Tag: Erotica

I Got Mentioned in the “Loving BDSM” Podcast

 

My Fucking Day Job keeps me pretty busy physically, but not mentally. Consequently, I have long and boring periods of time where I don’t have the opportunity to read, but I am perfectly able to entertain myself by listening to audiobooks and podcasts. I try to use this as an opportunity not just to be amused, but also to further my education on my craft, as well as the world in general. I listen to classic novels, in order to study the great writers. I listen to many modern novels for the same reason. I listen to non-fiction audiobooks on subjects that I think might help me strengthen my key weaknesses as an independent writer: self-promotion and sales. I also listen to a lot of stuff just for ideas, and to broaden my knowledge of the world in general, as well as my knowledge of more specific areas of expertise that can come up in my writing.

One of the podcasts that I am subscribed to is the “Loving BDSM” podcast, by Kayla Lords and John Brownstone. Kayla is, in her own words, “a masochistic babygirl,” and John Brownstone is her Daddy Dom. Their podcast is about BDSM relationships, but is less geared toward the technical details of mechanics and biology, and is more focused on how to form and maintain strong, safe, and loving (if desired) relationships in the context of BDSM and the BDSM community.

I stumbled onto their podcast while searching for more information on BDSM relationships, because I’ve written some BDSM stuff in the past, and plan to write more in the future. Their podcast was useful in this regard, but I also quickly became charmed by the couple themselves, and have become quite a fan.

The Loving BDSM Podcast has a Bonus Section at the end of each episode, where they engage in general chitchat, discuss tangents that didn’t make it into the episode, provide updates about their lives, and so forth. Another thing they do in the Bonus Section is to discuss the postcards that they get from their fans.

I toyed with the idea of sending them a postcard, because I thought it would be nice to hear my own name mentioned in one of their episodes. I got the idea at some point that instead of mailing them a local postcard, I’d try to have a postcard made off of the cover of one of my books. I considered doing this with “Letting Go,” the romantic BDSM novel that I co-wrote with Kelli Roberts, but eventually settled on my story “Satisfied By A Stegosaurus,” because I love that cover in particular, and I thought they’d get a kick out of it.

Then I procrastinated for a long while, and recently decided that it would be simpler to just mail them a physical copy of the book, because it’s one of my stories that is long enough to work with Amazon’s print-on-demand publishing feature. So I mailed them a copy of the book, along with a note thanking them for their podcast.

Then I waited almost a full week to see if they mentioned me on their podcast.
AND THEY DID!!!!

More than just a quick “ we got this thing from Richard Bacula,” they spent a bit of time discussing the book, and Kayla read the back of the book for her listeners. I knew that it’d feel good to hear myself mentioned, but I was surprised at how over-the-top happy it made me!!

It’s a small thing, but it’s one of those things that makes me feel like a real writer. Thanks to working with Kelli Roberts on “Letting Go,” I’ve seen my name in a couple prominent places before. We got a press release on the AVN (Adult Video News) website when the book came out, and a couple of years ago the novel got a mention in Women’s Health Magazine as a way for couples to spice up their love life (i.e., read this book it will make you both horny), and while those were each certainly an absolute blast to see… this mention in a podcast with a much smaller audience than AVN or Women’s Health gave me as big of a thrill, perhaps more.

It’s one thing to see your name in print somewhere, and it’s another thing to hear it, and to hear people talking about your book. Hearing it makes it all seem more real somehow. I wrote a thing. I self-published it. I got a physical copy of the book. I mailed that copy to a couple of strangers. And They Talked About It!!

So I’m in a good mood.

This is the kind of success that is in some ways more important than direct sales, because morale is often at least as important than money when it comes to writing, at least for me.

 

Anyway, if you want to hear what they had to say about my book, you can listen to the entire episode here:
What You Can and Can’t Say in a D/s Relationship LB130

 

(Or just skip to about 59:47, if you just want to hear the part where they talk about me!)

