Picture of woman lying on floor looking reading

It’s Time For…Editing Mayhem!

After careful consideration, I’m 100% sure I am an over-editing fiend.

This isn’t to say that the editing I do is bad editing, or even that it’s unnecessary. It’s just potentially a little over the top.

“All things in moderation,” one of my parents used to say.

Yeah. Kind of missed that boat, guys.

In all fairness, we all have our methods. We’ve got to do what works for us. I felt as though I’d fine-tuned my novel editing process the last time around, but I’m coming to realize that whatever the process is that I think I have nailed down, it will be sabotaged when, say, I’m in times of great stress. (Perhaps uncoincidentally, this is when my weird urge to check the oven is off at least three times before I leave the house kicks in, too. So fun.)

The last book hit some road bumps before I called the edit done, but somehow it didn’t feel quite as disruptive as what happened this time. My awesome system was all screwed up due to too many “life issues,” and of course there was that whole bout with adding a subplot, removing the subplot, changing the subplot and re-adding it again. What all this basically amounted to was me convincing myself I’d fucked everything up, then laughing hysterically because I started re-editing things I’d already edited. Three times.

I like my plot lines how I like my love life: hot, heavy, and complicated. #amwriting

So about that plot line issue…

At least there was laughing, right? That’s good.

So, anyway. Clearly I’m going tangential today. There will be no fiction, no confessions, no poetry, no pictures of hot men. I have decided to share the editing process that is by no means “in moderation,” but that I used with both my currently shelved comedic memoir and that first erotica novel I finished writing last January. It’s a method I think I like (because I honestly love editing), and that I’ve attempted to use again—I just stress attempted because, well, see the last full paragraph. And yes, it might well be a little nuts. Or, maybe it’s normal. Or maybe it’s indicative of a woman who spent three years of her teens wanting to be a neurosurgeon so there remains a residual urge to meticulously fix things…who knows. Either way, perhaps you will find something of use (or at least a good laugh) from my editing insanity!

Here goes!

Jade’s 10 Steps to Editing Mayhem

Step 1: Mull It OverDo not touch your first draft for at least three weeks after you type “The End.” Then, and only then, print it out. Read it cover to cover (best in a short, consistent time frame) with all pens and pencils locked somewhere you cannot find them. Once you finish, mull for 2-4 days. Make mental notes of any plot issues that strike you as seriously fucked up, but do not write anything down. Not yet. This is thinking time.

Step 2: Grab the Pen of Destruction. After you’ve sufficiently mulled it over, find your favorite pen (I’m a big fan of blue or green—red makes me crazy). Then, in batches of three or so chapters, edit like a maniac. At the end of the third chapter, enter the changes on the computer. When you finish, go back and read these chapters on the screen, making changes as you see them. Then repeat your chapter bunches to the end of the book.

Step 3: Throw It All Off. Bear in mind, you will need to stop to add scenes where appropriate. This will of course throw off the “[three] chapter bundle” plan, so after typing a new scene, edit it on screen, print and edit it on paper, enter the changes, then continue on with the rest of the chapter bundle.

Picture of woman lying on floor looking reading

Is this step 4? Step 10? A cat nap? I don’t know. You pick.

Step 4: Assess Your Mental Health (Take 1). Recognize this has taken a bizarrely long time already, and that, according to writer friends, this is where many people stop and send the damn thing off to beta readers. Laugh a good laugh and keep going, special snowflake. It’s time to let that freak flag fly.

Step 5: Begin Your Word List Madness. When I read, I’m hypersensitive to echoes—repeated words and phrases—so when I’m on Step 2 I keep a notepad handy, jotting down every word or phrase I swear I’ve repeated too many times. This list can get disturbingly long, and it will turn out that some of the words are not actually echoes but phantom echoes. That’s okay, though; write them down anyway, because you’ll take great pleasure in finding out you’re wrong when you do a “find and replace” for each and every word on this notepad. When you find a true culprit, though, set some random upper limit in your head for the number of times you think it should appear. Proceed to slash and hack to fit that number. This process, while tedious, will allow you whole phrase changes that will make the book read better—you probably didn’t need to say cock that much, even though the word rolls around so well on the tongue. (Heh.) Also check excessive adverbs and your Naughty Words List (the list of words that you tend to overdo).

Step 6 (Optional): Create Post-It Confetti. When feeling particularly Word List sensitive (this happened for me last time), write down the really bothersome word on a Post-It, and make note of what pages it happens. Then make another Post-It with synonyms and their page numbers. Sometimes, you can find an eerie pattern that makes you feel your use of certain words is logically connected to the Universe—but don’t spend too long pondering this. Your next goal is to disperse your abundance of synonyms so that the first half of the book doesn’t have all the cock and the second half get the shaft. (Ha ha. Who said editing isn’t fun?!)

Step 7: Assess Your Mental Health (Take 2). Realize you have synonym lists on Post-Its all over your desk and that this alone may be far more concerning than your browser history. Laugh another good laugh. Is it a math brain that makes one so obsessed with patterns? The OCD? Will you ever know the true answer? Does this have something to do with the meaning of life? Why do you care? This is not the time for an existential musing. Whatever the cause for this madness, regain your focus and set some rewards: a night out when you’re finished and a damn good book to read. I promised myself Alison Tyler’s Wrapped Around Your Finger when this current edit was finished, and while it’s been sitting on my nightstand for almost six months, I am going to get to it soon, goddammit!

Step 8: Sigh and Run Your Spellcheck. Breathe a sigh of relief. The hard work is over. Now, give the whole document a spellcheck. Take this opportunity to spot and change more boring words. You’ll find them. I promise.

