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First, his lover and trusted assistant, Zara Later, when he truly realizes what he has done to her, this self-discovery helps change him from amoral lord to human being. Another example of a hero who walked on the dark side during a love scene is Marcus of Traci Cozzen's Only in Your Arms. He is an Elizabethan actor, and he knows he's very very wrong for her. So at one point, he incorporates "exotic" sexual practices into their lovemaking in an attempt to make her hate him. This scene is hot and yet emotionally intense at the same time.
Remember that you're writing love scenes, not sex scenes. Unless you're writing an erotic romance, try to keep the emphasis on the relationship and the characters rather than just the physical act. Yes, the characters are attracted to each other, but they are also falling in love. Your characters should go into the love scene with their feelings bared to each other -- even if it means risking emotional hurt. They aren't just there to have sex, although they might not realize this at the time. Throw their lives and doubts and hopes into the love scenes.
Have them think about the lovemaking, talk about it, worry if they're doing the right thing.
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Show how they feel without just relying on the obvious physical signs, because it's not just their bodies that are involved. At the same time, know when to put the brakes on the thinking and talking and worrying and just throw them into bed or bath together. Even if you are writing an erotic romance, don't be afraid to include the romantic element.
Striking a balance between the physical and the emotional will make your story stand head and shoulders above many other erotic romances. For example, many people love the erotic romances of Robin Schone such as The Lady's Tutor and The Lover because she brings an emotional angle to all her stories.
Even readers who find the stories of Thea Devine or Bertrice Small too sexual and not romantic are often fans of Robin Schone.
Sexuality plays an important part in the novels of Robin Schone, but it's more than sex. Whatever you do, don't forget the foreplay. Some romance writers dive right into intercourse without much thought for kissing, caressing, and stroking. Once in a while, plunging right in is the only way a specific love scene will work, particularly if your characters are eager and under stress.
But there are times when love scenes should be preceded by foreplay. Handholding, conversation, and romantic walks aren't bad preludes to love scenes, either. Avoid purple prose. The phrase "purple prose" is used to refer to florid writing in general, including euphemisms some writers use to avoid referring to the sex organs. However, what is only overly descriptive prose in the rest of the novel seems to blossom into flowery writing in love scenes.
Maybe this is because love scenes are so emotional, and seeing terms like "manroot" or "velvet sheath" makes us giggle. Unfortunately, clinical terms are, well, clinical. Also, most publishers of romance avoid slang terms for body parts. Yet there are alternatives.
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If you're afraid to use clinical terms, don't use them. You can write a love scene without writing about body parts. Sometimes, suggesting what the characters are doing is more potent than dumping a bucket of clinical terms and silly euphemisms into the mix. One of the dirtiest things I ever read was a piece of erotic Highlander fan fiction that was done entirely in dialogue without a single mention of body parts or sexual acts.
Successful romance writer Nora Roberts often writes love scenes that are warm without resorting to descriptions of clinical acts, and it certainly hasn't affected her popularity. Be descriptive in your love scenes, but don't let the story get bogged down by loving or lurid descriptions.
Love scenes should involve about lots of action and dialogue, not about a camera slowly panning up and down the hero's body. Even if you do think he's hot. Oh, and please don't have your naked hero say something "cockily" in the middle of a love scene. I'm not making this one up. I read it in a romance a couple of years ago, and it still makes me chuckle. Throw in lots of sexual tension. One of the most important parts of the successful love scene is everything that comes before it.
This is also one of the most difficult parts to incorporate. In most romances, from the moment your characters first meet, they will be attracted to each other.
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How do your characters react to each other when they are in the room together but they are not making love? Romances without sexual tension are like romantic movies without chemistry between the leads. Masterful writers can forge sexual tension between fully clothed characters. Some have even combined the two and created love scenes between fully clothed characters. The scenes after the love scene can be important parts of the sexual tension.
A lot of pent-up emotion has been released. Your job, as a writer, is to make sure it doesn't all fade away. It's going to be a challenge, but an exciting one.
How do the characters react the moment after, the morning after, the next day? They must still be thinking of each other, even if they are still unable to admit it to each other. Also, I can't say this strongly enough: Sexual tension is crucial even if your novel has no love scenes. As an example, many Regency romances do not have love scenes. If they have no sexual tension, then they fall flat as romances. As a great example of how to avoid that trap, read Lord St. Claire's Angel by Donna Simpson. It had no love scenes, yet the attraction between the hero and heroine was obvious and memorable.
Know your audience. If you are writing a Regency romance, that hot bondage scene is out of the question, OK? Whether you're a student, an educator, or a lifelong learner, Vocabulary. Don't have an account yet? Sign up. It's free and takes five seconds.
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Start learning with an activity Practice Answer a few questions on each word. Get one wrong? We'll ask some follow-up questions. Use it to prep for your next quiz! In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. He didn't say any more but we've always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men.
Most of the confidences were unsought--frequently I have feigned sleep, preoccupation, or a hostile levity when I realized by some unmistakable sign that an intimate revelation was quivering on the horizon--for the intimate revelations of young men or at least the terms in which they express them are usually plagiaristic and marred by obvious suppressions. Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat a sense of the fundamental decencies is parcelled out unequally at birth.
And, after boasting this way of my tolerance, I come to the admission that it has a limit. And, after boasting this way of my tolerance , I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes but after a certain point I don't care what it's founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart.
Only Gatsby, the man who gives his name to this book, was exempt from my reaction--Gatsby who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away.
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If personality is an unbroken series of successful gestures , then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the "creative temperament"--it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again.
This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the "creative temperament "--it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again.
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