Freebie, until 30 September!

32763 Xcite, who published it, tell me that ‘First Day at Work’ has been chosen to be a free iTunes offer for September, ending on the 30th September.

The picture (left) is a clickable link but here is another link to the iTunes download.

‘First Day at Work’ is a short story (about 6000 words, 17 pages on a Kindle reader) concerning someone who takes a new job and discovers the warehouse stocks a wide selection of sex toys. She then discovers the people working in the warehouse have some rather intimate relationships that involve those sex toys, and more. You can guess what happens next…

It’s a fairly early example of my writing, but if you like it you can check out the ‘Our Publications’ page above to see more recent stories, novellas and novels.

The story may or may not attract an Amazon price match (it hasn’t so far). But you can check it out for yourself at Amazon.com or Amazon.co.uk.

 

Tips For Writing Erotica

There is a great deal of erotica out there these days, and Fifty Shades has broken down some of the mental barriers people had about reading erotica and fetish. Whether you are writing romantic , mystery, fetish or paranormal erotica, the same basic principles apply.

How many stories tread the well worn paths of hackneyed plots? You know the ones. The plumber who seduces the middle-aged housewife, the delivery guy who delivers more than a parcel, the secretary and her manager on the office desk. Boring! Sorry, but I lose interest very quickly if the plot is too obvious. So try and think outside of the box, or even throw the box away.

For example. I was working to a call for submissions on the theme of ‘Sex At Work’. So, rather than the office or the plumber, I decided my place of work would be a zoo and the characters two of the keepers. Surprised? That doesn’t sound like the setting for erotica, does it? But my story ‘Tropical Paradise’ had my couple  getting together for clandestine meetings in the steamy, romantic setting of the tropical house in the zoo after hours. Birds copulated above my couple, amongst palm like trees and gorgeous tropical flowers. It was duly accepted for the collection Xcite published, was used as the lead story and inspired the cover for their five story collection and titled Tropical Paradise. It has had great reviews.

(If you want to find alternative sources for Sex at Work and Tropical Paradise, check out the ‘Our Publications‘ page on this blog.)

So try and find your own, unique take on a theme. Readers will thank you for it.

Another common mistake writers make it to tell you what is happening. Show, don’t tell the reader. Your goal is to fuel their imaginations, especially in the field of erotica. They want to go on a journey, escape real life and do stuff in their heads they can’t do or get in reality. If you tell them what is happening, there is no room for them to imagine. For example:

‘She was very excited.’

OK, you’ve told them she’s excited. But can they feel it? How about this instead?

‘She gasped. Her heart pulsed wildly, her eyes widened and her skin tingled as she lay there.’

Are you with her now? Can you empathise with her? If you can, you’re in the story, living it with her. Which is as it should be.

OK, you have a setting that’s fresh and exciting, maybe even surprising.  You show the reader what’s going on. But who are these people inhabiting your story? They must have personality. Although you may not actually describe them in detail, you must know who they are to write their narrative successfully. Have an idea how old they are, how much experience they’ve had, where they are from and are they characters the reader can have some empathy with?

It is not enough that they have supermodel looks. By the way, most of your readers are probably not gorgeous (and know it), don’t have perfect bodies and probably are riddled with insecurities, as most of us are. When they read, they want to be in that wonderful fantasy world where everything is fantastic. They will fill in the looks of their characters to suit themselves with little encouragement. So keep descriptions of looks brief, and give a hint of personality through their narrative.

Keep the pages turning. What does that for you? Usually for me, it boils down to action and suspense. What will happen next? If the plot is hot, I will want to know, so I’ll keep reading. Also, if I don’t care about the characters, I won’t care what happens to them, and I’ll put the book down. You obviously don’t want this to happen. So give your readers characters they can identify with or love or hate. They key thing is that the reader cares about them.

Example: Amanda is thirty-four. She’s not new to sex, and she’s not new to her particular fetish. Which is being tied up, blindfolded, teased and given forced orgasms. She’s a woman with a sense of humour, a job in retail and a partner who loves to see her struggle when they play their games. He’s a sweetie. Really very gentle, but when they play he takes on a role and sounds quite menacing. But you don’t have to tell the reader all that. Let the story and their characters unfold. If you know your characters, like you know your friends, they will come to life. Having an ‘edge’ to one of your characters (like Amanda’s partner in play mode) helps to add that sense of suspense. If you’re not sure what he/she will do next you’ll have to keep reading to find out, won’t you?