Finding Words And Thoughts

It’s the 19th of May, and my challenge this year is to write a new blog post for each day of the month. So far, I’ve written only TEN blog posts! That’s not great. I need to catch up, and I need to do it fast. I’ve set an 800 word minimum for my posts this month, so if you’re following my blog you should probably expect to see a number of upcoming posts that are short and hopefully sweet, things that I churn out quickly in order to get to the next post.

I’ve gotten quite good at doing that kind of thing with short stories, but blog posts are a different kettle of fish. With writing short erotic fiction, especially stuff in the 800-word range, the only thing to focus on is the sex itself. There’s no time to say much else in that kind of project, although other stuff can be squeezed in. With blog posts, it’s all saying other stuff, which is less in my area of expertise than with writing highly-detailed sex scenes.

As I’ve mentioned before, the key to cranking out a lot of writing fast is learning to get out of your own way. You have to push all of your doubts aside, shove your insecurities into the basement and lock the door. You can’t spend time second-guessing or third-guessing everything that you type, because you’ve got to get through the word-count and move on to the next project, then the one after that, and so forth.

This is also where it becomes important to be what they call “fluent in writing.” Writing is a kind of language all its own, different from and more difficult than speech. Being fluent in writing means that the time it takes to translate the thoughts in your head onto the page are minimal. Ideally, you can more or less type out your thoughts as quickly as they occur.

Learning fluency in writing takes time and effort, which is why most writers hand out advice like “write every day” or “keep a daily journal” or so forth, because learning fluency takes a lot of practice. When you first start writing, it’s difficult because you have all this stuff in your head, and it’s hard to get it onto the page properly.
You might envision a tall, muscular, dark-haired man with a mustache, with a basket-hilted longsword on his hip, a cloak on his shoulders, and a top hat on his head, riding a black seventeen-hand Shire stallion with lovely brown eyes that match his light brown leather horse tack. This man is riding quickly, but not at a full gallop, and he’s in a forest of Scotch pine. The full moon is high in the sky, but the forest is still dark. He’s in a hurry to reach his true love, but he’s wary of the bandits that sometimes set upon unwary travelers in this forest.

You might, in your early years of writing, write that down as “James rode Augustus through the woods,” and then be completely puzzled why your friends and family aren’t blown away by what is–in your imagination–a very powerful scene. That’s because you haven’t learned the language of writing yet, so important details were lost in translation.

Fortunately for me, I have wasted decades of my life arguing meaningless minutia with people on online message forums. I started out on dial-up Bulletin Boards, and continue to some degree to this day. More fortunately for me, I have always had in my head an inkling that I wanted to be a writer someday, so as I was typing furiously back and forth with all those people online, I tried to use it as practice. I put forth some level of effort in everything I wrote, trying to make sure that things were well-spelled, well-punctuated, and whenever possible cleverly phrased. The net result of all this is that I am fairly fluent in the language of writing, to the point where I can usually write rather smoothly, with little to no need for serious editing or rewrites. Usually.

Another helpful factor is that I have always been a big reader, and it is always helpful when learning a new language–such as the language of writing–to immerse yourself in that language. The more you drink in, the easier it is to spit back out. You can subconsciously learn all sorts of rules and subtleties of the language that aren’t taught in school, and you find it easier to think in that language as well, minimizing the translation required to put your thoughts to paper.

All of which is to say that when it comes to blog posts, I know that I’m capable of the speed which will be required for me to catch up to my goal, and to complete my May Challenge for this year. The main obstacle will be finding enough material to write about. All the fluency in the world is of absolutely no avail when one runs out of things to say.

Why I Don’t Review Fellow Authors

I don’t review other authors, not as a rule. This is for several reasons, starting with the fact that many of my fellow authors’ egos are easily bruised. I, on the other hand, went to college specifically to study the craft of writing, and I experienced years of peer review sessions where my work was constantly judged by my fellow classmates. This judgment was not always kind, and was sometimes even brutal.

That was fine with me, and with most of the rest of the serious writers in the classroom, because what we wanted most was to know how we could improve our work. Yes, praise for the things that we did well was important, but we also needed to hear what our areas of greatest weakness were, and how to fix them. That’s not the kind of lesson that we could learn if we were easily hurt by hearing what other people really think of our writing.

