My First Love (#poetry #sonnet #erotica)

Long before I started writing erotica, I was a poet.

Well, at least I was writing poetry. Love poetry, mostly, or maybe lust poetry. When you’re a teenager, it’s hard to tell.

Nobody taught me to write verse, though my parents did read poems to my brother and me from a very early age. Finding rhymes, feeling the rhythm of the words, seemed to come naturally.

Poems were how I expressed my emotions. They were private, personal, efforts to capture a moment. Little conscious art, and certainly very little deliberate craft.

Then in the late nineties, I started writing and publishing prose. Somehow, the well of poetry dried up. I think this was partly because I’d gotten over a good deal of the angst from my teens and twenties.

In the past decade, encouraged by my friend and colleague Ashley Lister, I’ve starting writing some verse again. The experience is very different, though. Ash is an expert on different poetic forms. Many of my recent poems were experiments using forms he proposed in his monthly exercises at the Erotica Readers and Writers Associationblog. The emotion is still there, but I’m much more conscious of the process, and the result.

I still seem to have a sense for the way words chime and combine, though.

Just for fun today, I’m sharing a couple of poems. The first is more than twenty years old. It’s not in any particular form. The second I wrote in 2015, and is the form of a Petrarchian Sonnet.

To be honest, I like them both. But in a very real sense they were written by different people.

Meditations on a Crescent Moon

(To GCS)

a bright thorn lodged in my flesh,

scarlet petals crushed on my breasts;

silver hook reeling me in;

scimitar pricking my skin.

clipping of a fingernail,

charm to bind; scorpion's tail,

sweetest poison in the sting,

fever dreams; broken ring

of the ancient myth,

how I shall know

my other half.

silken curl

from some platinum plait;

comma—a pause,

saying hush, wait.

light leaking beneath the door,

beneath the blindfold—

nothing more,

in the darkened room

but a lingering kiss

and the rough caress

of the bonds

on my wrists.

Burlesque - Petrarchian Sonnet

Black satin glove discarded on the floor;

a smooth descent of zipper down your spine

disclosing inch by inch, by clear design,

a glimpse of pearly flesh. You promise more

than you deliver. Desperate, we implore,

we beg you, Take it off. You pout, recline,

expose a shapely leg where slits align,

content for us to hunger and adore.

A sultry soundtrack drives you to reveal

in increments the charms your clothes conceal.

In thong and tassels finally you pose;

a teasing smile, a shimmy, then you steal

away to leave me with a racing heart

and wonder: is this Lust or is it Art?

When Life Sucks (#lifechoices #work #amwriting @4oliviasavage)

By Olivia Savage (Guest Blogger)

My eyes were red and puffy from crying. I had already gone through enough tissue to wallpaper a small apartment. The sobbing deep in my throat just wouldn’t stop.

And I hadn’t even reached my lunch hour yet.

Few things suck more than having a complete breakdown at work. And this was my third one this month.

... So I did what I’d been doing this whole time to cope: Shut office door, lie down on the floor, fight to get ahold of myself long enough to get up and do my damned job.

The hiccups would stop (I hate that I hiccup when I cry—it makes me sound like a dying frog). Even so, like the trooper I was, I’d scrape myself off the industrial carpet to answer emails, make phone calls, and deal with the multi-crises that were all pounding on my door, waiting for me to man-up and solve them.

Because that’s what I did. That’s who I was. The organizer. The solver of issues. The one who made it happen because someone had to.

That’s why the word “manager” was on my door, right?

And why I was paid the big bucks. (... pardon me while I laugh hysterically here.)

What was Really Going On?

This “pull-up-your-big-girl-panties” self-talk all neatly distracted me from dealing with the REAL issue...

(Which I didn’t want to deal with because it was big and scary and would demand I answer some hard questions if I ever looked it straight in the eyes.)

The Real Issue: I did not like my life.

Cue self-doubt. Call in the guilt squad. And the ever-present voice of my mother.

... all working, in concert to make me feel ashamed and afraid were I ever to admit that I wasn’t happy with my life.

