Descriptions of sex scenes in women's novels. What should be the sex scenes in the representation of men

Now she won't be him anymore best friend. He will be Lisa's husband.

You must be tired from the road, Travis. Why don't you take a walk?

The twins, having returned from school, actually took over Amy. They dragged her to swim in the pool, where Amy amazed everyone: it turned out that the girl swims like a fish. In her eighteen months of living in the desert, she must have acquired some survival skills.

Ben wanted her. In every way known to him. And there are a few other ways they can come up with.

Amy could have sworn that he could see through the thin fabric of her bathing suit the hardening of the tips of her breasts and, moreover, he could feel the spasms deep inside her, in hot and dark places that she herself barely knew existed.

Putting her head against his chest, Cole hugged her. He smelled like a man. He began to kiss her. And there was a lot of kissing - she's all!

There was no hesitation in his kisses. He knew exactly how to find her lips.

Only a fool could believe that he kissed her thanks to her lips!

Male fingers caressed her bare skin. Grasping his wrist, Amy tore off his arm.

For me there would be no greater pleasure than being the first in you, - he whispered in her ear, and goosebumps danced all over Amy's body.

She screamed softly as their bodies came close enough to touch.

Cole stretched out his whole body on top of her, covering her completely and even more.

He squeezed her breasts with his palm - he experienced the highest male pleasure.

He put his hand on her stomach, feeling the jolts and ripples.

Her flesh melted into his body. He stubbornly slid his tongue over her lips, repeating their shape.

Amy moved on to examining the throbbing mass of muscle between his legs.

The smile on her lips grew wider with every second that her orgasm approached.

I'm not stupid anymore, I'm learning fast... - She said, taking a sitting position.

And her smile showed that she left this world and went to heaven from happiness.

His tongue thrust into her mouth, furiously doing what the other part of his body longed for.

Nervous shivers crawled up her spine. She turned into one huge goosebump and said, “Yes!”

Selina moaned, no longer straining her brain.

She wanted to die, but instead she fell asleep.

Grace felt her nipples swell. It was a new step in their relationship.

There was always something boiling up in his brilliant brain.

“What does she want? Just sex, or something deeper?

Without turning around, he looked back.

Desire shook him to the very heels.

Chase grabbed her hand. Something warm flowed between them.

A sleeping woman woke up inside her and opened her eyes.

“And that tanned skin of his! And this body in smooth layersnahbiceps, triceps and other male muscles!”

A sexy smile pulled his cheeks up to his ears.

He took her face in his hands and, kissing her, laid her down on the carpet in front of the fireplace.

Tears streamed down her cheeks, and her eyes burned with anger. Laura decisively shook them off her face.

Jake knelt down, pulling off her jeans and giving her a view of the bay.

He began to climb the stairs, pressing his lips to hers.

Recently I started reading Aldous Huxley's novel "The Blind Man in Gaza" and came across a veiled but obvious description of a sexual act between the characters, this caused me a storm of delight, because the unexpectedly discovered passion in the works of the authors, the key feature of which is high level intelligence and even some coldness, stiffness
and learning, causes an incredible emotional outburst.

Before, I experienced similar emotions of delight and pleasant surprise when reading Hesse's work "Narcissus and Chrysostom". The descriptions of the hero’s sexual pleasures, beautiful in their form, the story of the acquisition and accumulation of sexual experience by him, became a kind of revelation for me, expanding the boundaries of understanding, confirming my subconscious suspicion that it is possible to describe sex in this way, and that it is beautiful and correct.

Here is the same excerpt from "The Blind Man in Gaza"
==================
"Blind Man in Gaza" Huxley
...
There were sunbathing mattresses on the roof, and on one of them Anthony and Helen lay with their heads toward the narrow shadow of the south wall. The day went on towards noon; sunlight streamed from the sky without a single cloud, and a light breeze swooped in, weakened and then intensified again. Skin engulfed in convulsive heat seemed to become more sensitive, almost gaining higher power soaring. She seemed to absorb the nectar of life sent by the sun. And this strange, rebellious, flaming life of the open space, apparently, penetrated through the pores, penetrating and burning through the flesh, until the whole body turned into coals, and the soul seemed to fly out of its shell and become the fifth element, something else, some that extraterrestrial substance.

There are not so many facial gestures, we can say that they are generally very few compared to the wealth of thoughts, feelings and sensations - an incomprehensible poverty of facial reflexes - even if you grimace consciously and purposefully! Still in a state of self-alienation, Anthony watched the picture of the deathbed, in which he was involved both as a killer and as a compassionate victim. Helen tirelessly tossed her head from side to side, as if trying, by changing her position, at least partially, at least a little, for a single moment, to get rid of unbearable torment. Sometimes, as if imitating someone who, in a moment of despair, prayed for this cup to pass from him, she prayerfully folded her hands and, raising them to her mouth, dug her teeth into the knuckles of her fingers or pressed her brush to her lips, as if wishing to drown out a cry of pain ready to break from her lips. . The distorted face was a mask of unbearable grief. Anthony leaned to her lips and suddenly realized that now this woman looks like the Virgin Mary at the foot of the cross in the painting by Rogier van der Weyden.

And then there was silence for a few seconds. The victim no longer turned his head on the pillow; pleading hands became like cotton. The expression of dying pain gave way to an inhuman, almost exalted calmness. Seriousness, like that of a saint, was imprinted on the lips, and some kind of vision, enchanting in its beauty, was probably opened to the closed eyes.