Step 9 (Best for post-beta read, but whatever): Go Aural. Read the entire story aloud. No, really. This is the best piece of editing advice I ever got, and I still do it, every time, no matter what the length of the story is. It catches almost every error, swear.

Step 10: Get Your Ass and That Book Out. Send the doc to your beta readers before you find ways to make another pass through. Then, take yourself out to celebrate.

BOOM. You’re done. Easy as pie. Yes?

So, a few notes: First drafts get better as you write more (thank god), so this list, while arduous, goes faster and gets simpler with each new story. The next edit (post-beta or otherwise) won’t require several of these steps, either—so far I’ve stuck with a single read-through, then 2, 3, 8 (sans sighs), 9, and 10 on that round, with 2 and 3 switched. Also, 10 is even more celebratory because it’s more done, which is always a good thing. And once this bad doggie is out the door, you can now move on to all the other projects you’ve avoided save for a random piece of flash or ten.

Until, of course, you get your edits back from your betas/editor/agent again.

🙂

XX,
Jade

Sepia lowlight image of woman faced away, wearing garter belt.

Flash Fiction: “A Taste”

She’s been waiting her whole life for him, she thinks, and she raises the coffee to her lips.

They’ve been eyeing one another across this diner for the better part of an hour, all while he’s pretended to read his paper and eat his late night bacon and eggs, and she’s forgotten to finish the soup that grew cold not long after she ordered it. She’s been distracted by the rules skipping through her head—don’t stare too much, cross your legs like a lady, don’t forget to eat with your mouth closed—but with the gazes they keep casting back and forth, she doesn’t think these things are really all that important anymore.

Anna pays her check and rises from her booth. She imagines she’ll be the first to leave. That he’ll follow her outside, giving her a moment to reflect on whether he’s stalking her, and if she’s supposed to run. Or if instead she should give away everything she’s actually feeling—the unsteady ticking of her heart inside the safe housing of her chest, the unusual race of her once regulated breathing, or, more than that, the heat that’s slickened at the peak of her thighs, making all this thought a perilous landscape of impossible, inexplicable desire.

But the man is the first to leave. He walks right by her, deliberately meeting her gaze. The brush of his hand on hers cannot be a coincidence, nor the look in his heavy-lidded eyes. And so it’s Anna who follows him outside, Anna who walks in measured steps behind him, Anna who glances up at the stars, just once, reminding herself how small she is in this world as he turns the corner and she’s left to decide one way or another.

Don’t talk to strangers, her mama said.Sepia lowlight image of woman faced away, wearing garter belt.

But mama’s been dead a long time now.

Anna finds him leaning against the backside of the building, staring beyond the edge of the bluff at the water below, where the waves ebb and flow like the surge in her veins. In her head, as she comes to face him, she anticipates the things he might ask of her. What’s your name? Why have you followed me? What are you looking for tonight?

He asks none of this. What he does is take her wrist and pull her to him, so that her breasts are flush with his chest and he’s breathing down over her face. She believes he’s asking for her approval, which she gives in the one kiss they will share—their lips merging, opening, exchanging the bitter trace of coffee, the hint of greasy bacon, and the sweet, sweet taste of spit. His hands are on her ass, molding her flesh, squeezing her closer. She welcomes this, then the way he swings her round to face the building, sliding behind her so his entire body lines her back. Anna gasps when his fingers slip under her skirt, because now he knows just how anxious she’s been for this. For him. Never show a man how much you care she remembers, but his fingers are in her, riding up and hot in the wet desire she doesn’t know how to hide. His teeth find her neck as he wedges her tight to the wall, and Anna’s open mouth grazes the fading building finish. She tongues the wood as he unfastens his pants, then the salty air that kisses her lips and makes her feel alive when he presses his cock to her ass.

“Okay?”

This is the murmur she’ll remember him by, a quiet, desperate groan that elicits the wild bob of her head. We don’t take risks. Good girls don’t take risks she’d been told, but as he drives inside she wants nothing more than to risk it all, again and again. Every thrust of his cock brings another moan, another moment, another physical expression she held buried so far inside. She spreads her fingers on the building and arches her back, letting him sink deeper, closing her eyes while the waves sing behind them and he moves faster inside her. He bites her neck again, surely tasting the glisten of sweat that’s broken out along her chin. Her body shakes when he slides a finger in her mouth and she closes her lips around it, the taste of her cunt on his skin. She’s only partially surprised she comes before he does, her whimpers preceding the muffled grunts he makes into her hair. He fills her with the honest, heated greeting of a perfect stranger.

For a minute, they stand like this, Anna smashed between his body and the building. His come is seeping out around his slowly softening shaft, dripping onto the panties barely pushed aside before he marked her as who she really is. Who she’s wanted to be.

The man places a kiss on the edge of Anna’s mouth. It’s tender and indifferent all at once, but she understands the intention behind it, what he’s learned, too. Thank you.

She is still standing against the wall after he tucks himself away, pausing like he’s supposed to, waiting to see if she wants to say something, or if there’s anything else she needs. But there isn’t.

When he’s gone, Anna spins around, her back to the building as the chaos of her belly becomes a soothing warmth that brings a smile to her face.

She’s never taken a risk before.

And she’s been waiting her whole life for this one.

Wicked Wednesday Badge

Black and White Art Photo of Woman's Hips

“Open” — a Poem, in Audio

I think it’s safe to say all writers love words. We love the shape of them, the feel of them, the way they play together on the page. But while most writing is meant to be read in quiet, there are occasions when it’s the sound of the words that really counts.Black and White Art Photo of Woman's Hips

I make no secret in my bio that I once read synonyms to a lover as foreplay. In that moment I enjoyed not writing the words, but dancing them off my tongue, letting them resonate and seduce in just the right way. And though I’ve read a few stories aloud before, those pieces weren’t written with that intention in mind. Which is why today, I’m trying something different.

