Road Trip

Hi guys! I need a few ideas for my new story . The story will be about two naive blondes (bisexual), who go on a journey by car from Kansas to sunny California (for example). I would be grateful if you help me with different ideas that could happen to them in the way.

There are all sorts of scenes and scenarios.......

Sexy_Lena said:

Hi guys! I need a few ideas for my new story . The story will be about two naive blondes (bisexual), who go on a journey by car from Kansas to sunny California (for example). I would be grateful if you help me with different ideas that could happen to them in the way.

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Plenty of opportunity for erotic adventure, both with each other as well as others along the way. Creating those scenes are what I enjoy most about writing. Use your imagination and keep it edgy but real.

UBW

start slow by flashing some truckers

then they flash to get help with a flat tire... which leads to them giving the guy a "girlie show"

then they have their cash stolen so rather than wash dishes at the roadside diner they offer the same "girlie show", but have to provide blow jobs as well...

needing cash they then enter "amateur night" in the tittie bar across from the diner. They win by putting on their "girlie show" on stage, but get more money in the private rooms...

Think about them as people -- how do they act and react? Think about routes and what they could encounter along any highway there. And, what are they driving? Lots more leeway for fun if they have a minivan rather than a SmartCar. But I organize my road-trip stories around locations.

Possibilities: They drop out of KSU as freshmen because, well, they're not academic, and a friend offered them jobs in her beachwear shop on Santa Monica Blvd -- they can all share a condo there. They pack up their Manhattan KS apartment in Aggieville (near the U) into the old minivan Ashley's folks gave her, kiss their friends adios, and drive west. They have odd sexual encounters in Liberal, Kansas (fuck their way out of car trouble) and beyond. Think of what could happen in Taos (communes), Santa Fe (realtors), Albuquerque (geek inventing dildos), and Roswell (ETs!). Then in Zuni (Indian shaman), Sedona (sharp woo-woo dealers), Kingman (polygamists) -- and a long-holiday-weekend bacchanal at Lake Havasu on the Colorado River with drunken orgies etc. They nurture a desert rat in Barstow, dance at a strip club in San Boogaloo for gas money, and finally reach Santa Monica (after a detour to hot springs around Lake Elsinore). No depth is left unplumbed.

So I think about places, and the people who might be there, and how they'll interact (sexually) with the protagonist(s). I throw in plot gerbils associated with each place. And the story comes together.

The girls could get robbed, or the car breaks down and they don't have cash to get it repaired so they try hooking at a truck stop.


They get lost and run out of gas. In order to get a ride they have to service a bunch of bikers.

They get pulled over by a cop and have to perform sexually to not get arrested.

Car breakdowns and being stranded is an interesting angle. People like to read how people handle the pressures during that time. Unless its chapter based, they don't even have to make it to CA for a good story. It would be interesting if there was an underlying conflict that happened before the story that comes to the surface again. Things like that don't necessarily have to involve others. Camping out because of it can sometimes create interesting themes, as would having to take a long walk to get help. Not that it is totally bad, but I think too often people create total sluts out of road trip stories. This is true of work in print and movies. The trucker, and other things get kind of old.

Without criticizing other suggestions, I'll say that IMHO generic situations (car broke down somewhere; camped out somewhere; etc) lead to generic stories (gotta fuck the trucker, yada yada). Many readers in certain categories seem to like generic stories with lots of sex, so that's no problem.

I just don't think that way. I usually have specific locales, disguised or not, in mind when I write -- locales that I can see in my mind's eye, either because I've been there, or I've seen many images of it. (For example, I haven't been to Rome but I could probably fake it.)

So I think like: the car broke down IN TAOS; or they camped out IN ZION PARK; or they fucked a trucker IN BARSTOW; or they joined the gerbil-pile fuckfest AT HARBIN HOT SPRINGS. All my journal-type stories work this way -- the protagonist is somewhere specific, someplace I can visualize, and things happen there.

Everything was pretty normal until the pair decided, they were going through Nevada anyway, to detour to Area 51. There as they sit atop a mountain ridge late at night trying to catch a glimpse of the strange goings on there, are attacked by a group of escaped satyrs, all male of course, and used and used and used. The next morning they wake up thinking it was just a dream, until the mess the satyrs made of their vagina's start leaking out.

Sexy_Lena said:

Hi guys! I need a few ideas for my new story . The story will be about two naive blondes (bisexual), who go on a journey by car from Kansas to sunny California (for example). I would be grateful if you help me with different ideas that could happen to them in the way.

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How about Vegas? Unless they're going to LA to shoot porn.

Zeb_Carter said:

Everything was pretty normal until the pair decided, they were going through Nevada anyway, to detour to Area 51. There as they sit atop a mountain ridge late at night trying to catch a glimpse of the strange goings on there, are attacked by a group of escaped satyrs, all male of course, and used and used and used. The next morning they wake up thinking it was just a dream, until the mess the satyrs made of their vagina's start leaking out.

