Since the middle of last year, I’ve been writing quite a bit of fanfiction, and enjoying myself immensely in the process. Prior to getting sucked into the Supernatural fandom, it’s something I hadn’t done since high school, when I and my friends would collaboratively build elaborate Zelda fics and I’d make myself blush by writing Final Fantasy VIII stories where Squall and Quistis kissed. As such, and while I’d incorporated the occasional sex scene into my original fiction – first as a teen, and then as an adult – I didn’t have much experience with literary smut beyond the little I’d read. Given the regularity with which both fanfiction and romance are denigrated, therefore – and despite the fact that I think such denigration is bullshit – I fell into the trap of thinking that graphic sex would be easy to write. I mean, how hard could it be?
Very, is the answer, and now that I’ve produced some 350,000 words of smut and smut-adjacent prose, I can state quite categorically that doing so has made me a much better writer.
As anyone who’s ever attempted one can attest, action sequences are among the trickiest types of writing to do well. Especially when it comes to a close-combat fight scene, there’s a real art to getting it right. At the level of raw bodily mechanics, you have to properly choreograph what’s happening such that both you and the audience can imagine it clearly, but without the prose style becoming either so detached or clinical that you lose momentum. By the same token, you’re essentially describing a series of related or identical actions taking place in quick succession, which impacts on your language choices. Ideally, you want to walk a fine line between repetition and simile, switching focus between intimate detail, like how it feels to land a blow, and the bigger picture of what’s going on – the setting, the time, the context. And then, of course, there’s the emotional component: why are the characters fighting? What are the stakes? How does everything that’s happened before this point influence their actions? What’s the dynamic of the exchange? Are the combatants evenly matched, or is there a disparity? How is it going to end?
There’s a lot going on, is what I’m saying, and if you get it wrong, you run the risk of throwing your audience out of the story.
And every single one of those factors applies to sex scenes, too.
Bad or mediocre sex scenes, like bad or mediocre action scenes, are ubiquitous precisely because there’s so much involved in doing them well. Even – or especially, rather – when you’re writing from the focussed point of view of a single character, it’s important to remember that the other participant/s have their own motivations: that they aren’t just passive sexual objects. Sex is communication, connection, negotiation, and how and why your characters go about having it will say a lot about them. Though I often find the slashfic obsession with who tops vs. who bottoms to be needlessly reductive and objectifying, given that women – who are the genre’s predominant writers and readers – are so frequently assumed to be sexually passive and uncritically portrayed as such, it’s easy to see the appeal of a setting where the sexual roles of familiar characters are instead argued on a case by case basis. It’s a lesson to bear in mind regardless of the gender/s involved in any sexual scene you’re writing: how someone behaves out of the bedroom doesn’t necessarily dictate their preferences within it, and in terms of furthering emotional characterisation, that’s a rich vein seldom tapped in other genres.
By the same token, and as I’ve angrily noted before, it’s often assumed that positive, consensual sex scenes serve a strictly pornographic function, such that, unless you’re actively trying to titillate your audience, the only sex that ought to appear in other genres is bad sex, or sexual assault, or rape. The logic here is maddening: that only violent, unpleasant or non-consensual sexual encounters can have such a transformative, narratively relevant effect on the characters that you’re justified in showing them in detail, rather than simply fading to black or leaving it up to the reader’s imagination. Not only does this completely elide the possibility that the details of good sex might be similarly relevant, but as an approach, it tends overwhelmingly to have sexist consequences: that is, if women are assumed to be the primary victims and men the primary perpetrators of sexual violence, and if this is the only type of sex we think is worth describing, then we end up reinforcing exactly the same toxic gender dynamics such scenes might ostensibly mean to criticise.
Let me put this as bluntly as I can: if you feel comfortable including rape, sexual assault, bad sex or sex that only one party enjoys in your stories, but aren’t similarly willing to write positive, consensual sex scenes, too, because you think they’re too porny or irrelevant, then you’re a hypocrite. Which isn’t to say that every book that includes assault needs to include consensual sex, too: that’s far too restrictive a mandate. Rather, I mean it as a general writing principle: to the extent that you’re willing to include sexual content at all, it makes no sense – and is, I’d argue, actively problematic – to restrict yourself to purely negative depictions across the board. Sex in all its forms can serve a narrative purpose, and if it also happens to be titillating sometimes, then so what? Literature is meant to make us feel things, and I see no reason bar a culturally ingrained sense of puritan shame that arousal should be considered a less valid, worthy response to evoke than fear, or grief, or horror.
Learning to write sex scenes has involved a steep but deeply beneficial learning curve. Unlike in the case of action sequences, there’s a level of self-consciousness that has to be shed in order to write them, and a unique level of cringeworthy ridiculousness that’s risked by getting them wrong. But I’d far rather read more books across all genres that at least attempt to write a variety of positive, communicative sex scenes that sometimes miss the mark than continue to live in a world where sexual pleasure – and especially female pleasure – is considered more taboo and less narratively relevant than graphic torture and rape.