So they lay for quite a long time in golden sunny renunciation, having had enough of everything. Anthony was the first to wake up. Touched by mute, grateful thoughtlessness and the tenderness of a contented body, he extended a caressing hand. Her skin was hot to the touch. He propped his head on his hand and opened his eyes. (C)
=============

Under the cut are several excerpts from Narcissus and Chrysostom. (copied from e-book)

"Narcissus and Chrysostom" Hesse
...
Here the woman smiled in response to his
surprised look, smiled very friendly, and he, too, became slowly
to smile. Her mouth fell on his smiling lips, they said hello with that
tender kiss, in which Chrysostom immediately remembered that evening in
village and a little girl with braids. But the kiss wasn't over yet. Mouth
women lingered on his lips, continuing the game, teased and beckoned, grabbed them
finally with strength and greed, stirring the blood and excitement to the very depths, and in
long silent game, barely perceptibly instructing the woman gave herself to the boy,
allowing you to seek and find, ignite it and quench your ardor. marvelous short
the bliss of love seized him, burst into a golden flame, subsided and
went out. He lay with eyes closed on a woman's chest. Neither was said
the words. The woman lay quietly, gently stroking his hair, letting him slowly come
into yourself.
...

They sat down in the hay, taking a breath and enjoying their rest, both of them a little
tired. They stretched out, listening to the silence, feeling their foreheads dry and
their faces gradually become cool. In pleasant fatigue Chrysostom,
playing, he pulled up his knees, then lowered them again. taking a deep breath of the night and
the smell of hay and not thinking about the past or the future. Slowly giving in
charm of fragrance and warmth of the beloved, responding from time to time to
stroking her hands, he blissfully felt how she gradually began to
flare up next to him, moving closer and closer to him. No, not here
no words, no thoughts were needed. He clearly felt everything that was important and
beautiful, the power of youth and the simple healthy beauty of the female body, its
warmth and passion, it was also clearly felt that this time she wants to be
loved otherwise than the first time when she seduced him now she was waiting
his offensive and passion. Silently passing currents through himself, he felt
happy, as a silent living fire flared up in both, making their bed
breathing and blazing focus of the whole silent night.
When he, bending over Lisa's face, began kissing her lips in the darkness,
he suddenly saw her eyes and forehead flicker in the gentle light, he was surprised
looked around and saw that the radiance, having dawned, was rapidly increasing. Then he
understood and turned around: over the edge of the black forest, far stretching, rose
moon. A tender white light flowed marvelously over her forehead and cheeks, round neck,
quietly and admiringly said: "How beautiful you are!"
She smiled as if she had received a gift, he lifted her up, carefully
taking off her clothes, helped her get rid of her, bare shoulders and chest
glowing in the cool moonlight. With eyes and lips he followed
carried away, behind gentle shadows, admiring and kissing; spellbound, she is quiet
lay with lowered eyes and a kind of solemn expression, as if
her own beauty at that moment was revealed to her for the first time.
....

He never tired of learning from women. True, he was more attracted to girls,
very young, who had not yet had men and who did not know anything, in them
he could fall passionately in love; but girls were usually out of reach: they were
someone's lovers were timid and well watched. But he also
women willingly studied. Each left something for him: a gesture, a way of kissing,
a special game, a special manner of surrendering or resisting. Chrysostom
agreed to everything, he was insatiable and compliant, like a child. He was
open to any temptation: that was the only reason he himself was so tempting.
...

She leaned towards him, her thirsty lips close to his,
they silently greeted each other in the first kiss. His hand is slowly
wrapped around her neck. She led him through the door to her bedroom
illuminated by tall bright candles. A meal was served on the table, they
sat down, she thoughtfully offered him bread and butter and some meat, and poured
white wine in a beautiful bluish glass. They ate and drank from one
bluish glass, playing hands with each other in the form of a test.
Where did you come from, my wonderful bird? she asked. “You are a warrior,
or a musician, or just a poor wanderer?
- I - everything that you want - he laughed softly - I'm all yours. If a
if you like, I am a musician, and you are my sweet-sounding lute, and if I put my fingers on
your neck and play. on it, we will hear angelic singing. Let's go my heart
I'm not here to eat your food and drink white wine, I'm only here
because of you.
He carefully removed the white fur from her neck and freed her body from clothing.
Let the courtiers and clergy confer, let the servants scurry about, and thin
the crescent of the moon will completely emerge from behind the trees, the lovers did not want to know anything
about it. Paradise bloomed for them, enticing each other, absorbed in each other, they
forgotten in their fragrant night, saw in the twilight their bright secret
places, plucked the cherished fruits with gentle grateful hands. Never yet
a musician played on such a lute, a lute had never sounded under such
strong skillful fingers.
- Chrysostom. - she whispered to him fervently in his ear - oh, what a magician you are!
From you, dear Chrysostom, I would like to have a child. And even more I wanted
would die from you. Drink me, love, make me melt, kill me!
Happiness sang deep in her throat as he saw her
hardness in her cold eyes. Like a gentle shiver of dying, a thrill ran through
deep in her eyes, fading like the silvery chill of a dying fish, dull
golden, like the reflections of a magical shimmer in the depths of the river. All
happiness, which only a person can experience, it seemed to him
concentrated in this moment. (c)

Ok, if this is all bad, then what is good?

In fact, there are no universal criteria for the “goodness” of a bed scene. If it does not contain the negative elements listed in the first part, it should no longer cause disgust or laughter. However, it is still far from an ordinary unremarkable scene to decoration. This is where the “give the reader something else” factor comes into play.

"Anything else"

Describing this phenomenon, for me personally, is difficult. Maybe this is perceived at the level of personal feelings, but I will try to formulate my thought. A good bed scene is filled with feelings. Not just sensations, impressions, or filled with nothing, like a police protocol, but feelings. She must make sense. That is, if you crown your gorgeous love line with such a scene, or at least introduce it like a climax, it should change heroes.

