How I Wrote "Quality Control"byCal Y. Pygia©
Reading this title, some are apt to shrug and think, 'who cares how he wrote "Quality Control"?' Others might have wondered, What the hell is "Quality Control"? Still others might be intrigued or curious enough to read at least the beginning of this essay to see whether it merits their time and consideration.
Obviously, I think it does--or, at least, I think it merits my own time and consideration in writing it. The reason that I think so is this: explaining how I wrote the "Quality Control" series reveals a technique, or process, that you can use to generate ideas for stories of your own, and any means of poking the muse is good, for the writer if not necessarily the muse.
The process is quite simple, actually, but effective. Like millions of others, I enjoy surfing the Internet, and, admittedly, I look at more than my share of porn. As my writing reflects, I enjoy a variety of sexual subjects: anal sex, oral sex, vaginal sex, bi sex, gay sex, lesbian sex, straight sex, BDSM, shemale sex, incest--it's all good. When I'm not reading or writing about sex, in many, if not all, its seemingly infinite variety, I'm drooling over drawings, photographs, and video clips of it. I guess you could say I'm obsessed with sex. All this reading, writing, watching, and thinking about sex, sex, sex keeps me in an ever-ready state to read, write, watch, and think about sex, sex, sex, and, consequently, I see much more in a sexual light than many "normal" people who are happy to shag the spouse twice a week, usually in the no-nonsense, get-it-done missionary position, with minimal foreplay and no afterglow.
First, I look for images that speak, as it were, to me with an especially loud and attractive voice; images that seduce me; images that jump off the screen at me; images that make me stiffen and swell with desire or need. Behind such images, more often than not, is a story.
Next, for me? I take my time, consider whatever act I'm considering from as many ways as possible. I check out the physical--posture, position, angle, composition elements, models, facial expressions; I imagine the scene from the points of view of both participants. I imagine what they think. I imagine how they feel, both physically and emotionally.
I also consider the image or images from as many of the disciplines that support us, both as individuals, as societies, and as cultures--religious, philosophical, historical, anthropological, biological, psychological, sociological, artistic, political, economic, and so forth--as seem relevant to the images before me and to the idea that may or may not be burgeoning in my brain at this point.
When I came, so to speak, across a gallery of spanking machines, these pictures seized me. They were absolutely fascinating and compelling. I'd seen fucking machines--mechanical devices that, using a dildo in lieu of a penis, fuck a woman, cunt, ass, or both, or a man (ass only, of course), with the impersonal, fluid, mechanical efficiency possible only to a machine. They were intriguing. However, for me, my excitement at this discovery of the spanking machine far exceeded the arousal I felt while I'd watched video clips of fucking machines performing their tasks.
For anyone who's been spanked, the thrill of the very idea itself of being spanked with the mindless and resolute efficiency of a merciless machine is self-evident. No heartfelt screams, no tears, no pleas for mercy from the victim would have any effect whatsoever on the heartless apparatus; it would go on doing what it was designed to do--spank--without slowing, faltering, or stopping, delivering each new stroke with the same force and speed as the previous swat, blow after blow, until its preset time ran out, it was disconnected, or its fuel was depleted or a power failure occurred.
A relentless, persistent, and merciless assault upon a man's or a woman's buttocks is something to write about, I thought, both from a sadistic and a masochistic point of view.
However, there was another reason for my wanting to write about spanking machines. There were as many designs and configurations as the human mind could devise, and each presented a new possibility, from the writer's standpoint, for making a spanking brand-spanking new for the reader. By writing about machines of a number of different designs, the descriptions of the spankings wouldn't be merely the same thing repeated, over and over again. In erotica, as in other forms of fiction, repetition with no thematic or symbolic purpose soon becomes boring. By employing different means (that is machines) in each story to spank my characters, I'd spice the spankings with the variety that would make each story seem unique, thereby holding both my own interest as a writer and, I hoped, that of my readers. I determined, then, to write a series of stories centering, each one, upon a different spanking machine and, I decided, a different victim. After all, I reasoned, why not double the variety by having each new machine spank a different woman?
I needed a context for my stories, something to center and unify the series, a common thread to draw and keep the parts together as a whole. A central character, a common setting, and a single purpose for the use of a series of different machines would do the trick. Therefore, I invented Dr. Fanny Fanner as the physicist whose job, as the quality control expert for Spank-o-Matic, the company that designs and builds the spanking machines, is to conduct tests by which to determine which of each machines' features is best kept, discarded, or modified for maximum efficiency and disciplinary or punitive effect. Her subjects were, of course, natural additions as characters, as was her employer. To give the series more conflict, I added the comptroller as an adversary and, to give the stories a bit more emotional punch, I decided to have Dr. Fanner discover her same-sex attraction while she supervised the spankings of the various women and to acquire, of one of her subjects, a lesbian lover.
Each story is more-or-less self-contained, although, I believe, they are best read in order and in their entirety as a series, for the action does build, dramatically and climactically, one story upon the next, with all the previous installments getting a summary treatment in the concluding chapter. Along the way, I develop the main character, catalogue the machines' various features and capabilities, and, hopefully, entertain the reader while putting the machines' subjects through their paces.
My approach, although simple enough, is effective and it is one that can be both taught and learned. The gist of the process, as I've explained it, breaks down into these steps:
1. Search the 'net until you find an image or series of images that is especially attractive to you (that is, makes you hard or wet).
2. Consider the images from various perspectives, physical, emotional, sexual, social, philosophical, religious--and seek what angle (or angles) best lends itself as the image's or images' thematic subtext; this will be the "deeper" meaning that comes through in your story (provided you create the relationships between this level and the surface level of your story's depictions of the sex acts themselves).
3. Create a context that gives meaning--or, at least, intelligibility--to the image or images, suggesting characters, setting, conflict, and even types of sexual situations and behaviors and giving the series of images (if you are working with a group, rather than a single, picture as your inspiration) a unifying center and common thread.
4. Write each story as a chapter of the larger narrative, making it, I suggest, stand-alone, if possible. (End each chapter on a cliffhanger, too, when you can.)
5. Proofread, edit, and revise.
If spanking doesn't do it for you, try a different category; many are listed on web pages (or, for that matter, right here, in Literotica's table of contents.) The approach I've outlined in "How I Wrote 'Quality Control'" will work for you, no matter what your particular paraphilia or fetish happens to be.
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