MChristian

 
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Characters are the heart and soul of any fiction, erotic or otherwise. You can have a great plot, vivid descriptions, and nuances up the wazzo, but if your characters act like sock puppets – spouting endless clichés, doing stupid things for stupid reasons, and in general acting nothing like real people – the reader’s disbelief is not suspended and the story doesn’t work.

So how do you breathe life into a character? In my experience as an editor, I can tell you that stiffness instantly shows in a poorly written character. What is stiffness? Well, some of the best examples I can think of aren’t in writing, but in movies or television. You’ve seen it: an actor or actress gives a bad performance, being stilled or monotone with no inflection. On the page, that shows up when a character thinks, does, or says something wooden, lifeless, or obviously forced to get the author’s point across.

I’ll let you in on a little secret. Do you know how to make a character live on the page? It’s kind of scary, which is why I suppose a lot of writers don’t do it, and it shows in their work. Are you ready? Are you REALLY ready? Honestly? Okay, here goes: look inward, my child.

Thank ewe, thank ewe; just put some money in the basket on the way out. What, you want more? Sheesh! Okay, kidding aside, my favorite way of adding depth and … well, call it character to a character is to get into yourself, your own emotional landscape, and your own history. Do you honestly look at someone and think: I would like to have sex with him or her? Nah, and if you do, I suggest immediate therapy. What really happens is much more primal and base. It’s like your subconscious takes over and snaps your head around, or you find yourself absently daydreaming, imagining what sex with them would be like. Your imagination runs wild.

Let’s say you’re straight: you don’t know what gay sex is like. Fine. But you do know what sex is like for you: the nervousness, the heady arousal, the way your mind races, your senses go rocketing, and so forth. The rest is just mechanics. The problem with this, and the main reason I feel why there are so many bad characters out there, is that it means exposing yourself on the page. Adding yourself (your feelings, emotions, and so forth) to a character is like a voodoo spell. Your fictional shade becomes connected to you. If the story gets rejected, it hits really hard. It’s like a part of you being turned down.

Still, I think it’s the way to go. But what if you’re describing someone who doesn’t share your experience? Let’s say they are in mortal danger, or in jail, or unstable; how the hell do you make that character real? What I do is close my eyes and put on that person, and walk a while in his or her shoes. Are they frightened? You know what fear is like. Angry? You know what being pissed off is like. What draws their attention? What are they looking for and why? These are not just plot points here, but perspective: how the character relates to the world and themselves. Even characters that are supposed to be disliked need this kind of thing, to make them look real as opposed to being soulless puppets there just to move the story.

Reality, of course, um, you know, er, can go a bit; no, a tad … or is it bit? Damned if I know, you know. Okay, my point is that too much reality, especially in dialogue, can be just as annoying as a wooden character. We all talk with a bunch of ums, ers, and ahs; adding that kind of thing, or vocally exact phrasing, might be real, but it also makes you want to throttle the speaker, not sympathize with them.

So, like a lot of things in writing, it’s a balancing act. On one side is having characters that act as well as Kevin Costner and on the other is having dialogue and characters whose reality makes them confusing and frustrating (think David Mamet).

As a writer, I hope that they liked this article I just wrote, M. Christian thought.

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A pal of mine asked an interesting question once: what’s my definition of erotica, or of pornography? Other folks have been asked these questions, of course, and the answers have been as varied as those asked, but even as I zapped off my own response I started to really think about how people define what they write, and more importantly, why.

It’s easy to agree with folks who say there’s a difference between erotica and pornography. One of the most frequent definitions is that erotica is sexually explicit literature that talks about something else aside from sex, while porno is sex, sex and more sex and nothing else. The problem with trying to define erotica is that it’s purely subjective – even using the erotica-is-more-than-just-sex and porn-is-just-sex-analysis. Where’s the line and when do you cross it? One person’s literate erotica is another’s pure filth. Others like to use a proportional scale a certain percent of sex content– bing! – something becomes porn. Once again: Who sets the scale?

