Dark Roasted M.Christian

I'm jazzed to have another article up on Dark Roasted Blend, this time on some spectacular examples of castles. Enjoy!


Arguably born the day that villagers -- and the people who profited off them - decided that wood wasn’t strong enough to keep them safe, castles quickly became more than just edifices dedicated to security. Instead of repelling borders, real or imaginary, castles became THE status symbol of status symbols. Monuments to bravado, they were stone and mortal proclamations to the age-old idea that ‘mine is bigger than yours.’

If you want an picture-postcard example of a castle, you don’t have to go anywhere but the Château de Pierrefonds in France. Although it may have started out as a structure designed to keep some folks out and others safely in, it was later partially sugar frosted by none other than Napoleon the 3rd, who was shooting for a true nobility status symbol: a iced cake that no one but the very rich and very privileged could eat.


Pierrefonds is still a beautiful place, even if its fortifications were overly gilded – or maybe because of it. It’s no wonder it's used to this day when central casting gets a call for a classic castle.

But if you want a real Disney, fairy-tale, and totally insane castle, you have to visit the residence of one totally insane German king, namely Ludwig II of Bavaria. Look up gaudy in the dictionary and there’s a picture of his castle: Neuschwanstein. Glitzed and filigreed, Neuschwanstein is like Ludwig’s twisted brain turned inside out and realized in stone and brick. Monstrous chandelier? Check. Room made to look like a cavern? It’s there. Entire rooms dedicated to Wagner (with whom Ludwig was obsessed)? Absolutely. It’s all there, larger and more ornate than any life … unless, of course, you were the King of Bavaria.


One of my favorite castles, though, wasn’t the dream of a king realized in stone and mortar. Spurned at the altar back in his native Latvia, Edward Leedskalnin took his disappointment, and a case of tuberculosis, to Florida in 1923. There, in the land of oranges and sunshine, Leedskalnin began to build his very own castle, one he worked on until his death in 1951.

It’s still there and definitely worth seeing. It might not have the polish of Pierrefonds or the glimmer of Neuschwanstein, but Rock Gate Park, as he called it, is still a striking sight: monstrous slabs of coral skillfully balanced and beautifully positioned, all of them assembled without reinforcement or mortar.


Leedskalnin’s construction genius is legendary. No one quite understands how he built his castle and then moved it ten miles away in 1936. Some people think he used a kind of perpetual motion machine or mystical methods to move his several-ton blocks. Whatever the means, his Coral Castle, is still a magnificent achievement – the sublime result of his own two hands, his incredible inventiveness, and a tragically broken heart.

Stepping away from literal castles, but staying within the theme of very special men and the homes they created, one of the most beautiful is one you might not know the name of but one you’d recognize immediately. All I need to write is “You are Number 6.”


Located in Wales, Portmeirion was created by Sir Clough Williams-Ellis in 1925 (though some of it wasn’t finished until 1975). Although Sir Williams-Ellis wasn’t a king, he was obviously knighted, and certainly had help with his remarkable residence. Portmeirion deserves to stand with Ludwig’s vision of Germanic paradise and Leedskalnin’s eccentric coral castle because of its unique, and spectacularly beautiful, vision.

Williams-Ellis was so dedicated to preserving the tranquil elegance of Portmeirion that the filming location of Patrick McGoohan’s "The Prisoner" wasn’t revealed until the final episode of the series. Even with the careful hiding of the village’s identity, anyone who knew anything about architecture would have recognized the Williams-Ellis’s pearl-white cottages and the legendary green dome where, in "The Prisoner", the village’s rotating Number 2s had their office.

Portmeirion is truly a beautiful place and completely unspoiled by its television appearance. It remains today just as Williams-Ellis intended it to be: a tranquil village with a tasteful dusting of nostalgia.

Whether it's the gussied-up fortresses like Pierrefonds, the gilded dreams of a mad king like Neuschwanstein, the eccentric genius of Leedskalnin and his Coral Castle, or the whimsical grace of Williams-Ellis’s Portmeirion, a man’s home can really be his castle.

Awwww ....

I have to admit that I'm always a bit scared and nervous when I teach, worried that I'm boring or confusing the people good enough to attend one of my classes. So when Alice Gray, who also sent me a great story I've put up on Frequently Felt, posted the following to the Erotica Readers and Writers newsletter I was very pleased and touched. Thanks, Alice!

