Writing A Tentacle Sex Story 2
Writing An Alien-sex Story
Introduction
Much of what I have to tell you about here still applies to any other type of story you may choose to write. But since I prefer writing about tentacles and their effects upon young ladies, it's more fun for me to use those images to illustrate the points I am rattling on about. Besides, if you can do a better job of this, send it to me and if I agree I'll put your tutorial up in place of this one.
Story Outline
Before you start writing, it helps to have a few things. A word-processor is pretty well essential if you are planning to submit your work online. I'm certainly not going to try and decipher your scribbles and I doubt anyone else will either. Time is also useful, as is a location relatively free of distractions and a good supply of coffee. Having got those essentials, there are two possibilities. One is to start hitting the keyboard at random and hope that the man was right about the infinite monkeys. The other is to take a more structured approach.
Having decided you don't have an infite amount of time available, you need to have some idea what you are going to write about. While your mind may be pulsating with images of lusty tentacles and quivering orifices, you do actually need some sort of shell to put those scenes into otherwise it soon gets rather boring for the reader.
To make a realistic tentacle story, you need a sequence of events involving the characters you have invented. Some, though not all of those events should concern the intimate parts of young ladies and whatever you have decided to assault them with. Taken together, the sequence should give the reader a clear idea of where it happens, who it happens to and why it happens (as well as how it happens!).
There are two ways to approach this. One is to envisage a few scenes of tentacle-human interaction and try and decide how it could have come to pass. You can then build a shell around those scenes to explain what happened before. The other way is to send one or more nubile young ladies into harms way and see what happens to them. I personally prefer the second alternative. If you create female characters whose jobs or inclinations lead them into outlandish places, then you have a natural background and the story pretty much develops itself. Take an example:
It is a post-apocalyptic future where law and order has broken down. Remaining humans live by their wits or not at all. They tend to travel the ruins of society singly or in small groups, suspicious of strangers. Fallout from the advanced biological weapons used in the war has created various forms of mutants and the breakdown of civilization has led to a society based on petty warlords who control dwindling supply dumps.
So right away, you have a viable scenario in which to base your story. You probably have some mental images, especially if you watched any Mad Max movies or others of that genre, and your readers have a picture of how it might look in their minds also. You have set a framework in which young girls will be vulnerable to assault from both mutants and humans. Females probably have a value as pleasure slaves or as breeding stock for the future. Warlords tend to measure their importance by the size of their harems so there is scope for capture, bondage and rape of conventional kinds as well as by the mutants. There is also room for passing love affairs between male and female travellers, fighting, ecological messages and more or less anything else you want to throw in.
Of course, a scenario such as that one is large in scale and has the framework to contain a whole sequence of stories. You could have a heroine who goes from one adventure to another in the world you created, or you could have a series of independent stories, still set within your world but involving different characters each time. Not that you need such a grand scope for your background. For a one-off short story you can use the minimalist approach. A young girl suns herself on a deserted beach. When she falls asleep, the tide comes in and laps around her, the water warm enough not to wake her up. With the tide comes something else...... Or a plane crashes in dense jungle. Everyone is killed by the crash except the heroine who wanders for a couple of days before being captured by natives. They have never seen a blonde before and decide to sacrifice her to their god. So they tie her naked to a post to await the primeval monster......
As you can see, it is very easy to find a background in which to drop your heroine(s) and the monster(s). It needn't be an outlandish scenario. Find a way to bring horror into normal everyday life and you have a very effective strategy. Think as you read books or watch TV - can you adapt the scene to suit your own perverted purposes? Try not to get bogged down in details about a subject you know nothing about though. Chances are some of your readers will know more about deep sea diving or forensic science or whatever than you do. So either avoid scenes like that or keep the details hazy. Don't be tempted to bluff unless you set the story in the future and you can define your own reality.
Character Development
Once you have a background, you need one or more young ladies to populate it with (unless you want to do tentacle-gay interaction, which is beyond my scope). Depending on the scenario, you may want to include other humans, either as background, or to die horribly, or to rescue the heroine just a bit too late. Whatever characters (as opposed to extras) you have in your story, try and make each one individual. This applies not just to appearance but also to their way of talking and their way of acting. Female readers have to identify in some way with the girl being assaulted. Male readers need to feel in some way that the tentacles are extensions of themselves and that means that they have to want the girl being ravaged.
Incidentally, most readers do not take well to the ravaging of severely underage girls. If you want to skate close to the edge, you can hint at this as a way of establishing the absolute nastiness of the alien and to destroy any incipient sympathy for that character. But if you try to detail it in your story, you will undoubtedly get a lot of negative mail. You will also have exactly zero chance of having your story published on this site.