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Ever been there? Rachel NV is a pretty strange little place. Access to Area 51 is pretty strange too -- I should write about going to the usual vantage (turn at the black mailbox) and being surveilled by the White Suburban guys in mirror shades just past the sign saying TURN AROUND OR BE KILLED. Hey, maybe they hired satyrs for security there? Why not?

Hypoxia said:

Ever been there? Rachel NV is a pretty strange little place. Access to Area 51 is pretty strange too -- I should write about going to the usual vantage (turn at the black mailbox) and being surveilled by the White Suburban guys in mirror shades just past the sign saying TURN AROUND OR BE KILLED. Hey, maybe they hired satyrs for security there? Why not?

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Only via Google Earth. The closest I came was Peterson AFB in Colorado Springs, CO. and the Cheyenne Mountain Complex.

And no, there are no unused missile silos below the NORAD control complex. So there is no such thing as the SGC.

I was a member of the security contingent in both places. Had top secret clearance and roamed the Cheyenne Mountain Complex many a time. My key card let me in everywhere.

An no there is no room with monster, well there weren't in back in the '70s, like they show in War Games.

But I did have contingent of Satyrs as a roaming security squad. But we just called them airmen.

Hypoxia said:

Without criticizing other suggestions, I'll say that IMHO generic situations (car broke down somewhere; camped out somewhere; etc) lead to generic stories (gotta fuck the trucker, yada yada). Many readers in certain categories seem to like generic stories with lots of sex, so that's no problem.

I just don't think that way. I usually have specific locales, disguised or not, in mind when I write -- locales that I can see in my mind's eye, either because I've been there, or I've seen many images of it. (For example, I haven't been to Rome but I could probably fake it.)

So I think like: the car broke down IN TAOS; or they camped out IN ZION PARK; or they fucked a trucker IN BARSTOW; or they joined the gerbil-pile fuckfest AT HARBIN HOT SPRINGS. All my journal-type stories work this way -- the protagonist is somewhere specific, someplace I can visualize, and things happen there.

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keep driving...nothing to see here...nevermind...what was here before is no more... rubbernecking causes accidents...

sirhugs said:

rubbernecking causes accidents...

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But rubbers prevent accidents.

JRaven said:

But rubbers prevent accidents.

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Not the holy ones.

EDIT: Why not stun two buzzards with one pebble? It's a road-trip story -- AND it's a Hallowe'en Contest story! Our subjects make the journey, encountering paranormal entities the whole way. Ancient Native American spirits at Anasazi etc sites; cowboy ghosts at boot-hills; hey, ghost riders in the sky, even! Of course some spirits materialize for sex and/or possess mortals for fun and/or and/or just go BOO! and scare observers into some bed or another. New (horny) spooks at every stop.

Thank you guys for all your ideas and advices. Your help is really useful! It was great brainstorming session)

Just a little thing about locations. I generally don't like this, as it distracts me badly - especially if it's about cities and (worse) stereotypes about cities/localitites that are somewhere in the US, I'm quickly lost. Sure it may be fun for USAians that happen to know their own country very well, for the rest of us it's not so. I know the names of many major cities, I know the names of many states, but most of them I wouldn't be able to point out on the map. I can't even remember which side of the country New York and Washington are, or California and well euhm... the one on the other side, the name of which escapes me

Now I haven't done any road trip stories yet, but of course I do use locations. However I'll never name them, it's always "the city" and related "city police" and "the mayor" if you must use some officials. No names, or a made-up name. People living in a city will also rarely use its name, it's usually "my town" or so. It's really easy to get away with not naming your locality, especially if the whole story takes place in that locality. You will have to make up street or even district names, as they do get used.

Basing them on real cities I don't see as a problem, not at all, it helps the author keeping things realistic. A preferred road trip story would take me though various places, say from the land-locked cold centre of the country to the warm shores 1,500 km to the south-west. The characters could discuss the town they visit, joking with one another about the stereotypes of the people there (in the process introducing those to the readers), and then possibly see those stereotypes totally confirmed, or totally debunked, in the second case making a fool of themselves. Maybe they even visit other countries on the way, it doesn't have to be the same country they stay in.

This way you have quite some advantages as an author: no alianation of an international that has no clue of what you're talking about, a proper introduction of what the protagonists expect to see, and complete freedom when it comes to the places they visit, and the order they visit them in. Though of course it misses the recognition some readers may have when using exisiting places and naming them.

@i_would: I set many of my tales in USA locales, but also across Mexico and Central America, and one (so far) in France and Germany. I'll have others (soon!) in Italy and Central Europe. All feature named locations. Part of my job as a writer is to not just name the places, but also evoke them. And I (usually) just do not like anonymous places, probably because I cannot easily visualize them. If I can't see them, neither can my readers.