I spent a lovely Sunday learning more about the ins-and-outs of writing great erotica with the esteemed M. Christian. Not only is Mr. Christian a wealth of information and inspiration, he is also a wonderful teacher. His class, 'Sex Sells: How to Write & Sell Erotica', is a must-attend seminar for anyone interested in the art of writing good smut.

Drawing on his own experiences as an editor, Mr. Christain offered tips and tricks to help make your work stand out in the world of publishing. He also covered topics including the brave new world of e-publishing, creative rights, and the importance of networking.

From a writer's standpoint, Mr. Christian spoke of the need to nurture ourselves as writers. 'Submit it, forget it, and write something new' is the motto, and an excellent one at that. After all, if you've managed to write six new stories by the time the rejection slip arrives, the sting of being turned down isn't so sharp. He also touched on the fact that rejections are not personal. While it stinks to know your work might be rejected simply because the editor hasn't had her latte yet, it also gives her an element of human instead of all-powerful Oz.

To sum it all up, whether you are just thinking about writing porn or whether you have a thousand stories already sitting on your hard drive, this class is for you and at $40 it's a steal.

Confessions of a Literary Streetwalker: Who's Who

(the following is part of an ongoing series of columns I did for The Erotica Readers & Writers Association on the ins and outs and ins and outs and ins and outs of writing good smut)


Before I start this month’s little installment of “The Writing Life According to M. Christian” I need to toot my own horn a tad. Rest assured, however, that this has something to do with the subject of this column.

Now then (ahem). As you all are probably aware, I’m a writer. I write all kinds of stuff: non-fiction (like this column for the wonderful folks at ERA), reviews, short stories, even a poem or two. I write science fiction, horror, comedy, movie criticism, and a lot of smut. I write smut because I like to write and I’m very lucky that people seem to like the smut I write. My stuff has been all over the place, including Best Gay Erotica, Best Lesbian Erotica, Best American Erotica, Best Transsexual Erotica, Best Bisexual Erotica, and a lot of other places.

Okay, that’s the set-up, and here’s the pitch: I’m a straight guy.

Yeah, yeah, I’ve heard it all before: how can I write gay smut when I’m straight. Well, I got news for you: I’m a writer. It’s my job to tell stories - the fact they happen to be about gay men and women (as well as straight men and women) is inconsequential. I consider it a tremendous compliment that I’m the first guy to make it into Best Lesbian Erotica - and that Alyson is putting together a collection of my girl smut. But there’s something that’s also very important about these weird credits of mine - namely, how I got them: I never lied about who I am.

Okay, there have been some fun miscommunications over the years - like when a publisher asked a friend we had in common: “What kind of men does Chris like?” and the friend had to break it to him: “Women.” Or wen I called to see if a bookstore was willing to have a reading from my new book - and then were shocked when “M. Christian” was a tall thin guy, with a beard, and not the lesbian they were expecting.

Fiction writing is just that: ‘fiction’ - not truth. I’ve called writing ‘creative lying’ and I mean it, it’s the act of telling a tall tale - to convince the reader than you are something you might not be in real life. There’s a long tradition of cross-sexuality writing: women writing gay smut, straight guys writing lesbian erotica, and so forth. As far as I know, no one’s really been given a hard time about it - though I’ve heard some small grumbles periodically. Most publishers and editors are pretty understanding, that when a project is ‘fictional’ then just about anyone can write for it - unless, of course, they have a restriction (for instance, that all the authors be women, or men, etc.). I know that when I’ve edited books I’ve never really inquired about the sexuality or gender of the author, because it’s never really mattered to the project I’m working on.

But there’s a big difference between writing a fictional story and trying to sell it with a lie. For example, if a project say that it is open only to women, that does not mean you can, or should, pretend to be a woman just to be considered for the publication. As with lots of editorial situations: when in doubt, ask. “Dear Editor, I am interested in writing for your book. Would you mind receiving a submission for a - ?” - insert your real gender here. There, is that hard? Most publishers - like Alyson books, for instance - rarely mind receiving a submission from someone not the gender/orientation of the project, if the project is ‘fictional’. I would never submit something to, say, “True Coming Out Stories” or similar - unless, of course, the publisher/editor asked me or I had some other form of acceptability for the project.