Consequently, I’ve built up a callous that many other indie writers often seem not to have.

Another factor is simply my own decades of internal critiques and analyses of various popular works. When I read a book, watch a movie/play/TV show, listen to a song, and so forth, I always come away from the experience with a list of praises and complaints. I vivisect the writings of others, and I discuss writing with other people, and I read reviews. All of which has thoroughly demonstrated to me that audiences as a whole have very different tastes in entertainment, writing included.

There have been many popular works of entertainment or education that I have personally loathed, and have felt were absolutely horribly written. That doesn’t affect their popularity. Likewise, there have been any number of critically panned and/or unpopular pieces of entertainment or education that I have personally found quite enjoyable and/or well-written. Again, my opinion doesn’t affect the overall popularity or success of the work. Just because some people dislike something doesn’t mean that everybody else will, and just because some people think that something is bad doesn’t mean that everybody else will agree.

I’ve learned over time to not take bad reviews very personally, because everybody has a right to their own opinion, but that opinion doesn’t necessarily mean much about how other people might view the same work.

Moreover, there are quite a few works of entertainment that are masterfully written, but that are simply not to my particular tastes, and there are any number of works of entertainment that are poorly written, but that I personally enjoy. Quality is only one aspect of appreciation, and personal taste accounts for a lot.

So when receiving reviews, I tend to take most criticisms in stride simply because I’m not likely to be much affected by one person’s opinion of my work. Not all authors have the same attitude, however, and cannot seem to take my review of their work as simply my personal view of their work, as just Some Guy’s Opinion. They can often take it personally, no matter how politely, and/or gently I try to express myself to them.

For that matter, some authors don’t even want reviews to be gentle, and can take that kind of soft serve response as an insult in its own right. Even when attempting to determine what kind of author I’m dealing with, what kind of feedback they’re looking for, I’ve inadvertently hurt people’s feelings. After reading one author’s work, I asked how they wanted the criticism, if they preferred it to all be super-nice, or more toward the soul-crushing side of things.

Just the fact that “soul-crushing” was a possible end of the spectrum greatly upset this author.

All of which wouldn’t matter much, except that there’s often a lot of drama that goes along with hurting another author’s feelings. Especially as an indie author, I try to avoid feuds and drama with fellow writers. It all gets in the way of accomplishing my goals of writing and selling my own stories. I’ve seen too many other authors get caught up in drama following a review of a fellow author’s work, and I’ve rarely seen it pay off very well.
Even if I was willing to deal with that kind of thing, yet another factor is that I don’t have nearly as much free time to read as I’d like, and I already have a reading list that would take months or years to get through. Adding to that list, only to end up hurting another author’s feelings, is not a particularly enticing opportunity.

In short, I am a picky reader who is likely to find some kind or level of fault in almost anything and everything that I read, and in my experience most indie writers cannot deal well with people pointing out their faults. That’s perfectly fine; I’ll be quite content to avoid reviewing them for that reason.

Of course, there are always those authors who feel insulted when they don’t get reviews at all.

TWITTER!! Huh, Yeah, What Is It Good For!?

