The Spice of Variety – The Importance of Mixing It Up In the Boudoir (On The Page, Of Course!)

My personal oeuvre is gritty, raw, erotic romance. I have Dominant Alpha heroes, and feisty submissive heroines. I love intense love scenes, filled with graphic action hot enough to scald. But there are always occasions where I have to mix it up.

By and large I find, in my writing and in the erotic romances I read, that no matter how intense the story is, no matter how dark or dramatic, there come those moments when you need things less intense and more languid. Filled with less boom-chicka-bow-wow and more with velvet caresses and sensual sighs. Where perhaps, something kinder and gentler is called for. Perhaps one of the characters is wounded, at a black point, and the love scene is, in part, a healing or comforting for that character. Or another alternative that may be a perfect fit, something lighthearted - spiced with wry humor, or giddy joy – the occasion when nothing goes right, but it’s all okay! Where my lovers learn to laugh at themselves and relax . . . just a bit more (which we know will make things even hotter the next time around, right?)

One of the things I therefore focus on is the appropriateness of the tone and action of the scene: Does it fit the mood? The place where the characters are both in their own heads at that moment? In the course of their relationship? All while furthering that relationship, working smoothly with the plot, and advancing it at the same time.

I also survey of my love scene “roster” once I’ve got a rough first draft, to ensure that the mood and intensity does vary, so the reader is not treated to the same old, same old love scene throughout. (That’s a major complaint I’ve seen concerning the love scenes in FSOG, for example.) No one in the real world has sex the same way all the time, or feels the same way every time they are having sex. The intensity varies, the commitment varies, and the emotions vary.

Our moods fuel our lovemaking. Internal and external conflicts of my characters will fuel theirs. As will the seasons, surroundings, the atmosphere (one example is the staple of romantic suspense and romantic thrillers where the lovers are in the thick of danger – gotta love those adrenalin-heightened couplings!).

Likewise, the love scenes will morph as the characters and relationships grow and change. That introductory, somewhat stilted, or perhaps edgy, or eager and unfamiliar first love scene – where everything is being experienced for the first time, and those first sights of one another, those first tastes and touches are so vital.

Then the story grows into those scenes where the lovers have become more comfortable with one another, but are still discovering the depths of their passion; they’re exploring and trying new things – but there are still mysteries to unfold, and discoveries about one another to make.

And we continue to progress, reaching those scenes where the lovers are embroiled in their conflicts and problems as you approach the dark moments of the book. Their differences, fears and uncertainty infiltrate the scene. It might make the love/sex desperate, or yearning – or lousy. It might make one lover selfish and demanding, or another withdrawn and hesitant. And it might be a moment for coitus interruptus – the better to ramp up the tension, sexual and otherwise, as the characters deal with it.

Finally, the couple’s emotions are fully mature, and the depth of their love is powerful and strong and committed. As we approach their HEA, so does their sexual relationship swell in power and importance. Everything has become clear. They’ve overcome all the crises. They’ve fallen apart and healed those rifts. They’re recommitted, or reunited, with a soul deep connection that is illustrated in their lovemaking. Physical and emotional have become one, and the coupling is a hallowed moment as the sex becomes an affirmation of their romantic journey together.

So. Each of the moments within my stories have to satisfy many criteria. First and foremost, from a technical perspective, I want to change it up. Keep the sex varied for the readers (and my characters – can you imagine the complaints?!).

Secondly, I want my love scenes to fit smoothly in the moment in the story in which they appear. A humorous love scene in a dark moment probably wouldn’t work. And a wham-bam-thank-you-ma’am when they’ve just acknowledged they’re madly in love would be inappropriate, too. And no brand new couple, falling into the sack for the first time is going to be utterly uninhibited. No matter how tough or feisty or Alpha, we all hold back a bit of ourselves in a brand new relationship, right? It’s a protective instinct to avoid hurt and rejection.

Thirdly, I must remain true to my characters, which means that even as the love scenes evolve along with the story, and with the relationship, they must reflect the ongoing tone, or mood of the moment. The actions cannot go completely against the characters’ grain. But they can reflect that changing moods of the character.

My hero may be a crude and rough sadist, but he will find himself in a romantic situation where his emotions, and desires, prompt him to seek a different way to experience that sexual relationship. By doing so, it allows my hero an opportunity for revelation – for growth. As I did with my down and dirty sadist hero, Hud, in Hold Tight, when he abandons all of the paddlings and spankings, the erotic humiliation and total command of his lover, Eden, and discovers that the more vanilla experience is just as rich, and enjoyable – and even more naked, emotionally – without the trappings of the lifestyle or kinky touches. The simple act of making love is a breakthrough moment as he realizes she’s “the one”. It’s not just the kink. It’s the woman.

Likewise, no matter how freely my submissive Eden gives herself to Hud, there comes that moment when she turns dominant, forcing him to accept her and his own desires, and becomes the driving force of that particular love scene – the climactic one that ends the story.