Now, how did you start your story? Are there pages of preamble, long descriptions of place and time, preparation and other not-too-relevant details? Why not dive straight in, making the reader want to know more. Your character might already be tied to the bed, sweating and shaking and waiting. What for? What will happen to her? These are the page turning questions your reader will want to know the answers to. If you can grab them in that first sentence or paragraph, all you have to do then is deliver the answers in an exciting way.

Now you’ve sorted out your setting, who your characters are and what they are experiencing, you write your story. It starts in an attention grabbing way, and when you’re finished you’re pleased it’s turned out well. Next you’ll need to edit it. Is there stuff in there that is telling rather than showing? Fix it. Is there a boring paragraph or page that doesn’t add anything to the story? Does it slow the reader down or bore them? Remove it. Can you improve any of the narrative? Do it. Then put it away for a week and don’t read it.

Then comes the last stage in the process. Re-read very carefully. Check again for all the points above. If you’re happy with the content, you’ll want to check spelling. Don’t just rely on spell check. It won’t tell you if you have used the wrong spelling or word for the context. So if you meant frigid and wrote fridge, or wrote bean and meant been, it will be missed by spell check. Then check for punctuation. Are speech marks in the right place? Are commas used correctly? If you’re not good at this it’s worth drafting in someone with a good knowledge of English and a keen eye, because it will put off a lot of readers if you publish with lots of mistakes.

Remember, it’s better to hold back from submission or publication until you are sure you have the best story you can write. I hope I’ve been able to help a little in your achievement of that goal.

– Velvet Tripp

***

If creative writing is your thing, there are plenty of more detailed ‘how-to’ guides around. You could look at Kurt Vonnegut’s Eight Basics of Creative Writing, or Neil Gaiman’s eight rules, or find any of dozens of other sources from around the internet. They’re general guides about writing fiction but they apply to erotica just as they do to any other fiction. Or you could take the plunge and read M Christian’s guide, How to Write and Sell Erotica.

Jackie Adshead. Erotic Artist Interview

Witch

Jackie Adshead is an artist with a great interest in erotic art. We wanted to know more about her, and are convinced you will too. Her work is intriguing, very individual and beautiful. There is plenty more of it on her own website, which we’re sure you’ll want to visit once you’ve read her answers to my questions.

To start with, what is your artistic background?
I’ve spent all my life painting pictures. I’ve never stopped since I first picked up a crayon as a toddler, and I had my first commission at the age of 13 for my history teacher at school, but the artwork has changed a bit since then! So I’ve always had the talent to paint within me, but I like a challenge, and love to be creative so for that reason I am probably unusual in that I will paint any subject matter, I don’t limit myself to just painting flowers, or animals, or landscapes, or people, or to a certain style. I love to paint in watercolours, pastels, acrylics or oils, and draw in pencil or ink. And do surreal, abstract, fantasy, as well as representational art. I am a painter rather than an illustrator in that I try to catch the essence and feel of the subject rather than a totally true representation. My artwork is softer than stark reality, accentuating the good bits, and lessening the bad bits. I am different to most artists in that I prefer commissions than exhibition work as I feel I have more empathy with my clients because we’ve discussed a special piece of art that they want me to create just for them.

How long have you been involved in erotic art?
About twelve years ago I started attending life drawing classes like most artists do, and I quickly realised how difficult it is, because if you draw a tree, it doesn’t matter if the trunk is a little too wide, or if one of the branches is too long, but it does if it’s a human body, the measurements have to be right, and the arms and legs need to look like they are all connected to the body and that the head sits on the shoulders. I found it very helpful for teaching me to look properly at a subject, but after a few weeks of being at the life drawing sessions and looking at the work I’d done, I wondered how I could make it look more interesting and life-like from the stilted poses that the model was in and I realised that it’s what I was leaving out that made the picture far more interesting, as it leaves more to the imagination. I didn’t need to draw all of the body of the person infront of me, for anyone looking at it to know that they had legs, or a back, I just captured where the light touched the body and found that anyone looking at it much preferred it as their brain was filling in the parts their eyes couldn’t see and it made it erotic because of that. And it evolved from there. Plus, wonderfully, I found that I got far better feedback for my erotic art than I ever did for the landscapes!