A word about pseudonyms. Some people like to separate their various writing identities through several different pen names. God knows I’m not one to criticize (my own glass house has “M. Christian” on the mailbox) but I would be careful about tailoring names to fit markets. There’s absolutely nothing wrong with it - especially if you’re up front with your real identity - but editors have been known to be uncomfortable with accepting stories that have been signed with a name designed just to fit that market. Besides, why give one of your lesser-known names a good credit when you can add it to your main resume? I think it’s kind of cool that my own name appears in both smut and non-smut books: I’m proud of what I do: erotic or non, gay or straight, etc.

I’ve heard of some people who have been accepted for some project or other then to be kicked out because their ‘true’ selves came to light. I can’t say I’m that sympathetic - mainly because the few times I have heard of this happening the writer has definitely played a bit loose with their ‘writer persona’ and pitched themselves as something they weren’t (in one case, as 20-something lesbian when they were actually a 50-something straight guy). You don’t have to say that you’re a guy when you’re submitting to a lesbian fiction anthology - but your bio should definitely use the word ‘he’ - but you should never say that you live with your domestic partner, Alice, and have two cats (unless you really do, of course).

The bottom line is that fiction is just that: something made up, not related to the real world - or not related all that much, at any rate. But anything beyond the story itself, truth - honest to god truth - should rule. There’s a time for stories and a time for being who, and what, you really are: the thing to remember is where one starts and where one ends.

Thanks -

- to all the wonderful people who braved a beautiful San Francisco Sunday to take my Sex Sells: How to Write & Sell Erotica class on Sunday. It was a lot of fun to teach - and hopefully a lot of fun to attend.

Depending on time and life there’s a chance I might teach the class again sometime soon. Keep an eye my sites for further info.

Haunted Hearths

I'm very pleased and proud to be one of the authors in Catherine Lundoff's fantastic anthology, Haunted Hearths. Catherine is a fantastic person, a great writer, as well as a great editor. Check the book out here.

As part of her promo for the book she's been asking the authors about their stories and other fun stuff. Here's mine:

Can you talk a bit about your inspiration for "The One I Left Behind"?

Well I tried to put a different spin on the whole idea of what a ghost could be: we know that it's supposed to be the 'spirit' of a dead person – but what if what died wasn't a whole person but instead just a part of us? We've all had dreams we've had to let go of, so what we were haunted by the partial 'self' we had to let go of, or was taken from us? That's what I was playing with – I just hope people like the result!

Have you ever had an encounter with a ghost?

Nope, sorry – not as far as I know. But then who's to say what's out there? Lots of people look like they're sleep-walking … maybe they're dead and just don't know it. Or maybe I am but I don't … ☺

What's your favorite ghost story (you can pick a movie if you prefer)?

Aside from classics I have a thing for ghost stories from different cultures, particularly Japan. It's lots of fun – and enlightening – to see how the idea of a ghost or a spirit reflects the values or worldviews of a culture. Like the Kasa Obake: in Japanese mythology if an object gets to be 100 years old it develops its own spirit – which is what an umbrella gets is called when it gets to be that ripe old age. Very fun stuff!

What are you working on now and where can readers find out more about you?

The main place to look is M. Christian which is my site. Right now I have whole bunch of fun things out: Brushes, an erotic romance novel; Me2, a gay horror/thriller; Filthy, a collection of my gay erotica; and from the fine folks at Lethe Press a reprinting of my gay horror/comedy The Very Bloody Marys, and my new noir/SF/erotica novel Painted Doll: An Erotist's Tale.

Dark Roasted M.Christian

If you love classic pulp artists - and I certainly do - check out my new article on Dark Roasted Blend:

Grand Old Times … In The Future

The polished humanism of Star Trek; the grungy mythology of Star Wars; the uncomplicated flesh versus machine of Battlestar Galactica, the Terminator flicks, and the Matrix movies –- the future is all around us. Bitter, sweet, dark, light: You just have to pick your flavor for what you want tomorrow to be.

But step back just a few decades and recall how looking at tomorrow was solely for newsstands and tawdry bookstores, which presented a loudly lurid universe of glistening glass tubes, gleaming chrome starships, and frantically faced diabolical scientists of the very-mad and very-bad variety. Amazing Stories, Weird Tales, Wonder Stories, Astounding Science Fiction, Planet Stories, and the rest of their pulpy kin were secret sins, magazines smuggled home to be read under the covers by the dying batteries of a Boy Scout flashlight.

