tagHow ToSerial Seduction

Serial Seduction

byCal Y. Pygia©

To write a series of stories, an author must have a way of continuing the tale past its initial installment. There must also be elements to give the ongoing chronicles unity, of course. Often, the use of the same general setting, the same cast of recurring characters (with a new one tossed in, as it were, on occasion to liven things up a bit), and the same basic theme are employed for the purpose of maintaining unity.

However, a series of stories must have something more than the same setting, characters, and theme if a writer wants to continue to pique his or her readers' interest and keep them coming--or cumming--back for more. There must be both continuity to, and variations on, a storyline.

In my "First Timer" series, in which a sadistic male Dom punishes his male sub, variation is supplied by the use of different spanking instruments: the hand, a paddle, a wide belt, a narrow belt; finally, in an "aftermath" to the spankings, I offer an emotional and a psychological explanation for the pleasure of pain. (I also touch upon these issues in my essays, "The Psychology of BDSM," "Cruel Art," and "Thoughts on Sodomy.")

In my novel Buffy the Shemale Vampire Slayer, much of the series' variety is found in the various types of demonic creatures with whom the protagonist is forced to engage in the performance of different types of perverted sex, sometimes taking on several comers--or cummers--at the same time in a demonic orgy as wild as the hell dimension itself which Buffy visits to rescue her friend Willow Rosenberg from the hands--or talons--of its demonic ruler, Baphomet.

Something similar--a variety of bizarre characters, this time from ancient Greek mythology, and perverse sex acts--also supplies variety to my novel-length tale of Baubo, a sex goddess extraordinaire.

In another series, "Charisma" (also known as "Charisma and Tiffany"), the variety is furnished by way of the articles of a magic wardrobe, which have very strange, but erotic, effects upon the young woman who dons them.

"Quality Control" consists of five parts, or chapters, the first four of which are devoted to the testing of a different spanking machine upon a different female subject. The last installment combines the best features of each machine. The variety results from the introduction of these various characters and apparatuses, but the unity is preserved by the same storyline (the testing of spanking machines); the use of the same protagonist, the physicist, Dr. Fanny Fanner, who tests the devices; and the main character's discovery of her lesbian leanings.

Another novel, The Sarah Owens Story, finds variety in several ways: Sarah's initiation, by her coach, friends, and father into various types of sex (sadomasochism, lesbianism, and incest, among them); the use of not one, but two, spanking machines, the first of which is continuously upgraded with new features; and Sarah's internal struggle to cope with the series of physical, emotional, and sexual assaults upon her person and her dignity. Continuity derives from the use of the same general settings, recurring characters, explorations of the BDSM theme, and the cheerleaders' common goal, which is to with the nationals championship. The novel is a sexual bildugnsroman, as it were, a self-discovery and coming of age on the part of Sarah and the other teenage schoolgirls. (Fear not, as the story's disclaimer observes, all the characters in the story are 18 years old or older, and the sex is always consensual.)

In "A Tale of a Tail," I wrote a short story sequel, as it were, to The Sarah Owens Story, in which Sarah, having graduated from South Catholic High School, is now enrolled in a community college. To help to defray her expenses, she supplements her full-time job as her alma mater's assistant coach and mascot by clerking part-time in an adult book store, where she meets Gail Drake, who invites Sarah to her apartment to try on erotic animal costumes. Although this is a single, stand-alone story, it could be (as I mention in a note at the outset of the story) the basis for a whole series in which Sarah dons the various costumes, some of tame, and others of wild, beasts.

I've written one other series, a humorous account of "The World's 10 Greatest Inventions." Needless to say, they're all sex-related: the dildo, silicone breast implants, ben-wa balls, anal beads, condoms, the pocket pussy, inflatable sex dolls, edible panties, cock rings, and penis-shaped lipsticks. Also needless to say, the series' variety comes (and, hopefully, cums) by virtue of the sex toys themselves.

The element that forms the basis of continuity (and variety) in a story is sometimes known as a plot generator, which Wikipedia defines as "a fictional plot device which permits the generation of plots for an extended serial without requiring a great deal of logical connection between the episodes." The online encyclopedia offers several examples, many of which seem rather obscure. The more familiar illustrations include Quantum Leap's use of "a botched time travel experiment," which causes the series' protagonist to travel through time and visit various eras and places, and Buffy the Vampire Slayer's employment of the Hellmouth, a gateway of sorts between this world and a demon dimension, through which a vast variety of otherworldly antagonists visited her hometown to menace and mangle residents and others.

The author who wants to write a series of stories that are unified through setting, characters, and theme needs to include variety, too, if he or she wants to keep his or her readers coming back to cum some more. A plot generator, whether it consists of different spanking implements, demonic creatures, mythological beings, articles of an enchanted wardrobe, spanking machines, various forms of abuse, inventions, costumes, "a botched time travel experiment," or the portal between this world and another dimension, is a helpful means of generating both a series' variety and continuity.

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