What started your interest in erotic art?
I can never get excited looking at a painting of a vase of flowers, as all you will ever see is the flowers no matter how well they are depicted so I’ve always preferred figurative art and the interaction between people. Life drawing though wasn’t enough of a challenge for me so the reason I started doing erotic art is because it’s the most difficult art to create I think; it has soft nuances, its challenging, and what I need to capture is that certain something, the essence, that will make the viewer feel erotic when they look at it. And that is such a subtle thing to do, and is something that may be different in all of us. And the vase of flowers would look far more interesting if the petals were made up of naked women, or entwined lovers!

What inspires your erotic art?
I love the interaction between lovers of both sexes, straight, bi or gay. I love the muscular bodies of fit men, and I love drawing women, as I believe all women can look attractive regardless of their age, race, or body size. I love seeing and drawing the curves of women and agree with many people that a naked woman is the ultimate piece of art.
I love it when someone contacts me and wants me to paint their passionate desires for something or someone that makes them feel excited.
I’ve always loved the dramatic strong light and darks of Caravaggio’s work and found it immensely inspirational, and use that powerful effect in my white on black erotic drawings.

What are the most important aspects of erotic art for you?
Painting other people and making them look good and feel good about themselves and their bodies. Making people feel empowered through the paintings I’ve done of them. Capturing the essence of a person and putting it into the painting. Knowing that the art I do is therapeutic and life changing in some cases.

There’s a lot of controversy about the difference (or not) between porn and erotica. How would you differentiate between erotic art and pornographic art?
Pornographic art leaves nothing to the imagination – it’s all there in stark sexual detail.
Erotic art is the sensual, and the suggestive which is far more sexy when you wonder what is going to happen in a minute…… what has that person done beforehand to now be in that position and place and time, and what are they going to do next? Or if there is more than one person in the picture then it makes it a little easier to imagine – so just think what a whole orgy could produce!!!! But I can draw an image where the woman in it is fully clothed and make it erotic just because of the look on her face or where one hand is carefully placed.

Are there messages in the art you produce?
There is always a message in art – even if it’s only a celebration of a simple subject matter. But, other than that, I love painting secrets and incorporating them in my artwork. I’ve painted erotic landscapes when the client has asked me to paint a typical scene but with an erotic couple hidden within the painting so that people viewing it wouldn’t know unless they looked closer or had it pointed out to them. And also I was commissioned to do a painting for a woman who wanted an erotic picture to hang over her bed that her four year old son wouldn’t recognise as anything other than a landscape. She wanted me to paint an erotic landscape where the couple are actually the geography of the land. And to innocent eyes, this picture is nothing more than a view of Lands End. But to less innocent people, it is far more than that. You can see the man and the woman within the picture, and you can see that they are having sex. It is both truly erotic, and an innocent landscape, and I loved the challenge of creating it for her!
But as well as that I love hiding the subject matter within my art too – like my collection of “Fantasy Fannies”- which are erotic feminine paintings that just look like brightly colourful abstract shapes, but are actually a very intimate picture although most people looking at it wouldn’t have a clue – which makes it the ultimate conversation piece as far as I am concerned! They are portraits but not the traditional ones of the women’s faces. They are currently hanging on walls in America, and England, and a woman contacted me from New Zealand in raptures over them and the empowerment they stood for. I love the fact they are affecting women worldwide. I painted one for a woman in Canada whose young step-son described it as “the sky diving picture”, because that was what it looked like to him. I just have visions of him looking at it in a few years time and thinking “Oh, that’s not sky diving at all!!!!!”
And I like to hide secret messages within my art too – like when I was asked to do a painting for a couple from London of a particular village in Southern France that they had visited a lot, and I suggested that they might like their initials hidden within the buildings itself. They loved that idea, as it made it far more personal to them, but I knew we were going to have a problem, as did they when I mentioned it. So, I had to just put in just their initials, and not the “and” part – since otherwise it would have spelt out “M & S” or better still “S & M”!

Where do you see this type of art going in the future?
I think more and more people are plucking up courage and willing to pose for an erotic artist, and I know that people like to see what they look like through another person’s eyes, and I know I have been good therapy to some of the people who I have drawn, because they’ve told me so, with emotion in their voices. So I think it will become more main stream, although some people are still worried what their family or neighbours might think if they see an erotic picture on their wall even though we all look at erotica and love it and know others do too.

Do you have any advice for aspiring erotic artists?
Follow your passion, and try to touch people’s hearts and hope that they feel more enriched through how you depict them. Leave something to the imagination. But most importantly try to bring pleasure to people through your art.

Thank you Jackie. We look forward to seeing much more of your work.

