September272011

Oh my.

So many of you really are upset by my “From Trust to Intimacy” article. I’d just like to point out to everyone that I am not a professional, and that my advice is like ketchup- some people love it, some people hate it, and it’ll do no good trying to convince the other party that they’re wrong.  In particular, I had wanted to address one point that many people don’t seem to comprehend: I am not slut-shaming. If I were, I’d be talking shit on my own kind. As I said once before, the part that many people seemed riled up about are NOT my opinions based in reality- they are basic plot devices that have been used for years.
And as far as kink-shaming goes, perhaps I let too much opinion slip into that, but the erotica market serves a large population that has specific kinks- kinks that sell and kinks that don’t. You are more likely to sell a book with the focus on BDSM than on Waterworks. It’s not as personal as it is factual.

On another note: I will be taking a hiatus. It’ll be difficult for me to update here and continue to write and deal with reality, so please enjoy the articles I have posted, and if you have any questions, I will be checking the ask box.

September222011

Anonymous asked: So Rape is okay if a girl skips one of your steps? Yeah okay. You are a disgusting excuse for a human.

I already addressed this. Please read “A Note On Respect”. If you still think I’m despicable, feel free to leave my blog.

4PM

Anonymous asked: Where are you? You haven't really posted as much recently.

I’ve been a bit busy with my own personal projects, so sorry!

September202011

A Note on “Respect is a Two Way Street”

Please, remember that when I wrote that, I was speaking on literature- NOT reality! The world of literature is black and white in many ways. If you want believable characters, I suggest you heed that passage wisely- there are not nearly as many gallant men who would refuse or restrain in that situation, even in reality.

4PM

Anonymous asked: Do you have a personal blog? I love this one and I'd love to follow your other one too!

I’m really flattered! Yes, I do have a personal blog, http://phantasmagoricheavenlea.tumblr.com/


4PM

From Trust to Intimacy- Making Romance


People talk about how hard it is to write Sex. Romance is actually far more difficult. Sex is simply a sequence of ACTIONS: “He did this, she reacted, and then did this in return…etc.” Romance, on the other hand, is a psychologically based sequence of actions for gaining the trust needed to attain Intimacy.

Caution!
Someone skilled in the arts of Romance is not necessarily demonstrating Love!

~~~~~~~~~~~~~~~~~~

* Romance: A manipulation technique designed to make someone receptive to Sex, the motive behind Romance is LUST.
* Love: When someone’s happiness means more than your own, the motive behind Love is AFFECTION.

To many people, Romance means ‘showing love’. That’s not true. You show love by protecting the ones you care for with the intent to ensure their lasting happiness. That doesn’t necessarily mean that you’re nice to them. Romance is about being nice to the point that they’ll let you have sex with them. Make sure you SHOW the difference!


The Ritual of “May I…?”
~~~~~~~~~~~~~
Romance is a ritual dance of Query / Answer on the path toward Intimacy. An interested party makes a Query, they hold out their hand. If the other party grasps that hand voluntarily, then they have Answered in the positive and the next Query, the next step toward Intimacy may be presented. Each positive answer received implies that a request for more intimate contact may also be accepted.

Defining the Twelve Stages of Intimacy

1. Eye to body. “What have we here?”
~~~~~~~~~~~~~
He sees her, she sees him. If she turns toward him, in even a small amount, that is his cue that he may approach.

2. Eye to Eye. “I find you interesting.”
~~~~~~~~~~~~~
He looks at her. She looks at him. If she smiles, this is his cue that he may speak to her and introduce himself. If he stares too long without speaking, he implies that she is an object being assessed for use. If she perceives this she may turn away to deny continuing contact.

3. Voice to Voice. “I’d like to know you.”
~~~~~~~~~~~~~
He introduces himself. If she responds with a smile and friendly conversation, then he is well on his way to closer contact.

4. Hand to Hand. “I like you.”
~~~~~~~~~~~~~
First contact. He holds out his hand. If she accepts his hand and smiles, she has given permission to take the next step.

5. Arm to Shoulder. “May I touch you?”
~~~~~~~~~~~~~
First Body to Body contact. He sits or stands next to her. If she stays close, he may proceed to put his arm around her shoulders. If she moves away, then he must go back to Stage 3 to establish trust.

6. Arm to Waist. “May I have you?”
~~~~~~~~~~~~~
Placing his arm around her waist is a potent and very important step. All contact beyond this point is Sexual in nature. Arm to waist contact is also a territorial signal to others that this person is Taken. It is at this point that she decides if she wants to be intimate with him – but she does NOT let him know this.