This is where the rationalizing starts talking you out of living the life you were meant to live:

What did I have, really, to complain about? No one likes their job, but we all have to pay for our coco puffs and lattes. Most people in the world live on $2 a day, so who was I to be so ungrateful? Besides, if I admit it wasn’t working, there would eventually have to be change, and I had NO IDEA where to even start with that...

Adding to fuckery of this whole situation was the fact that: I was good—like, really good—at my job.

Everyone said so. Which meant it must be true. And I did enjoy it some days...

... But others.

Have you ever felt like you were meant to do more than just pay bills and die?

Have you ever wondered what would happen if you went balls-to-the-wall after your dreams?

Does that voice in the back of your head whisper frightening and wonderful things to you when you’re lying in bed, late at night?

... telling you to go for it

... to leap off that cliff and see if you can fly?

Well, I jumped.

Fact of Life #1: Gravity sucks (more on that later).

One day, I couldn’t take it anymore. Once day, I couldn’t imagine scraping myself off the carpet the next morning, or the next. One day, I broke.

I’d had enough of fake-living.

... so my husband and I fired our jobs, sold our house and almost everything we owned, and moved into a 8-foot by 20-foot travel trailer that we pulled behind our truck.

Overreaction? In retrospect, mayyyybe... but maybe it was exactly what I needed. Like a hard punch to the throat (keep reading).

But at the start, oh, at the start of it all...

It was exhilarating.

It was terrifying.

It was uplifting.

For the first time in our lives, we were free!!!

Then the first of the month came and went, and on its tail, a reality check.

Fact of Life #2: No matter how far your run, people still want money if you use their stuff.

You know: cellphones, health care, food, gas, wine, the basics. (And I was definitely not going to go live off the land, wilderness-girl style. Mostly because there wouldn’t be coffee, but also because that sounds terrible.)

So here we sat with no jobs, a dwindling bank account, and a house that could roll off a cliff if given a brake-release and a stiff breeze.

In the woe of “How the hell do we pay our bills and still be free like a bird?!” I had a light bulb moment

... to finally do something I’d always wanted to. Something that was sure to solve all our financial woes and possible make us rich...

I was going to write a book!

I love reading, after all. And how hard could it be?

(Looking back, I realize Fate has probably hyperventilated from laughter at my life choices... multiple times. But anyways...)

Writing a book, it turns out, is not so simple AND is more time-consuming/ gut-wrenching/ self-doubt-generating than I could have ever imagined. Plus, I keep waiting for the moneys to roll in... I don’t think they got the memo.

Fact of Life #3: You have to do the work.

It seems like every guru, expert, and brother-in-law out there is offering some hack or secret or shortcut that will have you [INSERT CRAZY PROMISE HERE] in only [INSERT STUPID-SHORT AMOUNT OF TIME].

And while I love, love, love a solid plan with good strategies (you should see the color-coded charts I’ve made), there is ONE THING that you can’t hack...

If you want something important, something big or different in your life, you have to be willing to do the work.

For writing, that means Ass-In-Chair.

There is no shortcut for this. As I soon learned.

Writing a book is HARD and frustrating and many other things that I mutter under my breath while pounding on the keyboard.

And no one is paying you while you bleed away all this time... I could have been making tips as a barista, but, instead, I’m growing limp and pale through the glow of my computer screen and hoping that something amazing will happen as the hours and days and months go by.

But I managed to finish it. My first book.

... And guess what?

... After I finally wrote my first book?

The book sucked.

Like, sucked worse than removing cactus needles from your ass with a roll of scotch tape. (Which does not work, by the way! But that’s another story.)

And guess what else? No one bought it.

Even close friends who read it (for free, ‘cause I gave it to them) laughed at me. These people have let me wear head-to-toe fringe in public, so if they were horrified by my writing, it must be bad.

So let’s flush that dream-big idea down the drain where it belongs and seriously think about becoming a barista, because we tried (really hard) to write and failed miserably... or did we?

Fact of Life #4: When you’re starting... it will always suck.

But you as you keep going, you start to suck less. And less. Until you even tip the scales over to good (and so forth).

Yes, that first little book that I worked so hard on and was so afraid to show to people because I wanted so much for it... it still sucks.

But I didn’t stop writing.

In fact, I went on the war path to learn everything I could. I read books about writing, listened to podcasts, signed up for workshops, Facebook-stalked authors I loved, and KEEP GOING through the suck.