The bottom line is that I want my characters to change it up in the bedroom. It keeps things lively for them – and keeps my readers looking ahead to see how the characters’ physical relationship grows along with their emotional relationship.

Because as we all know, variety is the spice of life!

Lise Horton writes super steamy erotic romance and, as Lydia Hill, intense erotica. She’s published in full-length fiction by Carina Press, and in short fiction by Ravenous Romance, Riverdale Avenue Press (a recent naughty coupling can be found in RAB’s “Bad Santa”) and her latest story, “Tryst of Fate”, as Lydia Hill, is included in the Cleis Press “Best Women’s Erotica of 2015” anthology, edited by the iconic Violet Blue.. For more on her thoughts on writing romance and the writing life, you can find her and all her social media links at www.lisehorton.com.

Floggers and Ball Gags & Cuffs – Oh My, My. My

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The Important Role of Secondary Characters

“His name is Romeo, and a Montegue;
The only son of your great enemy.”

Nurse warning Juliet, and illuminating the crux of the conflict for the audience
Act I, scene v

(Painting "The Storm", by Wlliam Dyce depicting King Lear and secondary character, The Fool)


Shakespeare’s plays are filled with secondary characters of every sort and variety. For every towering, iconic protagonist, there is a secondary character who aids and abets the action. Hamlet has Horatio; Prince Hal has Falstaff; Juliet has Nurse; Prospero has Caliban; Portia has Bassanio and the list goes on.

Secondary characters play many roles in fiction. Mentor, confessor, guardian, teacher, foil, sounding board, catalyst, muse: They may be present in the guise of friend or foe, parent or sibling, loved one, stranger or servant.

Use of a secondary character offers an author a wealth of possibilities. Your hero’s best friend can be the voice of reason that helps the volatile hero work through a crisis. Your heroine’s big sister can act as confidant to help her make relationship decisions. In these roles they allow a further exploration and exposure of the protagonists’ thinking and emotions, without the “telling” worry. Perhaps an abusive parent allows the author to illustrate the difficult times our hero has risen above, illustrating his fortitude and strength without blatantly hammering the point. A teacher’s wisdom lets us be privy to a character’s struggle and growth. A secondary character’s predicament allows an opportunity for a hero or heroine to show their loyalty, bravery or willingness to put themselves in danger for a friend.

But while we can use these characters to great advantage, there are also pitfalls inherent in who you populate your stories with.

If you fill a story with a gallery of innocuous secondary characters who are little more than window dressing and are either duplicative of, or of no value to, a protagonist, it means they probably shouldn’t be there.

Certainly, too, the “chorus”, or tertiary background characters used to create a sense of time, and place and social background are valuable. But keeping their participation appropriate is important.

And the important role played by secondary characters brings up the flip side of the problem. Rather than ineffective secondary characters, you have the potential problem of a secondary character taking center stage and usurping the limelight from the protagonists. This effectively nullifies the importance of the hero or heroine as well as distracting the reader. There are many authors who very effectively straddle this fine line, creating secondary characters who both know their place, but who are rich, complex and human. They appeal to readers, and the author, even while they ultimately allow the primary characters their moment in the sun. We’ve seen this happen frequently enough when a character is so appealing he or she ultimately grows into the protagonist of their own story, bringing in those fans who enjoyed the character in a supporting role in a prior book.

A slightly different problem is creating secondary characters so strong or superior that the protagonist in question pales in comparison. An non-romance example might be Melanie and Scarlett. While Scarlett was admirably tenacious and determined, Melanie far outshone her in the admirable qualities we imbue our heroes and heroines with. Loyalty, gentle courage, honesty, morality are all Melanie traits but Scarlett? Well, not so much …

Look at any of the great stories and you will find examples of these vital characters and the authors’ deft use of them. Beyond Shakespeare’s own cadre of the good, the bad, the wise, funny, and ugly, and more accessible to us, would be the supporting actors in television and film.

Harry Potter is surrounded with classic secondary characters, from Dumbledore (mentor, guide) to Lucius Malfoy (catalyst). Likewise, Frodo in Lord of the Rings learns from Gandalf and he is provided (as are we, the audience) a glimpse of what might come to pass in the example of the obsessed, grotesque Gollum.

Buffy has her team of seconds, from clowns to BFF.

Antihero Dr. Gregory House has his conscience and voice of reason in the form of Dr. James Wilson, and takes on the role of mentor to the changing cast of residents.

Andy Griffith had Aunt Bea, Goober and Gomer, the classic sidekick Deputy Barney Fife, as well as Opie – his parental interactions with Opie allow us to see Andy’s sterling qualities as parent and teacher.

Superman had Perry White, and Lois and Jimmy Olsen were the frequent catalysts (read: victim needing rescue from heinous antagonists) in providing the superhero plenty of opportunities to exhibit his super-hero-ness.

Many actors today have honed the skill of playing the supporting cast member to the hero and as such frequently are seen in those roles. John Goodman, for example, supporting not only Dennis Quaid and Al Pacino, but Roseann herself.