What I find interesting isn’t necessarily what the definition between erotica and pornography should be but why there should be one to begin with. Some writers I’ve encountered seem to be looking for a clear-cut definition just so they won’t be grouped together with the likes of Hustler and Spank Me, Daddy. While I agree that there’s a big difference between what’s being published in some of the more interesting anthologies, magazines and Web sites Hustler and Spank Me, Daddy, I also think that a lot of this searching for a definition is more about ego and less about literary analysis. Rather than risk being put on the shelves next to Hustler and Spank Me Daddy, some writers try to draw up lists and rules that naturally favor what they write compared to what other people write: “I write erotica, but that other stuff is just pornography. Therefore what I write is better.”

This thought process has always baffled me. First of all, it’s completely subjective. Who died and made you arbiter of what’s erotica and what’s pornography? It sounds like those drawing the line have something to prove to themselves, or hide from okay to hate pornography because what I write is erotica. More importantly, this little fit of insecurity opens the door for other people to start using your own definitions against you. Even a casual glance at the politics of groups out to ‘save’ us all from the evils of pornography shows that they will use any device, any subjective rule (otherwise known as ‘community standards’), any nasty tactic to arrest, impound, burn, or otherwise erase what they consider to be dirty words. You might consider yourself an erotica writer, and be able to show certain people that you are – or, more importantly, convince yourself that you are – but to someone else you’re nothing but a pornographer, just like the stories and writers from whom you’re trying to distance yourself.

So I don’t I’ll tell you that personally, I use all the terms pretty much interchangeably: Porn, erotica, smut, literotica, and so forth. You name it, I use it. Depends on who’s asking. If I’m writing to an editor or publisher, I use erotica. If I’m talking to another author, I playfully call myself a smut writer. If a Jesus Freak gets me out of bed with a knock on the door, I’m a damned pornographer. In my heart, though, I just call myself a writer because even though I write stories of butt-fucking bikers, lascivious cheerleaders, horny space aliens, and leathermen, I’m more turned on by trying to write an interesting story than what the story may particularly be about. Half the time I’m not even aware that what I’m writing is a sex story because I’m having way too much fun with alliteration, character, description, and plot! The fact that what I’m writing may appear in an anthology or book with erotic in the title has nothing to do with how I approach my writing: a story is a story no matter the amount or manner of the eroticism I may include. A good example of my commitment to writing, pure and simple, is that I use my M. Christian name no matter what I’m working on: science fiction, mystery, literary fiction, non-fiction, or even something with erotic in the title.

If there’s a point to all this, it’s that you’re in charge of your own definitions, but try and pay attention to why you define, or why you feel you should. Erotica, pornography, smut, dirty words – be proud of what you write but never ever forget that genres, labels, brands, and all the rest are meaningless. If you’re a writer, you write. And you get to call the fruits of your labor whatever you want because you created it.

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Writers are professional liars: it’s our job is to tell a story so well that the audience believes it’s the truth, at least for the course of the story. The technical term, of course, is suspension of disbelief – the trick of getting the reader to put aside any doubts that what you’re saying isn’t the truth, the whole truth, so help you God.

For erotica writers that means convincing the reader that you really are a high school cheerleader named Tiffany who likes stuffed animals and gang-bangs with the football team … or that you’re a pro tennis player named Andre who has a mean backhand and can suck cock like a professional. A writer’s job is to convince, to put aside doubts … in other words to lie through their fucking teeth.

As any liar worth their salt knows, the trick to telling a good one is to mix just the right amount of truth with the bullshit. You don’t tell your mom who went to the movies rather than church: you say you had a sick friend, that your car broke down or that you had a cold. The same goes for fiction: spinning something that everyone knows is a lie (“the check is in the mail”) is flimsy, but adding the right amount of real life experience makes a story really live. Rather than Tiffany and the football players, how about a young woman who really wants to do a gangbang but doesn’t know how to break it to her boyfriend or girlfriend? We’ve all had the experience of trying to find a way to communicate our sexual fantasies to someone, so that rings true … even though our character is a total fabrication.

