Describing BreastsbyCal Y. Pygia©
Descriptions are complex things, but, done well, they seem simple and elegant and easy, just like a ballet or a football play. In describing almost anything, a writer uses the same elements and techniques. To illustrate, in this article, I will show aspiring writers how to describe a pair of breasts. First, notice, I said a pair of breasts. Since there are two of them, a writer must be ready, willing, and able to describe either or both of them, which means, among other things, that he or she must see them in relation to both one another and to other things (such as, if tit fucking is involved, a cock).
First, before any verbal painting is begun, the writer must murder to dissect, for, to realistically depict something that is anatomical and physiological, one must have an understanding of its basic form and function. Thus, a brief lesson in anatomy and physiology is in order.
According to Wikipedia, the free online encyclopedia, the female breast--you didn't think, by "breasts," I meant that I was going to explain how to describe male breasts, I hope--is a highly modified sweat gland, the areola of which contains "several sebaceous glands" which are "drained to the nipple by between 4 and 18 lactiferous ducts," each of which "has its own opening."
The article continues: "The remainder of the breast is composed of connective tissue (collagen and elastin), adipose tissue (fat), and Cooper's ligaments." As for the variety of breast shape, this attribute is largely "dependent on their support, which primarily comes from the Cooper's ligaments, and the underlying chest on which they rest." High, round breasts indicate youthfulness, as "such a shape is common in younger women and girls," whereas, among more mature (that is, older) women, the weight of sagging breasts "is actually supported by the chest against which the lower breast surface comes to rest, as well as the deep anchorage at the base. The weight is thus distributed over a larger area, which has the effect of reducing the strain."
The Wikipedia article offers a bit of information concerning the angles of the breasts, which may also be of interest to writers of erotica: "The end of the breast, which includes the nipple, may either be flat (a 180-degree angle) or angled (angles lower than 180 degrees). Breast ends are rarely angled sharper than 60 degrees. Angling of the end of the breast is caused in part by the ligaments that suspend it, such that the breast ends often have a more obtuse angle when a woman is lying on her back. Breasts exist in a range of ratios between length and base diameter, usually ranging from ½ to 1."
Finally, the article speaks of the "sexual role" of women's breasts, offering a few helpful reminders as to how their description can add verisimilitude, or realism, to a description of a woman's responses to arousal: "They are one of most visible or obvious female secondary sex characteristics, and play an important role in sexual attraction of partners, and pleasure of the individual. On sexual arousal breast size increases, venous patterns across the breasts become more visible, and nipples harden. During sexual intercourse it is common practice to press or massage breasts with hands, breasts are sensitive to touch as they have many nerve endings. Oral stimulation of nipples and breasts is also common. Some women can achieve breast orgasms. In the ancient Indian work the Kama Sutra, marking breasts with nails and biting with teeth are explained as erotic."
Now that we have the scientific lessons out of the way, let's turn to the artistic concerns related to describing the breasts--or any other body part.
In describing breasts, a writer must consider such sensory qualities (most visual and tactile) as the following: color, density, dimensions (length, width, and breadth), luminosity, relationships (direction, position, comparative features, etc.) with other objects (the breasts in relation to one another and anything else near them), resilience, size, shape, texture, and weight. Breasts are, after all, not only real objects, but they are also living things. As such, they have a multitude of subtle qualities that shift and change more or less constantly.
Any of these features can generate a host of possibilities for description. A chart, its intention humorous, suggests the many metaphors that have been created merely to describe the shapes and sizes of breasts. Although some have been used so many times as to render them trite, even these clichés suggest the wide range of even a single characteristic associated with breasts and, therefore, with their description: "apple," "balloon," "bee sting," "grapefruit," "mountain," "pear," "pomegranate," "rocket," "watermelon"--all these and many other words have all been pressed into service, as it were, as metaphors for describing the shape and size of women's breasts.
Create a stock phrase that sums up most of the qualities that you will describe. Then, change this description from time to time, as warranted, adding or deleting details and altering the focal points of the various resulting descriptions. (In addition, toss in a few new metaphors whenever possible.) Here is an example, with the qualities referenced in parentheses:
Her firm-soft (texture) breasts, full (density and weight), high (resilience), and round (shape), were capped (the verb acts as an adjective, suggesting that the breasts are mountains) with rose-petal-soft areolas (the string of adjectives acts as a metaphor, comparing the areolas to roses) that surrounded (shape) erect (density) nipples.
The writer should also keep a running inventory of the adjectives, metaphors, and similes that he or she uses to describe the breasts, adding to (or, rarely, one would hope, subtracting from) this list. Keep in mind, that as one's perspective changes, as a result, for example, of an increase in the distance between the breasts and the viewer or a change in the position of the breasts themselves, what one sees--and, therefore, describes--will also change.
Likewise, one should keep a list of various techniques that he or she employs to describe the breasts. For example, juxtaposition--placing an object alongside something else--is a common, but very effective, way of enhancing color, luminosity, or texture by contrasting creamy breasts, for example, with a dark fabric, light-drenched bosoms with surrounding shadows, or the soft flesh of the breasts with a man's rough, calloused hands. Keep in mind that artists learn from one another, the plastic and the visual from the linguistic and vice versa. What works in one medium often works in another as well.
In erotic fiction, most of the time, a writer wants his or her reader to think favorably of breasts and other body parts. Therefore, words with positive connotations (emotional associations) should be selected, such as most of the ones employed previously to describe the various shapes of breasts or the rose-petal metaphor that was employed to describe the delicate softness of the areolas. However, on the relatively rare occasions during which a writer wants to encourage a negative reaction on his or her reader's part concerning a pair of breasts or any other body part, he or she should choose words, images, or metaphors that have negative emotional associations, such as "pendulous," "shapeless," "sagging," "floppy," "bovine," "breasts like the udders of a cow," or "mammary glands."