I wrote “Open” about seven years ago as a poem to be read aloud. On the page, it reads to me as a series of staccato lines and words—whereas in my head these phrases are better played with in tone, volume, and voice. So with that in mind, I’ve opted not to just post this old poem, but to read it to you, too. It’s quite short, but I’ve read it as I imagined it when I wrote it—not as a string of words, but instead as sounds meant for a lover’s ear.

I hope you enjoy it.

XX,
Jade

OPEN

    by

Jade A. Waters

Come
Inside
Fill me
Take me
Your love
Within
Divine
I ache
I pine
The heat
Engulfs
And burns
Throughout
I feel
You throb
I move
On you
With you
To you
A beat
A pulse
That stirs
That moves
Us on
As one
Together
Push
And rub
We glide
You slide
Deep
In me
You are
You live
I breathe
To feel
This
You
In me
With me
Press on
Once more
And then…

 …Come again.

Dark toned image of woman sitting with one leg crossed over another

You Got Turned Out

Well over a year ago, a close friend used a term that struck me as profound—so much so it’s been simmering in the back of my head ever since. The truth is that it was said in reference to a relationship I’d experienced, but eventually, I realized how wide the scope of it was, and how very much I needed to write about it.

See, at the time of our conversation, I was wrapping up one of the most painful breakups of my life. I’ve had many relationships in two decades—some of them waking me in one way or another, others serious enough we nearly ended up engaged, and still others breaking me in ways that required many years of lightness to heal—but this was different. It was heavier somehow, more real, more intense. If I were to describe my past relationships as watercolor paintings, this one was made of oil—dense with color, small details, and texture, and labored over not just with brushes, but with rags and carving tools that molded the canvas of us. It started as a casual fling that should have meant practically nothing, but in the mere nine months we lasted—including four breakups, three standoffs, and two attempted months of silence—the impact still coursed through my blood and transformed me.

So on the night we chatted, this friend of mine listened while I cried to him for probably the third or fourth time, dragging myself in circles over this new kind of hurt, and this strange feeling of having had my heart and soul wrenched open in ways I couldn’t understand. And in the midst of it, he said, very sweetly, “Honey, don’t you see? You got turned out.”Dark toned image of woman sitting with one leg crossed over another

This friend has long been special to me for a variety of reasons, but his frankness—paired with his somewhat uncanny understanding of women—has always captivated me. Having never heard the term, I sniffled a few times and asked what the hell he was talking about. I’ll take the liberty of paraphrasing his response, but the basic concept is this: getting “turned out” means someone has fully broken through to you—turned you upside down, cracked you open, and unraveled you completely. Sure, you may have had sex and love before—hell, you could have had endless sex and love, and believed you’d felt the magic—but this experience is not common, and when it happens, you know. It’s more powerful than any love or good fuck or orgasm you’ve had before; it’s like you’ve found that person who can sink right into your soul, delve into your pores, and bring you out into the world as an entirely altered, more phenomenal version of you.

When he said this, it clicked. I’d known love, lust, empathy, closeness, hurt, passion, and all of the feelings that connect us with one another—but this thing, even as short as it was, had me lost in an emotional and sexual haze all the way through and well after it ended. Truth be told, it’s one of the most complicated things I’ve ever experienced, so uplifting and murky and amazing and excruciatingly painful, charging me even beyond the time it took to heal. This is why I strongly believe the last part of what my friend said in that phone call, too—that this type of experience will inevitably end in one of two ways: ideally, you and the person seize the magic and end up together for life, exploring this brilliance discovered together; or, you and the person call it quits, she who got turned out is hurt for a long, long time, and then—once all the pain dissipates and she can see straight again—she’s essentially reborn with so much more sense, emotional power, and feeling than she’d ever dreamed of before.

A phoenix rising from the ash, if you will.

That’s a big concept to pin on a relationship, I know, but I’d venture to guess a few of you know exactly what I’m talking about. Maybe while you’re reading this, your hearts are thumping in your chests, your heads lifting and falling as you whistle to yourselves because you remember what this felt like. It’s that feeling of putting your heart, your love, your soul, your very essence in someone else’s grasp like you could never have fathomed before—and still being unbelievably okay with it.

Sometimes, it works out. Sometimes, it doesn’t. But no matter what, you will never be who you were before.

So, that’s what’s been churning in my head for a while now, seeping into my work, my stories. I don’t mean to do it, and then suddenly I do. The first time I saw it was in the last book I wrote—I’d drafted it early last year and then came back a month later to edit, following my character through her adventure in love and sex while I made my scribbles on the page…and then WHAM. I actually saw it in her character arc, and said it out loud:

“Oh, look at you. You got turned out, baby girl.”

I thought it was just a one-time thing. Then the feelings kept resurfacing in other stories I wrote, essays I penned, and poems I posted, without me ever intending it. It was like in finding myself, my characters had to, as well. Even in the book I’m editing now, I saw it happening all over again—the protagonist shedding her old skin, embracing this new life and awareness she finds with the one who broke through to who she honestly was. It wasn’t that she wasn’t whole or happy before—only that, in a way, she had to set fire to who she was to leap into this vivid new self. In doing so, she’s become richer, more powerful, and eager for every sensation and experience yet to be had.

She’s been turned out.

Sometimes, I wonder if the intersection of my own experience happening shortly after I sent my first erotica story into the world was a coincidence, or if it was the Universe trying to give me a message. That in embracing my writing, I’d opened up a personal door. Or that in releasing the erotica I’d kept quiet for years, I was finally able to bare my heart and soul, even if it was going to hurt like hell. Or that, since I was going to explore so many things in real life, I would need to feed it all into my stories over time.