VelvetTripp

DauntedJackie can be found at

Her website www.jackieadshead.co.uk

Her blog www.jackieadshead.co.uk/blog

Facebook www.facebook.com/jackie.adshead

http://twitter.jackieadshead.co.uk

Feedback?

Not much posting going on here recently, but that’s because not much erotica’s been going on. Our creative juices have been flowing in other directions. However, insofar as I’ve found time to write erotica, it’s been experimenting with some slightly different ideas. In particular, trying to move away from the rather tedious trope of dominants being immensely rich and powerful with their own castle or penthouse or whatever with its secret, custom-made dungeon. Also in particular, experimenting with bringing little dollops of social theory into stories in an explicit way, usually to show that the characters have lives outside bdsm, were paying attention in school (some of them anyway), and have some reflective capacity about what they’re doing and why they’re doing it.

So what follows is a short extract from a work in progress. It’s the start of a scene where a young woman who works in a home improvement store gets to see exactly what her favourite customer has been doing with the wood, screws, shackles and hooks he’s been buying. And ultimately how he’s modified the electric saw.

The question is, do you like the way it’s written? Does the self-reflective stuff intrude or add to the story? Comments welcomed…

 

***

 

Fulani opens the door, invites me into the hall. Hangs up my coat, puts my bag down in a corner. Inspects me, in my underwear and hold-ups and boots. Apparently he’s impressed I came stripped for action. Semi-stripped for action. Spins a finger to tell me I should give him a 360 degree twirl.

‘Very good,’ he says.

The side table has stuff on it. Stuff that’s been put there for me, I guess. Leather cuffs, wrists and ankles. Same with the collar. And this is the business, fits on with little padlocks. I won’t be getting out of these until he decides to let me go.

‘Only thing is, for the kind of party this is, you’re a little overdressed…’ The fucker has scissors there. Cuts off my best bra and sparkly G-string. That, right there, is him marking ownership. Your property is of no consequence and I am entitled to destroy it. Your skin is mine to display naked as I see fit. Symbolic, you see. Yeah, I did sociology at school. Symbolic interactionism and stuff.

‘I’m at work tomorrow,’ I remind him.

‘I’ll make sure you get a couple of hours sleep.’

‘It’s okay. I’ve gone into work before now on no sleep at all after being out clubbing.’

He just gives me a lopsided smile and sticks a leash on the collar. Makes me kneel down. I figure what’s coming. Open my mouth ready for it. I knew I’d end up sucking cock. Hey, I enjoy it. But I did think it’d be longer than thirty seconds before I had one in my mouth.

Not that it’s a problem. Not a problem at all. It’s just a mindfuck, a reversal of the usual drink-talk-kiss-pet-fuck scenario. Another bit of symbolic interaction, a prove-you’re-really-submissive challenge. So, on my knees, mouth open, I prove it.

After I’ve proved it, I make my entry to my first fetish party. Nude, hands cuffed behind my back, on the end of a leash, drying spunk on my chin and tits, feeling like a human sacrifice about to be thrown into a pit of wild animals.

Did they throw human sacrifices to wild animals? I don’t know, but that’s the thought in my head.

-F

Seducing the Myth (and other news)

Yes, time goes quickly. Only recently back from one trip away and just off on another. Hopefully we’ll have time to do more fireplay, and get some video as well as still shots.

Meanwhile, Fulani’s been busy experimenting with new jute rope, so expect a somewhat technical post on ropework sometime soon. Velvet’s been processing pictures and writing, so expect more from her sometime soon.

And the other news is that Fulani has a short story in Lucy Felthouse’s edited collection Seducing the Myth (link to Amazon.co.uk, opens in new window), which has been available for the last week or so except we’ve been slow on the uptake.

If you’re in the States, the Amazon.com link is this one.

The collection as a whole has 24 tales that lead you on a decadent journey through mythologies the world over. Stories come from Greek and Roman periods, plus Arabian, Arthurian, Hindu, Jewish, Norse, Slavic, Sumerian and Welsh myths and legends. Add in a delicious sprinkling of fairies, mermaids and ancient fertility rituals and you have a recipe for a wickedly erotic read!

The full list of contributors is: Louisa Bacio, Lexie Bay, Rebecca Bond, Shan Ellis, Justine Elyot, Lucy Felthouse, Lisa Fox, Fulani, K D Grace, Bronwyn Green, Hawthorn, Caz Jones, Burton Lawrence, Maxine Marsh, J. C. Martin, Jillian Murphy, Lydia Nyx, Rachel Randall, Kay Dee Royal, Toni Sands, Indigo Skye, Elizabeth Thorne, Saskia Walker.

