How to Write a Dirty Story: Reading, Writing, and Publishing Erotica

Having interviewed just over 130 authors of erotic fiction, this article tackles their experience of working with publishers, and of cocky-publishing, of the role of marketing, and the importance of releasing well-crafted work. Does erotic fiction remain publishing'southward 'dirty hush-hush': a genre without due recognition or respect for authors?

As e'er, this article is intended every bit a starting point for discussion. All comments are welcome.

Effectually twenty% of respondents to this survey have worked with larger houses, such as Penguin, Harlequin, Orion, Random Business firm, Harper Collins, Hachette, Simon & Shuster, Picayune Brown, Pan McMillan, and Nexus.

Some have published with mid-sized houses, such as Cleis, Myriad and Serpent's Tail, while the overwhelming majority accept worked with smaller presses, such as Go Deeper Press, Stupid Fish Productions, Circlet, Footling Raven, Stormy Night Publications, Totally Bound, Firm of Erotica, Accent, Riverdale, Two Dame Productions, Sweetmeats Printing, Xcite, Baronet Press, and Blushing Books.

Effectually half accept explored self-publishing with some of their titles, often in addition to having worked with a pocket-sized press.

A handful take received readership simply via their own website or other online platform.

Authors study most of their sales taking place in e-volume format, regardless of short story/novella/novel form, while several notation that audiobook sales appear to be taking off. Rose Caraway advises, "Make certain that you story works as well in sound as in print." She notes that near of her audience (for the KMQ Podcast) listen at work, or at abode while doing chores and 'prefer the privacy and intimacy of audio'.

Easy Money?

While it'southward well-known that some writers enter the erotic fiction market hoping to earn 'easy money', the majority within this survey write, primarily, from creative impulse, with fiscal reward as a secondary consideration. However, a small number exercise rely on their writing as their main source of income.

Every bit Wade Esley admits, " Initially, I chose to write erotica for a terrible reason. I thought it would be an piece of cake genre to interruption into, because, in my mind, there was and so much poorly written erotica. How hard could it be to climb to the top of that dung heap? Even so, the more I read, the more I discovered truly talented writers, and became adamant to write quality stories myself."

Vanessa Wu warns confronting tailoring your craft purely with sales in mind. She asserts, "If you lot desire to be mediocre and feel luke-warm about yourself and what yous practice, write for a marketplace. If you want to gratuitous your hidden, impact people and be radiant with pleasance, write for yourself. All the works I like have i matter in common. They capture moments of intensity with clarity and focus. You lot feel something when you experience them."

Naturally, where the creative impulse is strong, nosotros write for reasons other than meaning financial gain. We write because the impulse cannot exist ignored, or considering we seek to share our vocalism.

Kay Jaybee stresse southward, " Don't expect pregnant fiscal return. I've been blest with many private messages, via FB and my webpage. Readers have thanked me, proverb that I've saved marriages, stopped them feeling lonely and generally improved their personal life. That sort of thing is priceless. Write because you burn down to do information technology. If you are in it for money or prestige so you'll be disappointed, whoever you publish with."

Rose and Dayv Caraway note similar satisfaction from receiving listeners' feedback on their erotic fiction online podcast (more from them here).

Sessha Batto comments, " My expectations were high, equally most people's are when they start publishing. It is no surprise that they were dashed almost immediately. Without a following or much targeted promotion information technology is unrealistic to think sales will be loftier. As my piece of work is niche at best, those odds are fifty-fifty higher. My best advice is to take a long-term view, grow your audience one reader at a time, and view the work, non the sales figures, equally the reward. If you lot get bogged down in numbers you volition always be dissatisfied."

Brantwijn Serrah tells u.s., "I've put out stories I love and have received feedback from people who've loved them too; beingness a 'storyteller' has made me incredibly happy. Financial reward is icing on the cake."

Speaking of her blog, Molly Moore states that her focus is upon 'pushing boundaries'. She asserts, "If I never made a penny I would all the same do it." She notes that having her ain online platform enables her to share work without concern for publishing restrictions.

Rose Caraway tells us, "It'due south good to wait at your intent. Whatever that is, give it your undivided attention. Remember that it's ridiculous to imagine that you'll become a millionaire."

A Living Wage?