Now I can confidently say that I suck way less than when I started (Yay for me!), have seven books under my belt, and have discovered something I love: telling stories (and writing sex scenes, I love writing sex scenes).

Has writing brought me the fame and fortune I first dreamed of? According to my ramen-noodle-and-boxed-wine diet, no. But it has given me something far better, something I’ve never had before...

A sense of fulfillment.

... which a fancy job title and an over-sized house packed with stuff was never able to give me. I’m filled with gratitude every day that I get to sit at my computer and pound away at the keys because going after something you’ve always wanted—and sticking with it through the suck—is one of the most rewarding adventures I’ve ever had.

And I’m only getting started.

Calling myself a writer is a battle-cry-proclamation for me. I’ve worked hard to get here. And I’m working my ass off to answer the call of my inner-creative-voice. Because we all have that thing, that thing we’ve always wanted to do...

Fact of Life #5: You MUST engage with you highest calling.

Many pursuits will give you stuff, lots of relationships are ok, countless jobs aren’t that bad... but what will give you life? Success is great (I still want it!) but not without fulfillment.

What fills you—what makes you come alive—will be unique and your own story. No one can tell you what it is. You’ve got to dig and unearth it for yourself (See Fact #3: You have to do the work).

I’ve found it inside creation (the act of writing) and my biggest hope for you, my friend, is that you find yours

... And start living it.

... Start do it.

... Start sucking at it.

Because that’s where the magic begins.

Hug, kisses, and wishing you all the best in whatever you suck at,

Olivia

Before you go...

Grab your FREE GIFT from Olivia — A Very Inappropriate, Adult-Only Coloring Book — by visiting her site:

  OliviaSavage.com/FreeColoringBook

While you’re there, check out her books and show her some love by going to Amazon and buying a copy of one you like [hint, hint, wink, wink].

For example...

What would you do if a hot, rich, famous artist asked you to pose for one of his painting?

...And, by the way, did I mention you'd have to be naked?

Completely, 100%, nothing to hide those love handles, nude. 

Honestly, it's mortifying enough to stand naked in front of my own mirror, but to do it in the same room with my mind-blowingly hot, totally off-limits art instructor?

This is so not something that I, June Cooper, had planned for this college semester. 

What I should be focusing on is working my butt off to pull in awesome grades and get into my choice of law schools.

No distractions allowed.

Especially if they come with male parts attached. 

Aside from just being dumped, a waistline that inexplicably keeps growing (damn you, chocolate cake!), and a highly developed caffeine addiction, my life is pretty much on track. Just how I want it.

Then, he showed up.

Ryan Carter.

Famous painter. Artist. And one giant, smoldering, red-hot distraction.

My world comes screeching to a halt when Ryan asks me to pose for a painting.

Going naked is one of the most terrifying demands anyone has ever made of me.  

But I could never have guessed how exposed my life would become through that one little request. 

Get your copy of this sexy five star romance now!

About Olivia

Olivia Savage is a naughty romance writer currently living in Arizona, home of the Grand Canyon, killer bean burritos, and the kind of cactus that you can’t remove with scotch tape. 

Connect with her on the web and on Twitter. She's also eager to chat with you on Facebook.
 

The Naked Truth: Perfecting the appearance of the nude. (#nude #photography #art)

Carmelina and Honey Sepia

By Clive Branson (Guest Blogger)

When I talk to someone about nude photography, they raise the proverbial eyebrow and their jowls spread back into some lascivious grin. “Nude photography, eh?” is expressed with that air of almost illicit anticipation. Images of nubile nymphs splayed out like beached starfish displaying all their glory feed many a deviant mind. However, in reality, it may come as little surprise that most people actually look better clothed then unclothed; hence, this is where nude photography faces its greatest challenge – complimenting the figure.

Although the human form has been an inspiration for artists since the beginning of time, there is a fine line between fine art photography and cheesecake vulgarity, yet few images have more power to evoke such strong reactions than the nude. A shot of a nude shouldn’t appear like you’re photographing someone naked or to make it appear too cliché (i.e. unnatural or well-worn poses); too contrived (i.e. photographing a nude simply for the sake of a T&A shot); or too disparaging (i.e. where the model looks more like a tart such as the ubiquitous “boudoir” studio shots). Similar to a portrait, you are dealing with someone’s pride, so make sure the results are rewarding, otherwise you will loose, not only your model, but also your reputation.