Try and picture the girl in your mind. Try to see more than just a blonde bimbo to the person beneath. What do they want, how do they react, what in their past has contributed to make them what they are today. If your knowledge of anatomy is limited, by all means use photos for your inspiration when describing body parts. But at the same time, try and imagine the girl as a three-dimensional person with needs and feelings and thoughts. If it helps, think about someone you know and graft a perfect body onto her personality. If you happen to know anyone with a perfect body, why are you wasting your time reading this?
You only need to define one or a couple of central characters this deeply. Peripheral characters can be sketched in much more hazily. For these non-essential personnel, it helps to use stereotypes. Not only is it less work for you if they are rather obvious characters, but it also helps keep the reader from being distracted from the main plot. So if, in the plane crash scenario above, the girl meets up with a male adventurer who is going to make love to her before being killed off by the natives, a couple of sentences describing an Indiana Jones or a Tarzan is quite enough. It gives your readers the mental image they need without straining their limited number of brain cells.
So, taking the apocalypse scenario, how about a single central female character. What sort of girl would survive in this setting by her own wits and abilities, while still being attractive enough to warrant close attention from innumerable monsters, mutants, warlords and readers? How about this:
Minnie was aptly named. Her diminutive frame stood barely 5'2 in her desert boots. Reddish hair brushed her narrow shoulders and constantly fell into her eyes, an irritation which she endured because it helped frame her delicate heart-shaped face and took attention away from a rather snub nose and the spray of freckles on her pale ivory cheeks. Although slender, she was still all woman, a fact attested to by a pair of prominent tip-tilted breasts, each crowned by a rosy nipple. Naked there was barely an ounce of surplus fat on her body. Her lean waist tapered out only marginally to slim hips and a small, taut bottom, while clearly defined muscles moved beneath the svelte skin of her thighs without detracting from her femininity.
But don't let her innocent looks and small body deceive you. Minnie hadn't survived this long without learning the harsh realities of life in this barren wasteland. Raped at 15 by her mother's boyfriend of the moment, she had left home soon after by mutual consent. After all, her mother was in her mid-forties and didn't need the competition. Good protectors were becoming harder to find. Now 21, Minnie carried an automatic on one hip and a long hunting knife on the other. She knew how to use both and she had used them on many occasions, either to wound or to kill. Any man who ignored the steady gaze of her green eyes and saw only a helpless female was in for a nasty shock. Her converted ATV contained all her possessions and was her home and her life. How she had obtained the vehicle and how she found supplies of fuel and spares are subjects which she tends to dodge in conversation. Sometimes she met a man or a woman she liked on her travels and their paths would merge for a week or a month. Then Minnie would be alone again and mostly she preferred it that way.
There you have it. A young girl who fits her environment while still looking attractive enough for our purposes. A fairly clear picture of what she looks like while still allowing the reader to put their own slant on the fine details and a bit of background that helps define how she interacts with other characters. If you can see her then I did my job. If you can't, well maybe you're not trying, and you're not paying anything for this anyway so tough luck . There's no refunds!
Aliens
Aliens or mutants or deranged plant-life or whatever does the doing, are just as important to the story as your victim. So they need to be sketched in just as thoroughly as the heroine. Who are they, where do they come from, why are they doing what they are up to, and most important - what do they look like? If you can find some reason why a being from another galaxy is more attracted to earth females than to the octopus or squid it closely resembles so much the better. But if not, don't let that stand in your way. Readers expect a certain amount of license in that area. And after all, your charcters might not even know why the monsters are acting as they do.
If you are using multiple or non-sentient monsters, you can get away without going into their motvations at all. After all, no-one expects a rational explanation for a horde of cockroaches crawling all over a young female body. But if you use a single sentient monster then it needs to be defined as well as the heroine with reasons for why it's there and why it is acting as it does. Standard plots include mutations, crashed spaceships, something that's lived in the jungle since pre-history etc. Look at sci-fi and horror movies and adapt some basic premises to have a sexual angle.
I'm not going to do an outline of a mutant from the post-apocalypse scenario. For one thing the concept of mutation is that it doesn't breed true. So it would be a bit silly to have a whole race of mutants who looked the same. Maybe some have extra limbs, or tentacles, some could have their organs in a translucent sac on top of their heads, others could look outwardly normal but have a three-foot penis with teeth in the end of it. As long as they are disgusting and capable of penetrating the obvious orifices, preferably several simultaneously, then they will do the job.