At the time, the artists working for the pulps weren’t considered anything but cheap creatives providing cheap entertainment for cheap minds. But now we know what they were: visions of wonder, amazing vistas of the imagination, daring dreams of possibility, magnificent views of What Could Be -- but most of all we look back at what they did and recognize it for being truly magnificent art.

Unfortunately there isn’t enough time or space to touch on all of the artists who worked for the pulps that were printed between (roughly) 1920 (something) and 1950 (something), but here’s a quick guide to some of my own personal favorites, the artists who created a world of tomorrow when today was the only thing people could see.

You have no choice but to be amazed by Frank R. Paul’s Amazing Stories covers. While the world was coughing and spitting behind the wooden wheels of Model T Fords or barely getting off the ground in biplanes, Paul created wonderful scientific dreams for a wonderful array of magazines. His visions might have been built from the stuff of those early days –- tubes, wires, electrodes, sprawling cities –- but Paul had a bravery of scope: steamships flew through the sky, tidal waves cracked skyscrapers in half, dozens of alien vistas sparked the imagination, and scientists peered into the vastness of space with telescopes the size of mountains. But whatever the size of his scope, Paul also filled his images with incredible detail, giving each one a reality that made his work like a functional blueprint for the future and not just an enticement to drop a nickel for an afternoon’s amusement.


Although he’s also legendary for his covers, praise for Virgil Finlay has mostly been –- rightfully -- given out for his black and white interior work. Sure he also had scope, drama, crazy dreams, and pulp outrageousness but to see a Finlay illustration is to be hushed into silence by its beauty, subtlety, and sensuality. It's easy to picture his images from Weird Tales hanging in the great galleries of the world. The fact that much of his early work was for neglected and belittled pulps like Weird Tales is nothing short of infuriating.


Hannes Bok has to be on this stage of artistic magnificence as well. Like Finlay, his style is refined and elegant, so much more than the pulps he worked for. But he also brought a playful madness to his illustrations: a twisted kind of beauty to his figures and environments. Looking at a Bok cover, you didn’t know whether what you were looking at was a dream or a nightmare, but you always felt that it was rich, glowing with passion, perfectly composed, and absolutely brilliant.


Another inspired illustrator, one that jumped from the pulps to pretty much every kind of illustration, is was the legendary Wally Wood. It would take a book, hardly a short article, to just begin to touch on Wally’s scope: Weird Science comics, romance comics, Tales From The Crypt, trading cards, Mad Magazine and even some hilarious smut, including the legendary Disney orgy poster. Wood wasn’t just prolific or insanely flexible: whatever he did, and he did a lot, he brought with him a precise touch, a winking sense of whimsy, but also a carefully balanced sense of drama. You always knew you were looking at something Wood had done, and you were always amazed by it.


When you mention Frank Kelly Freas many people immediately think of his iconic cover for Astounding Science Fiction, the one that Freas also did for Queen’s album. But when I think of Freas I prefer to think of the delightfully winking cover he did, also for Astounding, for Frederick Brown’s Martians, Go Home. That, for me, is Freas: there is perfect technique, marvelous color, ideal drama and composition, but there’s also his marvelous sense of whimsy, a kind of bright and sparkling joy you can see in whatever Freas did, and what makes his work always compelling.


There are too many fantastic artists who worked in the pulps to touch on them all on this little space, but I can’t go without at least mentioning Chesley Bonestell. Even though you can’t really call Bonestell a ‘pulp’ artist, he deserves a bit of space for what he did for … well, ‘space.’ Considered by many to be the father of modern space illustration, Bonestell was the man who realized the scientific projections of Willey Ley and Wernher von Braun and the motion picture dreams of George Pal. His paintings –- elegant, quiet, and magnificent -- were, for many people, not what the future could be, but what the future would be: a world of rockets and starships and men looking back at the earth from the distant moon.


That’s all for now but if there’s a lesson to be learned it’s that even though we might live in a world right next door to the future, there’s still a lot the past can teach us. Like, that real treasures and fantastic art can be found in places we might stupidly dismiss as simple, cheap, or pulpish.

Amos Lassen Loves Brushes

Romantic, Erotic and Gorgeous:

"Brushes" is great erotica set in a romantic setting. It is a multi-layered look at love, Paris and the world of art. We meet eight people, all of whom are involved in the art world. As their lives intertwine, each experiences a form of sexual contact that will change them completely.