Fulani’s story, ‘Andi in Chains’, is a retelling of the Andromeda myth in a pulp fiction style (well, why not?). Teaser:

Forget the rumours. Here’s how it went down, for real. Andromeda – we always knew her as Andi – was one of those rare beauties, the kind who look like a porn star except none of it’s fake. Masses of wavy blonde hair, nice figure, long legs, lips the colour of pomegranate seeds. She knew it, too. Always in shorts or miniskirts and tops that showed a good bit of cleavage.The thing was, none of the guys would touch her. Word on the street was that she was still a virgin, which in this neighbourhood was nothing short of miraculous. Most of the girls here are well on their way to being mums or prostitutes, or both, by the time they’re fifteen.
There was a reason why she was off limits. The reason being her dad, Ceph, was the hardest, nastiest Class A dealer you could think of. You don’t get to be that way without putting a few people six feet under, and everyone knew he’d done it. One time he even nailed a guy’s dick to a telegraph pole just for “looking at Andi the wrong way.”

Have fun!

The cover story – free erotic fiction by Fulani

As promised, here’s the story inspired by the cover image of my new story collection. The image itself is in the previous post and this story isn’t in the published collection, obviously, because I first saw the cover myself only a couple of days ago. And I should point out the collection itself is considerably more explicit. Renaissance have tagged it under their ‘extreme’ category…

And the collection, again, is Hanging Around, published by Renaissance Sizzler Editions.

***

The Cover Story

Mariska’s journal was a complex thing. It contained diary entries of places she’d been and stuff she’d done, and musings on fantasies she’d like to act out and fantasies she wouldn’t. It had rants about what was wrong with her life and what was right. It had worked-out arguments about why society was fucked-up about sex, fetish, morals and money. It even included some short stories.
And now, with names changed to protect the guilty, it was about to be published.
Which led to a question.
The cover.
“We could just go with some graphic design, or an illustration or a stock photo,” J said. “But from a sales point of view it would be much, much better if there was an actual pic of you on the cover, preferably doing something kinky enough to get people’s attention but not so kinky it scares people. I don’t suppose…?”
No. She had no such pics.
She did have pics. Tomas, for whom she was muse, had painted and drawn her often enough. The paintings were abstract, the drawings all too graphic. The kind of thing that might scare people. She had photos, shot by Felix. There was, for example, the deliberately soft-focus and grainy black-and-white of her with her hands tied, sucking off Emma’s husband whose name she somehow couldn’t remember. The photo had even been exhibited at one of the city galleries. The memory – of the event itself, and the exhibition – made her warm. But it wouldn’t work as a book cover. The other photos she remembered were far too kinky and explicit. They wouldn’t project the right image.
Mariska was amused, because it was the first time in her life she’d had to worry about projecting the right image. It was a novel situation.
J was characteristically inventive and yet pragmatic. “We need a shot of you in bondage, but clothed. The fast solution is to do it here, in my office. I know a guy who does a lot of traditional shibari work; I know a freelance photographer. The whole thing would take a couple hours. All it depends on is you and them meeting up to see if you’re comfortable working together.”

***

It was strange to be in a regular bar, the kind where the carpet on the floor didn’t stick to your feet, people wore regular everyday clothes and cocktails were served. Mariska had come to associate drinking alcohol with leather, rubber, raw brick and concrete walls, chains hanging from the ceiling. She smiled to herself. Those mental connections told her a lot about how her life had changed in the last year or so.
She’d chosen a severe, businesslike yet oddly gothic outfit: pinstripe blouse with a black tie, stretchy black skirt of a conservative length, but holdup fishnet stockings and boots with adventurous heels. She felt good. She felt like a writer. She felt like she was projecting an image. An image of a slightly skewed and individualistic worldview.
They made an odd trio. The photographer, W, was younger than her. Earnest. Dressed in jeans and T-shirt, the way photographers always are. Trying to make an impression, reach out to her. He was sweet. The bondage rigger, F, was maybe a decade older. Quiet, better dressed, with an air of Zen calmness around him. Didn’t try to play the dominant. “I see myself as an artist in rope and flesh,” he said. “My aim is to create something that looks good on camera. It’s always a pleasure to do that, but in this case it’s strictly business. I tie you up, make sure you’re safe, and take you down again when the pics are done.”
Mariska warmed to them.
“So let’s do it,” she said.