For example. A girl can feel different - more mature, more sensual (everything was different before - but now she knew what real pleasure is), bolder, crazy (now the sea is up to her knees, she has achieved what she wanted), more detached and calmer ( she realized that he could never love her, so let him at least sleep with her). The guy can understand what is real love(and before that there was only pure sex), or a real woman (and before that there were only girls), or real art (for example, if they suddenly hit tantra), or real beauty (well, he didn’t see naked women live, what do…), etc. In general, the scene should open up new horizons for the characters, and your job is to show this beautifully to the reader.

The idea is not new. But usually even cool authors who do not forget to introduce conflicts into every dialogue, every scene, carefully watching the growth of the character, forget to do this in the bed scene as well. Of course, you can describe sex well without it. But, as it was said, this is terry IMHO, and for me personally it is “tastier”. Now let's move on to specific suggestions for improving your art.

Epithets, metaphors, comparisons - that's our motto

1. Compare. I don't think it ruined a single scene. She will immediately become juicy and beautiful. Compare movements and actions, flexibility, smoothness of lines, passion, ardor, etc. This is especially true for women. It is only desirable to avoid cliches a la “passionate like a tigress”, “flexible like a cat”, “strong like a lion”, “cold like ice”, well, I think you yourself know which comparisons are better to use))

2. Metaphyse what is hard to say in plain text. Oh, this is my favorite item. Probably should have taken it out separately. Anyway. In general - if you are shy about something or do not want to seem vulgar, describe it with a metaphor. In my opinion, in general, use specific words and expressions, unless you have tough male prose, where necessary, so that all this slobbery romance does not get out of general context, is not allowed. Saying "orgasm" is very easy. And to show this feeling through the hero is difficult. Show a fall into the abyss, flashes, lightning, thunder, sparks, darkness, light, peace, satiety, fullness (well, or whatever you feel there, xs). Show feeling. The reader will understand what you are talking about, even if you do not say, like Captain Obviousness, "Vasya Pupkin has never received such an orgasm." The same is true for other elements.

3. Sing praises to the sexiest parts of the body. Yep, it's not just the parts you think of. There are hundreds of ratings in the network - both from Man's Health, and simply, and polls on various portals, etc. If you don't rely on sociology and men's/women's magazines, sing about what you like specifically. Beautiful hands- OK. Chest and inflated press - excellent. Pink buttocks (XDDD) smooth beautiful line backs, strong broad shoulders, satiny skin, rounded knees, slender hips, a long neck after all… Think and describe nicely. And do not forget - we metaphyse, compare, so that the reader salivates. By the way, it should be noted here that the author is often outraged by the inattention of writers to the female breast. No, you come up with something beautiful and original, not "swollen nipples" TM! In general, it seems that these very “swollen nipples” are the only indicator of arousal in a woman! Yes, it can manifest itself in different ways! Blush on the cheeks, perspiration, sparkle in the eyes, trembling, etc., etc.. “Swollen nipples”, damn it! .. Sorry. So what am I talking about. In the bed scene, you can show the appearance of the characters in all its glory. Just do it!

4. The smells, sounds, taste and touch of the characters are your friends. Give the reader 3D. This is right now, oh, how fashionable) The reader should see a three-dimensional picture in the bed scene, for greater identification, this is especially important. What does the skin feel like? What does she smell like? What does hair smell like? What do lips taste like or something else? What are the tactile, taste, sound parameters of the present moment? Immerse the reader. The description of tactile and gustatory sensations is often much more important than the actual physiological component.

Do you watch erotic films yet? Then we go to you!

Yes Yes. And light porn is also possible, if you really want to write bright and original, but you don’t know what to invent, or you don’t have enough personal experience. In general, the most universal way to learn to write without redness of the skin, trembling in the hands and a hail of cold sweat behind the collar is to write bed scenes, is a good old essay-description. Take a movie. Look at the picture. And you describe it beautifully words. Yeah, with a visual range in front of your eyes, this is much easier to do. See where the hero put his hand? How did he run along the heroine's body? How did he tilt his head? How did the heroine hold her breath and open her eyes wider? WRITE! One, two, three scenes - and all in openwork.

And you can also compose stories where a beautiful detailed bed scene is actually an end in itself. This is what the author does regularly. And now she wrote all this with a slight smirk, although once, describing a kiss, she almost hid under the table with shame.

Good luck and great work!

Hello! I am here again, again with you, again with an article, in general, everything is as always. Nothing much has changed since the previous article, only the topic is new.

What is the topic today? Let me explain. Often I happened to see works where, in addition to the plot, there was love line. Or there was a plot besides the love line. Or… Okay, I think you get the point. And sooner or later this very love line led to the inevitable - to the bed scene. The main characters passionately loved each other on the bed / table / floor / chandelier (underline as appropriate), while the author nibbled on a pencil / pen / keyboard, wondering how to describe this process.

Actually, this is what my article will be about. So let's get started!

“And he entered his train into his black tunnel ...”, or a couple of words about speech and anatomy

I won’t talk about what needs to be roughly imagined, what and where it is thrust: it is repeated too often, I think everyone who reads articles of this kind has long been familiar with the unfortunate anatomy. It will rather be about whether these anatomical details are appropriate during the description of sexual intercourse. And whether the opposite is appropriate is what you can admire in the title of this unfortunate section.

It all depends on what genres slash is combined with. This is such a genre that there is no such spherical purely slasher work in a vacuum. When combined with the Fantasy genre, some abuse of beautiful phrases may be quite appropriate, but medical terms will scare away and make most readers laugh. Not because they are funny in and of themselves, but because they are out of place. Try to look at the style of your work. If you have not disdained modern and scientific words before, then “member”, “prostate” and so on will not stand out from the general row.