Honestly, I don’t know the answer to the how or why—and like the phoenix, I don’t think the past matters anymore.

When you get turned out, the only thing you need to do is soar on.

XX,
Jade

Man over woman looking breathless

He’s Got Her

I rarely write while drinking. For one, I’m usually out with friends, and sitting down to pen something wouldn’t work in the moment. Then, there’s the fact that my creative process simply doesn’t flow under those circumstances. I might have some good ideas, but they won’t come to fruition in any sort of cohesive way until I’m completely clear-headed.

That’s why today’s poem is a bit of an anomaly for me. A month ago, my friend and I met and played our usual rounds of dice games over drinks at a local bar. And as the evening progressed, we shared a powerful conversation on those people who rip you right out of your comfort zone—loves who make you see things differently, move you in ways you didn’t imagine, and break straight through to your soul. Sadly, he had to leave soon after, but I was still buzzed and nowhere near ready to drive. So I sat in my car for a while, texting friends, reading blog posts, and replaying the conversation.

It was then this poem started writing itself, inspired by the heady nature of the discussion and some memories of my own. I wasn’t able to finish it that night, but I’ve finally pulled it up off my phone notes and touched up a few spots. For the most part, I left the original poem intact.

So today, I’d like to share “He’s Got Her” with you:

Man over woman looking breathless

Sakkmesterke ©123RF.com

HE’S GOT HER

by

Jade A. Waters

He’s got her
Spread out
Naked
Her limbs stretched across this bed
Wrist to headboard
Foot to base
But this has nothing to do with
That.
It’s the way he looks at her
The way he sees inside her soul,
The way his fingers dig
So deep inside her cunt,
Finding her secrets
Her truths
And all her dreams,
With the flick of his wrist and a glint in his eyes.
She thinks for a moment
It’s not right that he can do this,
Not right that he can take her
From cynical to believer in seconds
But he does,
Every time he holds her
Kisses her
Loves her.
This is what she realizes
As he circles her clit with his tongue
And drives those fingers inside;
He’s got her,
Caught her,
Ensnared her heart and soul in his net
For a lifetime to come
Because it’s supposed to be,
Was meant to be.
It is.
So when he thrusts into her,
Grunting, bearing, deep and loving,
She knows—
This love he takes from her
This love she freely shares,
It was never hers to give in the first place
Because she’s always
Belonged to him.

*

I hope you enjoyed it.

XX,
Jade

Wicked Wednesday

#EuphOff: For the Love of a Stable Boy

A few weeks ago, the charming Jane Gilbert shared a hilarious post on erotic euphemisms. We’ve all read them—and I’m sure we can all agree they’re positively terrible. They tend to do a fine job of turning the reader off while simultaneously detracting from the story, because things such as coffee beans, spongy stems, and turgid manhoods are probably best left for comedy.

Which is why, I suspect, dear Jane came up with a fabulous new meme—it’s called the #EuphOff, and it’s been circulating for a little bit now. I’ve been slow to join in due to all the stuff, but with the challenge of writing a 500-word story using as many euphemisms for sex and body parts as possible, how could I pass this up?

(You’ve been warned.)

Purple prose is definitely not my thing, so a giant thank you to Jane for the challenge as I actually found this really fucking hard (and not in a good way). 😉

But, after you’ve read through to the end—if you can make it to the end—please be sure to jam your clicker on the coffee bean to enjoy more trembling oysters and vibrating sabers from other writers! Believe me, there were some fantastic entries.

Now, without further ado:

For the Love of a Stable Boy

Princess Abigail jumped when Donnie emerged from the shadows, her lush orbs rising and falling as his bare feet crunched across the woodsy floor. Under the cascade of light blessing them from the moon above, she made out the hunger in his eyes. His was unrestrained lust, the natural state of a man come to implant her with his seed.

“Abigail,” he said, his voice a throttled cry slicing through the chilly night, “I’ve been waiting for you.”

Abigail’s cherry-tips hardened, and a thick syrup brimmed in the marshmallow cavern between her thighs. They’d spent years playing at the river’s edge when they were young, despite her father’s repeated warnings that he was just a lowly stable boy—but having spied him bathing at the edge of the pond, caressing the dagger between his legs so that it grew into a swollen beast desperate to plunge into her darkest cave, she knew he was nothing the term boy could properly fit. Now, the steel-cut landscape of his chest glittered in the moonlight with a fine layer of velvet moss, and beneath his abs there jutted the one-eyed snake that dwells between a man’s hips, a fleshy sword ready to spear her inner path to take from her the maidenhead she could only give but once.

Before Abigail moved, Donnie pressed his tumescent rod against her. She gasped, but he swept her in his arms as her head fell back in a whinny.

Princess Abigail in the Woods

Anton Maltsev ©123RF.com

Could he read her impure thoughts? Did he know her marital hopes?

Could he smell in the air the ripe scent of nectar that circled in her lady passage like the love that swarmed her heaving bosom?

“Donnie,” she whispered, “do you mean it?” She gnashed her teeth despite her hands swift to roam the ridges of his chest, then grazing the hollow of a belly meant to flatten against hers when he would impale her with his love stick.

“Oh Abigail,” he said. “You are the maiden pure as the driven snow, sweet as the taste of honey, and curved like a cello I’ve longed to play.”

