Sunday, November 24, 2019
Charity Sunday: KIND (Kids in Need of Defense) - #CharitySunday #immigrants #legaldefense
Sunday, September 10, 2017
Charity Sunday: Amnesty International (#HumanRights #CharitySunday #refugees)
Sunday, September 27, 2015
Sunday Snog (#193) for Refugees
Sunday, January 29, 2012
A Sweet, Spicy Snog from Refuge
This week's snog is from my short story Refuge, which is part of the charity anthology Coming Together: At Last. This two-volume set features multi-racial and multi-cultural tales, and all proceeds benefit Amnesty International.
I'm focusing on my altruistic erotica today because starting on February 1st, I'll be hosting a whole month of guests who write for Coming Together. During my Share the Love blog bash, many of the authors (including me, of course) will be offering daily giveaways to people who comment. At the end of February, we'll draw the name of one reader who'll receive a $50 gift certificate from All Romance Ebooks. Meanwhile, we're also giving away a super grand prize - a Kindle Fire - to one lucky and industrious visitor. Drop by on February 1st to read the inaugural post from Alessia Brio, founder of Coming Together, and learn how you can get your hands on the Kindle!
Meanwhile, today, don't forget to visit Victoria Blisse at Snog Central, to read her weekly kiss excerpt. Then follow the links to enjoy lip-smacking delights from lots of other authors!
“Khun Nu. I have come to thank you.” It was dark—aside from the commander’s office, the camp had no electricity—but a full moon showed me me every detail of her beautiful face. My cheeks felt hot. I had stripped to my undershirt, but my uniform pants grew tighter and more uncomfortable than ever. “Without your help, Su would have died.”
“Never mind, it’s nothing. I’m glad I could help. Anyone would have done the same.” Shame washed over me. I remembered my temptation to abandon her, and was suddenly very glad that I had resisted. Helping you is the least I could do, I thought, when I’m part of the machine holding you prisoner here.
“No, that’s not true at all. Believe me. I’ve been here a lot longer than you. Most of the soldiers here have no heart at all. They think we’re sub-human. You risked your own position and safety for us.” She reached out to me. “Come. Let me show you how grateful I am.”
I froze, suddenly understanding what she had in mind. “What? No—no, really, that’s not necessary...”
She arched one delicate eyebrow. “Don’t you want to? Don’t you like me? I had some notion that you found me pretty.”
“I—no, it’s not that, you’re lovely, it’s just—well, I don’t want to take advantage... You’re so young, so sweet...”
A bitter laugh. “Take advantage? You think you’d be the first soldier here that I’ve fucked?” Her crudeness made me cringe, but then her voice grew softer. “Please, Nu. I want to be with you. I want to be close to you. You’re the only man in Thailand who has ever treated me like a human being.”
I knew it wasn’t right. I wanted to resist. But I let her take my hand, let her lead me along narrow, overgrown paths where the moonlight could hardly penetrate the overhanging vegetation. My conscience cried out ‘No’. My mind echoed the warning. I ignored them, choosing instead to listen to my body and my heart.
I watched her body sway in front of me. My eyes had adjusted to the darkness. I could see her slender back, with its cloak of gleaming hair. I swallowed hard at the sight of her hips, their swell distorting the patterned fabric of her sarong. I was sweaty and nervous as she led me through the forests near the camp boundaries and up to higher ground. The aching lump in my groin made it difficult to walk.
The path opened into a grassy clearing. Moonlight poured in. To my left rose a steep wall of limestone. The plash of falling water reached my ears. Rivulets emerged from the cliff at several spots and tumbled into a mossy pool at its base, before spilling over and flowing down hill toward the camp. The cool breeze was rich with the scent of growing things, free of the fetid aromas of the caged humanity.
I took a deep breath. Prean stopped by the pool. She turned to me, her arms wide in invitation. I stood rooted in that magical spot, snared by her beauty.
