "sex scene" in the classic sense of the word at all--and yet it certainly a) gives the reader a sexual feeling, and b) tells you quite a bit about the way this particular character feels for the woman he's looking at, as well as c) something about his overall attitudes.

5. ATMOSPHERE - evocation, sensuality

Without being explicit at all, it's possible to give a story a _feeling_ of sensuality. This is done principally--and paradoxically--by practicing restraint.

You don't lard on adjectives, or even verbs. You pick precise details and use beautiful imagery--which is a lot of work, but worth it.

I didn't actually talk about _this_, either, because it's a whole subject unto itself (and I did cover this in a seminar on Sensual (as opposed to sexual) writing. I'll put that one up later).

Examples: Anything by D.H. Lawrence, THE SHADOW OF THE WIND (Carlos Ruiz Zafon), Anais Nin, THE WIDE SARGASSO SEA (Jean Rhys), JITTERBUG PERFUME (Tom Robbins).

6. THE INVISIBLE SEX SCENE - When, Why, and How to Shut the Door

Genre or market constraints

Personal comfort level

Variety

Build-up/tension/anticipation - can come not only from refraining from complete sex onscreen.

Change the dynamic between two people, but without the explicitness of an intervening sex scene; this is where what' important to the story (or to you as the author) is not that the characters had sex--but what their relationship is now like as a result.

Consider whether you want to use sex in your story, and how important it may be. If you're dealing with characters who have an ongoing relationship that inovlves sex--whether consummated or not--that feeling will probably suffuse their story, even if you have no direct "sex scenes" as such.

7. THE PARADOX OF CLEAN SMUT VS. NOVELISTIC LICENSE

We must make a distinction between erotica and sex in the service of a larger story. One such--really paradoxical--distinction is that in today's market, publishers of so-called erotica tend to be very (you should pardon the expression) "firm" about the kinds of situations you can and can't use. I.e., all sexual encounters must be clearly consensual, including those that involve bondage or violence. You can do anything in "straight" fiction.

On the whole, erotica has less _context_ than fiction does. Sex scenes in fiction don't take place in a vacuum, whereas erotica often does.

EXAMPLE 4: Sexex2. This doesn't necessarily belong here, but I can't recall where I _did_ read it, so this will do. [I'll post the actual example later; it's 5 AM, and I have to go to bed.]

The thing to note about this excerpt is that it's definitely not a sex scene involving positive emotion or mutual attraction. The point of this scene is a) the advancement of plot, and b) further revelation of character. Also note the physical details, which are brief, but..er..evocative.

8. MIND GAMES, or WHAT WOULD YOUR MOTHER SAY?

It's very daunting to consider writing about sex with the shades of people you know looking over your shoulder. So tell yourself--and mean it--that no one is going to see it. Nobody _needs_ to see it.

It's just you and the paper. Remind yourself that nobody _can_ see it but you. You can write anything you please, and throw it away, or hide it in a drawer.

Once you _have_ written it, it becomes easier to perceive it as something separate from yourself. But you do need to let any piece of writing separate, before you're truly capable of judging its merit. With this in mind, you figure nobody's going to see this scene you're writing--unless it turns out to be Really Good. And you don't need to decide _that_ until later.

Then go thoroughly into the point of view of one character; see what they see, feel what they feel, and write down such details as make an impression. (NB: I _have_ seen sex scenes written effectively using the POV's of both characters, with emotions and thoughts floating back and forth. I don't do it myself, but only because it doesn't feel natural to me. It needs to feel very smooth and undistracting, if it's going to work.)

And remember--this is an art, not a science. There are techniques and patterns, but any sex scene--just like any real-life encounter--is going to be unique.

9. VOCABULARY

How your characters talk about what they're doing is going to be specific to them, and to the situation. Fairly blunt language can be effective on occasion--but depending on the time, place, etc., you may choose more lyrical or euphemistic language. [I actually ended the worksho p by declaiming "Ode to a Penis," a comic poem written by a friend of mine. That's her copyrighted material, though, so I can't print it here.]

Saturday, February 16, 2008

Quick Digression on Publishing Nonfiction

This is really for tudor rose, who is/was in academia, polishing her MA thesis, and wondering how I went about getting published and what she might do—but since a) I know this is kind of a popular question [g], and b) the answer I started to leave started to get rather long—I figured I'd put it in as a separate post.

Anyway, the answer is (as always) that it kind of depends. I did a _lot_ of freelance nonfiction stuff, back when I was a scientist--but I rather fortunately had an expertise in scientific computation, at a time when that was a) rather rare, and b) highly in demand, because of the huge new popularity of personal computers.