Exaggerated "dandelion stems flowing with milk of pleasure" can also be useful in humor or banter. Or psychedelic. Because these phrases seem to be so absurd, they do not become bad. They are bad when they are inscribed in a text that does not match the style. Well, you must admit, it is strange to read a beautiful, atmospheric fantasy, and then with a stone poker face - about the scrotum, urethra and ejaculation.

What can you advise specifically on the style? Here, each author has his own. The main thing - do not forget to make sure that your bed scene does not stand out from the rest of the story, looks organic in it, and not like sticking out in the middle of the board, but not a hammered nail.

Although, perhaps, I’ll still note: try not to pile up words like “Mind-blowing, unreal, amazing.” The more often you repeat the word, the less the effect produced. One description is better than ten if they repeat the same thing. Once they wrote that he felt simply amazing - and that's enough, no more. It's better to focus on the details: one random forehead thump during a bad kiss sometimes looks more real and erotic than a hundred general epithets.

The descriptions themselves

Do not be afraid to describe what is happening, be bold! If you have already taken up the bed scene, justify the rating. As they say, it's too late to drink Borjomi... Well, it's not about Borjomi. As for descriptions.

There are two extremes here. The first is a complete lack of description of the external and a continuous, scrambled description of actions. It looks like this in an example:

John pulled Sam close and kissed him, then pushed him onto the bed and began to undress him. Then Sam smiled and rolled onto his stomach. John began to gently stretch it, after which he went inside and after a couple of thrusts came. Sam came after him and called out his lover's name.

And John was not the favorite, ahem, I'm sorry, I was carried away by the example. It is very unlikely that such a text will evoke emotions. No, the sequence of actions is observed here - no alternative anatomy, the picture is clear ... But I personally imagine two mannequins, one of which hangs a sign "John", on the other - "Sam". Mannequin John with mannequin Sam show the correct sequence of actions during lovemaking. A kind of video lesson "Homosexual intercourse for the smallest", forgive me such cruel humor.

Why is this extreme bad? The fact that it is informative, but does not carry anything but information. After reading this, the reader is very likely to say: “They had sex. So what?"

This "So what?" should not occur. Do not be afraid to describe how the same John bit his lip, closed his eyes, licked his lips - and what they are, these same lips. Wet or dry, swollen and reddened, or, conversely, pale ... Yes, the text will be a little more loaded, but it is precisely such details that make the reader immerse himself in what is happening with his head, and not just read and forget.

It is appropriate to describe thoughts, fantasies. Perhaps some proportion of comparisons: the associative array of characters during the bed scene does not fall off. But here there is a danger of hitting the second extreme, which looks like this:

John kissed Sam, and then, undressing, looked at him. How beautiful his lover was! This slightly tanned skin reminded him of a recent trip to Italy, where they had spent the most wonderful days of their lives. They swam, sunbathed, went on excursions to different cities and took a lot of different photos. One of these photographs now stood on the desk opposite. Sam in the photo was trying to cover his face with his hand: he never liked to be photographed, and at that time John hardly managed to capture him against the backdrop of St. Peter's Cathedral ...

… Do you still remember that they have sex there?

I think you also see the problem of this extreme: an excess of description that is not related to the erotic scene. This happens in two cases: either the author got carried away and decided to write about their trip to the Vatican to spite the poor Pope, or the author forgot that he was not writing a term paper and it was not necessary to fill the pages with extra text. In the end, no one will eat you if the bed scene is a little shorter, but you will describe the scene itself, and not the photo on the table and the carpet on the wall. How will it approximately look like? Something like this:

John pulled Sam towards him, kissing him greedily. The lover immediately grabbed at his hair, slightly pulling his head back and trying to take the initiative. Unbuttoning his lover's shirt, John ran his nails over his chest, watching the lightly tanned skin turn red.

Okay, I will not paint an example for twenty lines - I think you understand the essence. There should be a description, but it should refer to the sex scene itself. If a gun hangs on the wall, then it should shoot, and if a photograph flashed in the bed scene, it means that they are jerking off at it or it was accidentally brushed to the floor, knocking someone over on the table. Or it seemed to the nervous guy that it would be nice to turn the photo upside down - otherwise the person depicted on it is staring at how they make love. Although if I were the lover of such a guy, I would be wary if the poor fellow has persecution mania, but the characters are different. Suddenly there is one.

About the characters

Suddenly, right? Although okay, who am I kidding - a very expected point. This is one of the most common mistakes - when in the bed scene the characters are confused and do not know what to do, and the almighty author adjusts them to one Procrustean Lodge of the world yaoi standard. Let's take the same abstract John and Sam as objects for analysis. So, we have John - a guy of the "bangs, piercings, tight pants" type. He is sometimes melancholy, but quite emotional and easily succumbs to impulses of emotions. Sexual experience - do not live so long. He is enthusiastic about the intimate side of life and is happy to please his partner. And Sam is a simple moderately shy guy of the “nerd flower” type, glasses, no muscles, forever a virgin until he meets John. So… Imagine that you are reading about this couple. And then it starts...

John glanced at the closed door of the room in surprise.
- Sam, would you like to talk?
Instead of answering, the beloved sat on John's hips, squirming insolently and licking his lips depravedly:
- Come on, fuck me, I know you want...

There is one of three things: either Sam has a split personality, or, as in Brazilian TV series, he has an evil twin brother abandoned in infancy, or the character of the characters is not sustained by the author. Let's assume that in our case it is the latter.

Remember, going to new stage relationships, your characters do not immediately become different people with a different psychology. No, an unexpected transition is possible - a confident macho may turn out to be a virgin and feel shy, but there is a very high risk of precipitation with tomatoes and slippers. It is necessary to throw at least some traces of uncertainty into the previous text, so that the reader has the opportunity to at least briefly think: “What if he is not so macho?” Then everything will be organic in the bed scene.