Preparation

If you are exploring this subject for the first time, here are some helpful tips. In nude photography, an unplanned approach is inclined to produce a graceless picture. To address the potential richness of the human form, and to do so without blatancy, you must exercise the maximum care and selectivity. Only by learning to control the pose, the setting and the lighting, can you produce photographs that reveal your craftsmanship as a work of art rather than a clinical and brazen documentation.

Before you begin a session or before you even approach any model, ask yourself what the purpose of the shoot is. It is preferable if you can think of a theme – this will make selling your work to magazines, agencies or galleries easier. Go on the Internet, go to the library or magazine store and do some research on images that stimulate or comply with an intriguing idea. Try to create a theme that will stimulate both you as a photographer and get the model in the right frame of mind. When I say “theme,” it can be as basic as a photo exposé on “Redheads” or a theme can stretch to the realms of fantasy. 

Defeat

 

There is a phalanx of exceptional fine art and nude photographers - too many to list, however; some worth studying are Bob Carlos Clarke, Craig Morey, Helmet Newton, Herb Ritts, Robert Mapplethorpe, Joyce Tennesson, Deborah Turbeville, Jeanloup Sieff, Jan Saudek, Tony Ryan, Robb Debenport and David Hamilton. How is their work different from others? How do they capture an evocative pose? Do they use props? What is their lighting technique? What angles, lenses do they use? And how does the personality of the image seize your attention? Try implementing their technical skills while developing your own unique aesthetics into the equation.

Recruiting a model

When you approach someone, make sure you convey that your intentions are both honorable and professional. Introduce yourself with a business card (with your website on it), state your objective and finally, inquire if your subject would like to arrange a meeting to review your existing work as well as to discuss your proposal. Don’t be discouraged if she/he says no, someone else will eventually agree.

There are five ways to find a model. First, approach a stranger. This can be the most daunting since most people don’t expect to be approached with such intentions on the street, supermarket, or nightclub. Furthermore, you have a short period of time to convince a stranger to participate. In addition, there is the undignified scenario of being misinterpreted as some perverted creep. To reassure an amateur model, ask them to bring a friend (for moral support) to the shoot. 
 

Second, offer your services (for free) to a model agency and ask if any of the models need assistance upgrading their portfolios. Be open and direct to the agency: Present your themed project and bring your portfolio of work with you. Your portfolio does not have to contain nudes, but it should showcase a variety of portraits. The agency will indicate whether or not they are interested or if they can provide a model for a set of prints. Third, approach a stripper. This may seem extreme, but they often need promotional shots of themselves and they are comfortable disrobing. You can either ask for a fee in return for a series of prints or negotiate with them by offering a free shoot for their generous time.

Another approach is to join a professional photographer’s workshop or seminar. The model and lighting will be supplied for a price. The only trouble with this is a lack of time with the model and you are basically competing with a roomful of other photographers to take a shot of one model. Finally, simply ask a friend, girlfriend, boyfriend, spouse or even photograph yourself if all else fails.

Once you have recruited a model that you assume will be ideal, sit down and discuss ideas that both of you feel comfortable with. One effective way to make everyone feel at ease is to draw each pose out or bring tear outs from magazine photos to the discussion. This will paint a picture for the model. 

Try to develop a rapport with your model and you may be surprised how much he/she can contribute to the project. If you photograph outdoors, be sure it is done in the early morning hours or at a remote location. All cities have laws against public nudity. You don’t want your first assignment to end in the clink. And always have your model sign a model release – clothed or unclothed. Any publication of nude pictures without proof of permission would almost certainly be viewed as a ‘defamation of character’ that could leave you susceptible to heavy litigation claims. You can find standard release examples on the Internet. Your model release should indicate the purpose of the shoot, whether it will be exhibited, whether the model wants to be identified and whether he/she permits their name being used. Give the model a copy of the signed agreement.