What I did to break into that market (not that this is _why_ I did it) was to a) start my own scholarly journal, called SCIENCE SOFTWARE QUARTERLY, b) write a comic book for Walt Disney's Educational Media Department, titled NUTRITION ADVENTURES WITH ORANGE BIRD (I got that job because I was already writing comic book scripts for Disney, and when the Educational Media person called the comics editor looking for a writer, he kindly gave her my name. Tip #1: the more people who know you and what you do, the easier it is to get jobs), and c) wrote a brief note to the editor of BYTE magazine, enclosing a copy of "Orange Bird" and a copy of SSQ (with my name as founder and editor-in-chief circled on the masthead, and checkmarks next to the articles I'd written in the Table of Contents)

The note just said, "Dear Sir—as you can see from the enclosed, you won't find anyone who knows more about scientific and technical software than I do, and at the same time, can write to appeal to a broad popular audience. Yours truly…. P.S. I've never missed a deadline in my life."

OK, this worked. [g] I got an immediate assignment from BYTE, then used the clip of that article to get assignments from InfoWorld and PC Magazine—and with published clips from the Big Three (as they were then), I could pretty much write for anybody in the field of personal computing—and did, for several years. Within a year or so of beginning my freelance career (mind, I still had a full-time job as a university professor), I was making just about as much from writing as I did at the university (which is mostly an indictment of how badly universities pay their assistant professors).

Now, I really don't know whether tudor rose's thesis is in an area where there's a lot of publishing interest, or extant periodicals. If not…then your best bet (if that's the material you want to publish) is probably to try to produce a book-length manuscript, oriented to the popular market if you can (much better sales potential), but otherwise as a scholarly book—which is not likely to make you much money, but will establish your credentials, ala my SSQ/Orange Bird strategy. [g]

If there are periodical markets for your material, though—perhaps you could write articles based on your research for magazines like Archaeology, or The Smithsonian. Essentially, what you want to do in the beginning is to get into print. Nothing makes an editor want you, like proof that some other editor has already wanted you. And short articles like that could form a useful credential to accompany a book proposal.

One of the nice things about nonfiction is that it's possible to sell a book without actually writing it. You can put together a proposal for the book, indicating what material it would cover, who the potential audience would be, how long it might be, and an idea of how it might be structured—accompanied by things like your cv (if that's relevant), or any published material you might have (which indicates a) that you can write, and b) that there is some interest in your topic).

You can't, btw, sell fiction this way, unless you're already a well-established author. That's because no one can tell, from a proposal, whether you can really tell an engaging story or whether you know what a good novelistic structure is, or whether you have good characters. So you do (with very rare exceptions) need to have a finished manuscript (and I do mean finished, not, "Oh, surely the editor (who buys this for a million dollars) can tidy up all those pesky little grammar things, and I never paid enough attention in school to know what they're even called, hahahaha…" Stay tuned, btw, for an upcoming rant regarding homonyms and prevailing ignorance thereof. As a corollary to which, if you'll pardon my mentioning it, the male protagonist of my books is J-A-M-I-E. Not "Jaime". But I digress…) in order to sell a novel.

Anyway, tudor rose—the first step would be to look for markets that publish the material you're interested in publishing. Do you have a subject that can be adapted to magazine articles or other popular forms? (I'm not addressing online means of publication here, just because I've never done that, and it would take awhile to poke around and consider things. Also, I've never met anyone who's actually made money by publishing things online, and I think that's probably one of your eventual goals. [g]) Is it a subject that has no particular popular aspects, but is hot academically? There are lots of university presses and academic book publishers.

The most important thing—as always, in anything to do with writing (well, anything else, for that matter)—is persistence. Start looking around, and keep working.

Oh—and good luck!

SILKY, curly hair

Like this (only light brown, and shoulder-length):

http://www.geocities.com/madeleinestowe2/pictures.html

http://www.geocities.com/madeleinestowe2/pictures.html

http://www.geocities.com/madeleinestowe2/pictures.html

Friday, February 15, 2008

The Art of Sex (writing about it, that is) - Part I

OK, this could take awhile. But for starters....

One of the first major reviews I saw for my first novel (OUTLANDER) was published by the _San Francisco Chronicle_. "Well, it's not Art," began the review, "and it's not Literature, but..." followed by several inches of raves (which came in handy for inside cover quotes for the paperback).


