How to Get You to Read My Story, #2

Truth be told, by first hand experiences and research, a writer can only write what they know. Yet how does a writer write about anal sex when they've never had anal sex? How does a writer write about being gay, lesbian, having a fetish, or being a cross dresser, when they aren't gay, lesbian, have a fetish, or are a cross dresser? They develop their characters, that's how. They allow their characters to show what it's like to have anal sex, be gay, lesbian, having a fetish or being a cross dresser. A good writer will allow his character to show the reader their story but for the characters to show the reader their story, they must be developed first.

Writing a good story is writing a believable story. The writer wants the reader's disbelief suspended while reading all that he or she wrote. The writer wants to make the reader feel and think that he or she is there in the story feeling and seeing what the writer sees and feels. Developing characters is how the writer does that. Having the characters talk to one another is another way for the reader to learn who the characters are without having to read through unnecessary paragraphs of narrative. There's no story if there aren't any developed characters.

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Which leads to another way to entice readers to read my story, show and tell. No one wants to read a story where the writer lectures the reader with long, paragraphs of narrative. Much like reading a college text book, passive reading is boring and doesn't flow in the way of active writing. Why? Because the writer is telling the reader the story instead of showing the reader the story. It's when the writer inserts description, imagery, tension, and dialogue that the reader can insert themselves in the story by actually seeing and feeling what the writer is seeing and feeling. Moreover, unless I weaved a story of a mother standing naked in front of her son in this How To story, few would read it. Because I've weaved an incestuous story in this How To story about a mother seducing her son, more readers may read this.

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"Mom!"

"Oh don't be such a prude. It was just a kiss Johnny. It wasn't as if I took your cock in my mouth to suck it," she said. "That's for later," she said with a dirty laugh.

He stared at her while wondering if he should confess his inner most thoughts. With the both of them standing there naked, now seemed the best time to truly share how he felt about his mother.

"I've always imagined you touching my prick mother. I always imagined you sucking me," he said.

"Your cock is much bigger than your father's cock. Your father had a little cock," she said with a smile while fondling the head of his cock with her fingertips before slowly stroking it. "Do you like that? Do you like Mommy stroking your cock?"

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As if the reader is doing something naughty by listening to someone's private conversation, dialogue engages the reader, especially when the reader can see the characters saying the things that they say. Dialogue makes the reader connect with the characters. Dialogue helps tell the story without the writer having to use paragraphs of extraneous narrative. A picture is worth a thousand words is so true when it comes to imagery, description, and dialogue especially when used sparingly.

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"Yes," he said staring down at her hand while watching his mother stroking him. "I love the feeling of you touching my cock mother."

She looked from his stiff prick to look down at herself.

"Do you like my body?"

"Do I like your body? Yes, of course. I love your body," he said.

"Do you want to touch me?"

"Yes," he said.

"Not just touch, but would you like to feel Mommy and fondle Mommy in the way that I'm feeling and fondling you now?"

"Yes," he said.

"Go ahead," she said. "Touch me, feel me, and fondle me. Explore my body in the way you've always imagined while masturbating."

"Oh my God," he mumbled. "I can't believe you're naked and I'm feeling you," he said reaching out his horny hands to feel her breasts and finger her nipples."

No doubt remembering the first sight along with the first feel of his mother's breasts for the rest of his life, in the way he had before when hugging her, Johnny felt his mother's big tits again. In all the days he masturbated over the thoughts of seeing her big tits and in all the times he's seen down blouses of her bra and cleavage and down nightgowns of her breasts, her areolas, and her nipples, he never suspected that they'd be so firm yet so soft. Touching them, feeling them, fondling them, and caressing them, he loved his mother's big tits. Unable to stop himself from feeling them, he couldn't get enough of her breasts.

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As if we are there seeing Maureen being felt up by her son, Johnny, it's the dialogue, the description, and the imagery that makes us feel connected to the characters. Can you see Maureen's breasts? Can you see the son's reaction to touching and feeling his mother? What the mother says to the son and how the son responds to the mother is what makes the story more believable. What the mother and son do to one another, as described by the writer, entices the reader to read more of the story.

To be continued...