| Love, Sex, and Writing |
| I�m planning to write a love scene very soon, and because of this I want to get my principles towards such a topic straight. Firstly, I don�t believe in hentai, lemons, citruses, and so on. Actually, I don�t do them PERIOD. A love scene and a sex scene are two very different, and yet very similar things- they�re practically a paradox. Hentai scenes are served straight out of the fridge, not cooked or seasoned with care. I�m sorry to say, but while these scenes momentarily turn the reader on, the reader typically is left unsatisfied because that was all he or she has read- a quick on and off. Building on plot and THEN a love scene, however, works differently. Before love, the tension between two characters should mount. The reader should be acquainted with the characters and develop a sense of empathy of them. No feeling for characters plainly equals no impact on the love scene. Furthermore, I�ve read some pretty bad trash before. As I�ve said, a quick on and off, and I�m left disgusted. Some stories, however, genuinely touch me and I�m quite close to kissing the author for making such a good plot. Well thought-out love stories are so much rich than hentais and are thus so much more meaningful. It stays with you, like any good book. As for explicitly, well, I really cannot put a measure on that. The thing I believe the writer should avoid is vulgarity (as in cursing during love and all-out pornography). This caution does not cancel out the other �ways� of showing love (you know what I mean right? Oral� etc�). It�s simply the way the scene is written that truly affects the scene�s own value. As for the justification of even WRITING a love scene, here it is: Love is unavoidable, but if a scene is to take place- let it have worth. Writers are liars and storytellers, but they are also truth-givers. Writing should always, ALWAYS have a moral fiber to support it; if not that, then some sort of lesson coming out of the IMMORALITY in the story. Finally, a writer cannot avoid causing trouble and being dangerous to public opinion. A writer cannot be afraid to tell what he or she thinks nor can he or she prosper without versatility. That�s how it is. Otherwise, this world would consequently be one-dimensioned, unchanged, and uniform in idea. |