While I appreciated the favorable attention, I was mildly bemused by that opening. And exactly why _isn't_ it either Art or Literature? I wondered. The reviewer didn't trouble explaining, evidently feeling that her apparent enjoyment of the book made that plain (everyone knows you _appreciate_ Art, you don't _enjoy_ it, for gosh-sakes! I mentioned this particular review to someone at my publishing house--whose pragmatic response was, "Thank God they didn't call it Art or Literature; we'd have been lucky to sell 5,000.").

Now and again, I get further reviews that make it clear that what I'm writing can't possibly be either Art or Literature, because it is "genre fiction,"--this, contrasted with the occasional oddball critic who insists that the books _are_ Literature (nobody seems willing to go out on a limb and call them Art yet; just as well; I have kids to put through college), because I have managed to squeeze every possible known genre (except Westerns (give me time)) into one book--therefore it can't be genre fiction anymore. (Well, critics have to make a living too.)

Interestingly enough, most of the reviews and public comments that make an issue of whether these books (or any others) are Literature or Genre Fiction (an artificial distinction, if I ever heard one) base the distinction largely on grounds of sex.

If I read my NYT Review of Books aright, you cannot have sex in Literature unless it's violent, abusive, obsessive or warped (if such a word is possible in conjunction with such a…er...'plastic' activity). If you have anything approaching a depiction of pleasurable or entertaining sex, or a relationship in which the characters appear to be having a good time or otherwise benfiting themselves, then obviously you have descended to "genre fiction." (Actually "genre fiction" essentially just means you have a recognizable plot, coupled with a theme of universal appeal. Sex, of course, is pretty universally appealing.).

Now, I get mail. I get _lots_ of mail (and not infrequently, I think I should have had my head examined before I put my email address in my latest book).

Not a few of the letters and messages I get deal with the sexual relationships described in my books. A few correspondents (four, by the latest count) feel that I should not depict the details of sexual encounter, because (and I quote) "Great works of Literature don't have graphic sex." Their (otherwise quite gratifying opinion) is that my books otherwise have merits which would qualify them as Great Literature, were it not that I had lowered the tone of the proceedings by observing that people have genitalia (in vain do I protest that it's difficult to get a Ph.D. in biology without noticing this. They think I should in all decency have kept it to myself).

Of course, we must balance this with the (roughly) 3,000 correspondents who wrote to request _more_ sex in subsequent books, but most of them weren't concerned with my literary reputation.

Frankly, neither am I. We'll just wait a hundred years and _see_ if it's Literature, won't we?

Still, whether you want to put this "Real Lit does not have Real Sex" notion down to lingering puritanism, high-school brainwashing (MOBY DICK does not have explicit sex; ergo Real Literature does not include prurient passages. Obviously, these people were not paying attention when Melville explained why sperm whales are called that), or the ignorant conviction (born of inexperience) that all printed depictions of sexuality must be pornography, the notion does exist.

You know FANNY HILL, I expect? Subtitled "Memoirs of a Woman of Pleasure," it's one of the most enduring bits of Western European "literary" pornography, having been published in 1747. What's literary pornography? Well, interestingly enough, while the difference between most present-day "Literature" and the less-esteemed "genre fiction" is that the latter has a recognizable plot and universal themes, the difference between literary pornography and its less-esteemed relation, "porn," is that the _former_ has a decent plot and universal themes.

FANNY HILL caused a certain amount of comment following its publication--evidently times change, but literary critics don't. Among these, however, was a mention in a London magazine called THE MONTHLY REVIEW, which reads as follows:


"Yet it does not appear to us that this book has anything in it more offensive to decency or delicacy of sentiment and expression, than our novels and books of entertainment in general have. For in truth they are most of them (especially our comedies, and not a few of our tragedies) but too faulty in this respect."

These remarks were published in 1750. FANNY HILL is still in print, having survived the entire Victorian Age and the neo-puritanism of the mid-20th century, as well. This doesn't suggest to me that the inclusion of sex _per se_ negatively affects either the enduring popularity or the literary quality of any book.

Next time...Why People Have Sex, and How to Make That Clear when you Write about It.

Wednesday, February 13, 2008

31 Happy Years!

Sorry to disappear on y'all—it's been One Busy Week, what with one thing and another. Among other things, today (Feb. 12) was 1) Lincoln's birthday, 2) Darwin's birthday, and 3) our wedding anniversary: 31 Happy Years!, as my husband is given to saying.

Said husband gave me a MacBook Pro for said anniversary (I gave him a great black-and-white photo by Bob Gomel, of Malcolm X and Cassius Clay at a lunch counter, in the early days of the civil-rights movement. Here's a link to the image of it: http://www.monroegallery.com/detail.cfm?id=356 ), which I've been messing with in the interstices of the day.