“Nu?” Her voice released me. I gathered her in my arms, burying my face in her fragrant locks. The soft flesh of her breasts pressed against my chest, sending a thrill through my limbs that settled in my groin. Amazed at my daring, I ran my palms over her cloth-wrapped hips, around to her buttocks, and pulled her body tight against mine.
She ground her pelvis against my swollen cock. I moaned, finding her lewdness shocking but irresistible. “Mmm,” she murmured. “I guess that you do like me, after all.” Before I could stop her (and only part of me wanted to), she had slipped her hand between us and unfastened my fly.
My rigid penis sprang into her hand, an arrow to its target. She stroked it delicately, like some fluttering bird that might escape. It swelled at her touch. As it hardened further, she started to squeeze, pumping rhythmically from base to tip as though she was milking a goat. She smeared the sensitive bulb with moisture leaking from the eye, and I nearly lost control. Meanwhile, with her other hand, she grabbed my head and pulled my lips to hers.
Her mouth was open from the first. Her kiss was bold, all tongue and teeth, honest in its need—the hot, hungry kiss of a woman starved for loving. I returned the kiss, as best I could, lost, dizzy with lust. My senses reeled. It was too much. The fever of her mouth, the cool silk of her fingers on my cock. Her scent, grass and smoke, salt and musk. Her taste, lemon and mint. I felt my balls contract and groaned, sure that I was about to embarrass myself by spurting all over her hand.
Prean knew. At the last moment, she released both my cock and my mouth. Her smile was full of mischief and understanding. Stepping away from me, she pulled her tunic over her head. Jet locks tumbled over her bare shoulders. I stared at her breasts, white and plump as little chicks with tips dark as tamarind pods. My palms ached to cup them, to feel them yield under my touch. She loosed the tucks holding the sarong around her hips. The fabric dropped to the ground, revealing her flat belly and winking navel, her pale thighs and shapely calves, and at the center of the universe, the tangled patch of black fur that hid her sex.
My cock twitched, eager for a taste. I was too shy to move.
Her scent was sharper now. She knelt and spread the sarong upon the grass, then lay on her side, watching me. “Please. Take off your clothes, Nu. I want you.”
Thursday, August 19, 2010
In Someone Else's Skin
Kate O'Neill, the heroine of my first novel, had quite a lot in common with her creator. Like me, she was petite and curvy, loved to dance, and was sufficiently adventurous to go live in Thailand. She had graduate degrees and worked as a software engineer, just as I did. True, she had flaming red hair – I've always wanted coppery curls instead of my mousy brown – and she was quite a bit younger than I was when I dreamed her up, but I think it's fair to say that many of her emotions, reactions and fantasies mirrored my own. Most importantly, the journey of sexual self-discovery that she undertook in Raw Silk paralleled my personal sexual quest, in spirit though not in detail.
Writing Raw Silk was surprisingly easy. All I had to do was look inside my own heart.
I shared a lot with Miranda Cahill, the protagonist of Incognito, too. Not physically – Miranda was a tall, slim brunette. However, otherwise, she was much like me in during my (many) years in college and graduate school: shy, hard-working, so serious that she doesn't always understand other people's jokes, but seething with desire and sexual curiosity underneath her prim, good-girl exterior.
By the time I got to Ruby Maxwell Chen, I was beginning to create characters whose emotions and history weren't copies of my own. For one thing, Ruby was bossy, bitchy and competitive – nothing at all like me...! Ruby was also far richer than I could ever dream of being, and part Chinese. I tried to make her cultural heritage an integral aspect of her personality. With Exposure's Stella Xanathakeos, I moved even further from my roots and comfort zone. Stella is working class and not particularly well-educated. She's streetwise in a way that I, a product of the suburbs and the American middle class, will never be.
In recent years, I've challenged myself to write characters with whom I have very little in common. In my short story “Fire”, my nameless character is a young man from the American midwest with a fetish that compels him to arson. The story is told in the first person – there could hardly be a voice more different than mine. “Refuge”, the story I wrote for Alessia Brio's charitable anthology Coming Together: At Last, is narrated by a dark-skinned youth from the backwaters of northeast Thailand, forced to join the army and work as a guard in a refugee camp by his family's extreme poverty. Necessary Madness features the rocky relationship between a homeless clairvoyant teenager and a bitter city cop.