Escobar is a very talented artist but exactly who he is and how he works is the essence of "Brushes". The world sees him as a genius. His mastery of color, form and shape is unequaled and he has taken the art world by storm. To discover who he, we look at him from different viewpoints. His wife, his manager, his forger, his brother, his model and others tell us about him in separate stories that all come together. However, these stories tell us more about the teller than they do about the man in question. In that, Escobar is like the art he creates. It is studied and it is open to different interpretations as well as misinterpretations.

M. Christian is a master storyteller. I have read a lot of him and each time I pick up something by him, I find myself so involved in the story that I feel it is actually happening as I read. "Brushes" evokes carnality and in dealing with the art scene of Paris and those that inhabit it, Christian gives us an erotic treat. He so captures the scene that I was completely engulfed by the novel by the third page. Sure the eroticism is very hot but it is the story that is better. The intriguing characters and the way that they come in and out of each others' lives in handled brilliantly. We see, though the characters that all is not always what it seems to be and surprises lurk and wait. This is a gorgeous book to be savored.

My Hero

(cross-posted to Frequently Felt)

A great writer ... and a wonderful character!


Wiki:

Georges Joseph Christian Simenon (pronounced [ʒɔʀʒ simˈnɔ̃] in French) (February 13, 1903–September 4, 1989) was a Belgian writer who wrote in French. He is best known for the creation of the fictional detective Maigret.

At the age of three, Simenon learned to read at the Sainte-Julienne nursery school. Then, between 1908 and 1914, he attended the Institut Saint-André. In September 1914, shortly after the beginning of the First World War, he began his studies at the Collège Saint-Louis, a Jesuit high school.

In the summer of 1915, going against the grain of the Jesuits' chaste teachings, the twelve year-old Simenon had the first of many sexual experiences in his long life; in this case, with an older girl of fifteen. Many years later, Simenon was known as "the man of 10,000 women," a self-confessed sex addict who "needed" to have sex three times a day. Quite a few women were prepared to humor him for nothing, nevertheless, these 10,000 were said to include 8,000 prostitutes. It has been suggested that the real number of women in Simenon's life was, although prodigious, vastly smaller than 10,000. In this he was quite different from his fictional creation, Maigret, who can be presumed to have been entirely faithful to Madame Maigret ....

Simenon's first novel, Au Pont des Arches was written in June 1919 and published in 1921 under his "G. Sim" pseudonym. Writing as "Monsieur Le Coq," he also published more than 800 humorous pieces between November 1919 and December 1922.

During this period, Simenon's familiarity with nightlife only increased: prostitutes, drunkenness, and general carousing. The people he rubbed elbows with included anarchists, bohemian artists, and even two future murderers, the latter appearing in his novel Les Trois crimes de mes amis. He also frequented a group of artists known as "La Caque." While not really involved in the group, he did meet his future wife Régine Renchon through it ....

Simenon's father died in 1922 and this served as the occasion for him to move to Paris with Régine Renchon (hereafter referred to by her nickname "Tigy"), at first living in the XVIIe Arrondissement, not far from the Boulevard des Batignolles. He became familiar with the city, its bistrots, cheap hotels, bars, and restaurants. More importantly, he also came to know ordinary working-class Parisians. Writing under numerous pseudonyms, his creativity began to pay financial dividends.

Simenon and Tigy returned briefly to Liège in March 1923 to marry. Despite his Catholic upbringing, Simenon was not a believer. Tigy came from a thoroughly non-religious family. However, Simenon's mother insisted on a church wedding, forcing Tigy to become a nominal convert, learning the Catholic Church's catechism. Despite their father's lack of religious convictions, all of Simenon's children would be baptized as Catholics. Marriage to Tigy, however, did not prevent Simenon from having liaisons with numerous other women, perhaps most famously, Josephine Baker ....

A reporting assignment had Simenon on a lengthy sea voyage in 1928, giving him a taste for boating. In 1929, he decided to have a boat built, the Ostrogoth. Simenon, Tigy, their cook and housekeeper Henriette Liberge, and their dog Olaf lived on board the Ostrogoth, traveling the French canal system. Henriette Liberge, known as "Boule" (literally, "Ball," a reference to her slight pudginess) was romantically involved with Simenon for the next several decades and would remain a close friend of the family, really part of it.