Younger daughter's washing machine committed suicide, so she came by this morning to do her laundry, pausing to fill me in on the horrifying (but deeply entertaining) details of her friends' messy lives, including the Full Story of what happened on her best friend's 21st birthday—this involving a hotel room, two young men going shot for shot, and one of them passing out stark naked on the toilet ("What did he think he was? Elvis?" my daughter demanded rhetorically). He wasn't naked for any apparent reason, btw; everybody else was out celebrating the birthday girl's "power hour" (this evidently being the hour between midnight and 1 AM on the person's birthday, during which they go to a bar with their friends and order alcohol for the first time ever (or so we assume ), and returned to find the young gentleman in the aforementioned condition, whereupon they dragged him out and put him to bed on the pullout sofa, only to have him suffer various ghastly aftereffects of alcohol poisoning (you don't want to know, believe me, but it was pretty entertaining to hear about), and keep them up all night, alternately moaning incoherently and shrieking, "I'm gonna die!" Fortunately (or not), said young man was the manager of the hotel, which must have led to a lot of interesting conversations among the staff next day, but at least saved the party people from all being arrested or flung out into the street in the middle of the night.

At the other end of the entertainment scale, I had to read fourteen essays on the subject of "The Limits of Scientific Knowledge," which, while Most Interesting, sort of weren't as riveting as the picture of the young hotel manager, wrapped in a sheet stained with various terrible substances, moaning, with his panicked friends piling pillows on his head so the Room Service waiter wouldn't perceive that the corpse in the bed was in fact The Boss. These (the essays) are part of the entries for this year's Agassiz Prize for science writing, which I and a few other people sponsor at Northern Arizona University. The entries are on a different topic (set by the prize committee) each year, and range from rivetingly articulate to dismayingly incoherent (the point of this prize is to encourage clarity and insight in scientific writing), but require considerable attention, in either case.

And I'm theoretically writing a short story (yeah, that'll be the day. Last time I wrote a short story, my agents informed me that this was the size normal books are (that was LORD JOHN AND THE PRIVATE MATTER)) for an anthology titled PHOENIX NOIR, which needs to be done by the first of March.

And Hoang, the excellent artist who's doing the artwork for the (so far untitled) graphic novel, sent me the next batch of layout pages, which are great. (Layout pages are his preliminary quick pencil sketches of each script page—no particular attention to character beyond a rough suggestion of features, but showing the composition of each panel, so I can say whether he's caught the elements and mood I intended with my description.) These are always fascinating, and I have the editor's permission to post one of them on my website so you can see what it looks like—I'll send it to Rosana tomorrow, so it should be up within the next few days.

Meanwhile, the phone lines in the neighborhood are completely wack (as Younger Daughter eloquently puts it); we haven't had any phone service since last Friday, though we had a visitation from a young service technician who—between talking diesel engines with my husband and describing the four train horns he has on his truck ("A hundred and thirty-seven decibels each!")—cheerfully diagnosed the problem as "a wet splice," which doesn't sound like anything one wants to have. This is evidently a Bad Thing, but it's on the phone company's side of the property line, so we possess our souls in patience and keep our cell phones handy while they mull the problem (mulling seems to involve a number of phone company trucks driving slowly through the neighborhood with young men—I don't know why young women don't seem to want to do this; maybe it's a Y-chromosome thing having to do with the desire to honk train horns at unsuspecting people)—at the wheel, all talking animatedly on their cell phones, while gesturing excitedly out of the window (I saw three of them, while out for my daily brisk walk around the neighborhood today).

And I'm reading—in hasty pieces—Dana Stabenow's new thriller, PREPARED FOR RAGE, so I can interview her about it at The Poisoned Pen this Friday night (7 PM, for those of you living in the Phoenix/Scottsdale area. We'll both be signing books).

And I have macerated my right arm while pruning the pomegranate tree (this being the most prolific thing in the garden. I foisted at least eight dozen pomegranates on unsuspecting friends and made two bottles of pomegranate liqueur, and still raked up roughly two hundred of the things this afternoon). No doubt inspired by this spectacle of fecundity, a bottle-gourd vine went mad and produced 51 bottle gourds. Which, I am told, make excellent bird-houses. I'm sure we have at least 51 pairs of birds in the hedge, because I can hear them every morning—them and the Very Aggressive woodpecker who keeps pecking holes in the oranges and tangerines (which is OK; there are a lot of them) and trying to drill a nesting hold in our big saguaro (which is Not OK), but whether I have the time to clean, drill and paint 51 bird-houses is somewhat problematical. I did clean one, just to see how much work it might be to make a drinking gourd/canteen—pretty easy, in fact.