The same goes for dialogue, both external and internal. One of the worst cases I’ve seen came from, believe it or not, a mainstream book, where one character actually thought: I am happy with my homosexuality – and the intent was not humor or sarcasm. Orientation, like a lot of things in our lives, is something that’s just there, an integral part of our mental landscape: so integral that we don’t need to express it to ourselves as a thought.

While I do say that writing is lying, I don’t want you to extend that to professional identity. What I mean is that while it’s okay to be someone for a story, that falsehood should end with you who are as a person. Let’s say you’ve written a kick-ass gay men’s smut story – and you’re a woman: don’t send the story with a cover letter saying that you’re name is Stanley and you live in San Francisco with your life partner, Paul.

Get where I’m going? You can say what you want in your fiction, but when you cross that line to try and lie to the editor or publisher you’re not telling a story, you’re being deceptive. Now there’s no rule about using all kinds of different pseudonyms (I have three myself) but I’m also clear about who I am, and what I am, to an editor or publisher. There’s no reason to announce everything about yourself in a cover letter, but there’s a big difference between not saying something and trying to trick an editor.

There’s recently been a minor spate of this happening: men and women trying to be something they are not, for whatever reasons. Like I said, fiction is one thing, but anything beyond fiction is … well, weird at least, stupid at worst. The fact is we all talk to one another, us writers and editors, and eventually the truth will come out. It might not be a criminal offense, but I don’t mind being tricked by a story – but never in the real world of business dealings.

In short, it’s much better to be open and honest in a professional capacity, and leave the sex and lies for your stories where they belong.

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I’ve sort of touched on keeping an eye out for story ideas before, but it bears exploring a bit more. Keeping your work fresh is more than a little important for any writer, especially for smut authors.

For me, stories are everywhere – and to be honest I don’t think I’m special.  It’s all a matter of keeping your eyes open, but most importantly PLAYING with the world around you.

It should be obvious that in order to write about the world you need to know something about it, but what a lot of people don’t seem to realize is that sitting in a coffee shop, scribbling away in a notebook while you ponder the imponderables of human nature isn’t likely to yield anything usable.  Getting your hands dirty, though, will.

By that I mean really exploring yourself as well as other people.  Look at who you are, why you do what you do – both emotionally as well as sexually.  The same goes for the people around you.  Spend some time really thinking about them, there motivations, their pleasures, or what experiences they may have had.

Dig deep: ponder their reactions as well as your own.  Sharpen your perceptions.  Why do they say what they say?  What do people admire?  Why?  What do they despise?  Why?  That last question should almost always be in your mind – directed outward as well as inward: why?  This depth of understanding, or just powerful examination, is a great tool for developing both stories as well as characters.

Along with studying the world, pay attention to good work no matter where you find it.  A lot of writing teachers tell students to get intimate with the classics – which I agree with, but also think it’s equally important to recognize great writing even when it’s on the back of a cereal box.  Read a lot, see a lot of movies, watch a lot of TV – and pay attention when something good, or great, comes along.  Don’t dismiss anything until you’ve tried it.  Examples?  Romance novels, comic books, documentaries, sitcoms, cartoon shows, old radio shows, pulps, westerns, and so forth. There’s gold all around you, if you dig around enough.

Not for the fun – playing.  Look at that guy sitting over there, the one by the window: Heavy, messy hair, chewing with his mouth open – easy to peg him as lonely, creepy, or even seriously perverse.  Easy is a shortcut, easy is dull, easy is lazy.  Instead try seeing him as something completely different than your initial assessment.  Maybe his mind is lovely and musical.  Perhaps his touch is gentle and loving.  Who knows, maybe he’s a sex magnet – with more boyfriends/girlfriends than he knows what to do with?