But if the hero in everyday life did not show an easy and slightly curious attitude to the sexual side of life, he is unlikely to run even to his loved one with a cry: "Let's go fuck!". Heroes are still humans (or elves, or gnomes, or vampires, or demons, or aquarium fish- to each his own), they have a character. Do not change it in the bed scene. Don't be afraid to describe how a joker tried to make an embarrassing joke, or how a shy young man blushed and asked: "Maybe you shouldn't?", or how a rude punk swears from a buzz ... In general, remember: your heroes are people, not abstract models .

"Today I'm on top, and tomorrow you"

In view of huge amount yaoi anime, there was a division into "sem" (active) and "uke" (passive). But then, having decided that you need to be original, someone decided: “And let them change places every Monday!”.

In part, these people are right: a couple of two men is not a parody of a heterosexual couple, men most often do not have clear roles in the spirit of: “You are from below - to the kitchen, woman!” and "You're on top - provide for the family, man!". If the guy is from below, he is not necessarily a cutesy snot and snot. If the guy is on top, he is not necessarily a cool brutal.

Alright, I'll open terrible secret, the question "From above or below" is purely for the personal tastes of the couple. Someone in a buzz in any position (even in position 69 on a sacred chandelier), if only with a loved one. Some people like to be fucked doggystyle, on all fours, and prefer to be underneath. But this is not at all such a matter of life and death as they like to position it: if from below, it means that they are passive with everyone and everywhere, if from above, they will not let anyone near their royal fifth point and will fuck all those who attempt for arrogance.

The question “from above or below” is quite solvable for most couples at the level of those same tastes. But not so that the passive begins to think “Oh, I was fucked, I am morally humiliated and subjugated!”. In a loving couple, such thoughts are unlikely to arise, and if they arise, they are quickly treated with an elementary frank conversation. Men generally don't like to be inconvenienced - if they don't like something, they'll likely prefer to say it straight out rather than sit in a corner and sulk. My sisters girls, do not be offended.

What to do and why this item? To the fact that you should not sharpen the issue on the topic "active-passive". This is not a physiological necessity (with rare exceptions). Liabilities aren't born with a penis smaller than a finger, and assets don't have an anus stitched up. If they do not change their position and are used to one from above, the other from below, it only means that they are more pleasant, and not that one of them is a girl.

Transferring someone else's "personal experience" to work

Now I am writing about those cases when a girl (let's not pretend - slash is mostly written by girls, I am one of them) tries to find on the Internet necessary information. Suppose she honestly approached the study of anatomy and other necessary things, that's just the problem ... Young men gay Those who decide to “enlighten” the unreasonable most often believe that if it was so with them, then it cannot be otherwise. And the poor girl gets confused in her testimony: one writes that it always hurts the first time, the other says that if the partner is experienced and there is lubrication, then only discomfort, and not hellish pain. One writes that if you do not caress the member of the passive, then he will not end at all, the second - that you don’t need to masturbate at all, because it “distracts” from the main sensations.

What to do with it? Apply someone else's personal experience» Dosed, so that there are no contradictions. Try to be more careful with these "hundred pounds of truthful" articles written by "one hundred percent" gays. Even if the article is really written by a guy, this does not mean at all that his personal experience is an indisputable truth. In no case am I trying to offend anyone and I hope that this advice will not be understood as: “Forget these tips from experienced people!”. Don't kill it. You just don’t need to follow them unquestioningly: remember, it happens in different ways, and not just the way one person described. Isn't this evidenced by the contradictions in such works by different authors?

Conclusion

This is where my article ends. Dear readers, love, be loved and let your heroes find happiness: do not make dummy out of them. Let them also love each other without losing their face.

Best wishes to you. And good luck with your work!

I've read enough manuals on writing sex scenes from various authors to understand that they are all cunning, not giving away the main secret of the success of the sex scene. Basically, such articles describe the technique of the process, analyze the main postures in detail, give examples of successful and unsuccessful descriptions, and give some general recommendations.

This material is prohibited for reading by persons under the age of majority, contains a direct mention of the male and female reproductive organs and can cause a strong negative reaction. Be careful! 18+

Indeed, using one of these guides, you can write a completely acceptable bed scene for yourself, but mmm ... a monkey, if beaten for a long time, can also be “taught” to type letters in the correct sequence. Only this work will be mechanical, and, accordingly, the result will be completely different from what the author would like to see.

So what's the deal? Why are manuals, detailed and thorough, with numerous examples and good technique, do not help? What are experienced authors hiding from readers?

At one time, I set out to write a porn novel stuffed with sex scenes through ... oh no! All four hundred pages written in Word were one continuous incessant bed scene of a rating that way ... NC-21. But what turned out to be more surprising for me personally, when I sat down to re-read the resulting “masterpiece”, none of these scenes was repeated. Each was unique, had its own emotional coloring and conveyed a very specific sensual charge to the reader: from the most tender romance to dirty lustful passion, from the illumination of timid hope to brutal violence, from the euphoria of long-awaited possession that overshadows all other feelings to the tart bitterness of an incest relationship.

This porn novel, which was later destroyed (yes, authors are sometimes ashamed of what they wrote, I am no exception), opened the key to understanding the main secret of the success of the bed scene, which both beginners and venerable authors can use. But before I name it, I would like to conduct a little experiment with you.

Close your eyes and mentally imagine the following picture: you are at the computer, in headphones, eagerly reading some interesting story, and then someone from home starts to bother you. Your emotions are understandable. You are distracted, and it is unpleasant. But do you feel the touch? No, you definitely understand that they are trying to tear you away from an interesting activity, that they are pulling or shaking you, but ... do you yourself feel the touch of your loved one? Can you remember later that mother's hands were a little damp because she had finished washing the dishes before that? Or that his brother's fingers were cold, because. did he come in from the street five minutes ago? Most likely not, because the touches of relatives are mostly neutral for you: as if you were touching yourself.

