"Marketing" a story

“It was the best of orgasms, it was the worst of them, it was the age of multiple climaxes, it was the age of none a'tall, it was the epoch of fucking, it was the epoch of not fun, it was the season of clit licking, it was the season of dry mouth and rough tongue, it was the spring of BBC, it was the winter of a small dingus, we had every sexual thing before us, we had nothing worth having before us, we were all going direct to nirvana, we were eating shit—in short, it depended on who was on the other side of us.”
A tail of two clitties.
 
“It was the best of orgasms, it was the worst of them, it was the age of multiple climaxes, it was the age of none a'tall, it was the epoch of fucking, it was the epoch of not fun, it was the season of clit licking, it was the season of dry mouth and rough tongue, it was the spring of BBC, it was the winter of a small dingus, we had every sexual thing before us, we had nothing worth having before us, we were all going direct to nirvana, we were eating shit—in short, it depended on who was on the other side of us.”
Tell me you typed that from memory...
 
@ElectricBlue, similar questions for you regarding whatever story you might choose. For example, did the idea for Rope and Veil start with the initial meeting in the lift, the encounter in Ameila's apartment, or with something else entirely (like maybe an image of Amelia's rainbow twisted hair)?
Most of my stories start with a "moment", usually an observation in the street, seeing someone in a café, on the bus.

Rope and Veil, for example, started with that first scene, the vibrant young woman calling out to hold the lift, jabbing that button, then looking up at me with such a gorgeous smile - I couldn't do anything else but write her into a story. The rope idea came from a Tumblr blog I was following, where rope artists displayed their work. The strong sense of "place" in Amelia's home came from a dwelling I'd designed for my daughter, that never got built. Except in the story, where it got lived in.

Similarly, the three opening vignettes in The Floating World describe encounters in morning cafes one year, when I was working in the city. There's only one sentence in the first vignette, with the Chinese woman, that was invented. The Amanda sequence clicks into fantasy when she steps back to appraise Adam at the crossing - in real life she was off to do the afternoon's banking. We walked down the street together, and I jabbed the pedestrian crossing button, just as he does in the story.

A Girl on the Bus, same thing. The bus swayed, her hip bumped against my shoulder. The exact conversation didn't happen, but we said something to each other. The second chapter happened, as did the storm in the third chapter, but she wasn't on my bus.

The young woman in the street at the beginning of The Floating World, The Madelyn Chapters... she really was a Maddy, but I really was too slow. I should have kept walking with her, past my building.

The two young women in the first Emma and Bobbie story - a different cafe, the first conversation took place, the second one didn't.

None of these stories where pre-conceived. The only conceptual idea was in the Madelyn Chapters, where my beta readers at the time asked the question, "What kind of woman would match Adam," and at the same time I encountered the real Maddy, who became Madelyn. In that story, Juliette "arrived" out of nowhere, in a scene where Madelyn is masturbating in a restaurant toilet, and needs help getting herself off.

I've found that real life is always enough to start a story from.
 
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