Twitter first caught my attention until I was Googling myself one day to see if I was famous yet, and I found a conversation where people were tweeting about various dino-erotica titles and covers, and somebody mentioned that they liked the title “Satisfied By A Stegosaurus.” I made a Twitter account, and it swiftly became my main social media format. I tried Facebook back in the day, and I don’t like it. I have a FB account currently, but I keep forgetting that it exists, so it’s poorly maintained. Likewise, I’m on LinkedIn, Tumblr, G+, and probably some other stuff that I don’t remember. Twitter is the main one that I use.
Occasionally I’m asked if Twitter is good for promoting one’s work, and the short answer is that no, it’s not. Granted, I’m not good at optimizing self-promotion. Granted, self-promoting via Twitter is better than nothing. Still, in my experience, it doesn’t yield very much in returns.
For a stretch of time, back when I just had ~10 titles on Amazon, I spent about an hour on Twitter every morning, and another hour every evening, faithfully tweeting and retweeting and interacting and such. The net result was that for as long as I kept up that level of activity, I’d make about $10/month. Then when I slacked off, sales would trickle down to zero, or very close.
As I said, Twitter is definitely better than nothing. $10/month is–looking at straight numbers–infinitely better than $0/month. The problem is that it’s still just $10/month.
I figured okay, but I only have 10 titles right now. That’s about an average of $1/title/month, so if I get 100 or 1000 titles, I’ll be pulling in much more money for the same effort. But I don’t have that many titles. I ran into a bottleneck in my production, one I’ll talk about later: cover art. I still believe that IF one has enough titles, and IF one is active enough on Twitter in the right ways, it CAN get a decent financial return for the effort. But there are most likely other, better returns out there for the same amount of effort.
Twitter’s strength is quite simply NOT promotion.
Twitter’s strength is making connections.
It’s not hard for any indie writer on Twitter to fall into a network of other indie writers. We all occasionally (at least) ask people to buy our books, and most of us don’t do much buying of other people’s books in return, because most of us are poor and/or don’t have as much time to read as we’d like, and/or are picky bastards who became writers in the first place because most writing isn’t up to our standards.
While Twitter friends might not overall be the best buyers, they can become invaluable assets in one’s writing career. You can find beta-readers, editors, writing partners, and business opportunities that you might not be able to find otherwise. I’ve made a number of friend connections that aren’t just fun, but that help me focus on what I need to focus on most: writing.
My friend @AngoraShade, for example, is fun to shoot chitchat or food pictures back and forth with, but she’s also an invaluable beta-reader, somebody to exchange tips and information with, somebody to help boost morale, and so forth. We’ve passed ideas back and forth, tipped each other off to tempting anthology calls, discussed experiences about different formats and websites to share our writing on, and so forth.
A good friend/contact can be more important than finding dozens of customers. I have made dozens or hundreds of dollars over the past several years trying to use Twitter to self-promote, but I have made thousands of dollars by making connections via Twitter.
Most of this came from a single opportunity in the form of an encounter with erotica writer, AVN-nominated, and webmaster Kelli Roberts. We ran into each other online, and I ended up shooting her a link to my free erotic Halloween story “Corn Hold.”
She was impressed enough with my writing that she brought me in on a project she was working on, a romantic BDSM novel called “Letting Go,” a work designed to ride the wave of the “50 Shades” popularity, only with better sex scenes, and written not only for those unfamiliar with BDSM, but also for the more experienced crowd.
While the project didn’t turn out as profitable as we had hoped, due to our major promoter all but backing out of the deal, it’s still my most profitable endeavor to date, as well as some of my best work. I was able to pay some bills when the book debuted, and again when it got a mention in Women’s Health Magazine.
(Incidentally, the ebook version of “Letting Go” is free until May 11. So get a copy now!)
That’s the best way to use Twitter: use it to connect with the right people and opportunities. You don’t want to spam out random pitches to everybody, but you can get to know all sorts of people over Twitter. People are accessible on Twitter in ways that you just don’t get on other social media. You can tweet at a celebrity or a large business, and you have a chance–maybe a very tiny chance–of them responding to what you’ve said, compared to a cold email that would likely just end up in the spam folder.
Twitter is a useful tool, but it’s better for the precision work of pointed, deliberate connection-making than it is for just spamming out blindly and hoping for results.
At least, that’s my personal experience with it.

Being An Invisible Writer

Conventional wisdom is that independent authors can’t ever achieve success by going around asking everybody they meet to buy their books, especially if they do it by spamming out social media posts, emails, and what not, asking people to do exactly that with no other introduction. Conventional wisdom is correct.

What you’re supposed to do is to come at things a bit more sideways than that. You have to create a “platform,” some kind of format or forum where people come for something other than your for-sale writing. Once you have the crowd good and hooked on whatever free thing or things you’ve been giving them, then you casually mention that oh, you’ve happened to have written something that happens to be for sale, in case anybody is interested. By this time, the people all know you, and they presumably like you, and they’ll be much more likely to be interested in whatever it is you happen to be selling.

Conventional wisdom is very likely to be correct again… but it doesn’t do me any real good at this point.

