Writing A Tentacle Sex Story
Writing Any Story
Introduction
I enjoy writing stories about nubile young nymphettes being savagely assaulted by hideous monsters. So it's not as though it was even work. And I am also lucky in that once a story starts to flow, it is not difficult for me to write. Still, even though much of what I do, I do without thinking about it too much, people tend to ask how I do it. So I guess it is a good exercise for me to have to think about what I am doing, rather than just blindly doing it. That way I might find some things I could do better even while I'm trying to explain how it all works.
Of course, no-one can actually write a story for you. At some point you have to do the job for yourself. But in any craft, there are aspects of the creative process that can be done rightly or wrongly. And there are also ways in which you can modify either the way that you create, or your working environment, so that the finished product comes to life easier and better. By rabbiting on here for a page or two, I hope to either inspire you to do it yourself, help you do it better, or at least bring you to the conclusion that if I can do it anyone can!
But a word of warning before we start. Just because you are writing about beautiful young girls having sex with ravening alien mutants, it does not mean that the subject matter will disguise any deficiencies in your grasp of the English language. If you can't spell there are ways around it. But if you are unable to string two coherent sentences together, chosing to write alien Mills & Boon instead of doing an article on elephant-dung analysis will not fool your readers for a moment. Before you start any sort of writing, either make sure you can use grammer reasonably well, or make a feature out of your incompetence and call it modern art.
Incidentally, this page is me, writing about writing. So there is a lot of text on the page and no nice pictures or spiffy sound-effects. If you find this a problem then you should probably not bother going any further with this article. This particular article is also about general theories of writing that apply to any story. So if you can write but just want hints on the tentacle-sex genre, you may wish to skip to the next page.
Word Processors
Anyone who can remember the discovery of Tipp-ex as a major highlight of their life , while undoubtedly being sad individuals, will also remember their first word-processor as something akin to discovering the Grail, only better. The little beasts have undoubtedly done as much for writing as the invention of the fountain pen. But they have also made people lazy in exactly the way that discovering Tipp-ex did.
By all means use all the automation you can get away with. Word-processors, spell-checkers and grammar-checkers have taken a lot of the drudgery and distraction out of writing. And unless you enjoy making things difficult for yourself, this is a good thing. If you do enjoy making things difficult, you are in the wrong class. Masochism 101 is next door.
But it constantly amazes me that I can read articles in the national press where the author has obviously used a word processor with spell-checker. Then either through ignorance or error, s/he has used the wrong spelling of a word given its context and not corrected it. Spell-checkers are limited. If what you type is in their dictionary, they accept it happily. If you write 'Alice looked throw the keyhole' a spell-checker will ignore the sentence because each word is correct.
So you use a grammar-checker, right? Wrong! Most of the national press use programs such as Word, which has online grammar checking. But every grammar-checker that I know of will still ignore the example I just used. Computers are not intelligent and while the facilities incorporated into word processors have come on greatly in the past few years, they are no substitute for a knowledge of English and an eye for detail. If you want to cut corners like a lazy journalist, go work for a newspaper or magazine. But if you want to pass this course you will have to do better than that.
Use of English
You will have to accept that I use the word 'English' rather casually. I do not suggest that writing has to be done in the English language to be acceptable. If you want to substitute 'German' or 'Korean' feel free to do so. But I write in English.
So before you start writing anything, you need to be able to use English appropriately. That does not mean that everything you write has to be totally correct in its use of grammar. One writes according to one's subject matter and one's audience. A story such as this written in the style of a doctoral thesis would probably not be very entertaining. In this arena, you are writing casual action fiction. So your style of writing should reflect this. But at the same time, you should at least be aware of the rules you are breaking.