Hypoxia said:

And I (usually) just do not like anonymous places, probably because I cannot easily visualize them.

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That's where the imagination comes in, of course! Every reader will fill in the details, based on their own environment, making the locality different yet recognisable for everyone.

Hypoxia said:

If I can't see them, neither can my readers.

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That argument goes both ways, and for fictional localities based on existing places maybe even more so. You name a place, some second-tier city in the US that you happen to know, and certainly I can't visualise it. I can barely visualise New York (only know it from images on TV or movies), let alone Washington (other than the White House). I've never been there, don't have friends there, never even set foot in any of the Americas. You may expect as a reader I can visualise such places because they're so well known (to you), but that's just not the case.

I could quite well build a story around some characters involved in the Umbrella Movement, you must have heard about that by now. But do you know the difference between Mongkok and Admiralty? Or why Mongkok's protesters got attacked by triads, and why the same is far less likely to happen in Admiralty?

That is why I keep my places anonymous - most of the time the location itself is not that important anyway, as it's the characters that form the story. In case a location and its culture is important, it's easy enough to add that to your story through either direct description or by referencing it in your characters' conversations.

i_would said:

I could quite well build a story around some characters involved in the Umbrella Movement, you must have heard about that by now. But do you know the difference between Mongkok and Admiralty? Or why Mongkok's protesters got attacked by triads, and why the same is far less likely to happen in Admiralty?

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It's the author's responsibility to SHOW that to readers, just as the author must paint enough of a mental picture of the story's environment and characters. How detailed? Enough for images to form in the mind's eye.

The description need not be merely physical. Here is an excerpt from a new piece about a young woman traveling across Mexico:
So I've described the character of the town -- a character that probably exists in very few places in the world, only the footwear-hand-crafting meccas. I feel I *must* specify Parral as the locale because that character just would not fit in an anonymous place. When anonymous, it's made-up. Here, it's real.

My reading prompts me to study geography and read maps. Hopefully, my writing will so provoke others to do likewise.

Hypoxia said:

I feel I *must* specify Parral as the locale because that character just would not fit in an anonymous place. When anonymous, it's made-up. Here, it's real.

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Honestly to me as a reader it doesn't matter at all whether it's a real place or not - I absolutely don't know it either way. It also won't provoke me to look at a map (while I actually love looking at maps, especially old maps of places that I know well, but also random places). There's just no reason for it, it's a story after all.

Basing places (or characters) on existing ones is of course the norm. My anonymous or made-up places are generally also based on real places, places that I happen to know, places that I've seen on TV, etc. Then I cobble them together to create the size/layout that suits the story. Real places will give inspiration for a story, and guidelines on how things could be set up.

It's a bit like that "based on a real story" that many books or movies like to adverties. For some people this adds something to the story (it does seem to help sales); to me it doesn't add anything at all. I don't know the original story, the original characters, often don't know the original localities even. What's fact, what's fantasy? I'll just assume all is fantasy.

I've been following this thread and for some reason the Movie My Cousin Vinny came to mind. When Vinny and Marisa Tomei arrived in town, they had driven about a thousand miles from Brooklyn to Podunk Alabama. It probably took 3 days, and they way they were sniping at teach other when they first get out of the car tells me teh road trip was not smooth sailing at all.

I think a Road Trip Story about City folk driving through the old south would be interesting.

i_would said:

It's a bit like that "based on a real story" that many books or movies like to adverties. For some people this adds something to the story (it does seem to help sales); to me it doesn't add anything at all. I don't know the original story, the original characters, often don't know the original localities even. What's fact, what's fantasy? I'll just assume all is fantasy.

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I'll suggest that many many great (and not great) stories are firmly entrenched in specific places. Fantasy and SciFi may be off in elsewheres and elsewhens; but most else of what we read happens in a known place and time. Short stories can evade anchoring more easily than longer tales, especially explicitly unreal shorts.

Example: My contest entry (which should be up tomorrow) is a trio of vignettes. The first (1400 words) takes place entirely in a home kitchen with a time-span of maybe 1/2 hour. No geographic context is needed. The second (3400 words) is also compressed into less than two hours, and occurs near an anonymous college, again on a single indoor 'set', and again with no further context clues needed.

But the third (3500 words) is explicitly set in San Francisco and mostly San Diego, and the geography gently shapes the story. *COULD* I have written of a student flying from a cooler college to his warmer hometown without naming the cities? Sure; but then it would lack the California flavor. Naming a locale lets me taste it, smell it, even if it's somewhere I know only vicariously such as Benares, Buenos Aires, Bougainville, Brazzaville, Berlin, etc. I like tasty places.

Sam Spade did not exist in an anonymous city.

On the car breakdown idea: they have to work at a whorehouse to save up enough money to continue their travels.

Or they pick up a hitchhiker and have some fun with him