Now imagine that in the same situation you were touched not by a relative, but by a beloved person. Immediately, goosebumps will run through the body, breathing will get a little off, the abdominal muscles can get close, there will be a feeling of awkwardness or pleasant joy. In any case, you will react differently than from the touch of a relative.

And it will be a completely different situation when you are touched by a family member whom you fear or hate. Well, umm...something like a stepfather, a mother-in-law or a very angry grandmother. Involuntarily, you will try to get away from this touch, move away as much as possible, move away. Your reaction will be sharper. Your back muscles will tense up, your lips will close together, you will frown, and you will start drumming your fingers on the countertop in annoyance.

This, in my understanding, is the main key to success. The reader, for the most part, sits down to read an erotic story in order to plunge into the atmosphere, feel the emotions of the protagonist, as if ... mmm ... live his life. And the more detailed and believable these emotions are conveyed, the more delighted he is, as a rule,. If the situation were reversed, I believe that instead of the darkness of erotic stories, readers would study an atlas of anatomy.

This is also the biggest failure, when, guided by all sorts of benefits and perfectly describing the sequence of actions required from the bed scene (lay down on the bed, spread your legs, insert a penis, etc.), the author behind all this mechanical work completely forgets about the characters of his characters. In this case, we have a whole piece of text torn out of the general context of the work - a work in which before that readers experienced the slightest shades of feelings of the main characters, reveled in their touching affection or mind-numbing burning desire. And then… poof! And instead of sweet, they finally got something indigestible as an aftertaste.

Now, summing up all of the above, I will give a few recommendations, taken from my own experience, based on which, in my opinion, any author, even a beginner, will be able to cope with writing a bed scene:

1. Be mindful of feelings

Feelings/emotions/attitude of the character largely depend on:

Relationship to the object (the same touch can give both a wave of bliss and a surge of acute indignation or dislike, depending on who touched the hero: a vile, hunched old woman, a domineering haughty lord exuding discontent, or a playful puppy with black eyes - buttons),

The current mood (if the hero had spent the whole day in the saddle before, then, having rolled off the horse - oh, alas! - he will dream of a soft bed and hot stew, because he is tired, hungry, his legs are numb, his back is aching, etc. , but not about instant sexual adventure),

From gnawing problems (if the hero has someone died or somewhere something didn’t turn out the way we would like, or if the burden of guilt or responsibility fell on the hero, then mmm ... most likely he will be so absorbed in his internal problems and troubles that will cease to pay attention to the surrounding reality, fall into apathy and perceive the sexual adventure without due enthusiasm),

From external circumstances (if a chase is sent after the characters and any hour and any minute may well be the last time they spend together, then, despite the inevitable discomfort and accumulated fatigue, all the feelings of the characters will be aggravated to the limit, so their closeness is most likely , will turn out to be feverishly convulsive, crumpled and insatiable: they will strive to have time to get enough of each other, dissolve in a partner or take some part of him for themselves.In this case, long preparations, candlelight dinner, a bath with rose petals and champagne, relaxed languor and other romantic things will lose their relevance).

Therefore, do not rush and prescribe a delightfully tender and sensual bed scene immediately after the character's entire family has died. Sad emotions will not disappear so quickly. Most likely, they will become dull and pass through the entire bed scene with a slight shade of bitterness and regret, an attempt to forget, to find support in a partner.

2. Don't cheat on your heroes

Each hero has his own (ideally unique) character, tastes and preferences, line of conduct, temperament, which will certainly leave their mark on his behavior in bed. If the character of 3/4 of the work was prescribed as frivolous, eccentric, caustic and sharp-tongued, then in the end, when the moment of the sex scene has come, it is very regrettable to see how he turns into an automaton for introducing / withdrawing a penis from the female body.

Where did all the sarcasm and insolence go? Where did the good trolling go? All 3/4 of the work, the partner only dreamed that this character "someday shut up, because his jokes ...", and now at a moment when even normal people from nervous tension they involuntarily begin to giggle, our eccentric, caustic character obediently performs the obligatory program read out by the author in the relevant recommendations.

It's funny to you? I don't. Let me give you a real bestseller as an example. foreign literature- the book "Shantaram" by Gregory David Roberts, where jade rods and caves of voluptuousness were used to describe the bed scene, which, in my opinion, did not fit well with the main character - a criminal who escaped from an Australian prison, a rebel and a mafia.

3. Track the atmosphere of the scene

Atmosphere is a rather complex thing, which can be too tough for even experienced authors. On the one hand, everything affects the atmosphere (place, lighting, previous events, the mood of the characters, etc.), on the other hand, the atmosphere lives as if by itself, setting a certain impetus for the development of certain events. And the point here is not so much in the environment, but in the mood created by it - Attention! - the reader.

This mood can change back and forth several times in one bed scene. But there are two general cases: the atmosphere is either subject to the author and he changes/creates it purposefully, or the atmosphere exists by itself, apart from the author.

What are the standard schemes for changing moods in the bed scene?

Gradually pumped up, growing (as a rule, most authors use it. Why? It is very convenient and technical to describe all emotions on the rise: from a light kiss on the neck to hard sex with elements of violence),

Fickle, explosive, with a sharp change in emotions (usually used when partners quarrel or sort things out among themselves, which in the process of the next transition from one extreme to another leads to a short but passionate bed scene),

Ring, with a return to the starting point ( classic example when for the main characters the bed scene occurs for the first time and due to lack of experience or some unresolved interpersonal conflicts, at some point the matter stops, after which the heroes have to somehow discharge the atmosphere, calm each other and start all over again),

Descending (when it comes to violence in bed, which one of the partners did not count on. As it were ... everything seemed to start well (candles, flowers, etc.), but when it came directly to the introduction of the penis, the partner felt sick , or she changed her mind, or the partner offended her with some of his sharp remarks, or he turned out to be a pervert, etc.).