Confessions of a Literary Streetwalker: The Four Deadly Sins, Part 4 - Violence

(the following is part of an ongoing series of columns I did for The Erotica Readers & Writers Association on the ins and outs and ins and outs and ins and outs of writing good smut)

One in awhile someone will ask me “What, if anything, is verboten in today’s permissive, literate erotica?” The answer is that pretty much anything is fair game, but there are what are called the four deadly sins: four subjects that a lot of publishers and editors won’t (or can’t) touch. These by no means are set in stone, but they definitely limit where you can send a story that uses any of them. So here, in a special series of columns, are theses sins, and what – if anything – a writer can do with them. Enjoy!

#

In regards to the last of erotica’s sins a well-known publisher of “sexually explicit materials” put it elegantly and succinctly: “Just don’t fuck anyone to death.” As with the rest of the potentially problematic themes I’ve discussed here, the bottom line is context and execution: you can almost anything if you do it well - and if not well, then don’t bother doing it at all.

Violence can be a very seductive element to add to any genre, let alone smut - mainly because it’s just about everywhere around us. Face it, we live in a severely screwed up culture: cut someone’s head off and you get an R rating, give someone head and it’s an X. It’s kind of natural that many people want to use some degree of violence in their erotica - more than likely because they’ve seen more people killed than loved on-screen. But violence, especially over-the-top kind of stuff (i.e. run of the mill for Hollywood), usually doesn’t fly in erotic writing - with a few notable exceptions, such as Thomas Roche’s excellent Noirotica anthology series. Part of that is because erotica editors and publishers know that even putting a little violence in an erotic story or anthology concept can open them up to criticism from all kinds of camps: the left, the right, and even folks who’d normally be fence-sitters - and give a distributor a very good reason not to carry the book.

One of the biggest risks that can happen with including violence in an erotic story is when the violence affects the sex. That sounds weird; especially since I’ve often said that including other factors (such as environment, history, etc.) are essential to a well-written erotic story. The problem is that when violence enters a story and has a direct impact on the sex acts or sexuality of the character, or characters, the story can easily come off as either manipulative or pro-violence. Balancing the repercussions of a violent act on a character is tricky, especially as the primary focus of the story. However, when violence is not central to the sexuality of the characters but can affect them in other ways it becomes less easy to finger point - such as in noir, horror, etc - where the violence is background, mood, plot, or similar without a direct and “obvious” impact on how the character views sex. That’s not to say it isn’t something to shoot for, but it remains one of the harder tricks to pull off.

Then there’s the issue of severity and gratuitousness. As in depicting the actual sex in sex writing, a little goes a long way: relishing in every little detail of any act can easily push sex, violence, or anything else into the realm of comedy, or at least bad taste. A story that reads like nothing but an excuse to wallow in blood - or other body fluids - can many times be a big turn-off to an editor or publisher. In other words, you don’t want to beat the reader senseless.

The biggest problem with violence is when it has a direct sexual contact. In other words, rape. Personally, this is a big button-pusher, mainly because I’ve only read one or two stories that handled it ... I can’t really say “well” because there’s nothing good about that reprehensible act, but there have been a few stories I’ve read that treat it with respect, depth, and complexity. The keyword in that is “few” - for every well-executed story dealing with sexual assault there are dozens and dozens that make are furious, at least. I still remember the pro-rape story I had the misfortune to read several years ago. To this day I keep in the back of my mind as an example of how awful a story can be.

Sometimes violence can slip into a story as a component of S/M play ... you know: a person assaulted by a masked intruder who is really (ta-da!) the person’s partner indulging in a bit of harsh role-play. Aside from being old hack (and thoroughly predicable), stories like this can also fall into the “all pain is good pain for a masochist” cliche, unless (as with all things) it’s handled with care and/or flair.

Summing up, there is nothing you cannot write about: even this erotic “sin” or the others I’ve mentioned (under-age, bestiality, and incest). However, some subjects are simply problematic in regards to sales potential: themes and activities loaded with emotional booby traps that have to be carefully handled if the story is going to be seen as anything other than a provocative device. The affective use of these subjects has always been dependant in the writer’s ability to treat them with respect. If you have any doubts about what that might be, just imagine being on the receiving end: extrapolate your feelings if one of your own personal traumas or sexual issues was used as a cheap story device or plot point in a story. Empathy is always a very important facility for a writer to develop - especially when dealing with sensitive or provocative issues.