He smothered her in a tender kiss, then, his hands gripping the sweet round of her bottom and raising up the folds of her skirt. What could she possibly do? A tide of desire surged her love haven, and as his heat-seeking protuberance snuck against the bare, ivory skin of her quivering thigh, she muttered, “But I’m a princess. My sacred pearl can only be given once—”

“Then let your maidenhead be mine, my darling,” he said. “I am the one for you. I promise.”

Abigail did not protest as Donnie laid her down and lifted her skirt above her head, burying his puckered lips between the rippling wings of her butterfly. She bleated in longing as his tongue drilled into her seeping cavern, and when she began to seize, Donnie rose up on his knees, grasping his baton. “Let me pollinate you with love fluid to show my honor for you, Princess.”

At this, Abigail surrendered. Donnie pierced her with his stem, stinging her with the repeated seesaw of his hips. Pleasure permeated her once-sealed tunnel, and as Donnie bucked like a wild stallion and exploded with cannon fire deep within her silk canal, she knew.

He was the one.

*

Special bonus narration by Exhibit A!

Wow. My eyes and ears are bleeding. Yours?

Flick the bean for more!

XX,
Jade

EuphOff

On Elephants and Landmines, and the People Who Help You Through

I’ve been in a really funny headspace lately. It’s one that did more damage than good, but I think one we all go through from time to time, to one degree or another (or maybe I’m only saying that so I don’t feel crazy). But in truth, life happens—it’s just that sometimes, it’s full of giant elephants blocking your way between the landmines that can blow your path to smithereens.

Move it, Bertha.

So let’s see. Where do I start?

I’ve been working on this book. It’s an exciting one for me, a standalone story that I started as what I’d intended to be a quick detour before I sat down to draft the sequel of the book my agent is currently shopping around. This baby’s got a lot of elements going for it that have my engines revved…first, there’s a bunch of exhibitionism (as I’ve said before, I am a bit of an exhibitionist). Then, there are a few relationships happening for my darling lead female—not in a poly way, but in a super complicated way I’m enjoying navigating. And then, there’s said lead character—a woman who definitely doesn’t fit the current mold of female protagonists (read: naïve virgins), and who is instead a highly educated divorcée ready to break free of her troubled old life. Score!

But here’s the thing: this poor book has been taking a beating from day one.

It took seven weeks to draft my last book, but this one has had a perilous path, interrupted in more ways than I can count. There was the one-month break. Then the two-month break. Then that other break. Then the rewriting that had to happen since I kept trying to write while I wasn’t sleeping much, or while I was sick. Or…well, you get the picture. It’s just that, for some reason, I can’t seem to get my time and focus into the game on this one.

Okay, truth be told, I laughed as I typed “for some reason”—because my life has been a hot mess for a few months now. For the last five I’ve been contending with an oil-leaking car (finally fixed…I think) and the HOA waiving threats of fines about for the spot I “took too long to clean” (too long was a week, guys, a week) and now the manner in which I’ve cleaned it (because “soap is bad for the environment”). I’ve still been running Jade’s Cat Hospice, which strangely sucks up a lot of time when you consider chasing cats down and medicating them multiple times a day, with one of them using the litter box as her hiding spot when she’s on to me (oh my god STOP that, kitty, stop!), and twice weekly email correspondence with the vet tech. Then there was the cold from hell that completely knocked me out, ironically, for the few days I took off from work to get some editing in on the damn book. I can’t seem to solve my plantar fasciitis problem, and spend a surprisingly large amount of time working on that (stretching, icing, ordering new shoes, returning crappy shoes, wondering if I’ll ever run again, stretching, icing…). My sleep is fortunately not as bad as it was during my 6-week chronic insomnia run last year, but my trick of moving to the couch if I can’t fall asleep and waking up there with a messed up back in the morning is getting kind of old. Then there’s family drama happening that’s kind of boggling my mind, and on top of that, some shit went down at my day job that was serious enough I might need to consider legal help, but I’m not sure if—with my tendency towards insane stress levels—this is the route to go yet.

But all this is neither here nor there. There are children starving in Africa, right? This is what I learned growing up: my problems are not real problems because there are children starving in Africa. It’s a mantra I repeated to myself for decades, one that left me unable to acknowledge until way later that witnessing my parents’ terribly messy divorce when I was a child actually did have an impact. It was a mantra that prevented me from realizing that raising my sister for two years while I was 11 and my parent worked graveyard did force me to play the grown-up when what I needed was to be a little girl and cry. It was the same mantra that had me putting on my game face after a series of emotional and physical traumas in my teens and twenties, because it was easier to just smile, laugh it all away, and keep it quiet than handle it for what would be about a decade. And later, it would be this very same mantra that, when I was performing aerial circus stunts as I mentioned in my interview with Molly Moore, would lead me to break myself in the middle of a performance because I didn’t believe pain could stop me—or should stop me. Ps-shaw. Hell no. I didn’t do pain. I was a superhero and had no time for pain, relaxation, feeling hurt, any of that.

There were children starving in Africa, for fuck’s sake.

Well, the good news is now that I’m 35 and oh-so-wise (did you hear me chuckle just now?), I am less inclined to resort to the children starving in Africa mantra when I’m hurting. I totally feel pain, and I cry; heck, I even have meltdowns that could, I suppose, be hormonal, but holy shit. They happen. It’s rather bizarre, having been the levelheaded one in the family for so many years [decades], that now I actually cry and have to lay boundaries and stuff.

But that relaxation thing? That part where, when I see a big brick wall—or, say, a field full of elephants and landmines blocking every clear route—I know that I need to slow down and accept that this might be trickier than expected and that’s okay, because sometimes tricky things take time?

Yeah, that part I’m still working on.