I’ve put in the time and effort to study my craft at a national university. I got my degree, but it’s not bringing me any money, so I have to have a day job to pay my bills while I try to fend off the student loan jackals repeatedly. I’m not asking for pity here–it’s all perfectly normal, and I’m not exactly a starving artist. But if I had it all to do over again, I’d do things differently, because the only real skill I picked up in college is writing itself.

I have the skills it takes to weave (hopefully) compelling stories, full of interesting characters and/or situations. I do not have the skills required to make a podcast, or to have a YouTube channel, or whatever else it takes to build a decent platform. So it seems to me a bit like going to law school, then graduating to discover that all lawyers must hand-build their own office before they can take any new clients. It’s a bit frustrating.

Not only do I lack the skills it takes to build a pre-existing audience for my work, I also lack the time. It can take years of dedicated work to build up a decent base of potential consumers who are all interested in you and what you have to say, and I’m in my mid-forties. Taking on what is essentially an unpaid second job, in a field I’m uninterested in, and spending a few years at it before seeing real results, just doesn’t seem like something that I’m realistically able or likely to do.

All of which means that I have to find other ways to let the world know that I exist.

I mean, sure, I’m going to try to work on my platform, and my brand, and so forth. That’s one reason why I’m dedicating this entire month of May to adding to my much-neglected blog. Blogs, actually, because in addition to my old Goodreads blog, I’ve set up another blog on WordPress, and it’s seeing some activity already. I only started my WordPress blog five days ago, and I already have 13 followers. That, plus my 150 followers from my Goodreads blog means that I have a potential platform of 163 people. Maybe it’ll increase significantly by the end of this month, and much of my irritation and hand-wringing about platform-building will turn out to have been for naught. I doubt it, but that’s okay–I have other plans.

Because I don’t envision much success with building my own platform, I plan to try to figure out ways to use other people’s platforms. For example, this year I’m focusing more on submitting work to anthologies, because while I only get a one-time fee for that kind of work, the people putting together and selling the anthologies are going to do the heavy lifting when it comes to promotion. The people will hear about the anthology because of the antho-makers’ platforms, and when they buy the book, they’ll read it, see one of my glorious stories, and think to themselves, “My! Who IS this Richard Bacula chap, and where can I read more of his wonderful writing?” Then they’ll go to Amazon, see my 30-something titles currently available for sale for as low as 99 cents (ahem!), and perhaps make a purchase or two.

Similarly, I plan to look into doing some guest blog posts on other people’s better-supported, better-promoted blogs. If you’re reading this, and you have a blog with any kind of decent following, and you might like a guest post from yours-truly, let me know.

For that matter, I’m always open to co-writing short fiction with other authors. There are plenty of authors who have the opposite problem that I do–they’re significantly better at promotion than they are at the actual writing part. For that matter, there are non-authors who have a platform and a following, and who haven’t really considered breaking into the erotic fiction market, and who could use a talented co-author like myself. Again, if this sounds like it might describe you or somebody you know, contact me or have that person contact me.

As things are, I feel that my main obstacle is simply getting the world to know that my writing exists. My sales currently make my writing a fun hobby that brings in beer money, or the occasional minor windfall like when my BDSM novel (which happens to be free for Kindle today if you want to check it out) “Letting Go” was mentioned in Women’s Health Magazine a couple years back.

I guess that’s all that I’ve really got to say at this point. I’ve got some other irons in other fires, and some secret schemes to rocket me to the top, but nothing really worth discussing at this point.

See you next time!

So You Have An Idea…

Disclaimer: This blog post contains spoilers for my short story “Multiple O,” as I break down how I turned my starting Idea into an actual plot.

So you have an Idea. You’ve got some kind of notion that could make for a good story. What’s next?

That depends on the writer and the idea. A lot of the time, for a good writer, having an Idea is enough. In previous years, I succeeded in my May Challenges by becoming skilled at taking an Idea, and being able to turn it into an acceptable short story just by sitting down at the keyboard and typing by the seat of my pants.