Say you’ve stumbled on a particularly good book, show, series, or whatever.  Great, bravo, applause.  Now write something like it.  Who cares that the show will never, ever look at your story, or that the medium is long dead.  Do it anyway.  Get into the habit of automatically either writing your own version or fixing what you see as a flaw in the original.

I love coming attractions, the trailers for movies.  Watching them, I always make up my own movie based on what I’ve seen.  Sometimes it’s better – at least I think so – sometimes not, then I look at what the director did better than I did when the flick finally comes out.

Playing and watching, studying, that’s the ticket.  If you keep your mind sharp, notice details, and examine yourself and the world around you as well as challenging and playing with story ideas, then writing a story for a very specific Call for Submission or for some other strange project will be easy and your story will be original and fresh.

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FLEXING

I’m astounded sometimes by writers who will only write one thing and one thing only: straight erotica, mysteries, science fiction, horror – you name it: their flute has only one note. They might play that one note very, very well but often they neglect the rest of the scale. Not to go on about myself, but my own moderate accomplishments as a writer are the direct result of my accepting a challenge or two. I never thought I could write erotica – until I did. I never thought I could write gay erotica, until I did. Who knows what you might be great at? You won’t know until you try.

A writer is nothing but pure potential, but only if that potential is utilized. If you only like writing straight erotica, try gay or lesbian. The same goes if you’re queer: try writing something, anything, that you’d never in a million years think of doing. Maybe the story will suck, and that certainly does happen, but maybe it’ll be a wonderful story or teach you something about your craft.

Challenge yourself. If you don’t like a certain genre, like Romance, then write what your version of a romance story would be like. You don’t like Westerns? Well, write one anyway: the Western you’d like to read. Of course like a lot of these imagination games you don’t have to sit down and actually write a Western novel. Instead just take some time to visualize it: the characters, setting, some plot points, a scene or two. How would you open it? Maybe a tumbleweed blowing down a dusty street, perhaps a brass and black iron locomotive plowing through High Sierra snow? Or what about the classic Man With No Name staring down a posse of rabid outlaws? Who knows, you might be the best Western – or mystery, science fiction, gay, lesbian, straight etc. – writer there ever was, or maybe you’ll just learn something about people, about writing. Either way, you’re flexing, increasing the range of your work.

This flexibility isn’t just good in abstract: look at the books being published, the Calls For Submissions, and so forth. If you only like to write stories that one are particular style, flavor, or orientation, you’ll notice you have a very, very limited number of places that would look at your work. But if you can write anything, then everywhere is a potential market. Write one thing and that’s exactly how many places will want to look at what you do. Write everything and you could sell anywhere.

In other words: try! If you don’t try, you won’t know if you’re any good. Some writers only do what they know and like because they don’t want to face rejection, or feel they’d have to restart their careers if they change the one thing they do well. I don’t believe any of that. If you can’t handle rejection then writing is not the life for you. Getting punched in the genitals by a rejection slip is part of the business, something we all have to deal with. As far as a writer’s career goes, no one knows what shape that’ll take, what’ll happen in the future. Planning a job path in writing is like trying to roll snake eyes twelve times in a row: the intent might be there but the results are completely chaotic. In the same way a simple little story can turn out to be the best thing you’re ever written, an unexpected experiment can end up being a total artistic change.

Playing with new themes, genres, and styles is fun. Experiment on the page, in your mind, and who knows what’ll pop up? Go to a bookstore and pick up something at random, read the back cover, and then spend a fun couple of hours imagining how you’d write it. What style would you use? What kind of characters? What settings? Even sit down and write some of it: a page, or even just a paragraph or two. It might suck, but that’s the risk you always take trying something new – but it also could open a door to something wonderful.

M. Christian

www.mchristian.com
www.meinekleinefabrik.blogspot.com
www.frequentlyfelt.blogspot.com

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