The session

Inform the subject to wear loose fitting clothing several hours before the shoot: underwear elastic or tight waistbands leave marks on skin that do not fade quickly. Try to make the atmosphere as relaxing as possible. Offer the model a robe, a place to change, put on background music of his/her choice, offer a beverage and always communicate clearly with each other. If the model brings a friend, get them involved with the lighting, looking through the camera and suggesting ideas. Some amateur photographers will bring in a stylist for the model’s make-up, but this can get expensive. Regardless, the more professional you can be, the better the outcome, and more often then not, the model will be encouraged to do another shoot with you.

Just Too Hot

It is important that the model understands the essence of what you are trying to capture. Comfort is critical - not just physical comfort, but mental comfort, so that your subject can cooperate effectively. The wonderful aspect of digital photography is that you can immediately show the model each shot and make the appropriate alterations. The more you can help the model picture the end product, the more she/he will be responsive.

Studio setup

If you are setting up your own studio, it is preferable to use a room that has a decent size. The ideal ceilings should be 10 feet or higher and the length around 20 feet. If it is shorter, you can’t get sufficient distance between the figure and the background. And if the ceiling is lower, it will limit your lighting options to a relatively low angle. For most studio photography, you will want a plain background – either white or black – with a cove or sheet of material curved to give no line between the vertical wall and the floor – which should also be of a similar hue to your backdrop. White is better since you can paint or project various effects on it.

Outdoor

If you shoot outdoors, compare the beauty of your model’s soft skin against jagged or old texture such as beside an old barn, rocks, woods, a ragged coastline, rusting metal, sand, in a car wash, old train tracks/cars, in front of an industrial site, or at a car dump. Note, finding a private outdoor location is not easy; it is usually advisable to scout days in advance for one then return with your model and equipment. Do not do a photo shoot between the hours of noon and 2 p.m. The lighting is usually too harsh and unflattering.

Sand Covered Torso

Getting the most from your subject

To reiterate, few bodies are perfect, and most people are self-conscious about defects, real or imagined. To avoid these flaws (i.e. stretch marks, flabby arms, ungainly breasts, scars, birthmarks, acne, aging lines, protruding stomachs, and flat, nondescript bottoms), view the body mainly in terms of contours and shapes. To project shape, you need to simplify the figure, using shadow to suppress surface detail and to limit the tonal range that provides modeling and the sense of rounded form. The key to the shot is to produce a stunning, graceful or unique image whereby the human form virtually becomes a landscape of curves and shapes. If the model has a flat rear, have the model push it upwards either with their hands or by pulling up their pants. If the model has flabby breasts, position the arms or hands to lift the breasts up without it being too obvious or have her wear a push-up bra. If the model has a protruding stomach, take a direct shot rather than a side profile.

One way to accentuate lovely lines, such as the curve of a breast or hip, is to use a pose that gently stretches and tightens the body. Also, partly concealing the subject’s face helps to focus attention on the figure and will give a shy model more confidence. It also makes the image an abstract and deviates the viewer’s attention to what you want them to see. In addition, encourage your model to take deep breaths. This will help to release any built-up tension, and also gives a more flattering line to the stomach and waist. I would recommend photographing your model in black & white. This effect tends to emphasize light and line and helps to make the images objective. Black & white photography also aids in suggesting a timeless, flawless quality.

Model and Panties

Lighting

The secret to any great portrait is how you light your subject. Use your lighting and arrange the posing so that what isn’t flattering is shielded by darkness. You should light your model by using diffusers, reflectors and black material. A diffuser should be used when light is harsh; black material to eliminate stray light and to help control shadows. A harder light used without a reflector will produce a more of a contrasting effect – highlighting shape, but obscuring form. To show skin texture in sharp detail, side lighting is best. Back lighting is best to emphasize oil or water on the skin to reflect physical tonality – whether it’s smoothness or muscle. Diffused lighting is flattering to the rounded curves of the female form, producing soft shadows when the light source is on one side. Although nude photography carries a social stigma, it is still one of the oldest, and to my mind, one of the most beautiful artistic and rewarding expressions of photography.

Model and Legs

Clive Branson

Ottawa ON Canada

bransonshirley [at] sympatico [dot] ca

http://www.thedenrichgroup.ca/

https://www.flickr.com/people/24760469@N04/