While recognizing the pleasure that writing brings of itself, more half of the survey respondents as well mention their desire to earn some form of income from their efforts (small though that may exist). Appropriately, they lament online publishing platforms' expectation of authors contributing content in return for 'exposure' and the low rates offered by some publishers: a position that writers perceive, reasonably, as devaluing their arts and crafts.

Equally Tobsha Learner notes, the Internet has been 'a mixed blessing'. She says, " On one manus it provides (theoretically) a much larger readership, on the other hand the notion of not having to pay for intellectual property is almost pandemic in anyone under the historic period of 35. This basically is suggesting that professional person writers practise not merit a living wage."

Laura Antoniou notes that, being commissioned to write short story erotica for men'south magazines in the tardily 1980s-early on 1990s, she received $50 per story. She notes wryly that 'three decades later, the rate remains the aforementioned'.

The reality is that few authors can rely solely on their writing income to maintain a roof over their caput; the majority accept other employment (or are of retirement age).

Following on from this, Tobsha Learner notes the creative compromises authors are often obliged to make, maxim, " 'Commerce versus the creative soul' is the dilemma all working creatives have to face. In the terminal ten years, the publishing manufacture has changed remarkably. About mid-listers accept been wiped out to the indicate where the advances do not allow enough income to live, so established and highly skilled writers are forced to compromise their piece of work (writing office-time or churning out a book a year to maintain readership and publishers' expectations)."

Risky Business organisation

One of the most prominent comments past authors within this survey was the expression of thwarting at traditional publishers' lack of gamble-taking.  Jonathan Kemp notes experiencing censorship in 1999, having written an academic article near John Addington Symonds' homosexuality.  He tells u.s., "My article quoted some graffiti that Symonds writes virtually in his memoir: 'Prick to prick, then sweet', written side by side to a crude cartoon of two pricks. The editor of the book asked me to remove the phrase." He felt obliged to concede, being a young bookish and this beingness his first publication. He asserts that he would not practise and so today.

We might imagine that, of all publishers, those specialising in erotic fiction would exist most open minded, and most willing to 'button limits' in offering readers variety. Withal, existence primarily in the business organisation to make money, few wish to accept commercial risks. They tend to play safe, either inside the realm of romance, or on well-worn 'trope' paths. Where does this leave u.s.a. as authors? Writing repeatedly down the aforementioned avenues? (more on this here).

Siri Ousdahl comments, "The erotic books they've embraced in contempo years had proven track records… so the take chances hasn't been significant. When Random Business firm or Penguin 'have a chance' on erotica, the works are far from transgressive."

Even independent erotica publishers are prone to request 'light and fun' stories, with the emphasis on 'happy endings', which are thought to take more commercial entreatment, ignoring the huge potential of the genre to take usa into the deeper, darker (arguably far more compelling and fulfilling) spaces within the human psyche.

Patrick Califia tells united states of america, " I've had publishers tell me they would accept my books if only I would not be explicit about sexuality, or stop writing about gay sex, or stop describing kinky acts." Kristina Lloyd notes, "I wish more publishers would take risks instead of chasing the latest bandwagon."

Maxim Jakubowski (known for writing crime and scientific discipline fiction nether his own name) makes notation that his publisher advanced the use of a female penname for his co-written erotic-romance serial , citing this every bit a sensible commercial move in the wake of the '50 Shades' miracle. Every bit his female person alter-ego 'earns five times the level of advances' he cannot afford to jettison her.

Donna George Storey muses, "I've published in over lxxx print anthologies and, over the past twenty years, I've seen several market cycles. Mainstream publishers solicit erotica in the hope of making coin (because that'southward what they are about) and when they don't make every bit much equally they'd like, they arraign erotica rather than themselves. Merely there is e'er an interest in intelligent, sexually explicit writing among human being beings, if not business folk, so the wheel turns again and new editors seek out projects."

Jonathan Kemp notes, "Getting 'London Triptych' published was quite difficult because of the sexual content. Rejection later on rejection from mainstream publishers praising the writing simply admitting it was just also risqué for them. A modest, Brighton-based independent publisher, Myriad Editions, finally took it on, courageously, some might say. He recalls the surprise of a friend's younger brother, upon hearing that 'London Triptych' was available to buy from bookshops, 'positioned there on the shelf without whatever alarm of its scandalous contents!' Kemp notes, "That both tickled me and fabricated me experience a lilliputian bit proud." He adds that Myriad 'also brought out 'Twentysix', knowing it would exist harder to sell than 'London Triptych', which was definite bravery'.

