How do you craft your stories?

[KittyUmbrass]

It varies for me.

When writing a rape story, there's a number of ways I can start planning what I want to do. Some can be about experiments in form (for instance, 2nd person perspective, or folk tale/origin story/teaching story, or gender combinations less commonly written in rape stories). Some can be about a concept for what the significance of the rape (and the aftermath) is going to be for the protagonist and/or antagonist. Some are just "here's a prompt/set of themes. Can I do something different with them?"

But the emotional significance is always what gives my stories their structure, and shapes both the actual rape scene(s) and the narrative building up to them. The setting can often be a part of the significance, which is why I spend a lot of words and attention on the world-building side of things - it's not just happening to a person, it's happening in a world that has shaped that person (or other people's attitudes to that person). That means that the protagonist is usually one of the first things I create, then the antagonist is structured around how the emotional charge requires them to relate to one another.

After that, the storyline and plot are filling in the blanks. And the kinks are whatever feels right. I tend not to include anything I'm uncomfortable with imagining but there are exceptions, when it seems like the story logic requires it.

[Claire]

@HistBuff It sounds like you enjoy fleshing-out or enriching real scenarios. To me, I think I prefer to take certain ideas and then create a scenario around that to explore that idea.

@KittyUmbrass That sounds similar to what I do myself. Maybe that's why I liked reading Pussy Fortuna so much.

[HistBuff]

@HistBuff It sounds like you enjoy fleshing-out or enriching real scenarios. To me, I think I prefer to take certain ideas and then create a scenario around that to explore that idea.

@Claire Sometimes I have both -- fleshing out and exploring an idea. In "Mutiny In Léopoldville", I developed the scenario from one historical incident, AND I'm also exploring the difference between having rape fantasies vs. getting gang-raped for real. In the first few chapters, you see Caterina masturbating to an interracial rape fantasy, you even see her dating a black man (Archie Moore, a legend in boxing). But when the mutinied troops storm the place and she gets it, she is NOT having fun. The rapists and the guy writing the story are the ones who are having fun; not her. This is what makes writing this story so much fun. It's fun because it's fiction!

I also have a variety of personal dispositions toward those fantasies. Caterina goes wet on scene when she sees black men in her audience, but she still hates it when she gets raped. Katyusha has no such rape fantasies, but she does have incestuous fantasies that lead to intimacy with her uncle/tutor. Tatiana would absolutely hate being raped and finds the notion repulsive, and both Tatiana and Katyusha are very racist indeed. When they see Caterina with a black man, no matter who that man is, they are positively disgusted. You can imagine from here their horror when those Congolese troops get their hands on them!

Those lines were already established before my story began. I think they open the door to interesting depth in my characters. I've had experiences with great writers and I decided to give myself a go at this.

[Lucius]

For me, it starts with a certain idea of a scene -- my first story here grew out of a mental picture of a fit dark-skinned girl changing her position while riding her lover. In the beginning I envisaged her as an Ethiopian gladiatrix in Ancient Rome having sex with a senator, but later she turned into la Baker!

Then the scene gets tied to a concrete historical setting which I want to explore. 'Where in Time Is Carmen Sandiego Getting Fucked?' For me, that means interweaving historical and fictional characters and doing a lot of research in order to erect some semblance of a plot out of the mosaic of scenes. Then comes fleshing out the characters I care about -- there has to be a backstory, and ideally the reader shouldn't be able to tell who of my characters is a complete invention and who is a real, if obscure, person.

[RapeU]

It depends.

Sometimes, I simply ask the question “what if.”

What if there were a serial rapist on the loose and his last victim got the better hand, killing him then becoming a rapist herself. (The Hunter and Huntress)

What if there was a sex cult of lesbians that could use technology to make people forget about being kidnapped and raped. (L.K.)

What if someone was looking for their mother and decided to stalk and rape random women on the way to their destination? (The Masked Marauder)

What if women were trapped in a virtual world, a prisoner of their own minds, with little chance of escape and the rapist had full control of the virtual world? (Masked Marauder II)

What if someone decided to use the remains of a lesbian sex cult to make their own sex cult primarily made up of men who were descendants of a serial rapist? (Sons of the Rose)

Of course, the “what if” can get me into a bind if I let things get too out of hand with the plot. The Kidnapping Chronicles has that problem with enough emphasis on the plot that it’s difficult to finish a story without even more plot points, though rewriting it a few years ago helped to some degree since I was able to make sex chapters and plot chapters relatively separate from each other.

Story contests are fun. I let my imagination drift. Violin, slave, and abduction were three words that inspired me to write A Song Without Music about a female in a college band being abducted into slavery. With the character created, I envisioned how she would escape and planted a way for her to escape within the story, but not an easy way that just anyone could escape whenever they wanted. With a clear beginning and ending, the middle wrote itself with ease.

I got in trouble though as I used themes from story contests to advance a story arc within that universe and created a finale to the story arc that didn’t really feel like one and seems like it needs a rewrite with less emphasis on hiding the plot from the reader.

In another story, one where one of the themes was “team,” the aftermath of a soccer player being raped in a hotel room came to mind. Then, for some reason it turned into a vampire origin story where the vampire wanted to impregnate the lead detective, then 18 years later have his way with the daughter and turn the daughter into a vampire at the end. Clear beginning, clear ending, but unclear middle that was a complete pain to write because I had to research what cities would be around thousands of years ago, what gods, and essentially create the rules of vampirism from scratch. A Pleasure to Eat you has potential for a series of vampiric stories, but it was such a pain to write that I’m avoiding it as long as I can.

Anyway, going back to crafting stories in general. A lot of times I write a story with a deadline (contest entry) or as a procrastination technique to avoid doing something like school work. I like to free write a few things here and there, then edit them for clarity if I like what I wrote or chuck the story and start again. Sometimes I can write the middle of the story, then go back to the beginning. Frequently I have to pause and imagine where my story would go next. The last story I wrote, Scars, for the story contest I didn’t even know what I was going to title it until the story was complete. Then there’s times where I know the title, but have to figure out what the story is.

[HistBuff]

Well, I don't normally do stories about current events, but those activists ALWAYS come up with perfect set-ups for rape fantasy...



An unarmed sailboat making way into a conflict zone. What could possibly go wrong? And this time, Greta Thunberg is no longer underage.

Other than such cases, I find plenty of story ideas in past events, sometimes from long ago.

[skuttrusk]

I have created a few victim characters over the years and I usually start with a basic scenario and then decide which of them would fit such a scene, or if I need to create a new unfortunate beauty. I've been inspired by hentai, comics, movies, true stories, all sorts of situations. Progressing the scenario into a fuller narrative is mainly a matter of asking "How do I make this worse for the poor slut?"