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Techniques Of Characterization, Part 1 free porn video
Techniques of Characterization, Part 1
By Cal Y. Pygia
A couple of writers have suggested that I am adept at characterization
and at showing characters? emotions, suggesting that I provide a few
suggestions by which other writers may benefit. I am glad to do so,
with the caveat that, of course, my suggestions are only that--
suggestions--and with the understanding on my part that many other
writers are equally or better adept at the same skills upon which I
have been complimented. With these cautions in mind, let me offer my
suggestions, to be accepted or rejected as readers will.
First, to depict character, a writer must know what is meant by the
term as it is used in fiction. Writers subscribe, as writers at least,
to the trait theory of personality, which states that personality is
made up of a number of traits. Identifying traits is easy for the
writer--all he or she needs to do is to list adjectives that refer to
attitudes and emotions. Here is a small list, for the sake of offering
a few examples. Needless to say, it could be expanded almost
indefinitely.
Ardent, bombastic, cynical, dependable, evasive, friendly, greedy,
humble, ingenious, jealous, kind, lazy, magnanimous, open-minded,
petty, quarrelsome, suspicious, tedious, wise.
Notice that some of these traits refer to positive, and others to
negative, qualities. Characters, like real people, should be gray,
rather than black or white. In other words, they should reflect both
positive and negative traits. If a character has more negative than
positive traits, he or she will be a more or less villainous character;
he or she may, in fact, be the story?s antagonist. The reverse is also
true: if a character has more positive than negative traits, he or she
will be a more or less virtuous character; he or she may, in fact, be
the story?s protagonist.
A character must also be motivated to pursue a specific goal, and, if
the character is the protagonist, his or her goal should involve him or
her in conflict with at least one other character, the story?s
antagonist. Moreover, what a character wants should be related to his
or her emotional state so that he or she has both something material to
gain and something spiritual to attain. For example, in The Wizard of
Oz, Dorothy?s goal is to return to her home in Kansas. The material
object she hopes to gain (or regain) is her home; the spiritual object
she hopes to attain is happiness. They two are, for her, closely
related; by obtaining one, she will also acquire the other. Therefore,
she is highly motivated to undertake the sometimes-arduous journey to
Oz, to battle the Wicked Witch of the West, and to seek the Wizard?s
assistance.
Although erotic stories almost always involve different goals than the
recover of one?s home and family, the protagonists (and other
characters) who appear in such fiction also should consist of bundles
of traits that are united by a strong desire to achieve both a material
and a spiritual goal.
In erotic stories, a character will often seek to attain one of the
following goals (although this list is by no means complete):
Adventure, experience, excitement, fun, knowledge, power, revenge,
wisdom, variety
What one seeks, one lacks. Therefore, a character who pursues sex as a
means by which to attain adventure will live a dull and boring life.
One who seeks to attain sexual experience will be a virgin or a lover
of relative inexperience. One who wants excitement will, like the one
who seeks adventure, lead a monotonous, routine existence. A character
who wants to have fun is one whose life lacks entertainment, leisure,
and amusement. A weak or impotent person will have sex as a means by
which to attain power. An injured character may seek revenge through
sex. A silly or frivolous character may want to explore his or her
sexuality as a means by which to attain wisdom about him- or herself
and others. A character who wants variety in sex is one who has too
long endured the same, predictable activities or partners.
Once a writer has an idea as to what his or her character wants, the
writer must decide whether to allow the character to achieve the goal
or not. If the character does succeed in realizing the goal that he or
she has set for him- or herself, the story will be a comedy (provided
that the goal is not frivolous or superficial); if the character fails
to realize his or her story or attains a superficial goal, the story
will be a tragedy. In either case, the character will change as a
result of the conflict that has transpired during the story, and will
be either a better or a worse character by the end of the narrative.
(The reader, who identifies with the protagonist will also share the
main character?s plight, if only imaginatively, and, as a result, will
learn an important lesson of some kind--the story?s theme.)