Speaking of risk-aversion, Volition Carmine emphasizes that, if an author expects a 3rd political party to disseminate their work, then 'their skills as a writer had better be commensurate with their subject area matter'. He believes, "The responsibility of the writer isn't to avoid censorship only to survive it by writing persuasively and beautifully."

Marketing

The majority of authors believe that publishing houses should invest more effort in constructive marketing. Lizzie Ashworth comments, " Publishers want a big chunk of the profit while expecting the author to market the work. To me, the only benefit of a publisher is the hope of reviews, which many small presses don't carp to solicit."

Tobsha Learner emphasizes that publishers expect authors to take on much of the responsibleness of marketing, despite authors often defective the skills of 'natural performers', and then that they 'struggle to brand their personalities'. She notes, " Ane of the outset things a publisher will now inquire a wannabe novelist is how large their 'platform' is – this is of far more importance than the bodily manuscript." Tobsha warns, "Practice NOT expect Any publisher (large or small) to market place yous aggressively – unless you're already branded. This is an irony and a vicious loop; they will but market you if yous are already branded."

Janine Ashbless finds, with exceptions (naming Sweetmeats and her work with Cleis some years agone), that larger publishers 'just churn out books every bit a production line and y'all can become lost in the noise'.

Meanwhile, KD Grace comments, " I suppose the thing that has shocked me about about the publishing industry is merely how bottomless communication is between publishers and authors. There's a huge disconnect, bringing misunderstanding and lost opportunities.  The correct hand often doesn't know what the left hand is doing."

Ashe Barker tells us, "Not all publishers are as collaborative as I'd like, i.e. not consulting me when deciding to covert all my books to United states English, or beingness rigid on pricing policy to the extent that books are not competitively priced and are difficult to sell. Overall, I'd suggest working with more than one publisher even if you do have a favourite. All eggs in i basket is never a adept strategy."

Asserting his 'extremely positive experience' with his publisher, Myriad, Jonathan Kemp comments, "I'one thousand consulted on embrace images and they push their books and authors out into the earth effectively, also equally organising great events." Other praise was notably directed at Get Deeper Printing (run by Lana Fob and Jacob Louder), and at Stupid Fish Productions (run by Dayv and Rose Caraway), particularly for work in promoting anthology contributors. Several writers working with Blushing Books and Stormy Night Publications also emphasized effective marketing and professional conduct.

Alexis Alvarez shares, " I started out cocky-publishing, and and so published i with Stormy Night. Despite being of like quality and content, the edition with Stormy Night sold far amend, I assume because of their marketing machine and client base."

Jay Willowbay warns of investigating a publishing house carefully before signing your contract. He relates, "My simply full-length publication to engagement was a horror novel through a small-scale press. Information technology was a disaster. At that place was so piddling editorial work done that it went on sale within a week of me submitting it. I should have smelled a rat. They did no promo and the company quickly went bust."

Sue Lyndon echoes this, underlining, "I highly recommend that writers do their inquiry…. Wait on Absolute Write to see what other writers are saying. E-mail a few of their authors, and look at the sales rankings for their recent releases on Amazon. If a publisher doesn't have a good readership, happy authors, eye-catching covers and catchy blurbs, reasonable contract terms, and a reputation for paying royalties on fourth dimension, you'll want to move forth and look elsewhere."

Contracts

In offering advice, a great many authors warn confronting giving away rights arbitrarily. Yet flattered we are by the attending of a publisher, remain level headed, and read contracts carefully. Be wary of signing off on all your rights in ane barbarous dive. Separate payments tin be negotiated for print, e-book and audio rights (and for print rights across various global regions).

It's also wise to have a clause in the contract limiting the duration of exclusivity (anything from 3 to 12 months is typical) and then that you retain the right to resell your work, or compile within your own anthology.

