by Briana MacPerry
We've all read
them: love scenes that drag on and on, using words that would work better atop
a Ritz cracker than on the page of what's supposed to be a scintillating novel.
And we've all done it: slammed the book closed and tossed it across the room,
when the most respectable character magically turns into a porn star at the
sight of an erect penis. But don't be too hard on the author. Writing a sex
scene that is also a love scene is a precarious dance, one involving a
three-step tempo. So how can you become the next Dancing with the Stars champion?
Learn the basics.
1. The
pacing must be perfect.
In
a love scene, you should slow the pace way down. Focus on the five
senses and how they are being stimulated. Does the lace of your heroine's bra
cup itch, thus keeping her nipples stimulated throughout dinner? Has the smell
of the hero's cologne driven her mad all night? What does it feel like when the
hero unzips her dress and her flesh is exposed to the chilly room? What is the
difference between those goosebumps, and the goosebumps she gets when he licks
her navel with an ice cube in his mouth? What images does this conjure for her,
and how does it make her feel? Slowing down the pacing allows us to understand
the relationship between what is happening externally, and how it affects our
protagonist internally.
But please
note, slowing down the pace is not an excuse for focusing on boring,
meaningless prose. We don't need to know the hero passed three doors on the
left, then took a right, then climbed five stairs, then turned left, then
nudged a squeaky door open with his foot and took seven paces to the bed where
he finally raised a knee and dropped her ever-so gently on top of it. "He
carried her to the bedroom," would cover that part of the journey most
succinctly.
2. The
actions and reactions of the participants must be organized and believable.
There is a sequence in which human
beings receive and experience sensorial stimulation, and there is a uniform
manner in which to write about it. Dwight Swain asserts using
Motivation-Reaction Units (MRUs) is the "magic key" to compelling
fiction.
Motivation is
external and objectively observable. For example, "Dylan stared deep into
Mary's eyes and touched her face." The Reaction is internal, subjective,
and has three parts: a feeling and a reflex, followed by rational action and/or
speech. For example:
Feeling:
"Mary's cheeks warmed. A tingling sensation burgeoned between her hips.
" (You show this first because it happens instantly.)
Reflex:
"Her hand shot up and cupped his fingers, removing them from her sensitive
skin." (You show this second as an instinctive result requiring little
conscious thought.)
Rational Action
and/or Speech: "You know I can't. You're married." (You show this
last, when Mary has had time to consider her emotional reactions and act in
accordance with her ultimate goals.)
3. Character
conflicts must be addressed and transformed.
Remember, this is a love scene, not a "just
sex" scene. And in order for it to be a love scene, it must be intimate.
And in order for intimacy to occur, it must tap into the characters' internal
conflicts, and transform them. Practically speaking, the sex must be a
metaphor.
We all know the
image of The Sexy Librarian: stiff and strict on the outside, but a disinhibited
wild cat on the inside. Native Americans use the term, "Big good, big
bad," to describe this pendulum swing. Freud used the term
"Repression." But the important thing to remember when writing a love
scene for a strict librarian, is to ask yourself, why is she rigid? How did she
become that way? And how can she learn to loosen up?
If your rigid
librarian is about to have sex, it is unrealistic to assume she'll suddenly
flip like a switch and fulfill a man's every fantasy. And if you make her do
that, you will lose credibility with your readers. She might have a sensual
kitten buried inside, but she's more likely to claw a man's eyes out than let
him get within an inch of her tail, unless he can challenge her emotional
defenses in a real way (i.e. produce a feeling of safety and intimacy, first).
There are a number of ways you can have the hero demonstrate he is trustworthy
leading up to this scene, but in the heat of the moment, try to think of these
things in terms of sex acts.
A strict
librarian appreciates consistency and practicality, and would need a slower
approach with increasing stimulation—aka, foreplay, and lots of it. A man
should demonstrate control over his own desire long enough bring her to the
point of climax, and then abandon it, so she is forced to break through her
rigid shell and express her deeply buried desires. She needs to know he has
enough control over himself before she can relinquish complete control to him
(i.e. allow her to let go of her Daddy issues). No swinging from the ceiling or
ten different positions for this gal.
In contrast,
let's say you have a Bohemian type heroine who is an unbridled spit fire.
Taking it slow and trying to lull her into a state of complacency might make
her feel bored, trapped, or manipulated. In this case, a man would need to make
a big impression and come on strong in order to get her attention. While
novelty might scare the librarian off, it could bait your artist, hook-line and
sinker.
In sum, keep
the pacing slow and to the point, your protagonist's actions and reactions
believable, and make sure the sex is both intimate and transformative. Follow these
three basic steps and you'll not only have the perfect love scene, but also
successfully move your plot forward with a significant turning point.♥
For several years,
Briana MacPerry has practiced as a Licensed and Board Certified Creative Arts
Therapist in New York City, working predominantly with traumatized women and
addiction. Currently, she teaches graduate level thesis writing and works for a
brain research and diagnostic facility. When she is not corralling her
four-year old son, she is slaving away at her passion's pursuit. To learn more,
please visit her blog at www.brianamacperry.wordpress.com, or follow her on
twitter @macperrytweets.
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