So I think you might be wondering where the fuck I’m going with all this. Let’s cut back to the cold/chasing cats/work thing/family drama/limping on my foot on the way out to scrub more oil off the goddamn pavement moment: I finally had a whole day free to write and I simply couldn’t. I froze. I cried. I got myself caught in this loop over the fact that I was wasting my productive time to mull over all this bullshit that shouldn’t be stalling me. It was Meltdown City, and I kept wondering if I was PMSing, or worse, bipolar—because hell, that runs in the family—and before you know it, I’m on the internet taking a quiz to determine if maybe I am (who fucking does that?).

I suddenly felt like I did once upon a time, even without the Africa mantra, but damn—was I being hard on myself!

Then three magical things happened.

First, I put a call in to the wonderful and lovely Malin James. Many of you know I adore this woman—she’s like my long lost twin separated at birth—so she felt like the right person to call. She needed a few minutes to call me back, and that was okay. While I waited, I texted my other friend—a non-writer with whom I share other similarities (including some astrological traits, if you’re into that). As she texted me back, I randomly found this article by James Clear about not striving so fucking hard for goals and instead reaching for the process and savoring that. Because that’s attainable. That you can’t fuck up, or bemoan not reaching. Because it’s all about the journey, remember?

So about the time I’d gotten the gist of Mr. Clear’s very clear point, my phone went off with a text and a phone call all at once. My two dearies had come to the rescue. The texter hit me with some sweet words telling me I was going to do just fine with the book, and then some encouragement to go on a long walk and drink more (she’s an exercise fiend and a wine connoisseur) and remember we’re Geminis (and thus naturally a tad bipolar). Meanwhile, the fabulous Malin chimed in with her extraordinarily calming and logical approach to tackling huge missions while circumventing bitchy elephants and dangerous landmines in a way that made sense to me (the twin thing again).

Bring It, Journey.

Bring it, Journey. Konrad Bak ©123RF.com

And I’ve got to say—between these three events, I was suddenly okay with putting my story down for the day. I took a deep breath. I closed the browser telling me I was potentially bipolar. I calmly enjoyed the rest of my afternoon. I even went karaoking with another great friend (my version of the walk and drinking…instead I danced and drank) until something like 2 in the morning.

Because you know what? There are children starving in Africa. And elephants are awfully big to walk around. Also, landmines can be treacherous.

So sometimes you’ve just got to slow down and go with it.

Things are still stupidly chaotic in my life, but I’m not panicking on the book anymore. It will happen. And writing this post reminded me of a passage I scribbled from a phenomenal book I read last summer, Hillary Jordan’s When She Woke:

“I don’t have far to go.”

“That may be…or it may be that you have a greater distance than you think. But either way, you’ll get there eventually.”

You know what?

I will.

XX,
Jade

The Pillow Talk...Erotica Writers Talking Dirty logo: black and white image of a cartoon woman with bright red lips on a pillow

Pillow Talk Secrets: All About the Dirty Scenes!

The Pillow Talk...Erotica Writers Talking Dirty logo: black and white image of a cartoon woman with bright red lips on a pillowIt’s time for another Pillow Talk Secrets, everyone!

Today I’m quite excited as Malin James, Tamsin Flowers and I—your host for the day, Jade A. Waters—have a spicy new topic for you. We’ve been wanting to get back to the dirty, seeing as we are Erotica Writers Talking Dirty, so today I’m delighted to be leading our discussion on the best erotic scenes and acts to write. That’s right—you’ll be hearing all our favorite pairings, naughty deeds, and explicit (literary) moments, and we hope you’ll enjoy the ride. (Eh-hm. Pun intended.)

So without further ado, welcome back to…

Pillow Talk Secrets

Jade: Hello, ladies! How are you both today?

Malin: I’m doing really well, thanks! How are you, Jade? Tamsin?

Tamsin: Very well, thank you.

J: I’m so glad to hear you’re both well. I’m very excited for our session today, and I suspect there’s some real dirtiness ahead. 😉 Shall we get to it?

M: Absolutely!

T: Fire away, Jade.

J: All right then. Today, we’re talking about favorite pairings and acts to write in erotica. Hot! Let’s kick off with pairings: one-on-one, threesomes, different gender combos, etc…any particular preferences?

M: Well, I’ve always loved writing m/m/f threesomes—my WIP is about how one develops longer term, (among other things). That said, I just wrote my first m/m last fall and kind of loved that too.

T: Yeah, I enjoy the old m/m/f—my novel Her Boss & His Client was about one—and that was so much fun to write. Double penetration and the rest! 😉

J: Right! You know, I haven’t written a ton of threesomes myself, but I did love penning the few I tried. So far I’ve only run with m/m/f. Have either of you given f/f/m a whirl, and if so, what do you feel are the differences in actually writing them (besides the obvious, of course)?

M: I wrote an f/f/m very early on—the story is awful, though the pairing was fun. I think the biggest difference, (for me), is that with m/m/f I feel free to just go to town, whereas with f/f/m, I’m very conscious of the fact that the f/f portion can accidentally come off as a bit performative, (as in “bi for his benefit”). While there’s nothing wrong with that in print or in life, there are other aspects of that dynamic I want to explore more.

J: That’s a really good point, Malin. That performative piece is so ingrained as a societal fantasy, it’s something to be mindful of.

M: It’s true…that said, I’ve read a lot of stories that dig into powerful, sexy stuff with f/f/m’s. There are a lot of different power dynamics to play with—same with m/m/f.

T: One thing about writing anything with three people involved is the need to be a little more specific about whose body part is whose—you can’t just say “his cock” if it could be Tom’s cock or Dick’s cock. And you need to be really clear for the reader on the logistics—it can certainly get confusing when there are six hands, six arms and legs, and multiple genitalia!