TV, film, Shakespeare, other novels – all offer stellar opportunities to study the role these supporting characters play, and how to craft them effectively. How to make them rich, fully-fleshed, playing his or her role to perfection while not encroaching into the protagonists’ territory, can be learned from reading any good romance novel.

And, as always, from the dramatic canon of my fave, Tennessee Williams, I have a perfect example of the vital secondary character, whose presence effects all of the protagonists in one important way or another and leads them to decisions and actions that rock their world. He is not even given a name, but he is the human interjection that changes everything. He is The Gentleman Caller, and when he joins the action among Laura Wingfield, her brother Tom, and faded Southern Belle, Amanda, upheaval ensues.

So, next time you are reading a book, give the secondary characters some extra attention. What is their role in the story? How does the author utilize them to good effect to bolster how we see the hero and heroine, and how their presence impacts the storyline?

Oh, what a noble mind is here o'erthrown!—
The courtier’s, soldier’s, scholar’s, eye, tongue, sword,
Th' expectancy and rose of the fair state,
The glass of fashion and the mould of form,
Th' observed of all observers, quite, quite down!
And I, of ladies most deject and wretched,
That sucked the honey of his music vows,
Now see that noble and most sovereign reason
Like sweet bells jangled, out of tune and harsh;
That unmatched form and feature of blown youth
Blasted with ecstasy. Oh, woe is me,
T' have seen what I have seen, see what I see!

Ophelia’s monologue following confrontation with Hamlet wherein she shares the dastardly change that has overtaken her beloved.

Act 3 scene 1

Benefactors & Believers

The other day I got the call. My novel made the cut at Carina Press and so I have officially “sold” my contemporary erotic romance.

My first call was to my Mother. She’s been a supporter, cheerleader, critic, beta reader and grammar source since I began to seriously pursue my writing.

My second call would have been to my friend Milton Burton. A writer, an incredible mind, and my biggest fan, I can hear in my mind the big booming voice of congratulations. Sadly, Milton passed away a year ago today, and after nearly five years of support, missed my first publication, and the sale of my first novel.

The third person I told was an attorney at the entertainment law firm where I work. That may sound odd – I told her before I announced it to my RWA NYC chapter mates, or my cohorts on my Yahoo erotic writers’ loop, Let Me Get You Hot & Bothered – but it really is not.
This lady, a wonderful, creative talent in her own right as well as a brilliant attorney, is a member of a select group I came to call My Benefactors. A few years back, she and four other attorneys I worked for pooled their gift one Christmas and gave me a laptop. One of them scoped out the best model, based on what I’d mentioned I was looking for. It was a teary moment and one that I will never forget, because they were all exhibiting their full support for what I was attempting.

That attorney had produced and directed her own documentary while at film school, before law school. Another of the bunch was a stand-up comedian when he wasn’t parsing legal contracts. A third was a screenwriter hawking his own work to Hollywood connections. So they, more than some, perhaps, got me, got my dream and showed me the ultimate in support.

When I gave her the news, she started whooping, yelling, and dragged me out of her office into another attorney’s office to share the news. A third attorney heard the ruckus and came running in, also hugging me in congratulations.

Every single one of the attorneys I work for gave me heartfelt congratulations. Even my one boss who looked askance and asked if I’d gotten a big advance. I have a feeling he was nervous I’d get an E L James deal and leave him high and dry, assistant-wise. It was a delightful way to spend the afternoon.

No one even objected when I was less than functional that day.

Then came the surprise party we were throwing for a paralegal who was off to have her baby. There was cake and cheers, and lots of frivolity.

Suddenly my boss pulled out a bottle of champagne, and they filled glasses and passed them around to the entire department of attorneys and staff, and everyone toasted my book sale.
I hear often of authors, particularly those who write steamy or erotic romance, who have to keep their passion and work secret from employers. Here at my home away from home? Not only have they supported me all along, not only have they cheered my successes as they rolled in, from contests, to completing manuscripts, to sales, but they have told their spouses, who’ve also called to congratulate me. One has offered her husband’s photographic services for my author photo. The attorney who specializes in publishing has offered his help. The Marketing Director posted my news on the Firm’s Intranet calling my book “erotic romance”. My boss also tells everyone that I’m not the first assistant to “make good”, publishing-wise. Because many years ago another secretary stayed late at night to type her book.

She’s a client now: A NY Times Best Seller, with numerous films made of her books starring the crème de la crème of Hollywood talent.

And here at my job, the attorneys for whom I work, and others in the office, all insist they’ll be buying my book the moment it is released, even though they know full well that they’ll be needing those asbestos gloves when they do.

I’m very fortunate that my endeavors need not be hidden. And more fortunate indeed, that my employers are cheering me on.

With good luck, perhaps the success of our genre will make it a respectable pursuit and fewer and fewer authors will have to hide the fruits of their passionate labors from co-workers, friends and family.

For now, I simply thank my lucky stars that I’m already there.