imagery

In mid-September I spent a week up in Scotland—in the picturesque Highland village of Pitlochry. It was an appropriate place to finish off the first full editing session of Codename: Foxglove. Dominique (Foxglove), went there to visit her mentor, Rachel (Codename: Nightshade).

The Foxglove story will rest until mid-October, and from then it will undergo at least three further sessions with two-week breaks between. If it feels ready, I aim to send it out to beta readers in late November. When published, this tale will bring the Beyond The Law stories to a close, so, as might be expected, it will be done with a heavy heart, but by the same token, some series’ run their course. I’d like the final story to be a worthy conclusion to the tales which started life as a single experimental poem about a man who was compelled to end his military career.

Pitlochry saw several scenes from Codename: Nightshade which involved the Mental Riders Motor Cycle Club among others. Characters from both sides of the line came unstuck in a big way in the village. Locations like the filling station, a (renamed) bar on the main road, a large hotel, a car park, and the railway station all held a special significance for me. I travelled along the road which was used in a car and motorbike chase and felt justified in having used the route in the scenes.

While in Scotland, I visited Braemar which featured in Beyond the Law: Retribution. As the author of action scenes, death and mayhem, it creates a peculiar feeling to be on site and imagine what took place in my imaginary world.

Apart from those places I also spent a day at Aviemore and on several of the countryside routes in the area. Here, of course, I was reminded of the characters from my Light at The End trilogy, and in particular my heroine from the spinoff, Sylvia.

In visits to Glasgow, my home town, I’ve enjoyed the ‘sense of place’ when thinking back to the Beyond The Law trilogy, and in recent visits to Edinburgh I sensed the presence of Bryce, and several other characters from Czech Mate.

A knowledge of the locations used in stories complements the imagery and to a certain extent, the action. Returning to ‘real’ places after the job is done is a surreal experience and provides a healthy dose of satisfaction—I’d recommend it to fellow authors.

Thank you for indulging me with your time and comments.

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You’ve written a great story. Do you need sex amidst the guns, fighting and mayhem, the psychological trauma and mystery, or the tenderness and promises?

When I say ‘do you need sex’ I’m obviously referring to the requirements of the story—not your personal urges. I digress … .

This blog post was born from the need to offer my opinion on a regular comment I see on social media, and if we’re all honest, it’s getting a bit tedious. The comment usually follows similar lines to: ‘… and when I reach a sex scene I move on …’

There is usually a bit more to it, but in essence, we have two main areas to address.

Question 1 – Is the reader a prude, or simply someone who knows when a sex scene could have been done more tastefully—if it were needed at all?

Question 2 – Did the author make a mistake by getting carried away, drifting from the primary genre, thus adversely affecting the plot of the story?

The answer to Question 1 is not as simple as it sounds. For some readers, if an author goes beyond: ‘… she stood with her back to the door and raised an eyebrow …’ it’s too much. For others, it’s frustratingly brief, and they want to at least know if one person is wearing matching underwear and if the other person is wearing underwear at all.

Now, Question 2 throws up a whole new dilemma. As authors, it is not simply a personal choice, but in my (humble) opinion, it is our duty to remain true to our craft. No, I’m not getting high and mighty because I’ve written more than two books—I’m simply telling it like it is. The reputation of indie authors is being destroyed from within by some people with low standards. Those of us who work long hard hours and go beyond the first draft must persevere to produce the best we can.

You cannot refer to yourself in your branding or promotional material (of whatever level) as a thriller writer if you have the main character kill someone and then for the rest of the book he/she beds every other person in the ‘adventure’. You can dress it up, or undress it if you wish, but one of the aims of any author should be to focus on the job—in this case, a good story based on the primary genre.

I write a wide variety of genre and among them is erotica. I may allow a kiss or a caress—even partial undressing in some stories but graphic, no-holds-barred sexual activity is kept for my erotica.

If an author writes thrillers, westerns, sci-fi or other genres there ought to be sufficient time invested in character development, dialogue, imagery, pace and the accurate choreography of action. Any mention of sex will usually be incidental, except, of course, for romance, some paranormal and fantasy where it may go further.

An author who writes erotica is not out to shock—they are aiming to indulge their readers in the type of material they sought. This is not to say that character development and those other ingredients I mentioned earlier are not required in erotica—they are just as important. The erotica author must avoid sex becoming the ‘story’; an opportunity to be self-indulgent with repetitive and meaningless scenes of gratuitous carnal jiggery-pokery (mainly pokery).

In my ‘mainstream’ genres, there may be terms of endearment, a kiss or an embrace but they are strategically placed. Occasionally, in my erotica, there is less need for such romantic overtures, activity or subtlety. The characters might be more interested in mutual physical gratification than an emotional rollercoaster ride but there will still be character development and the activities are created with a purpose. It depends on the story.

I believe the author should strive to be faithful to the principle genre and whatever extended subjects it entails whether it be an action-packed or psychological plot, and plot or character-driven.

If you’d like to see ‘erotica’ as it once was, read ‘Lady Chatterley’s Lover’. Like most other genres, erotica has moved on and readers are no longer satisfied with what was once considered shocking—people want to envisage themselves in scenes which will (in most cases) forever be a fantasy. With the greatest respect D.H.Lawrence, move over my friend.

I’m a great believer in the use of metaphor if it spells something out clearly. I’ll summarise with two questions to authors who are trying to work out if sex ought to be highlighted in a story?

Would you wear flip-flops and boxing gloves to run a marathon, or perhaps mask, snorkel and flippers to ride a bicycle?

Let’s be honest—if it doesn’t look right, it doesn’t belong.

Thank you for reading, and any comments.