There are two ways to characterize a character. A writer may use the
dramatic method or the expository, which simply means that he or she
may show or tell the reader what a character is like. In the dramatic
method, the writer shows the reader a character behaving in a
particular manner and leaves it to the reader to decide what the
character?s behavior suggests about his or her nature, or
"personality." In the expository method, the writer tells the reader
what a character is like. In most cases, a writer uses both methods to
complement and reinforce one another. Let?s consider a few examples
from my own stories. (You may read these stories and others at
Fictionmania, Literotica, or Crystal?s Story Site.)
In "All That Matters," using the expository method, I describe (tell
how) the protagonist, Jason, as a controlling, manipulative character
who delights in exercising power over his partner. For example, he
delights in imagining that he is raping Violet, his shemale lover:
He paused, enjoying the thought of his imminent violation of her. It
wasn't actually a violation, of course, because Violet had consented to
his using her in this manner. She enjoyed having a thick, hard cock up
her ass as much as he enjoyed shoving his prick between her smooth,
soft buttocks and deep into her rectum. Nevertheless, he preferred to
imagine that he was violating her. He'd rather think that Violet was
very much against his ravishing her anally. The idea that he was raping
her ass excited him as nothing else did, not even the spankings to
which she occasionally submitted, allowing him to put a blush in her
cheeks and to decorate her bottom with a few welts and bruises. Once,
Violet had even done him the honor of drinking his piss from a goblet.
The sight of her soft, pink lips parting over the rim of the crystal
chalice, to sip the golden urine, warm from his bladder, had been
almost as exciting as taking her anally. Unfortunately, Violet hadn't
liked the taste of his pee, finding it rather too bitter and too salty,
and she'd refused to drink it again, despite his many attempts to gain
her consent.
He also enjoys the thought that, in having anal intercourse with
Violet, he is somehow depriving her of her femininity:
His balls dangled against her perineum, adding to his excitement, for
they reminded him that he was using her ass for his pleasure. In doing
so, it was as if he were denying her femininity. It was as if he were
ignoring her very purpose as a woman by fucking her in the ass, for she
could not conceive a child this way (not that Violet could otherwise,
of course), and she was no more a woman to him than if she were a
fellow male, since he could enjoy himself in this manner with a member
of either sex. By butt-fucking Violet, he reduced her to a sexless
object--a pair of buttocks, an anus, and a rectum. Using her in this
manner made him feel powerful, like a god, able to take away from her
that which was most basic to her identity as a woman.
However, we soon learn that Violet and Jason are "a perfect fit,"
because she allows him to have anal sex with her, which she enjoys:
It wasn't actually a violation, of course, because Violet had consented
to his using her in this manner. She enjoyed having a thick, hard cock
up her ass as much as he enjoyed shoving his prick between her smooth,
soft buttocks and deep into her rectum.
If Jason is a sadist, Violet is a masochist; she allows Jason his
sadistic fantasies because the pain that he inflicts upon her excites
her:
... anal intercourse was uncomfortable, even somewhat painful, for the
petite Violet. She enjoyed it, yes, but that was, in part, because she
was a bit masochistic. The discomfort and pain were, paradoxically,
pleasurable to her, just as inflicting such unpleasant sensations upon
her was enjoyable to him.
The narrative becomes a story about power and control. Which partner
has it, and which one seeks it? At first, it seems that Jason has the
power. He is the dominant, aggressive partner. However, we understand
that he has such power over Violet only because she allows him to have
it. Moreover, she will not do anything that she truly does not want to
do, as we learn when we read of her refusal to drink Jason?s urine
after discovering, upon trying it, that she does not like its taste:
Once, Violet had even done him the honor of drinking his piss from a
goblet. The sight of her soft, pink lips parting over the rim of the
crystal chalice, to sip the golden urine, warm from his bladder, had
been almost as exciting as taking her anally. Unfortunately, Violet
hadn't liked the taste of his pee, finding it rather too bitter and too
salty, and she'd refused to drink it again, despite his many attempts
to gain her consent.