I may seem to be harping on about this subject. But it is the single most important thing you have to learn before you can write stories that are well received. If you are weak in your English abilities, work on improving them before you inflict your deficiencies on others. I'm not going to teach you the correct use of grammar. That is not the purpose of this article and besides, it's boring. Go to an evening class, or take a home-study course. Read books, for God's sake! You'll never learn to write by watching TV but if you read regularly, it will have a cumulative effect as you absorb the grammar along with the stories.
At first, you will find that your style imitates that of the people you are reading. But as your experience grows, you will develop your own format. Not that you will ever stop being influenced by great writers. I am and if you look for it, you will find passages in my stories that have been influenced by authors far more adept than me. I don't see any problem with that. In any art you learn by studying the works of those who went before. And as with any other art, the more you read and the more you write, the better you become.
Conversation
When using grammar, it is also important to think of its context within the story itself. While you will develop an overall style appropriate to your subject and audience, that style should change within the story itself to reflect what you are writing about. The biggest change in grammatical style should come in conversations between your characters. Descriptions can go some way to make your creations more than two-dimensional comic book figures. But to flesh them out, they need to talk to each other.
Let's face it. I don't talk in the same way that I write. And my characters shouldn't talk even in the same way that I talk, let alone in the way that I write. So as part of character development, you need to think about how these people would speak and adjust the grammer in their conversations to reflect it. By all means, if your character has the IQ of a New York City policeman, use rudimentary English and fractured grammar when he is talking. It adds to the realism. But don't fall into the trap of making all characters speak in the same style. Try to establish individuality through the way they speak.
Some lazy authors use their characters to explain large parts of the plot. I assume they get this from TV, where characters have to use conversation to explain any activities that cannot be guessed by looking at the picture. That is not appropriate in writing. If the heroine is about to be ravished by a six-inch thick tentacle, she is not likely to say 'Oh my goodness. The rock we found must have been the egg of a space-going mutant sea-anemone which only breeds once every twenty-three years but when it is that time it has sex incessantly for thirty-two hours and six minutes. By putting it in an egg-cup and hitting it with a spoon, we have inadvertently released the beast at just the moment it is ready to start its breeding-cycle and since I am the only female within thousands of light years, it is probable that I shouldn't put anything else in my diary for the next day and a half.' That sort of conversation is just the author taking a short-cut to explain story background, when in reality the girl would probably say something like 'Jesus Christ!!!! Get that fucking thing away from me! NOW!!!!'
Conversation is not easy to write realistically but it can add enormously to the effect of your story. Most people talk to each other in real life and they should do so in stories also. When you visualise the appearance of a character, try and also hear them speak. And think about how their way of talking would change given different circumstances. Someone frightened, or bleeding to death, or in the throes of orgasm is hardly likely to speak in the same way they would if they were sitting in an armchair drinking beer and watching TV.
Action
Another area in which your style of grammar changes within a story itself is to reflect what is happening that moment. Descriptive scenes tend to use longer sentences and be more full of adjectives. Action sequences tend to use short sharp sentences which reflect the tenseness of what they are describing. Suspense has to be built without the convenience of background music and is often achieved by chopping between two different scenes, the tension mounting as they converge.
Poor examples but they will probably give you some idea of what I am trying to get across:
Description:
The lush green jungle swept majestically down the steep mountainside to meet a thin line of flawless golden sand, which in its turn was lapped by a lazy, azure-blue sea.
Action:
Shots rang out. The squad dived for cover. Fred fell screaming to the ground.
Suspense:
Caroline pedalled away energetically at the exercise bike, her back to the vent. Deep within the air conditioning system something stirred, possibly alerted by the noise, or by the sharp tang of sweat. As the young girl pumped away, large breasts bobbing with the rhythmic movement, her thoughts dwelt on last night. The squid shape bunched itself up and headed blindly towards whatever had attracted its attention. Caroline felt the hard saddle press into her mound. It reminded her of Bob's hand. Heedless of the movement behind her, she dreamed of a repeat performance.
So grammar changes to enhance the current aspect of your story, whether it be conversation, action or description.