E for enticement #A-ZChallenge

e-buttonOne of the best things about being an erotica writer is I get to talk *enticement*, and I get to talk about it as if it’s something I’m only writing about out of basic interest, when in truth I’m a linguist – I love language, I love talking about it and I love looking at the differences between language usage in different places.

Prepare for the geeky part

en·tice transitive verb \in-ˈtīs, en-\

To attract (someone) especially by offering or showing something that is appealing, interesting, etc. (Merriam-Webster)

So, that’s what entice is.  But what’s that got to do with erotica?

I guess the important thing to remember here is that erotica is all about teasing the senses, and giving people something to really get exicted about.  It’s not just about the physical thrills (as Pavarti pointed out in a comment earlier in the week) but about the mental ‘feel’ as well.  And when all we have is language, our very words have to be as enticing, inviting and ‘scene-setting’ as possible.

Enticing through the ages

I think it says a lot about how sensual we’ve become again, and reawakened our internal enticement in the last few years.  I think it’s to do with our societal norms now (and not just about erotica) and how we use our senses.
uses of entice, googleDon’t believe me?
Check out the graph I got, when Googling entice. (expand the box at the bottom, if you can see it!)

we’re not quite back at our pre-1950’s peak, but we’re getting there.  And I think that’s because we use ‘entice the senses’ as an instruction for writers, we use it when describing just about anything we can buy for ourselves….there’s even CAT FOOD that uses entice as a description.

Back to erotica

We are an erotica blog, so I thought I’d share some stuff that works for ‘enticement’ – it also comes back to the very basics of porn versus erotica/writing a story versus writing a sex scene.
To really engage and entice people, it’s all in the details.  Where are their hands, what are they doing?  What is the character thinking? (tip, unless one character or both are telepathic, you shouldn’t see both of their thoughts).  What sensations are each feeling?  Rewind a few minutes – what led up to this meeting of bodies and minds?  Is it still something they should be thinking about?
What’s the story?  What’s the reason for the meeting?  What’s the aftermath? (there’s always ALWAYS an aftermath, even if it’s implied because the story stops with the embrace).  All of this involves enticing the reader, getting them to invest in the story.

Once you’ve worked out what you want to do and how to build the story around it, start investing emotions.  High emotion can sometimes seem very soap-opera, but at the same time, not imparting any emotion at all will leave you with flat characters and disinterested readers.  It’s also important to remember that motivation and emotion and action all need to match, and be believable for a character.  If you’re talking about a woman who distrusts every other man, is sassy and kick-ass, she’s not suddenly going to go all meek, mild and passive the first time the guy looks at her.  Keep some of the fight!

So now, I’m going to turn it over to you, the blog reader.  Share up to one paragraph (let’s keep it to 150 or so words max) of your favourite enticement.  You can share your own blog link, or the link to your book, but we reserve the right not to approve comments that don’t match the following:
Book link/blog link.

Author: Fayth

Fayth is the lead administrator/managing editor of this site. She writes BDSM and erotica based stories that examine relationships, trust and freedom. She also runs The Switch's Guide to Erotica, a blog that talks about the best of the erotica community. Fayth is an alterego.

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  1. “E” for Excellent, Fayth.

    From Sorting Will (A Crow Creek Novel, book 4). Sam Turner is so far into the closet, he can barely comprehend why his straight life—his marriage, the kids, his job—mean so little, why he craves illusions. But Will Halliday is far from being just an illusion.

    It began with the beginning, with Will Halliday. Just shy of six feet, he’d be in the doorway long enough for awareness to take hold. His head was bent, the curls unruly, plastered to his forehead. Hat head, he’d called it. That hat, maybe a coat, even the shirt … none of that registered clearly. Shadow details. Not worth remarking, except for the boots. Scuffed, worn, dirty like a good man’s boots should be. He had a snapshot of that. Inside his head: two, side-by-side on wood flooring, the toes in an uptick, heels down. Mimicking … something.
    The left side of his brain wanted to take note of the jeans but the right usually won out. They’d go shadow with the rest and then Will would be the comfort in his arms, softly yielding. He’d wake up with a pillow in his grasp, like a lover. And a sense of being incomplete, partial. It was a persistent notion that he’d blinked at the wrong moment and missed something important.


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  2. Great post, Fayth. You’ve given me a lot to think about in my future writing.

    Enticement is hard for me because I tend to write very bluntly. I’m in awe of wordsmiths who can weave magic in their storytelling.

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