As the social, psychological and experiential differences between me and my characters increase, it becomes more difficult to create characters with depth, breadth and believability. To succeed in capturing my readers, I need characters whose emotions and actions are both genuine and compelling. How can I step into someone else's skin and imagine his or her thoughts and feelings, when that person and I come from different worlds?
Part of the answer, for me, is my conviction that individuals, despite their backgrounds, histories, cultures and gender, are more similar than might be expected based on surface characteristics. Certain emotions are fundamental: fear, anger, desire, sorrow, joy. Although different people express and react to emotions differently, we all experience them. In fact, I think my job as an author is to elicit these emotions in my readers. The very act of creating characters with whom my readers can identify presupposes a level of emotional commonality.
So, when I am trying to create a character very different from me, I assume that I can still use my own emotional reactions as a starting point. This seems to work quite well for sexual desire. If my story requires a character whose sexual interests don't mirror my own, I begin by imagining a scene that does turn me on. Then I transplant my arousal to my character, focusing it on different objects or activities. In Raw Silk, my personal kinks drove the story, quite transparently. My lusts and fantasies still stoke the fire in my work, but now they're subterranean, roiling like molten rock beneath the surface of my characters' existence.
Imagination and analogy can take you a long way toward an understanding of life in someone else's skin. But this strategy will fail if not accompanied by research. Writing requires creation not only of your characters but also the world they inhabit. If you are writing a tale set in a different time period or culture (including a sub-culture), you need to have a deep sense of the world you're trying to evoke and the ways that it shapes its denizens. Assumptions, vocabulary, sexual practices and taboos will vary from one world to another. Sadly, I've read far too many historical romances in which the characters wear period costumes but think and act like representatives of modern Western culture.
So if you are writing, for instance, a homoerotic tale, you can't simply rely on your imagination to tell you how gay men interact. You need to watch and read gay porn. You need to talk to gay men and read about their experiences. In the case of M/M erotic romance, it also helps to read other authors in the genre and figure out what works and what doesn't.
This brings up the fascinating issue of realism versus expectations. I will use M/M erotic romance as an example here, but the same question arises with BDSM or interracial or lesbian or historical erotica. Readers have certain notions about what to expect from a particular genre. In the M/M romance I have read, the rough aspects of gay sex rarely appear. Furthermore, the fear of homophobic attacks, the stigma of being gay in an ostensibly straight society, the effects of HIV on the gay community, are mostly absent. I suspect that if an author tried to be realistic about the experience of being a man who desires men, a significant segment of the readership for M/M romance would be turned off, possibly even upset.
The same could be said of BDSM erotica. Most BDSM tales present an idealized dominant who magically understands the needs of the submissive. (Raw Silk is no exception.) They ignore the far more common situation of insecure, incompetent, ego-tripping or genuinely cruel doms. They usually omit the lengthy negotiation process between dom and sub, in which the pair explores the submissive's squicks and limits. It's far more exciting to imagine a master so intuitive, so attuned to his slave, that he understands what she wants and needs without any prior discussion.
Thus, research by itself is not sufficient. Once you understand how your character's world is different from your own, you still need to decide which differences to highlight and which ones to discard. Reviewing the conventions of your chosen genre can help, but this can also be a trap, producing cookie-cutter stories where the characters and situations are far too predictable to be interesting.
Slipping inside someone else's skin and writing from their experience is tough. It requires considerable effort and judicious craft. Writing characters that are similar to me is far easier. Sometimes I feel like being lazy, just opening up my mind and letting my perversions flow unchecked onto the page. When I do, though, I run the risk that I'll just be writing Raw Silk, over and over again. To keep my work fresh, novel, exciting to other readers as well as to me, I need to get away from myself, to look through the eyes of characters who see the world differently.