Moreover, ensure there's a clause stating that, if a publisher fails to use your work within a specific time menses, or ceases functioning, that all rights revert to you, as author.Molly Moore warns that, due to her contract terms within anthologies, a number of stories 'remain unpublished and therefore have non earned any money or gained readership'.

Contracts do vary, and sums offered for curt story submissions are often negligible, while royalty payments (where given) may have relatively high thresholds, and merely become payable once editors have received their payment share. Sign with your eyes open.

Adrea Kore urges, "Read your contracts thoroughly – don't exist afraid to enquire questions, seek legal advice and re-negotiate clauses if you feel something really doesn't accommodate yous or impedes your own vision of your work. Respect your own intellectual work and rights as a content creator and, every bit much as possible, but sign your work with publishers that appear off-white, professional and respectful."

Determine what's important to yous in handing over your piece of work. Do yous simply wish your vocalism to be heard? Is financial recompense a guiding cistron? Or are you content with the commercial exposure yous believe a publisher can offer you?

IG Frederick feels strongly that authors should 'walk away from low paying offers'. At Us$25 for three,000 words, she points out that the writer is receiving barely ane/x of a cent per discussion, 'while half-dozen cents per discussion is considered a professional rate'. She adds, "If you lot take a royalty share arrangement, be wary of how the prorating is distributed and when payment is triggered. Restricting the rights you sell (particularly the term) allows you lot to make money on reissue of your work in the futurity." IG is desirous of more than authors refusing to write for a 'pittance' or for exposure, or to sign 'restrictive contracts', noting that 'information technology would exist easier for all of us to make a living'.

Taking Control

Around half of the writers taking part in this survey have experience of self-publishing, with virtually voicing satisfaction at the level of control, being able to choose their own comprehend, brand decisions on final edits, steer their marketing strategy and set up prices. Moreover, in undertaking this work themselves, they maximize royalty payments.

Jaye Peaches stresses, "The big advantage of self-publishing is total control over the artistic process. I've been able to publish books rapidly and build my audience in the space of ii years. Whereas big publishers motility similar snails and the lack of momentum is frustrating."

Self-publishing offers writers the opportunity to make their vocalisation heard, regardless of being viewed every bit too 'edgy' or 'niche' past traditional publishers. It invites liberation from compliance with a 'commercially successful' formula. In this way, authors are creating their own flavour, exterior of genre stereotypes, accessing niche readerships otherwise ignored.

Siri Ousdahl tells the states, "I have an extensive career under another name as a traditionally published writer of genre fiction. I was much happier with the indy printing that put out ane of my recent books than the big NY publishers I had worked with previously. This got me thinking about cocky-publishing as a legitimate venue for experimental and transgressive works. So far I have loved it. I have total control and have published a book I could non have washed through conventional avenues."

Cecilia Tan suggests using traditional publishing to access readers and marketplaces otherwise inaccessible, while using self-publishing 'to build access to an audience that you'd exist disconnected from if y'all relied on publishers lone'.

In about cases, authors notation the ease with which self-publishing is possible.

Will Crimson states , "If the author'due south just goal is to be disseminated and read, and if the author is protected past anything similar the Start Amendment (U.s. Constitution), then times have never been better. He or she need only beginning a blog. Publishing (or cocky-publishing) is as simple every bit writing a mail─-instantly and hands available to hundreds of millions of readers. In that respect, the broadcasting of erotica has never been easier."

Cara Bristol echoes this, maxim, " This is one of the all-time times to exist an writer because there are and then many opportunities to be published and to market one's books (although there are still no guarantees). For the first time in the history of publishing, cocky-publishing is a financially feasible, socially-accepted option."

A common frustration voiced by authors is that the ease of cocky-publishing has encouraged some to believe that there is little more than to launching a book than replicating another writer'southward commercially successful idea, creating a first typhoon, giving this a brief read through to check for errors, and choosing a stock-photo embrace. The resulting glut of depression quality editions has, in the eyes of well-nigh, devalued authorial craftsmanship and given cocky-published works a poor reputation.

Unsurprisingly, creating a polished piece of work and engaging a meaning readership involves discernment and persistence. It takes time, focus and certain talent (whether inherent or learnt). As Cecilia Tan notes wryly, "If y'all're a terrible cook considering yous don't have the skills, y'all either demand to develop the skills or rely on someone else to exercise the cooking for y'all. Now replace the give-and-take 'cooking' with 'publishing' in that judgement."