7. Mouth to Mouth. “This is how I intend to treat you.”
~~~~~~~~~~~~~
The kiss. First sexual contact. How someone kisses implies how they intend to make love. It is not unusual for a Heroine to flee after a kiss that is too controlling or possessive. If this happens, he will need to retreat all the way back to Stage 3 to rebuild trust.

8. Hand to Head. “Will you trust me?”
~~~~~~~~~~~~~
He touches her hair, her face, her mouth with his fingers. If she allows this, she is giving her ultimate trust. Grasping the hair and/or the face gives the holder complete control. If he has a tight enough hold, she will not be able to escape without a fight and possibly harm. By allowing this contact, she gives permission to allow all other hand contact with her body.

9. Hand to Torso. “I want more…”
~~~~~~~~~~~~~
Heavy petting normally begins with the clothing still on. The intent is to excite her into voluntarily opening her clothes and exposing her skin for more intimate contact. If he starts at the top of her body, head, neck, shoulder, breast, stomach…etc. stroking her as one would a pet, then he shows an acceptable level of affection. If he immediately digs under her clothes to grab her, BEFORE full intimacy has been established, she will assume he sees her as an object he intends to use and throw away.

This is the point where most rapes begin, so females tend to be hyper-aware of their partner’s actions during this stage. If she is not 100% comfortable with his actions, she will immediately withdraw. If he reacts with anger, she’ll assume that she is in danger and seek to escape using any means possible, after which she will refuse all future contact, ending the relationship. She may also report to every female she knows that he is dangerous.

10. Mouth to Torso. “I hunger for you.”
~~~~~~~~~~~~~
He kisses her throat, her shoulder, and any other exposed skin. Acceptance of mouth to skin contact implies extreme trust. The mouth is the most dangerous part of the body; it contains the teeth. This is where all remaining clothing is removed and full skin to skin contact begins.

She must be the first to open her clothing to him before any further contact can be made. If he takes the initiative and removes his clothes without her first having opened something to him, then he implies that he is not interested in her readiness, he is there for his pleasure, not hers. If she perceives this, she will immediately withdraw and possibly refuse all future contact, ending the relationship. She may also report to every female she knows that he an extremely selfish lover.

11. Hand to Genitals. “Are you ready for me?”
~~~~~~~~~~~~~
His hands explore her intimately. His explorations are to insure that she is ready for full sexual possession. (Are her nipples hard? Is she wet?) If she is not ready, he will use his hands and mouth to stir her passions, insuring that she is eager to welcome him and will enjoy what they are about to share.

Taking someone when they are not ready is not only painful, it destroys all trust. Should this happen, she will immediately seek to escape using any means possible, after which she will refuse all future contact, ending the relationship. She may also report to every female she knows that he an extremely poor lover.

12. Genitals to Genitals. “You are mine.”
~~~~~~~~~~~~~
Full sexual contact implies ownership on a primal level. Once full sexual contact is gained, both partners assume that they may have it again at any time. Making Love implies a relationship. Having Sex implies a diversion, a form of entertainment on the level of a video game. With this one act, she knows for certain if he sees her as a potential life partner, or merely a form of entertainment to be tossed away when a new game comes along.


A Note on Female Costume & Intimacy
~~~~~~~~~~~~~
The skin exposed, while fully dressed, advertises exactly how fast one is willing to proceed from Skin Contact to Sex.

A female in a low-cut but full-skirted gown states that she will allow some kissing contact (stage 8) but sex must still be negotiated.

A female in a floor length gown that exposes her entire back to the hips is stating that the man who gains permission to put his arm around her, (stage 6) will be allowed sex.

A female wearing very little, short skirt or skin-tight pants, a short top that exposes belly and/or back…etc., is advertising that she will allow sex to the man that gains hand contact, (stage 4).

A female in a skin-tight body suit is perceived as nude, even if the suit covers her from ankle to throat, as there is no impediment to immediate intimate contact. Sustained eye contact (stage 2) is considered a direct invitation to sex.

Color choice is also a factor in readiness for Sexual Contact. Light colors and pastels signal innocence. Bright colors and colorful prints signal playfulness. Dark jewel tones and satin, signal interest but caution. Animal prints, leather, dark velvets, and fur are a sign of sexual aggression.


The Ritual of Male & Female
~~~~~~~~~~~~~
The stages of Intimacy are fluid. Steps can be rushed, one right after the other, and some may even be skipped. However, skipped steps imply a lack of respect. Skipped steps can also imply a need to Control. These warning signs may not be understood consciously, but be rest assured, subconsciously the other party is well aware of what’s going on.