And of course, the Hunt for Jamie's Butt continues. I was putting together a pile of photocopies (not all of buttocks, I hasten to add; castles, clothing, and other assorted bits of reference) for Hoang, when my husband spotted one of the Butt Candidates on top of the pile. Beyond being scandalized ("You shouldn't be able to get bottoms on the Internet!"), he was also rather critical ("I sure hope Jamie is more muscular than this poor little boy"), which led me to a fresh search. Luckily I thought of Robert Mapplethorpe.

http://www.offoffoff.com/art/2005/robertmapplethorpe.php

Now I think perhaps we are getting somewhere.

Anyway, the day concluded with a delightful dinner (and bottle of wine) at our favorite restaurant, and while the wine was very good (a nice Rombauer chardonnay), we managed to conclude the evening's festivities without either one of us passing out in flagrante.

But it was kind of busy. With luck, I may be able to post something more coherent tomorrow. What was it I was going to talk about? Sex? Well, I think sex is generally a Good Thing. Details to follow.

Friday, February 1, 2008

Romance, ChickLit and Women's Fiction

Somebody down in the "Cross-Genre" thread asked me what I thought the difference was between romance novels, ChickLit and Women's Fiction—was the designation "ChickLit" just trying to be "more literary" than the usual image of romances? Well…

Frankly, I'd be surprised as heck if anybody regarded ChickLit as "more literary" than anything. Mind, I've read a couple of terrific novelists whose books fall into (or at least are sold as) "ChickLit"--Marion Keyes, in particular; I'd recommend her books to anyone, but they're certainly packaged as CL. Too bad if that kept anyone from reading them; they're beautifully written, with wonderful characters—great humor, but great sensitivity to underlying tragedy as well, and an understanding of what's necessary for redemption.

ChickLit does usually have a strong central romance. I think the major differences (aside from marketing--sometimes that's the _only_ difference) between ChickLit and straight romance are:

1) time period. If your romantic story is historical, it can't be chicklit. Ergo, it's either historical romance (no demand for accuracy—which is not to say that some authors are not scrupulously accurate; they are (Jo Beverly and Mary Balogh come to mind), but readers don't demand it—and a fair amount of explicit sex) or historical fiction (considerable accuracy, relatively little sex, or sex done by reference rather than exposition. (Cf. Margaret George) and a lot of the story not having to do with the central relationship).

2) ChickLit is _ipso facto_ contemporary because of the other big difference: morality. In a standard romance, the heroine doesn't have a sexual relationship (other than rape) with anybody but the hero. In ChickLit, she sluts around pretty freely, with no evidence of reservation or conscience, until Mr. Right makes himself known. (I recall seeing a re-run of "Sex and the City" recently, in which Carrie Bradshaw is typing and musing about the discovery that she and all of her friends have slept with more than 30 men--or have lost count. "Does this mean we are sexually empowered," she types, "or are we just sluts?"

At which point I replied aloud, "You mean you have DOUBTS?" [but I digress])

And

3) In a standard romance novel, the central relationship between hero and heroine (frankly, I find that terminology vaguely distasteful—it seems to imply that these characters are so stereotypical that they could easily be interchanged between books. Let's say, "main protagonists," shall we? Besides, that includes gay romances, and we are all for being inclusive, now, aren't we?) occupies 85-90% of the text, with all other plotlines being subordinated to the evolution of the relationship.

In ChickLit, the evolution of the romance is only 30-40% of the text, the rest being divided between the vicissitudes of the central character's work-life, and her sense of discovery of herself as a human being.

That said, both standard romance and ChickLit novels are courtship stories. They end (happily, always) when the central couple become mated—whether this indicates actual marriage, or merely the realization that we're going to be sexually monogamous for the next little while. And they never have sequels, because the story's over once mating is accomplished.

Now, "Women's Fiction"...this is usually code for "story about strong female relationships/quest for empowerment/mother-daughter issues/men would not be interested," and doesn't necessarily have a strong romantic plotline at all (in the most 'literary' kinds of Women's Fiction, men are generally viewed as alien creatures (at the very least), if not complete beasts. They're often rapists, abusers, manipulators, and generally a threat to whatever the central character is trying to achieve--and they _never_ understand the Sacred Bond of Sisterhood).

Mind, this is just my Very Humble Opinion [cough]—but you did ask. And it _is_ just an opinion, because I don't write in any of these genres myself. Though I guess I could be considered to be historical fiction, if it weren't for the time-travel, even though I do write about sex very well [she says modestly].