The foremost advice offered by authors is to invest in the services of a skillful editor: not only a copy-editor (to correct such issues as grammar and repetition), but a developmental editor, to help the author explore deeper aspects of their work: characterisation, and a compelling story arc, equally well as building tension and creating layers of meaning, to fully appoint the reader.

Finn Marlowe underlines, "Cocky-publishers need editors, end of story. Every writer needs another set up of eyes, and not simply beta readers [early readers of a story, who offer breezy feedback to the author]. If you're going to publish unedited crap, you lot might as well not bother, as you will ruin your reputation and your brand before you even get started."

Writers echo time and again the necessity of ruthless editing, cutting away the dead wood of redundant detail.

Adrea Kore , emphasizing that every give-and-take called by the author should serve a definite purpose, underlines that words are similar 'breaths that keep the claret of the story pumping ' and that 'no discussion should be wasted'. Additionally, that the skilled writer 'knows what to conceal, what to reveal, and the vital relationship between absence and presence on the page'. (more from Adrea on editing hither)

Jaye Peaches admits, "I struggled to recover the first-up costs of editing etc. However, I learnt a lot from the editing process."

Rose Caraway adds, "Spend time on your skills and, when you believe you're ready for someone to offer feedback, pass it to them to read and critique.  Choose someone you trust, with a good eye for item. It'south incommunicable for you to meet everything in your own work. Do read aloud to yourself too, every bit part of the editing process (or have a friend read to you)."

The aspect of self-publishing most commented upon with dislike is the necessity of marketing: an activity essential to the visibility of books. Writers are, ofttimes, not natural extroverts, and detect the immodesty of 'bravado their own horn' excruciating.

Tamsin Flowers comments, "I wouldn't recommend self-publishing unless a writer is already established in the market and is willing and able to put in a huge corporeality of time and effort on marketing. Information technology'south really hard to build visibility equally a new writer, particularly in erotica."

Clearly, there are advantages and disadvantages to the traditional and independent routes of publishing, with each offer its own allure.

M Fifty Shandwick states that being self-published allows her to avoid constraints, while 'the downwardly side is the corporeality of work that goes into trying to brand the books visible'. She asserts, "My communication to new authors would be to ensure y'all have built a brand earlier you ready out. Know the prototype y'all'd like to portray to your followers and piece of work hard to build on what you've achieved." She also warns confronting expecting 'instant success'.

Speaking of 'make', Tobsha Learner expresses regret in her called path of marketing herself equally an author, telling us, "I have made the mistake of writing in several genres and not settling in ane and exploiting that genre as a franchise. The concept of genre and placing authors into rigid boxes differs profoundly from territory to territory. However, particularly in the United kingdom of great britain and northern ireland, once you're in that box, it is extremely difficult to intermission out of the fashion you are perceived. First-timers should not be naïve on this forepart. Be clear as to what yous want to write, how you wish to exist seen (not just by the reading public but besides by the publishers)."

Finding Your Voice and Your Readership

The creative impulse is not borne of desire for financial gain . Any writer will tell you that at that place are easier (and more lucrative) ways to earn a living. For many, the art of writing and that of generating income brand uncomfortable bed-mates; they compromise one another; they compete for attention; they thwart each others' success. And yet, at that place is an argument for an author'south piece of work receiving recognition not but through praise, merely through financial reward. Meanwhile, for those dedicating their days to writing full-time, budgetary recompense is often essential.

Speaking of her desire to write with readers (and sales) in mind, Cari Silverwood comments, "Some people dear to read almost the bizarre, wanting to be taken to new places. However, the vast majority of readers desire amusement and they want a happy catastrophe. You can choose to forge a trail that veers off the beaten path a little, and your readership may be willing to accompany you lot. Veer too far, and y'all lose readers. Veer a long style, and… crickets."

Meanwhile, Sessha Batto is an abet for placing writing craft higher up the pursuit of meeting reader expectations. She would rather remain truthful to her vision, and write for her niche. She reminds us, "There are thousands of formulaic books in every believable genre, but the ones you recollect are the ones that are more than, that push boundaries, that sing their ain song."