The reader is also told that Violet uses her consent as a means of
controlling Jason. When she guides his hand to her genitals, signaling
her wish that he masturbate her while he is having anal sex with her,
he is reluctant to do so, but acquiesces, afraid that, if he does not
honor her desire, she will make herself unavailable to him. It is
Violet, it appears, who exercises the true power in their relationship,
appearances to the contrary:
Shit! Jason thought. He hated to honor her request, because it
detracted from his brutal use of her ass and, even worse, severely
damaged, if not destroyed, the illusion that, in butt fucking her, he
was stripping her of her identity as a woman. He knew he had no choice
but to acquiesce, though. If he didn't, he wouldn't have access to
Violet's ass for a month, and he couldn't go that long without fucking
her. She was a good sport about most things he wanted to try, and she
was, about all things other than her insistence that he masturbate her
while they had intercourse and her refusal to drink any more of his
piss, not merely submissive but also eager to please. He supposed he
owed her at least this measure of gratification. He sighed. Trying not
to be too mechanical in his movements, he closed his hand over the soft
flesh of her genitals, massaging her balls through the silken flesh of
her contracted scrotum before pumping the taut skin of her diminutive
penis back and forth upon its rigid, standing shaft. All the air went
out of Violet's lungs in a long, slow exhalation of her breath; her
body relaxed completely. She concentrated on her lover's fingers plying
her cock and balls. A few moments later, Jason felt a warm, sticky
fluid ooze from her shrinking, softening penis, and he knew she'd
reached her climax. He frowned, wiping the semen on his fingers onto
her buttocks.
It may be that Jason has mixed feelings both about having sex with a
shemale and about his own masculinity as a man who does precisely this:
For Jason, the moment was ruined. The illusion that he was stripping
away Violet's womanhood by fucking her in the ass vanished with the
knowledge that, despite his lover's full, round breasts, her delicate
frame, her petite stature, her beautiful face, her long, silken hair,
and her smooth, feminine buttocks, Violet was not a woman and, since
she had elected to retain her male genitals, despite the gender
dysphoria she'd been diagnosed as suffering, she would always be a man-
-or, at least, she would always have a cock and balls. Therefore, since
she lacked, and always would lack, a cunt, there was no other way for
him to fuck her but in the ass. He wasn't taking her womanhood away
from her. He was simply fucking another guy--a "chick with a dick,"
true, but another guy, nonetheless.
Despite his obvious doubts, he offers the reader an important lesson
about sex and gender when he discovers that there is "no gender in an
orgasm":
None of this mattered now, though, for, although the illusion that
Jason found so fulfilling had been stripped away, his body didn't care;
sexually, he was as excited as ever, and his body trembled, his thighs
shuddering, his buttocks flexing spasmodically, and his erection
lurching and straining inside Violet's bottom. It felt to him as if he
were being wrung out inside, and an intense tickling sensation flooded
his loins. He cried out, nearly howling, as jet after thick, warm jet
of his thick, viscid semen launched from his convulsive cock,
inundating Violet's bowels. He drove as far forward, into her rectum,
as he could, crushing her buttocks flat beneath his pubes, as he vented
his passion, along with his seed. Clutching Violet tightly around the
hips, he focused upon the agonizing ecstasy of the orgasm that swept
through him and upon the quick, spurting ejaculations of his sperm deep
into the interior of Violet's ass. In the paroxysms of orgasm, it did
not matter to him that Violet was not a woman whose womanhood he could
deny; it did not matter to him that she was a shemale; there was, after
all, no gender in an orgasm. Gripped in the passion of sexual release,
he cared not a whit that his lover was both male and female while being
neither. All he knew was that it felt wonderful to be launching his
seed deep, deep inside his lover, into the most intimate and innermost
depths of her--and his own--being. All that mattered to him now was
that he loved Violet, completely and ardently, with all the strength of
his body, mind, and soul.