Example:
~~~~~~~~~~~~~
She meets a suitable young man. They are introduced and he immediately goes to hug her without bothering to offer his hand or speak with her personally. She may not feel that she has a reason to turn him down and so may allow the full-frontal contact. After that, she will refuse to be alone with him; in fact she may avoid him altogether, likely for the rest of the night. She may not even realize she’s avoiding him, but she will avoid him none the less.

Why? Because whether she is aware of it or not, his rush into close physical contact removed all trust.

If the young man is wise, he will find her, hold out his hand and begin again, all the way back to a full reintroduction, preferably with an apology inserted somewhere. If he does not, she will continue to avoid him. She will continue to feel uncomfortable, unsafe and ‘pressured’ by him. She will continue to feel that because she allowed ‘full frontal contact’ he will expect the Next Step in the Dance of Intimacy: a Kiss.

Respect is a Two-Way street.
~~~~~~~~~~~~~
When a female decides to break the order and jump steps with a potential partner, this tells him that he does NOT have to respect her personal boundaries because she has violated His.

A female that spontaneously kisses a man on the mouth when she does not already know him intimately shows an extreme lack of respect toward him. She is in effect, treating him like an object to be used. This gives him permission to use her any way he cares to, even to the point of taking her right there because her lack of respect for him has removed the need for him to treat her with respect.

In Conclusion…
~~~~~~~~~~~~~
The steps in the Ritual of Intimacy allow potential lovers the chance to demonstrate respect for each others’ personal boundaries and encourage Trust to build between them.

* Without TRUST between both parties - Love cannot happen.
* Without TRUST between both parties - Love SHOULD NOT happen.

4PM

Sorry for the long delay between posts!

I’m catching up now- I was having a bout of Total Immersion Writing!

4PM

It’s All About The Glue- The Premise of the Plot

Ah, so you wanna know how to put all the theories together to make a story, do you? (Gee, you couldn’t pick the easy stuff could you?) Okay…

A story’s Causes & Effects, the triggers that lead from one event to the next, comes from your Premise.

Just for the record…
A Premise is NOT a Concept!
~~~~~~~~~~~~~~~
The Premise is the theoretical / emotional problem that your story is trying to illustrate and answer. It’s the glue that holds the whole thing together. It’s the Purpose of your story.

A Concept is HOW you intend to illustrate that Premise, it’s the story you wrap around it.

Example: The ‘Matrix’:
~~~~~~~~~~~~~
Premise: Knowledge vs. Ignorance
Concept: “What if we were all living in a computer-generated dreamworld?”

See?
— On with the tutorial…

Using a Premise…

In ‘The Full Metal Alchemist’:
~~~~~~~~~~~~~~~~~~~~
Edward decided to bring his mother back to life – against the laws of Alchemy. He learned the hard way exactly why you Didn’t do that. His entire story revolves around this massive Wrong Decision that looked like the right decision when he decided to do it.

The Premise for the entire series is Right vs. Wrong.
~~~~~~~~~~~~~~~~~~~~
All of the characters throughout this long and convoluted story are involved in dilemmas of right actions verses wrong actions, and then dealing with the consequences of their decisions.

How to Use this:
~~~~~~~~~~~~~~~~~~~~
• Each pivotal Character should represent a different reflection of the Premise - the Story’s theoretical / emotional problem.
• Each Cause is an event where your characters make a decision in an attempt to Fix their individual theoretical / emotional problem.
• The Effect is the results - whether or not their action / solution works, works temporarily, or doesn’t work at all.
• Those results lead to the Next Attempt at trying to solve their Problem.