Alien/Human Sex
This is what its all about. Everything else is a framework for what happens here but this is where you get to enjoy yourself and play out your fantasies in safety. There are various ways to approach this part of the story and to some extent they will be defined by the type of monster doing the ravaging. Small creatures like cockroaches need to either get their victim down or find them conveniently lying on the ground or staked out. Tentacles twine around limbs, holding the victim immobile as well as inserting themselves rudely. Monsters with arms can grab, while sentient plants rely on the girl coming close to them.
In conventional male-female sex there is an established order for the sequence of events leading to insertion (most boys played the numbers game at school even if only in their minds - one for a kiss, two for a french etc.). In alien-female sex there is really no need to follow the established procedure, though many writers stick close to it. One reason for this is your readers. As I already said, readers need to identify with one side or another in the engagement and it is more erotic for them if they can relate to the sequence of events.
So it is accepted practice for the assault to arouse the girl. This can be a deliberate act on the part of an alien who feeds off a womans juices. Equally it can be an unintentional event caused by the circumstances, such as when hundreds of soft mollusc-like creatures crawl into every crevice. But because we are writing entertaining fiction for a human audience, it is important to this genre that the terrified and abused girl becomes overcome by erotic sensation and is forced to multiple orgasms. Not only does this make the assault acceptable, but it also helps confirm the naive view of male readers that women only have to be touched in the right way to lose control of their bodies. While such views in real life can be dangerous and lead to events like date-rape, we are dealing only with fantasy figures whose multiple extrusions are far more fitted to over-stimulating a womans body than the limited number of appendages possessed by the average male. And in the end, we are only helping people play out their own fantasies on the safety of their computer screen rather than have those thoughts fester inside. So, aliens make the girls cum when they don't want to - humans don't.
While the actual details of the assault are beyond the scope of this article, there being so many varieties of possible interactions, one rule of thumb is quite universal. Use good descriptors frequently and try not to repeat the same words too often. Contrast the following two pieces:
The alien grabbed her tit. Its tentacle squeezed her tit. Then its tentacle grabbed her other tit. One tentacle ripped her panties off. Then another tentacle touched her cunt. A tentacle opened her cunt up. A different tentacle got inside her cunt and started to fuck her.
The lascivious tentacle slid slowly, almost lovingly over the full orb of her firm young breast. As the terrified girl shuddered beneath its slimy touch, it encircled her exposed tit and contracted slightly. Under its pressure, she felt her swollen mound bulge into greater prominence and she moaned softly at the stimulation to that sensitive peak.
The differences are exaggerated of course but they illustrate a principle. Don't keep using the same words for body parts. If you have a limited repertoire there is a list of alternative words in the Thesaurus. And above all, make the most of these scenes. This is what your readers have signed up for, so take it slow and give them plenty of detail. Don't say 'tit' when you can say 'the swollen mound of her firm young tit'. It makes the story more erotic and, unless you are writing horror stories which are a different genre, eroticism is what your readers expect.
Post Coitus
Once you have finished the last sex scene, don't forget that you need to round the story off, either to make the monster suffer for its naughtiness, or to set up the next episode. So let your readers down gently. Give them a metaphorical cigarette rather than just rolling over and writing 'The End'.
Error Checking
Personally I write using a word-processor with real-time checking for spelling and grammar. This picks up a lot of my dylsexic typing habits and also saves me worrying about the correct <its> <it's> <its'> etc. After each paragraph or two, I go back and read them over a couple of times. That picks up most of the incorrectly used words that are spelled correctly and the repetitive phrasings. It also helps me keep from becoming too involved in the story and so maintain a sense of perspective. This is especially important during sex scenes, as it's very easy to get so involved you forget to write to your normal standard.
Once I finish the story, I print it out. Screens just don't match up to paper when you need to read something carefully. As I read through, I look for errors I missed before, awkward passages and lapses in logic. These I scribble on the hard-copy as I go through. Then I make the changes and print out again. Even after four or five readings I can still find occasional errors because I am so familiar with the story that I skate over things mentally. After that it's useful to get someone else to read your story. A third party can often pick up on details that are clear in your mind but which you haven't explained carefully enough.
Incidentally, I have typed this straight into an HTML editor without any sort of checking, so I assume there are errors which I hope you will be good enough to point out to me,
Finito
And that's about it really. Other details such as how long a story you write, how many sex scenes you include etc. are matters of personal preference. But by all means read stories by myself, Niceman and others to give you an idea how other people do it.