Love really does conquer all, this story suggests, including doubts
about one?s sexuality and confusion regarding one?s gender.
Almost all the descriptions of Jason?s and Violet?s inner selves is
provided directly, through exposition. In other words, I tell the
reader what they are thinking and feeling. Nevertheless, this story
also employs the dramatic method of characterization. In the
descriptions of their outer selves--their bodies--as they are involved
in anal intercourse, I show the reader what Jason and Violet are like
as "people." For example, Jason is represented (initially, at least) as
the dominant, aggressive partner. In keeping with this view of him, I
describe his erection as "thick and rigid" and as standing "upright
against his belly." Violet is introduced (from Jason?s point of view)
not so much as a character as a pair of buttocks, and the adjectives
applied to her suggest that she is submissive and acquiescent: "The
sight of the smooth, firm-soft cheeks of Violet?s bare ass always
excited him."
During the act of intercourse, we learn that Violet?s anus (like Violet
herself) is apt to be more "defiant" and resistant than we might first
have suspected:
He shoved his hips forward, and several inches of his massive, thick
organ spread her anus as his penis forced its way through the tight
sphincter. He paused, letting her asshole flutter frantically around
his invading member, as if it were making a defiant attempt to block
his cock?s entry or to evict the trespassing organ.
However, Jason, a persevering character, is not easily put off, and he
is obviously the aggressive man we have been led to believe. For him,
intercourse is not so much a matter of pleasure as it is an expression
of power or it is pleasurable because it allows him to exercise power
over another. For him, making love is almost a violent act, in which he
becomes more machine than man:
Jason began to fuck Violet, withdrawing his long cock until only the
glans remained within the circle of her anus, pausing a moment, to
enjoy the sight of her sphincter stretched to many times its normal
size by his rigid prick, and then drove his organ home again, repeating
these actions with greater speed, intensity, and fervor, until he was
hammering her, and her buttocks flattened and rose in rapid succession
as he slammed into her, rocking her body beneath his brutal thrusts.
His penis slid back and forth inside her asshole as if it were a piston
pumping inside a cylinder.
But Violet is persistent, too, and she knows from experience that she
can outlast him. She and Jason really are "a perfect fit":
Violet moaned, biting her lower lip and squeezing her eyes shut. He was
hurting her--which was good. She could take it, she reassured herself.
His girth was uncomfortable; at times, it was even a little painful,
but it wasn't anything she hadn't suffered before, and it was nothing
she couldn't bear now. In a few minutes, he would reach the point of no
return, anyway, and her discomfort would end in a flood of passion.
Up to this point, the descriptions of Jason?s and Violet?s sexual
activities have characterized them by showing how their behavior
suggests their character traits. In other words, I have used the
dramatic method of characterization to supplement and reinforce what I
have told the reader about their characters. Now, in the next passage,
I revert to the use of the expository method of characterization to
tell the reader what Jason is like, filtering my characterization
through Violet?s thoughts:
As much as Violet enjoyed anal sex, she knew that he loved it even
more, and she understood why. She knew that it made him feel strong and
powerful. To fuck her this way swelled not only his cock, but also his
ego, making him feel like a giant among men. By fucking her in the ass,
he asserted his dominance over her, his authority over her, his
supremacy to her, making her adopt a role that had nothing to do with
her femininity. He stripped away her womanhood, making her an object;
by using her ass as a cunt, he implied that she might as well be
another male, for a man could serve his needs as well as she could.
"All That Matters" shows the two ways by which a writer characterizes
his fictional personages. By using the expository method, a writer
tells his reader what a character is like, by stating the character?s
personality traits directly. By using the dramatic method of
characterization, a writer shows the character?s behavior and lets the
reader draw his or her own conclusions as to what the behavior suggests
about the nature of the character who is behaving in this fashion.
These two methods of characterization are used together, to supplement,
complement, and reinforce one another.
Grace
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