How it works:
~~~~~~~~~~~~~~~~~~~
In ‘The Matrix’:
Each Character is a different reflection of the Story’s theoretical / emotional problem.

Each character is a representation of the Matrix’s Premise: Knowledge vs. Ignorance. The meanings behind the characters’ names are the biggest clue as to what facet of Knowledge each character represents.

Neo means New, reflecting that he’s completely ignorant of what’s really going on.

Morpheus means Dream, reflecting that he follows his dreams — blindly.

Trinity stands for the triple Goddess, the Maiden, Mother, and Crone which represents feminine intuition.


Each Cause is an event where one your characters makes a Decision in an attempt to Fix their individual theoretical / emotional problem.

Neo, the main character, is faced with one problem after the other. Each one forces him to make a Decision. “Do I want to Know, or do I want to Ignore it?” < — the Premise

The Effect is whether or not their solution works, works temporarily, or doesn’t work at all.

When the entire cast is caught in a trap set by the agents, each character makes a different choice on how to deal with the problem.

• Neo just follows along. He has no clue what so ever about what’s going on around him.
• Morpheus’s dream is that he will find ‘the One’ whom he thinks is Neo. Choosing to follow his Faith in his dream, he sacrifices himself so Neo can escape.
• Trinity, named for feminine intuition, makes her choices based on her emotions. She is emotionally attached to both Neo and Morpheus. When Morpheus makes his sacrifice, she is unable to choose between them and freezes in momentary indecision.

Those results lead to the Next Attempt at trying to solve their Problem.


To solve the problem of Morpheus’s sacrifice, Neo makes his decision based on what he has learned. He takes responsibility for losing Morpheus and decides to go get him. Trinity also feels responsible for Morpheus’s loss, and as second in command of the ship (mother figure to the crew,) she is determined to bring him home.

Together, they run to the rescue.

And so the story continued on to the next dilemma.

——-Original Message——-
“I know you said you work backwards from your climax, but I don’t know how to settle on the climax either. So how do you do it?”
~~~~~~~~~~~~~~~~~~~

The Climax is where you Apply the RIGHT Answer to the story’s Premise, the theoretical / emotional problem.

This works best if you make it the LAST thing anyone wants to do.

In ‘The Full-Metal Alchemist’:
~~~~~~~~~~~~~~~~~~~~
The last thing Edward wants to do is leave well enough alone. He is determined to use Alchemy to fix the problem he caused by using Alchemy in the first place.

In ‘The Matrix’:
~~~~~~~~~~~~~~~~~~~~
The last thing Neo wants to do is believe that he’s the savior of the world, the One. He is determined to keep his head down and simply survive, as he’s done all his life.


——-Original Message——-
“What questions do you ask yourself to get yourself moving in the right direction?”
~~~~~~~~~~~~~~~~~~~

Plot = Momentum

To generate a basic Plot, I set up my three main characters…

Adversary – (Antagonist), the one making the most trouble.
Proponent – (Protagonist), the one trying to keep things the way they are.
Ally - The Companion to one or the other who is at odds with both.

I ask each of my 3 characters Three Questions:

~~~~~~~~~~~~~~~~
1 Who am I, what am I, and what do I do?
2 What do I want?
3 What’s the worst possible thing that could happen to me?
~~~~~~~~~~~~~~~~

The 9 answers to these questions give me the Major turning points for the story. In order for the plot to be water tight, each character must demonstrate the answers to each of these questions. Leaving any of these out of the story gives you a Plot Hole.

How it works:
~~~~~~~~~~~~~~~~~~~~
In ‘The Full Metal Alchemist’:

1 Who am I, what am I, and what do I do?
~~~~~~~~~~~~~~~~~~~~
I am Edward Elric and I became the Full Metal Alchemist because I made a major mistake, and now I have to fix it.

2 What do I want?
~~~~~~~~~~~~~~~~~~~~
I want to restore my brother back to his human body, and get back my missing arm and leg.

3 What’s the worst possible thing that could happen to me?
~~~~~~~~~~~~~~~~~~~~
I could find out that the cost to reverse my mistake is measured in human lives.


——-Original Message——-
“I get frozen by the unlimited places I could go to from the start…”
~~~~~~~~~~~~~~~~~~~

Hell, so do I. After reviewing my options, I try to choose the one direction no one expects, the one thing that hasn’t been done, or the one action that seems most likely to fail. I like surprising my readers.


——-Original Message——-
“What’s the specific place that’s the most exciting and most engaging for the reader?”
~~~~~~~~~~~~~~~~~~~

The Darkest Moment - the story’s Reversal.
~~~~~~~~~~~~~~~~~~~~

This is the place where everything falls completely apart and the Main Character crashes and burns. It is the character’s moment of total failure that forces them to face the real solution to their emotional / theoretical problem — and make a decision:

• Give up & die…
• Refuse to admit that they were Wrong — and ignore the solution to their emotional / theoretical problem.
• Admit they were Wrong — and act on the solution to their emotional / theoretical problem.

In ‘The Matrix’:
~~~~~~~~~~~~~~~~~~~~
This story’s darkest moment is when Morpheus sacrifices himself to let Neo escape. The rest of Neo’s decisions and the story’s entire plot, hinges on this one moment.

In ‘Constantine’:
~~~~~~~~~~~~~~~~~~~~
This story’s darkest moment is when the leading heroine decides to reawaken her denied psychic abilities — instantly making her a target for the story’s main villain. If she hadn’t awakened her latent talents, she would have been useless to the villain.

