Requesting help from readers/writers of erotica.?

Question

Previously posted but didn't get an answer that worked for me....

I am writing an erotic novel length story (for a website, not necessarily to be published in book form). In this novel an FBI agent is pursuing a sexual deviant (involved with many of our taboos involving s*x). However this deviant has influenced others in the town into taking up a similar lifestyle. Therefore I imagine having scenes that would not necessarily have either the protagonist or antagonist in them. Because of this I am not sure how to structure the book (i.e. how do I write scenes where neither main character is present). The scenes are important as it shows the effect the deviant is having on the town. Any suggestions from readers/writers of erotica?

Answer 1

You can use an omniscient voice. In other words, the story will be told in a voice that "knows all." This voice will not be a character as such.

Another popular approach is one that many authors (not just those of erotica) use. Write separate chapters with different voices. That way you can have chapters from the protagonist's point of view, the antagonist's point of view, and from the "omniscient observer" that I mentioned in the first paragraph.

I hope this helps you.

Answer 2

Many novels shift viewpoints.  It is a common device to move the story along, as well as to learn more about your protagonist without having it come from his/her own mouth, or adding tedious narration.

I would suggest starting at one of your erotic scenes.  Something interesting to hook the reader, but not your strangest.  Have the FBI agent come to the door.

You also need an opponent or opponents of some sort.  How about the self-appointed minister of the "Church of Free Love?"  The minister can be a suspect, appear at more than one of your scenes, and provide narrative continuity and a convenient foil for your FBI agent.  If not, a similar character or characters would be helpful.  It would also add useful tension if there was some attraction between the two.

Answer 3

At the risk of repeating myself...

t can be quite a challenge to figure out how to give information to the reader when your POV character is not present. That's a hurdle the writer has to learn to jump. Some shift POVs as needed, but if the only reason is to present information, publishers consider it amateurish. Do it less than skillfully, with your purpose visible, and you are guaranteed a rejection.

What you need to be doing is studying how other writers solve this problem. Read outside your genre, ideally in a genre in which this is the norm, like a thriller, police procedural, or mystery written in either first person or limited third person POV.

Pay close attention to how their authors solve exactly the problem you face. How does thee POV character know what's happened when s/he is not there to witness it? Make a literal list of all the ways the authors in these genres give the character--and the reader--this necessary information. Those are *your* ways, too.

Authors do it all the time, so skillfully it's invisible unless you're looking for it. So go look for it.

Answer 4

Try writing in the third person.