I also want to emphasize that there is a big difference between how the bed scene appears in the author’s head and how he put his idea on paper. Very often, the first does not coincide with the second, and this becomes the reason why the atmosphere is lost. In such cases, expanded reader reviews, one can judge from them whether the original author's message has reached the reader or not.

4. Don't play hide-and-seek with time

Time is a very important point when writing a bed scene.

So, for example, if we have a bed covered in silk, soft lighting, there is no need to get up after four hours, then the action can unfold before the reader gradually: a long prelude, massage, erotic games, ambiguous conversations, careful preparation, some special types of lubricants that enhance sensuality, incense, smoking, turning sexual intercourse almost into a certain kind of sacred rite in order to create the necessary atmosphere of reverent attention, need and importance for a woman, etc.

If the bed scene found the heroes in a trench under the machine gun of enemies, then they have at most 3-5 minutes to caress each other in front of possible death for both - exactly as much time as it takes for the enemy to load a new machine-gun belt into the machine gun. A long and careful writing of a bed scene in such a situation, in my opinion, will cause the reader at least bewilderment.

But in addition to the structural logic responsible for the appropriateness of the speed of unfolding the bed scene chosen by the author in front of the reader's gaze, rhythm is also important. The manner of writing, speech patterns and construction of sentences must - no, they simply must! - convey the smoothness or swiftness of the temporal process. Otherwise, the picture in the author’s head, his idea, will be transmitted to the reader in a highly distorted form: the author’s entire scene will fly by in seconds, and the reader will have to shovel through a dozen pages.

5. Do not confuse the physical and spiritual

How often have you come across erotic stories in which a rape victim would melt with delight in the hands of a skilled rapist, m? I think that quite often, because this story is one of the most popular. But only in works true masters In this storyline, the emotions of the victim and the physical pleasure of the process are somehow separated.

How can I tell you ... in general, there are several pitfalls here at once.

Firstly, the physical pleasure itself in a person, even with closeness to a beloved partner, may simply not arise, let alone a rapist.

Secondly, the occurrence of physical pleasure in itself does not mean anything. It is not so complete as to bring a person into ecstasy.

Thirdly, the greatest pleasure from sex to a person is delivered by his brain, which enhances physical pleasure by tens and hundreds of times.

The brain plays the role of a resonant circuit: the reactions from some physical influences multiply, and from others it nullifies, provoking the attenuation of pleasure. Therefore, it is unpleasant for us when a person we hate touches us, and vice versa, it is good when a loved one does it. The brain filters the information that comes to it and hangs out the necessary flags - friend/foe, pleasant/unpleasant.

However, in addition to the brain, a person still has a soul. And this soul is vulnerable enough not to survive violence as such in principle. Otherwise, there would not be so much fuss with the long-term rehabilitation of rape victims. Experienced violence literally breaks the human psyche, changing it irreversibly and often for the worse.

At the same time, nothing prevents the victim from experiencing physical pleasure during rape, but mmm ... how does the soul feel? And what conclusions does the brain draw from this? Where then does the former personality disappear? All these questions cannot be answered by basing human response on mere physical pleasure. How are we different from animals?

Therefore, it seems to me that when writing a bed scene, one should take into account both the physiological aspect (reactions of the body), and social aspect(signals of the brain), and the spiritual aspect (experiences of the soul). However, they may be in sufficient contradiction with each other that a plot conflict could arise.

For example, a duchess loves her husband's trusted servant. With closeness to her husband, her physiological and social aspects will be at their best, and the spiritual, on the contrary, will go into the minus, while with closeness with the servant, the spiritual and physiological aspects will be at their best, and the social will go into minus.

Taking into account the nuances described above and reflecting them in the bed scenes with the husband and the servant, you can get two bed scenes that are completely different in sensuality and intensity.

6. Know the measure

Not everything and not always need to be written up to the smallest details. Sometimes such detailing of the work only harms.

Let me give you an example: “He peered into her green eyes for a long time, the colors of the first snowdrops that had just broken through after winter, inwardly thrilled by how softly her pink dress with a V-neck was softly clasping her flat girlish chest, and two protruding nipple peas, which is so alluringly shone through the thin fabric, only kindled the awakened desire, which languished with bliss spilled in the lower abdomen.

And now the question is: is it so important for the reader at the moment being described to know that the shirt was with a V-neck? Does anything change if this definition is omitted from this sentence?

In essence, it doesn’t, it doesn’t change, and it doesn’t affect the general mood either. Then why? Why try to cram everything into one sentence at once, overloading the reader with unnecessary information at the moment?

The same thing happens when trying to paint a bed scene, reaching every smallest step and describing it in every detail. So page after page stretches, and the heroes do not even reach the direct caresses of the crotch. It’s good when the general mood is not lost at the same time and the author correctly pumps up the atmosphere. But more often than not, somewhere in the middle, the reader forgets what was there at the beginning, and loses confidence in whether he is interested in knowing what awaits the characters at the end.

Meanwhile, the proposals grow and swell, adding more and more new details to the interior, the properties of fabrics, important facts from the biography of the heroes, strategic plans for palace coup, the number of servants with their occupation and specialization, the most probable causes of broken carriage rims, the geography of the kingdom, etc.

The reverse situation is also critical, when phrases lack imagery, and the picture given by the author is so meager that it is impossible to imagine the characters in space. Inevitably, one gets the feeling that they love each other somewhere in a vacuum, outside of time and distance.

7. Watch out for epithets

In this case, there are two nuances.

