Strong personality vs naive and shy (lesbian story)

[untercaos]

Maybe this is more of a request than a actual idea...But I'm burning for something like this!

I really enjoy when there is a certain dichotomy/contrast between a couple: one of them being more powerful, with a strong mind/ personality and body vs. a shy, naive, younger, smaller, ... partner.

It's a huge turn on for me and sometimes I find some (well written) lesbian stories with that dichotomy but I have something more specific in mind. Maybe someone could like to try writing it. I wouldn't certainly be a good writer...

I'd love if the stronger character would be a rather androgynous woman: very tall, strong (strong arms, especially) with a well defined and lean body, chiseled face with blue or green eyes.
She should be dominant, confident, ambitious and elegant. She could perform a more typically masculine and successful job. And she would dress in a masculine way as well. She would be a lesbian (no experience with men at all) but way too focused on her work to really pay much attention or look for other women in general.

The girl would be short (much shorter than the older woman) but with a very nice body, big but firm boobs and round butt. Maybe a brunette with nice brown eyes and soft face to add even more contrast. She would look (and be) young.
As stated before, she would be shy, a bit clumsy sometimes and naive. But still an interesting and smart girl. She would be a lesbian but a virgin or without great experience.

When they meet (the girl could start to work at her house to pay the studies, for example) the girl would feel very impressed with her -- but perhaps wouldn't think about her in a sexual way right away. The women would feel very attracted to her and ending up, not a first, dreaming about getting her. She would seduce her but the girl would try to fight it, maybe a bit afraid of being with someone so different of her (dominating, strong..) when herself is so inexperienced and shy.
The sex would ending up being rough and passionate. The contrast of the women's strong hands touching and holding the girl's smaller body...that would be a great "scene"...at least for me I hope I'm not alone in this.

Would someone be able to do anything with my fantasies since I'm inept when it comes to writting?

 

[Hypoxia]

Where's the drama? What comes between them? What must they overcome? A standard formula is: X meets Y, X loves Y, X loses Y, X regains Y. Other formulae: in comedy, the low is brought high, and in tragedy, the high is brought low. Can your fantasies fit a dramatic mold?

 

[untercaos]

They would want each other but they would repress it. For example: it could be a sort of a dilemma between burning for the younger woman's body and enjoying her personality & clumsy ways and the fact that she's much older and also in a quite different position in her life (for instance, the girl could be 18 or 19 and the woman could be in her late thirties or already 40).
Maybe she would feel a bit of a predator and that would create an internal conflict. She's also not very much into having crushes and that would be upsetting and hard to understand. Especially being so obsessed with such a younger person.

Still, the woman would ending up not controlling herself anymore and she would seduce the girl, touch her, tell her some perv stuff. Maybe she could feel guilty in the end but would getting off thinking about getting her anyway.
In her turn, the girl would try to run away due to her own fears...she's not very confident, she's inexperienced... Besides, the woman's ways seem to be quite rough...but, curiously for the girl, that same ways would arouse her like she never was before.
(It's hot when the actual sex takes a few tries before it actually happens...you know, the tension keeps building up until it's unbearable for both parts.)

After some time (great sex and many other good experiences together) they would overcome that conflict and the love between them would develop. Of course that in the relationship, the older woman would be protective and a bit dominant (but still loving) over the the girl.

They would keep the relationship secret because of the girl's religious and strict parents. But they would find out and be quite aggressive about it, making the girl choose between her family life/ love and her relationship.

 

[BabblingBrooke]

Where's the drama? What comes between them? What must they overcome? A standard formula is: X meets Y, X loves Y, X loses Y, X regains Y. Other formulae: in comedy, the low is brought high, and in tragedy, the high is brought low. Can your fantasies fit a dramatic mold?

Do you think all short stories must fit into a standard dramatic mold? I understabd what you're saying, but I know I've read some incredible short stories here, very short in length, that were detailing an erotic encounter, but not a fully fleshed out story with a larger plot line. When written well, I enjoy these. I also like multi-chapter stories. Some diversity in my smut is nice.

 

[Hypoxia]

Do you think all short stories must fit into a standard dramatic mold? I understabd what you're saying, but I know I've read some incredible short stories here, very short in length, that were detailing an erotic encounter, but not a fully fleshed out story with a larger plot line.