In short, if you don’t like being beaten up, then don’t do it to someone else - of if you do, then try and understand how much it hurts and why. Taking a few body blows for your characters might make you a bit black and blue emotionally but the added dimension and sensitivity it gives can change an erotic sin, something normally just exploitive, to ... well, if not a virtue, then at least a story with a respectful sinner as its author.

Thanks, Donna!

This comes from my pal, Donna George Storey:

I've been reading and admiring M. Christian's erotica since...well, since I began reading erotica regularly, over ten years ago. To quote myself (hmm, am I allowed to quote myself?) "With his amazing versatility and silky smooth prose, M. Christian helped forge the erotica revolution of the 1990s and he’s still going strong!" Not to mention, there is no more pleasant company in which to explore the eateries of the SF Bay Area--M. Christian, Sage Vivant, my chief editor and technical advisor (aka husband) and myself have started a wonderful supper club tradition, which I hope continues indefinitely. Timidly claiming the name "colleague" with a writer I've admired so long has been a dream come true--one of the many unexpected benefits of my arduous Amorous Woman promotion efforts.

Okay, enough about me--I have an exciting announcement about sex and writing. M. Christian is offering a one-day erotica writing workshop in San Francisco this October. Unfortunately I'll be off in New York on the east coast leg of my Amorous Woman book tour at that time. But that shouldn't stop you from signing up to learn sexy writing secrets from a man who helped make erotica cool and hot! Here are the details. Be there or be square!

Sex Sells: How to Write & Sell Erotica
With M.Christian

Sunday, October 12th, 1pm - 4pm
$40 before Sept 30; $50 after Sept 30
Center for Sex & Culture
1519 Mission Steet, San Francisco
Register via PayPal (Zobop@aol.com) or pay at the door

The market for erotic fiction and nonfiction is booming! There actually is a secret to writing great erotica - and you'll discover just what that is in this fun, hands-on workshop with well-known erotica writer and teacher M. Christian.

For the beginning writer, erotica can be the ideal place to begin writing, getting published, and -- best of all -- earning money. And for the experienced writer, erotica can be an excellent way to beef up your resume and hone your writing skills. M. Christian will review the varieties of personal and literary expression possible in this exciting and expanding field. He'll also teach you techniques for creating love and sex scenes that sizzle.

Learn how to:

* Get started writing for and selling to this growing marketplace
* Free your creativity and get past inhibitions
* Avoid cliches, common mistakes, and pitfalls
* Write what editors and publishers will want to buy

Plus: current pay rates, how to write for a wide variety of erotic genres, from magazines to websites, where and how to submit your erotic writing, and more.

Students will also receive:

* Several informative handouts including a list of top-notch markets and venues for erotica, as well as funny and educational articles and columns
* A personal invitation to contribute to a special erotica project
* 50% off a wide selections of erotica books
* A free autographed copy of M.Christian's collection Filthy: Outrageous Gay Erotica=

The class is open to everyone (over the age of 21) interested in writing all kinds of erotica: gay, straight, lesbian, bisexual, fetish ... you name it!

M.Christian is an acknowledged master of erotica with more than 300 stories in such anthologies as Best American Erotica, Best Gay Erotica, Best Lesbian Erotica, Best Fetish Erotica, and many, many other anthologies, magazines, and Web sites. He is the editor of 20 anthologies including the Best S/M Erotica series, The Burning Pen, Guilty Pleasures, and many others. He is the author of the collections Dirty Words, Speaking Parts, The Bachelor Machine, and Filthy; and the novels Running Dry, The Very Bloody Marys, Me2, Brushes, and Painted Doll. His site is www.mchristian.com.

For more information write M.Christian at zobop@aol.com.

*no guarantees

HEAR M.Christian (more)

Click here for a different, and fun, way to listen to my interview with Chip August on his Sex, Love & Intimacy show. Enjoy!
Open Source Sex, Love and Intimacy: Sex | Relationships | Sexy - SLI 059: M. Christian: Sexy Stories, Arousal Through Intelligence

Licks & Promises - Coming Soon!

Here's an early look at Wynn Ryder's fantastic cover to my new collection of erotic short stories, Licks & Promises, coming from Phaze Books.