Pantsing works well for a lot of writers, and it works well for me most of the time. When I wrote “Satisfied By A Stegosaurus,” all I had in mind was the title, along with the notion that I’d have human/dinosaur sex be consensual instead of the standard rape fantasy scenario. With “An Innocent Haircut,” I just had the setup in mind–a young man is seduced by the woman who’s cutting his hair–and the inspiration to try to write the story about a male losing his virginity as detailed as possible, to try to craft it in such a way that males who hadn’t lost their virginity (and females who hadn’t been male) would be able to live the experience vicariously through my words. Both of those stories turned out very well, still some of my best work, and they were pantsed.

Then there are those other times.

My story “Multiple O” is set in my Serpent’s Gifts setting, a world where the appearance of a giant snake in the sky grants various people comic-book-style super-powers. I’m a big comic fan, and there are certain powers that are staples for superheroes (or villains) and that also lend themselves well to erotics. One of those powers is the ability to make instant copies of yourself, along the lines of The Multiple Man, Silent Majority, Triplicate Girl, or Multiplex.

That was my Idea: write erotica about somebody with that kind of self-duplicating power.

But it needed refinement, because “One day, a person with duplication powers did some sexy stuff” isn’t a good story. It’s not even good micro-fiction.

Once you have your Idea, I find that it’s pretty good to start working through the Five Ws of Journalism: Who, What, When, Where, and Why. My Who in this case is my main character, my protagonist. I toyed with making a male character named “Gangbang,” and having him multiply in the middle of sex with a woman who was open enough to roll with suddenly having sex with two or twenty guys instead of just one, but my personal tastes go the other way, and I decided that I’d rather write about a woman who could turn into multiple women. So that’s my basic Who–the protagonist is female. I came up with the title of “Multple O,” and went with the first female name that sprung to mind that started with O: Olivia.

The Ws don’t have to be in order, and often the Idea itself will fill in at least part of one of them anyway. If I’d been doing them in order, I’d have focused on “What” next, but I didn’t. Instead, I focused on that sixth important question, that honorary W just because it hangs out with them so much. I asked myself How.

Specifically, I asked myself how her power functioned. Multiple Man produces copies from kinetic impact. Other characters seem to be able to do it at will. I think one character could pull alternate-reality versions of himself/herself, or maybe I just dreamed that. I needed a mechanism for my character’s power to work. Where did the copies come from?

I mulled this over for a couple days, I think.

A lot of the time, shaping and refining the Idea is mental work that I do while I’m on a long drive, or trying to beat my insomnia into submission by letting my mind wander, and so forth. Eventually, I hit on the idea of her power being the ability to pull her own image out of mirrors, into the real world. That gave her a vulnerability (her power only works when there’s a reflection nearby), it gave her a limitation (only one copy per mirror), and it gave me a start to the story: a woman is looking at herself in the mirror, when suddenly she pulls her own reflection out into the real world.

As soon as I had the How, the rest of the Ws all fell into place.
Who? Olivia and a single copy of herself.
What? A solo scene that turns into girl/girl fun.
When? Sometime shortly after December of 2012, because that’s when this setting splits off from the real world–That’s when the powers start manifesting.

Where? In the bedroom, on the bed.

Why? Because Olivia was trying to do the female empowerment thing of looking at her own vagina in the mirror, to get in better touch with herself and her body, but when she drops the mirror and tries to pick it back up again, she accidentally grabs her mirror self and pulls it into the real world. Once she adjusts to this new event, the two of her go back to doing what she was doing moments before: getting better in touch with her own body (or, in this case, bodies).

I asked myself if this story would work, and the first snag I hit upon was the issue of whether or not a person who was confronted by a doppleganger of themselves would try to have sex with it so quickly. I went back to thinking about How the power worked, and decided that since the copy was in fact a different version of the main character, that Olivia would be perfectly comfortable with her mirror-clone–it was her , after all.

This wasn’t two strangers–it was two of the same person, and they’d known themselves for their entire lives. You can’t get much more intimate than that; the sex is just a formality. It’s more like masturbation with access to a second body. Which fell nicely into the general themes of the story–a woman who is uncomfortable with herself gets to lover herself a bit more.