The kissJ: And that’s the same for more than three, too—I wrote a fourway orgy (in space, no less). It was three men and a woman. Mind your pronouns was the name of the game!

M: Absolutely—pronouns and body parts get really interesting when there are more than two people to manage. Same with action—it’s easy to accidentally focus on two of the characters and leave the third (or fourth) in some sort of sexy holding pattern. It’s like juggling balls (ha). You’ve got to keep all of them in the air.

T: Smart analogy!

J: Yes. Body part circus! 🙂 It’s something we have to pay attention to no matter what, but it’s certainly heightened in the three-four-five-(whoa wouldn’t that be fun?)-ways. So, while all the pairings are lovely, it’s clear we tend to gravitate to one-on-one for the majority of our writing. Let’s focus on specific acts in couple erotica then, no matter what the gender pairing. Shall we start at the beginning? They meet, they make eyes, and then…there’s the kiss! What are your thoughts on writing the kiss?

Click here to read more at Pillow Talk!

Part of Toby's Poem

Today I’m Going to Share a Sad Story

Twenty-one years ago today, I lost my virginity.

That experience itself is not a sad one, but it’s important; I was 14-years-old, and having already had my first sexual awakening a few months before, I’d known when I started dating Toby that he would be the one. He was three years older, an incredibly tall and thin brunet with long hair, graceful fingers, and the most prominent, lovely nose. We’d started phoning one another after he stopped me on the sidewalk outside my Taekwondo studio, where he’d told me he loved my smile and eyes.

What he didn’t know then was that I already had a crush on him. We’d both auditioned for Tevye and His Daughters a couple months before, and while I’d had to drop out of my miniscule role because I had too much homework that I took very seriously, he’d gone on to perform as Tevye in a manner that didn’t fit his 17-year-old frame. It was on that stage Toby struck me as different from all the other boys, as if hosting wisdom beyond his years, but also a presence that couldn’t be explained in any terms I understood then. It wasn’t that he was confident, or dominant, or anything we might imagine when we think of onstage presence; instead it was an aura of listlessness, of discomfort. He was a young man who struck like the gentle beat of the carotid through translucent skin—rich with life blood, and yet so faint you might miss the ghostly tick of who he was.

I discovered I was right about this feeling when Toby and I started dating. There was something about the way he gazed wistfully out the window, and the unusual things he chose to discuss and dwell on. Then there was poetry; long before we’d ever kissed, I’d read him one of my early poems when we sat together in the park. I’d stopped mid-line, suddenly embarrassed and thinking there was no way anyone would really want to hear this blubber I was writing in which I poured out my soul, my ache, and all my love—but Toby did. After, he begged me to write more, to read to him over the phone so he could savor the words and ask me all about what I was thinking when I wrote them. Occasionally—after much encouragement from me—he shared one of his own, and in time, this became our habit. Poems and letters formed our connection, the secret we’d found to express ourselves beyond the physical moments we spent cuddled in the dark, talking of dreams and the futures we imagined for ourselves. Mine were tangible and real, fantasies I could make happen if I set my mind to them. But in Toby’s written words I learned something with which I’d never been familiar: the idea that someone could truly find himself not fitting in this world, that his very existence, for him, was in question at every moment of every day.

By the time we decided to have sex, Toby had shown me more of him. There was a youthful playfulness that distorted his face when he tried to fit in, as if underneath something lingered, a quiet unease that only spilled out on paper when he spoke serious fantasies of living in different eras and places. He made it sound romantic, this obsession with running away from here and now—and this was part of the reason I asked him to be my first. It happened in the middle of the night after he snuck his long, lanky body through my window, kissed me while he slowly peeled off my clothes, and then laid me down on the carpet of my bedroom floor as the moonlight streamed in through the open window and over our skin. Toby kept his lips on mine the entire time, as we both tried, desperately, to stay silent lest we get caught.

In truth, the experience was not what I’d expected. I wondered why people made such a big deal out of this thing. All the other physical acts we’d shared had struck me as more pleasurable, more intimate—and what I wanted in that moment was something more meaningful, to light a candle by which we could whisper our poetry aloud, like we did all the other times we’d been together. I’d been trying to make sense of Toby for so long, and now, this close, this forcibly connected, I needed to understand him, to peer into his soul and see why—despite all his love, his caresses, and the way he claimed he felt happier with me—he still struck me as so lost inside his head.

Part of a poem once written for Toby

Toby’s Poem

Our lovemaking continued for only a month after that, each time better and attempting to draw us closer. It was a physical act to meet my ache for understanding, and perhaps one that represented his need for a world he couldn’t find in his family, friends, or the comings and goings of high school life. And when we broke up, it wasn’t because he was acting as the lost young man I’d come to know and treasure, but instead the laughing, joking boy he thought he was supposed to be.

*

It was almost four years later we ran into one another, and everything, while different, had stayed the same. Toby complimented my eyes; I told him I still loved his nose. He was thinner, lankier, and his eyes had grown darker somehow, like he’d taken on more of the world’s weight and it had sunk the skin around them as a mark of all he had to carry. But when he asked if I still wrote poetry and I flashed a reminiscent grin, he brightened up. He told me he missed my smile and that we should catch up over poetry and wine.

I honestly can’t remember much of the dinner we shared when we met a week later. The trials that had happened in our lives—rumors that had spread around town about me, and the rumblings I’d heard about him through friends of friends—were all irrelevant as we sat across from each other. We both pulled out the notebooks we’d written in over the years, eager to share everything we’d thought and felt about life, other lovers, and what the future would bring. After our meal, Toby bought a bottle of red while I stood outside the liquor store in the cold night air, wondering if the love we’d make would feel the same to an experienced 18-year-old as it did to the virgin he’d soothed and welcomed into his mystery all those years before.