Those are vignettes, distinct from short stories which are distinct from novellas et al. My well-liked A Taste of Spirits is a set of vignettes tied together with a framing device. Each vignette has its own structure; there is no over-arching plotline. Still, each has dramatic and/or comedic elements woven in. Software is built on an initialization-process-termination model. Some of my vignettes follow a setup-problem-resolution model; others are merely X meets Y, X sucks Y, Y fucks X, snip but I can't really see those as standalone stories. YMMV.

 

[NOIRTRASH]

A vignette is different now than when it came to be in the 19th Century. Back then it set the stage and launched the tale. The opening of HUCK FINN comes to mind.

Today the vignette is a stand alone scene with no obvious connection to the story but gets explained by the end. That is, in the book I have in mind a detective examines a box of clothes worn by the murder victim, and nothing grabs his attention tho the womans belt was the murder weapon. Near the end a woman examines the clothes and notices the belt immediately. The victim owned the belt but her skirt had no belt loops, and the belt clashed with the outfit, especially the jewelry.

HUCK FINN opening vignette.


YOU don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. That is nothing. I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary. Aunt Polly -- Tom's Aunt Polly, she is -- and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before.

Now the way that the book winds up is this: Tom and me found the money that the robbers hid in the cave, and it made us rich. We got six thousand dollars apiece -- all gold. It was an awful sight of money when it was piled up. Well, Judge Thatcher he took it and put it out at interest, and it fetched us a dollar a day apiece all the year round -- more than a body could tell what to do with.

 

[SlightlyGone]

Do you think all short stories must fit into a standard dramatic mold? I understabd what you're saying, but I know I've read some incredible short stories here, very short in length, that were detailing an erotic encounter, but not a fully fleshed out story with a larger plot line. When written well, I enjoy these. I also like multi-chapter stories. Some diversity in my smut is nice.

Some writers believe the rules of writing are set in stone, others see them as guidelines, it seems if you're a good writer, the format you use doesn't matter. There is that saying, 'If it ain't broke, don't fix it,' but if you don't fix something that isn't broke, how do you improve upon it?

Those are vignettes, distinct from short stories which are distinct from novellas et al. My well-liked A Taste of Spirits is a set of vignettes tied together with a framing device. Each vignette has its own structure; there is no over-arching plotline. Still, each has dramatic and/or comedic elements woven in. Software is built on an initialization-process-termination model. Some of my vignettes follow a setup-problem-resolution model; others are merely X meets Y, X sucks Y, Y fucks X, snip but I can't really see those as standalone stories. YMMV.

From what I've seen, vignettes, short stories, novellas, novels seems to come down to length where people place them, in general. All stories have an end goal and you pretty much have to keep a steady path most of the time (unless your writing Family Guy). Writing software is logical and mathematical (it needs to be told with complete clarity how to behave) while creative writing is creative: you don't have to follow rules to make someone understand what is being written. Doesn't mean the time tested 'proper' way is wrong, but doesn't mean it has to be followed.

Maybe the guy is going to write a seduction story, the conflict as small as the younger woman thinking, 'oh, what is this? do I like it, don't I?' That seemed pretty implied.

A vignette is different now than when it came to be in the 19th Century. Back then it set the stage and launched the tale. The opening of HUCK FINN comes to mind.

I haven't read Huck Finn or Tom Sawyer in over 20 years (Christ, I'm getting up there.) I think I need to buy those books. I'd normally just download, but I think those need to be added to the library.

 

[Hypoxia]

From what I've seen, vignettes, short stories, novellas, novels seems to come down to length where people place them, in general. All stories have an end goal and you pretty much have to keep a steady path most of the time (unless your writing Family Guy).

Beg to differ. Vignettes, short stories, and novels are usually very different beasts, sort of like rowboats, sloops, and aircraft carriers. They (hopefully) all float but their structures are not so similar. Vignettes especially are usually very small fragments of tales with minimal (if any) initialization-termination.

Hmmm, a metric just occurred to me -- measure complexity. Count how many scenes are in the piece. A 750-word vignette with four distinct scenes surely is not structured like a 90k-word novel that is one extended scene.

Writing software is logical and mathematical (it needs to be told with complete clarity how to behave) while creative writing is creative:

Logical, yes; mathematical, maybe but not necessarily more than arithmetic; creative, hopefully. But I only mentioned it as analogy to storytelling, where we often exploit existing plot structures -- because they work.