The first is the definition of basic things. If you called a member a member, and not flesh, not nature, not a penis, not a bolt, not a sausage, etc., then I think it’s not worth introducing a dozen other epithets as the main action unfolds. The reader will simply get confused in such an alternative anatomy and, not understanding the great artistic intention of the author, will leave him offended.

The second is the different temperature of the epithets used, for which “gentle”, like “chaste”, sounds quite innocent (cold), but “cheeky”, “burning”, “passionate”, like “lustful”, do not evoke at all innocent associations (hot). Therefore, one of the authors' skills lies in the correct consistent use of the available epithets in order to create exactly the temperature atmosphere (cold-hot) that he originally planned for the bed scene.

As an example, if we are talking about an ascending atmosphere, then you should start with timid touches of lips, a trembling heart (or eyelashes), delicate velvet skin, smoothly moving on to a rebellious body, passionate curves, sensual kisses, and already from them to ragged, out of breath , rhythmic pushes, lips bitten into blood, etc.

So, playing with the alternation of temperature coloring of epithets, you can create any atmosphere. At the same time, the temperature of words is extremely important, because it is written in the text implicitly. Therefore, if you blurt out something very hot somewhere in the middle of a completely neutral scene, this will lead to bewilderment on the part of the reader and a feeling of dissonance, when everything seems to be well written, but at the same time something is not right.

8. Be mindful of the setting

By this, I mean not only the physical environment as the immediate scene of action: walls, table, chair, bed, without which any work will inevitably lose part of its attractiveness, but also social.

It just so happened that not a single person becomes a person in isolation from society, therefore, always and everywhere there will be extraneous views, rumors, gossip, whispering. Typical, in my opinion, is a mistake when the author introduces a character with bright hallmarks, sharply distinguishing it from the general background, but at the same time forgetting to give a reaction to it from society.

How, you ask, can this relate to the bed scene?

I will give as an example a hotel near the main highway. The partitions there, most likely, will be wooden, the audibility is good, the travelers are tired, and now one secluded couple wakes up the neighbors in the middle of the night with voluptuous yells. In our world, we knock such neighbors on the battery or call the police. So why is everyone in the fictional world so tolerant and solidary?

My explanation sounds something like this: the authors of erotic stories bother so much with the rising atmosphere that sometimes they are simply afraid to interrupt it to panic colic in the stomach by a polite knock on the door, say, a mountain troll with a request to squeeze each other a little quieter, otherwise he here the fists itch and in general. ^__^

Such a concentration on the feelings of the main characters for each other, of course, justifies itself: a sensual charge is transferred to readers, they blush, turn pale, turn to stone and other “eyes” - but hmm ... where is the highlight?

But it is she who raises the text from the craft (the author knows how to write bed scenes, and we see it) to a creative breakthrough (the bed scenes written by the author are not forgotten, you want to return to them again and again), when the required number of already written bed scenes, while the author “filled his hand”, turned into a quality.

I still remember the erotic scene from Ray Bradbury's story "The Secret of Wisdom", because I was struck to the core by the simplicity with which the author was able to create an incredibly bright, visible in all details erotic scene. The maestro wrote that the boy's mouth smelled like a freshly chewed grass stalk, which had a sweet fragrant aroma, and my brain immediately built a whole picture of the village with its fields, cows, landscapes, smells, chirping insects and so on.

So one little touch - one seemingly insignificant detail - could evoke a whole storm of feelings in my soul. I still keep this scene in my head and, frankly, draw inspiration from it.

9. Reflect the main idea

Sex does not always reflect the disposition and love of partners for each other. With the help of the bed scene, you can express a lot of different feelings and situations: mutual cooling off to each other, indifference of one of the partners, hatred for each other, pushing the heroes into the same bed, the bitterness of loss, when it doesn’t matter who owns the heroine, if only he had , if only to warm with its warmth, humiliation and submission, fear of one to another, etc.

A real master is able to describe equally well both everyday sex and that special night that can happen 1-2 times in a life - no more. In this case, domestic fucking will look like domestic fucking, and that very unique night - that very unique night. Because with the help of proximity, when human souls are exposed in the same way as bodies, you can dot all the “and”, because in such a situation the character has nowhere to hide from himself. And even if he plays here, skillfully portraying passion, this is also visible and quite reflected in the letter by the author.

So in a good way the main idea should be defined in advance. “What is to be shown by this intimacy?” - this is the question that you should ask yourself before writing another bed scene.

10. Believe in yourself

Amazing, right? You need to believe in yourself. After all, it often happens that, after reading a story, we note to ourselves: “This is a bed scene!”, “Well, this author is talented”, “I will never be able to write anything like this ...”, etc. . Of course, at first it always happens that, having exhausted 2-3 sentences out of ourselves in 1.5-2 hours, we give up and wave our hand at the text. Moreover, there are a lot of other stories around, where everything is described better, and more beautiful, and sexier ... well, in general, it cannot be compared with our three sentences.

And now it's time to remember point number 1 and the preface. Your story will be good not so much beautiful words or well-formed phrases (words and letters - they are the same for everyone), but by your feelings, i.e. by what you and only you can put on paper, with your experience, with your feelings, with your attitude to life.

If it were possible to write a bed scene perfectly, then mmm ... the ancient Greeks would have done it before us. But bed scenes, like erotic stories, are written every day in a hundred pieces. So why?

Because feelings do not become obsolete and never disappear without a trace. And, if your heroes are asking for paper, then you need to give them a chance. Who knows, a couple of years will pass, your skill will grow, and then you will be able to edit what has already been written, but if you don’t write anything, everything will be forgotten: both feelings, and heroes, and you yourself at this age.

In conclusion, I want to say that all the above recommendations are purely advisory in nature. They helped me write better. Hope it helps you too.