In ‘Leon the Professional’:
~~~~~~~~~~~~~~~~~~~~
The story’s darkest moment is when young Mathilda realizes that she can’t shoot the villain dead; she just doesn’t have it in her to kill — which allows the villain to recognize her as the one that got away.

The Answer to the Premise — is the story’s actual pay-off.

Everybody is looking for solutions to their personal issues.

• “How do I deal with a sucky job, and a boss I seriously loathe?”
• “How do I know if someone is worthy of my love?”
• “How do I handle my family issues?”
• “How do I deal with the monster in my closet?”

Ever hear the phrase: “People are People”? No matter whom they are or where they live, human issues Never change. “People are People.” Embrace this phrase, love this phrase, use and abuse this phrase! THIS is the key to fiction people WANT to read.

Sure you could be writing a Horror or a Fantasy, but the people in your horror or fantasy should STILL be dealing with the same issues everybody else deals with:

• Sucky bosses - How do you think Saruman the White really felt about working for Sauron?
• Love interests - Arwen’s dad, the king of the elves did not approve of her scruffy human boyfriend.
• Family issues - Eowen of Rohan had to deal with a senile dad PLUS several bossy older brothers.
• Monsters under the bed - Ringwraths & Orcs, need I say more?

No matter how fantastic or unusual, people STILL suffer from the same issues.

That’s what the Darkest Moment of the story does. It forces the Main Character to realize the answer to their personal problems — offering a solution to your Readers’ problems too.

Caution! Don’t leave anybody Out!
~~~~~~~~~~~~~~~~~~~~

All three characters (Proponent, Ally, Villain) should have a Dark Moment that occurs in somewhere in the story. That dark moment is what leads them to a pivotal decision, which then rolls straight downhill into the Climax - the big confrontation between ALL the main characters.

The Climax’s deciding factor?
~~~~~~~~~~~~~~~~~~~~

The Villain’s INABILITY to Change enough to make the Right Decision is the reason WHY they LOSE.

• The Hero Crashes, Burns, Learns from his mistakes, and Rises Again.
• The Villain merely Crashes and Burns. He does NOT learn from his mistakes. He does Not rise again.

And the Ally?
~~~~~~~~~~~~~~~~~~~~

Traditionally, the Ally knows the right answer all along — even if they don’t realize it. They also tend to be the primary victim of one or the other’s bad judgment, sometimes both, which triggers the Crash & Burn for both the Hero and the Villain.  

In ‘The Full Metal Alchemist’:
~~~~~~~~~~~~~~~~~~~~
Alphonse Elric knew all along that some things should be left alone, but his devotion to his brother Edward allowed him to join in on his brother’s Bad Decision to raise their mother from the dead with a forbidden spell. When the spell went wrong, he became a victim of the story’s Hero — his brother Edward.

This of course, triggered Edward’s next decision — to rise from his ashes and become the Full-Metal Alchemist.

September182011

wolfgirlluna asked: While reading and completing "The Novel Notebook" by Lynn Viehl I came across "Describe your protagonist (occupational, emotional, and situational.)" and I'm not sure how to answer it.

When filling this out, the first thing you need to do is fill out the “emotional” line. If you can gauge your character’s emotions, it becomes easy to describe the rest of them. Start by describing how the protagonist usually feels- their general mood. (Everyone has a general mood.) Then, move on to how they would react to situations. Do they tend to have an angry knee jerk response? Would they be cool and calculated? Are they the type of personality to be easily smitten, or are they a tough shell to crack? Once you understand your character as a person, an actual being, it is easier to move on and describe the rest of them.

Personally, I have never read or completed “the Novel Notebook”, so I hope this answer helped and I wish you the best of luck!

September172011

Anonymous asked: What are your thoughts on setting a story in a real place vs. an entirely made up place? I'm just having trouble finding the right town/right school for my character. Do you have any advice on how to go about inventing a place, like how to make it realistic? Thanks in advance!

Personally, I make up towns and places based on real places for realistic fiction. But when I start getting into fantasy, I notice more often than not a special world that YOU created usually packs more of a punch.  I’ve written 2 articles here that will help you immensely, if you scroll through and find them: “Research is Your Best Friend” and “A Whole New World!” In the articles, there a re a few links to other sites that will help you. I’d post links here but it doesn’t seem to want to let me. If you have any more questions after that, then feel free to ask again :)

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