Here, from several of my own stories, are a few descriptions I have created of breasts; I have deleted redundancies:
From "All That Matters": "full, round breasts"
From "All You Can Eat": "full, firm, high breasts"; "kneaded my breasts" (a metaphor that creates an image of breasts as dough)
From "At Risk": "fabulous breasts"
From "Beefy Buns": "firm, high, round breasts and their stiff-standing nipples"; "round, smooth breasts"; "I cupped her breasts in my hands, squeezing them hard, as if they were melons"; "her breasts bouncing"
From "Boy Meets Girl": "Her breasts were full, high, round, and firm, but, he knew, even without the evidence of his hands, they were also soft as pillows but sleek as silk or satin. The nipples were modestly small, but visible, surrounded by just a suggestion of their areolas, beneath the tight tank top she wore without a bra"; "soft- firm mound"; "magnificent breasts"; "bare breasted"
From "Brotherly Love": "full, soft breasts"; "For years, I'd tried to imagine the sight I was now beholding, tried to picture the size and shape and slope of her creamy white breasts"; "breasts bouncing"; "Her breasts were full, high, and round, and her nipples were erect in the centers of their puffy areolas. Unfortunately, it wasn't I who'd stiffened and swelled her nipples, but the breeze that fanned us"
From "Cock Crazy": "The air was cool on her bare flesh, and her nipples were erect, their areolas puffy. Her breasts seemed to stare at him, and Porter returned their gaze"; "her breasts hung before her, offering him a different view of them. They were not the spheres they normally seemed. Suspended from her chest, they were more like slightly elliptical, inverted domes, capped with the jutting of her small, hard nipples and their surrounding areolas. The sight of them made him want to cup them in his hands, as if to weigh the sleek, full, fleshly teats"; "bouncing breasts"; "the slope of one breast, seen from the side, in profile, a triangular shape, but with a rounded underside, from which her nipple projected as though it were a tiny dial"; "Her breasts flattened between them as she embraced him. They were unbelievably soft, and they were warm. He loved the feel of their buoyant fullness and their satin-smooth touch"; "the inward-curving slopes of her breasts, which felt like the sweep of satin"; "she pressed her breasts together, to form of her bosom and the cleavage between her breasts, a surrogate cunt that was almost as tender and soft as her pussy, albeit dry. As her brother shoved his cock between her boobs, she watched the purple gumdrop-glans appear and vanish within the closed-off furrow between her pressed-together breasts"; "compressed tits"; "the outer sides and tops of her breasts"; "creamy breasts" "full breasts, dangling"
From "The Dancing Diva": "the curves of Daphne's swelling breasts"
From "Photo Op": "ample breasts"; "bountiful breasts"; "womanly breasts"
From "Pooling Around": "Her breasts--what would become her breasts--budded. At first, she had nothing more than twin beestings. Then, her nipples enlarged, spreading and puffing. They darkened slightly, becoming not red but pinker, like the petals of a blossoming rose. Gradually, the beestings swelled further, taking on round shapes. Had she not been, even at such a tender age, a confirmed nudist, she'd have had to be fitted, soon, for her first bra. Eventually, she might have to wear one to school or elsewhere in public, but she'd put off acquiring one, even for public wear, as long as she could. Her little boobs gained elevation and circumference, but they remained high, firm, and tight. They were buoyant and bouncy, but--judging by sight, and not (yet) by touch--they were also smooth"; "budding breasts"; "the small, round moons of her luscious breasts"; "Her breasts were high, firm, and tight, yet buoyant, and the nipples were pink and puffy like gumdrops"; "Her perfect breasts flattened between us"; "small, but womanly, breasts"; "her breasts bouncing and jiggling beneath her."
Many of my stories feature shemale characters, whose breasts differ from the natural breasts of women. These differences can be highlighted or minimized or, as is my own tendency, ignored altogether, depending upon one's dramatic purposes. (I ignore the rather obvious differences between all-natural breasts and their silicon or saline imitations to create the illusion that breast implants are as natural and as naturally beautiful as women's innate breasts.) By not only not calling the reader's attention to the differences between the two, but by also, in fact, describing them in terms identical to those that writers often reserve for female breasts alone, I hope to create the impression, conscious or otherwise, that a shemale's breasts are as feminine and natural as any genetic girl's breasts. Descriptions are as much a result of what one leaves out as what one includes, highlights, or ignores. I like to concentrate on the similarities, rather than the differences, between shemales and females. That way, when I finally describe the former's male equipment, the juxtaposition of the masculine and the feminine attributes of the same character is heightened, or even, for some readers, perhaps, somewhat shocking.
Finally, using real women or photographs, paintings, sculptures, or Internet browser images of women (and shemales, if he or she enjoys writing about them, as I do), the writer should constantly update his or her mental catalogue of breasts. Breasts look different when they are exhibited in profile or in dangling positions, just as they do from below or when only the cleavage is revealed, and the writer must continually add to his or her psychic inventory of these images, collecting American Indian, Asian, black, and white representations of these body parts. Included in the catalogue should also be mental images of old breasts, motherly breasts, and nubile breasts. There should be breasts with large, puffy areolas, breasts with meager areolas, and breasts with small nipples, big nipples, erect nipples, and strange nipples. In describing these bosoms, the writer should do so with regard to their characteristic features, but he or she should also be able to discern what is different about this breast or pair of breasts, what is special or unique about it or them, because these make breasts both different from one another and all others and make their descriptions realistic. Finally, and above all, a writer succeeds in describing breasts (or any other body part) when such descriptions result from a true lobe of his or her work.