I believe in the value of our genre, and am dandy to see its contour raised, bringing with information technology greater recognition of authors' talent.

 Write boldly, write proudly, write with passion.

Resource

Editing services tailored to erotic fiction

Adrea Kore: creative consultancy, developmental editing, writing workshops, and copy-editing services

Zak Jane Keir's Dirty Sexy Edits

IG Frederick's Pussy Cat Printing: editing service

Zander Vyne's Full Sheet Publishing: editing services – info@fullsailpublishing.com

Articles on effective editing:

Remittance Daughter: Over Writing

and

Malin James: Character Limits

Workshops to develop writing craft:

Corporeal Writing (run past Lidia Yuknavitch)

and

LitReactor (Rachel Kramer Bussel)

Further Reading

• Introducing 130 Authors
• First Inspirations
• Why Write Erotic Fiction?
• Dancing the Line: fantasy and realism in erotic fiction
• Lines in the Sand: transgression and censorship
• What the Hereafter Holds: 21st century erotic fiction
• Women Writing Erotic Fiction

Coming in 2017

• Writer Influences
• Writing Craft

• You may similar to view this mail service, on the 'Male/Female Hand', in which readers are challenged to place writers' gender.
• 'Men Reading Erotic Fiction' – looking at why men seek out fiction in this genre, and their preferences for style and content.
• The Erotic Vein: the male pen – on trends in men's authorship of erotic fiction.

My thanks get to the following authors for giving their time and for their aboveboard answers; my thank you also to authors who contributed their views anonymously.

Tobsha Learner, Laura Antoniou,  Susan St. Aubin, Shanna Germain, Remittance Girl, Malin James, Janine Ashbless, Adrea Kore, Kristina Lloyd, Jonathan Kemp, Patrick Califia, Saying Jakubowski, Cecilia Tan, Donna George Storey, Kathe Koja, Justine Elyot, Raziel Moore, Will Ruddy, Sorcha Black, Cari Silverwood, Siri Ousdahl, L.N. Bey, Zander Vane, Tamsin Flowers, Krissy Kneen, Zak Jane Kier, Jade A Waters, Ashley Lister, KD Grace, Kay Jaybee, Nya Rawlyns, Terrance Aldon Shaw, Sessha Batto, Rose Caraway, Allen Sunset, Tabitha Rayne, Marc Angel, Elizabeth Safleur, Jeremy Edwards, Spencer Dryden, Devi Ansevi, Nicholas Tanek, K. L. Shandwick, I.Thousand. Frederick, Jacqui Greaves, Ina Morata, Finn Marlowe, Elsa Holland, Elizabeth Schechter, Aleksandr Voinov, Lucy Felthouse, Alexis Alvarez, R.V. Raiment, J.D. Lexx, Lily Harlem, Thomas Roche, Madeline Moore, Ria Restrepo, Scarlet Darkwood, Wade Esley, Victoria Bliss, Jane Gilbert, Jim Lyon, Charlie Powell, Cate Ellink, Chase Morgan, Lee Savino, C.P. McClennan, Elizabeth Black, C.J. Czelling, Felicity Brandon, Nicolette Hugo, Frank Noir, Amelia Smarts, Nobilis Reed, Sue MacNicol, Cassandra Shaw, Ardent Rose, Sylvia Storm, Renee Rose, Rachel de Vine, Crimson Wild, Patient Lee, Pandora Spocks, Suzette Bohne' Sommers, Molly Synthia, Charlie Bee, One thousand thousand Amor, Lizzie Ashworth, Cara Bristol, Finn Marlowe, C.A. Bell, Brantwijn Serrah, Aubrey Cara, Kathleen Bradean, Jay Willowbay, Stormchase, Lisa Play a trick on, Allyson Immature, Vinnie Tesla, Emma Jaye, Dennis Cardiff, Dee Maselle, Frank Lee, Christina Mandara, Big Ed Magussun, Sue Lyndon, T.J. Vermillion, David Flint, Delores Swallows, Vanessa Wu, Ian Smith, Rebecca Branch, Jaye Peaches, Molly Moore, Ashe Barker, Tilly Andrews and Catherine Mazur.

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Source: https://emmanuelledemaupassant.com/2016/07/15/publishing-marketing-editing-writing-erotic-fiction-erotica/

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