***

It felt freaky, helping F build the suspension frame in J’s office. She was helping to create the instrument of her own bondage, and it was happening in a bland office environment, a desk in one corner of the room, filing cabinets, a calendar on the wall showing publication dates for books – including Mariska’s own.
They moved the desk, set the frame up in front of a sofa. Mariska took time out while W muttered to himself about white balance, went to the restroom. Examined herself critically in the big mirror. Decided that the stockings were fine but panties would show a visible line through her skirt, and removed them. Decided ropes over her breasts would be more comfortable without a bra, and removed it. Touched up eye shadow, applied lipstick. Took three deep breaths and figured she was as ready as she’d ever be.

***

F was quick. And effective. Mariska was swinging in midair inside a couple of minutes. He hummed quietly to himself, checking the way the ropes hung, the distribution of her weight on the ropes. Suspension was tough but bearable. She had to learn a new way of breathing, almost like scuba-diving. Began to trance out.
Began to fantasize.
They were on the third floor, but there were no curtains. Evening light flooded the room. Was someone, maybe in an office across the street, looking out and seeing her exposed and vulnerable?
And what would it be like, now, in this unfamiliar place, to have these two guys rip her clothing from her? Take her, one in the mouth and one in the pussy, swinging helpless between them? Each one thrusting at her, pushing her against the other cock?
Suddenly she was horny as hell, filthy hot and shivering. Lost in a craving for contact, for sex, that was increased by the pressure and restriction of the ropes. Made intolerable by the gentle swaying that resulted from any small movement. A rope running between her labia, across her clit, would be… desirable. She became aware she was whimpering, moaning, with every breath.

***

They didn’t do it. Didn’t strip and fuck her. They were well-mannered professionals, hired to do a specific job. And she’d lost the power of speech, couldn’t articulate her need.
Later, looking back, she thought that was probably a good thing. Fucking would only have complicated the situation. Made her appear unprofessional. It wouldn’t have been the kind of fucking relationship between a model and an artist, or artists; more like a junior exec fucking hired help from the temp agency. It probably happened. A lot. But that still didn’t make it feel right.
Instead, they let her down, wrapped her in a blanket – because when the ropes came off she felt cold. Gave her coffee. Let her come round. She felt light. Ethereal. Yet desperately in need of pain, and of sexual release. In her case, the two were usually intertwined.
Taking her leave of the two men and the office, she took a taxi to Tomas’s studio. He opened the door to his muse, barefoot, wearing scruffy shorts and splashes of oil. She didn’t care.
He admired the rope marks imprinted on her skin. Some other time, he’d probably have wanted to sketch them. But her visit was urgent, and the high roof beams in his studio were ideal for her to hang from, naked and in chains. She received pain and sexual release. Simultaneously. Intertwined.
She slept peacefully in Tomas’s arms, in his bed, warmed by the welts he’d placed on her skin. And she dreamed of another time and place, and two other men.
She had the numbers for the W and F, the photographer and rope artist. Maybe tomorrow she’d make a call. Or the next day. See if they could arrange another session. A more recreational session.

***

The cover photo, when she eventually saw it, was good. Set on its side, it conveyed the impression she was flying. It captured her response to the suspension. It projected the right image. It captured her intentions for the future.

***

And to save you scrolling back to the top of this post: the collection is Hanging Around (link opens in new window).

Go Find Yourself, by Velvet Tripp – now out with Xcite

Wanton Women cover

Wanton Women cover

We’re pleased to announce Velvet Tripp’s short story, ‘Go Find Yourself,’ has just been published in not one but two Xcite Books collections.

It’s in Wanton Women, a 20-story collection of lesbian fiction edited by Miranda Forbes and currently selling at £4.86 or $7.99.

It’s also in the shorter, five-story collection Submission in Silk, which contains stories by Giselle Renarde,  Velvet Tripp, Olivia London, Helen Dring and Alyssa Turner. This is currently selling at £2.23 or $3.67.

Both are available as e-book downloads.

Plot summary of ‘Go Find Yourself’:

Submission in Silk cover

Submission in Silk cover

Lisa’s divorce forces her to re-evaluate her life. Her memories take her back to her experiences and fantasies from her teenage years, when cultural taboos prevented her from following her longing for another woman. She feels she’s denied her real self for too long, and decides to take off on an adventure of discovery. She attends a “camp camp”, the ACCN, where she meets Ross, who captivates her and ultimately seduces her.

Enjoy!