Settings

A writer wants the setting of a story to open the imagination of the reader. That's why so many classic English romances are set on the desolate, windswept moorlands, where anything can happen. Or think Manderley in Daphne du Maurier's Rebecca. Erotic literature might rely more on setting than another genre. Nobody fucks in a vacuum. If the only real sex organ is the brain, then the feel, scent, and texture of the surroundings are as important to an erotic experience, real or imagined, as the bodies and voices of the lovers.

               Isolated settings are erotic. So are settings of wealth and luxury. I try to combine luxury and isolation in my settings, such as the anything-goes private resort island in my novel Clytie, the  boudoir in the private jet in my novel Mandi, and the penthouse where Mandi labors to please her master under the libido slavery of the Master Genie drug. My story Minotaur begins in a high-roller casino penthouse in Las Vegas. My story Huntress, set in a stone cottage deep in an English forest preserve, has the rugged luxury of roaring fireplaces and a feather bed with animal skins for blankets, plus and endless supply of solar-powered hot water.

               So it was with pleasure that I finished last night's writing with an idea for a scene involving an f/f/f/ ménage in the shower of a super-luxurious motor coach.  I woke an hour early this morning, in order to have time to write it in full before I went to work.
      
         The shower is a glass tube sized to fit one person. What three limber, hungry, soapy bodies can do when squeezed within the slick tube is a real imagination-opener. One of the ladies winds up in the splits, with a foot on the floor and the other foot touching the shower head.  Her two companions….well, you'll have to read the story. It's titled Cassandra, and it's scheduled for July 15 publication by eXtasy Books.