That’s the kind of thing that many writers tend to leave out of short erotica, by the way. They come up with characters, a plot, and a sex scene, but they leave their story at that. That’s a mistake, because stories have to be about something important. Yes, sure, sex itself is important, but not always in its own right. Creating a story about two bodies fucking is like creating a story about two people eating a meal together–if that’s all that happens, don’t bother writing it.

The meal, or the sex, or the walk through the park, or the fight in the alleyway… it has to mean something to somebody. It has to be important enough that the story is worth telling, and the reader knows it. In this case, the main character grows to accept herself a bit more. Yes, she has her first lesbian experience (kind of), and she discovers that she has superpowers, but while both of those events are exciting, a really good story needs an extra layer of significance to make it really shine.

The story “Multiple O” is available on Amazon: https://www.amazon.com/Multiple-Richa…

Jagermeister Night

April 16, 2014

It’s Jagermeister Night at House Bacula, and it’s a pretty good night.
It should also be a short night, at this rate.
I found this blog, though, and figured that I’d put something here, if only to surprise myself in the morning, or whenever I find it.

In general, if anybody has any good suggestions what exactly I can use this blog FOR, feel free to let me know!
I’m not really a blogger by nature.
I do tend to answer questions, though, so if anybody out there has any questions for me, about anything, by all means just ask me.

Meanwhile, I’ll give a bit of my background.

I’ve been interested in sex since I was a little kid, and I took every opportunity to explore the weird world of sexuality. Oddly enough, this did NOT include playing “Doctor” with other kids, or anything like that.

I’ve also always been a big reader. For the most part, I read about sex.

I’d find the medical books in school, and look at the naughty bits. I’d read up on all the naughty words in the dictionary and the encyclopedias.

I’d sit in the grocery store when my parents weren’t looking, and browse through any unsealed dirty magazines that I could find. When magazines weren’t available, I’d find romance and horror novels, and skip around until I found the sex scenes there.
I learned a lot.

As I got a bit older, high school age, I had read the Kama Sutra, all kinds of dirty magazines, had watched a lot of dirty videos, had read “The Joy of Sex,”
“Everything You Wanted To Know About Sex
(but were afraid to ask),” and multiple other books that were specifically about sex.
I read other stuff too, of course, but the early interest in and information about sex stuck with me, and it eventually spurred me to write erotica.

There’s a lot of erotica out there already, and most of it really isn’t very good.
My goal as a writer is to try to raise the bar a bit, to provide more accurate, more detailed erotica that delves deeper into the motions and emotions of the participants.

Because I’m writing about sex, the sex tends to take up most of the text in each of my stories.

While many people do enjoy a long, slow, lingering, tedious build-up before the sex happens, that’s not the kind of thing that I enjoy in my reading, so that’s not what I write.
My stories tend to start off with the action, in media res, with character depth and plot demonstrated during the scene, with the occasional explanatory flashback.

I write some unusual erotica. I’ve written one story with a female werewolf, one story with a stegosaurus, and one story with a scarecrow.

All of them are good.

Part of my interest in writing that kind of story is the challenge of writing them well, given their rather absurd premises.

Other stuff is more vanilla. Just male/female stuff, or male/female/female stuff, or female/female stuff.

Despite a healthy level of personal sexual experience, there are limits to what I have done. I have not had sex with a stegosaurus, nor as a stegosaurus, for example.

Nor have I ever been a lesbian engaged in sex with another woman.

In these cases, I try to research as much as I need to in order to maintain the integrity of the scene, in order to get the details as correct as possible, or as possible as the story requires.

I’m not a hobby writer, by the way. I’m writing to make money, with full intent of making enough money to quit my day job(s) and to write full time.

Every copy of my work that is sold helps me toward that goal, and every little bit of word-of-mouth helps me get more potential sales.

Not to mention reviews!

If you read my works (and I suggest that you do: they’re reasonably priced), and you enjoy what I have written, I urge you to help spread the word.

It’s not necessarily my best work, but this free short erotic story should give you an idea of what I’m capable of:
http://www.literotica.com/s/cornholed