When we arrived at my house, we uncorked the wine and sat facing each other, poetry in hand as we read, back and forth, for the next couple hours. There were many toasts, many utterances of encouragement, many awed shakes of heads at what each of us had expressed over these few years that felt like a lifetime of change. He stopped me, at one point, telling me he was so glad I’d never stopped writing. I’d dropped my notebook to my lap, beaming and blushing—no one but Toby had read so many of my words, and certainly no one but him had encouraged me to keep writing them. In the same way, I loved what he’d done with his own, and I told him so.

It was somewhere after our second glass we started to kiss.

The memory is ancient and tainted with the fuzzy haze of wine, but what I do recall is this: two naked bodies curling under the sheets, fingertips grazing each other’s sides, tracing memories and yet learning something new, something changed. There was more wine, then more poetry. We whispered it as we made love again, this time a little older, more sure, knowing it was the magic of the lines we read that fueled our fire, that maybe seemed to others strange—two people reading as they arched and bowed, breaths wavering between the words—but that for us remained the secret to our true selves, and what we sought to understand in one another. Our rapture was in poetry, and when we woke in the morning and he kissed me goodbye, I remember thinking it was the real way we were supposed to end: the writers who’d loved, not just the lovers who’d written.

I lost Toby after that night. I heard he moved away, somewhere strange, some other country he’d always wanted to visit. As close as we’d been that night, I’d read in him that comfort in his skin remained a diaphanous, tenuous thing—that despite his beautiful words and loving touch, he still wasn’t all that sure of the world or his place in it.

Wherever he was, I hoped he’d soon find the solace he’d been looking for.

*

It was over four years later I got the news.

My life was a vastly different one then. I was nearing the end of a five-year relationship that lasted five years too long, one that, without saying too much, broke me in ways women should never be broken. And it was while this boyfriend visited my apartment that my best friend called to tell me what she’d heard about Toby through some mutual friends. She’d dated him too, for a short while before I’d ever met her—but through the years, she knew who and what he was to me.

She spilled it all in a moment, her low tone signaling the gravity of what she had to say: Toby had been living in Europe with a pregnant girlfriend. No one had seen him in a while, but everyone thought he might finally be happy.

And then he killed himself.

My reaction had been stifled by the look I got from my boyfriend. I didn’t know how to act, how to feel. I’d never lost anyone before, but I found myself remembering Toby in that instant as I’d first known him—a lost young man, living in the wrong world, the wrong time, searching for something that fit and never quite finding it, writing letters and poetry that forever tried to make sense of it all.

“So he killed himself and he was your first. Big fucking deal,” was what my boyfriend said to me. “You dated that guy? He was your first? What a loser.”

And because my reaction would determine what came next between us, I didn’t say anything more.

*

They say you always remember your first, and I believe, for many, this is true. There is something to be learned in your first time—awakening, desire, love, pain, change. And yet, when I think back to my “first,” I hardly remember that moment with Toby on my bedroom floor. What I remember instead are those moments sharing ourselves in the poetic way only we understood, and, deeper than that, the lost man I tried so hard to understand but never fully could. With it all usually comes a sense of grief and loss, a feeling that rose and fell so fast then, never expressed in a way that suited the connection we shared every time we read our words.

Most of all, there comes the acceptance that sometimes, you can never truly understand what’s going on inside a person’s soul. You can encourage them, and you can empathize, but there’s always so much more beyond what they will let you see.

And the only thing you can do is treasure them anyway.

XX,
Jade

For Toby.

Interviewed on Molly’s KissCast!

When I was nine years old, my mother took me to a modern art show. I don’t remember much about it other than a giant piece in the center of the room with bicycle wheels perched haphazardly all over what looked like a mound of clutter, but somewhere during my bewildered eyeing of the thing, a newscaster came over with a camera and mic and asked if I’d like to be interviewed about my thoughts on the display.

“You want to hear what I have to say?” I whispered.

I’d looked at my mom with huge eyes and a gaping mouth as she encouraged me to turn back and answer the gentleman’s questions, and while that interview was a short-lived, silly little thing, the honor of being asked what I thought about anything struck me as really damn special.

So, cut to many, many years later, when I was on Skype with the lovely Molly Moore of Molly’s Daily Kiss. I’ve been delighted to get to call Molly a friend for a little while now, because she’s as fantastic in her conversational charm as she is thoughtful and talented while writing or photographing for her many websites. Somewhere in our friendly conversation she asked if I might like to be on her new podcast, Molly’s KissCast.

KissCastLips

As we were on Skype, I got to see my own face in the corner of the monitor as I dropped my jaw in the very same way 9-year-old me did at that distant art show. Because Molly—sweet darling dear I adore—wanted to hear not only what I thought about certain aspects of the business, but also just about me, my history, and what and why I like to write.

Needless to say, I was completely honored—and I still am. I was quite nervous at first, but in her easy, sweet manner, Molly ended up getting me giggling so hard through most of the conversation I should probably listen one more time to make sure I didn’t snort or something in public. 🙂 Heck, she even got me talking about my recent book, my circus past and how much of my real life makes its way into my fiction (dun dun dun), plus a few other reveals I hope you’ll join us to hear. Molly previously interviewed Jane Gilbert of Behind the Chintz Curtain, and I suspect she will have many more fabulous guests—she is such a charismatic, intelligent, and warm woman, being on the interviewee end of any of her podcasts is a treat no one will want to miss!

For now, I am so grateful to have been a part of Molly’s KissCast. Please click here to give the episode a listen.

XX,
Jade