As I mentioned in my previous post, I have a new ebook up now, THE DOMINATRIX WHO COULDN’T DIE. It’s my second new publication in two weeks, coming on the heels of NAKED BEFORE HER, so you see I’ve been a busy little porn scribe.
THE DOMINATRIX WHO COULDN’T DIE is a femdom tale with a supernatural slant. It’s now available at Amazon US, Amazon UK, Amazon Germany, Amazon France, Amazon Italy, Amazon Spain, Amazon Canada, Amazon India, Amazon Japan, Amazon Brazil, and Amazon Mexico (for Mexico, you have to enter “Irv O. Neil” into the search at the Kindle store and then the page with my ebooks will pop up).
When I began writing it last February, the story was going to be set in the “real” world, in my usual style with no “weird fiction” angle. I put it aside, though, and returned when the Halloween season got me into the mood to do something else with it. There was an online contest going on for erotic fiction with a horror slant, held by Dr Sue of the In Bed With Dr Sue show on Blog Talk Radio, and Riverdale Avenue Books–see the info here with links to the stories–and I thought I might submit it to that, but the story went longer than required by the guidelines so I figured I’d just write it for myself and then publish it.
Although I usually write stories grounded in the “normal” world, I do enjoy horror, fantasy, and science fiction too as a reader. Since I was a kid, and as an adult, I’ve always been very impressed by the fantasy art of Virgil Finlay (1914-1971), who did illustrations in the sci-fi magazines I used to pick up when I was young. His magical visions of women in particular are part of my mental landscape. Many examples of them can be found online. Here are two:
When you read THE DOMINATRIX WHO COULDN’T DIE, you’ll see how I depict the mistress in the supernatural scenes in bright stark light much like the tones you see in the Finlay pictures above. He really had a big influence on my imagination.
As far as the storyline of this new, approximately 30-page tale, here is the description I wrote for the Amazon page. Excuse the self-induced hyperbole, but you gotta give a little sizzle to sell the steak!
“From the ever-inventive mind of Irv O. Neil, author of Learning to Be Cruel, She Made A Cuckold on Black Friday, and many more, comes his most sensational femdom story yet! You’ll meet Alan Breshker, a fortyish office worker who has a very active fantasy life, yearning to serve beautiful dominatrixes. He lives out his hungers in dungeons, online, or watching videos…and he collects vintage erotic photos and daydreams about the gorgeous whip-wielding pinup model femmes fatale of the 1950s like Bettie Page and her boot-clad, corset-wearing friends. Then, at a flea market, Alan meets feisty eightysomething Myra Welso, where the lady sells the kinky photos she herself posed for back in 1953! Oh how Alan wishes he could have bowed before Mistress Myra when she was in her stiletto-heel hairbrush-spanking young womanhood back in the Eisenhower era! Well, little does he know he’s going to have a chance to explore that very desire in this bizarre excursion into the supernatural climaxed by scenes which will take Alan down deep into his most forbidden urges and desires for submission and gender transformation!”
And here is the way I described the story in my 11/5/13 column “Notes of a Rebel Subbie” at the Domme Dose website:
“The submissive protagonist is a cynical guy named Alan Breshker who collects vintage pinup photos and thinks he’s found the next Bettie Page in an elderly lady selling 1950s pix of herself at a flea market. He figures maybe she could become a pop cultural sensation and he could be in on the ground floor of the profits. When she invites him to her apartment to see some more things of a “disciplinary” nature, he gets a lot more than he bargained for…but perhaps he gets what he’s secretly sought all the time! I hope you’ll check it out, it’s a 6600 word tale inspired by my enjoyment of fantasy and horror writers like Robert ‘Psycho’ Bloch.”
So as you see from these two different descriptions I wrote, the story has a lot going on in it–sex and character mingled in a bizarre otherworldly brew of dominance and submission.
A reader on the Dose, Frank, asked about my process of writing the story. Well, without giving too much away about the plotline, I took a character who was originally going to be treated in a realistic fashion (Mistress Myra) and made her supernatural because I found it a challenge and something different. Perhaps I needed a change of pace from my usual approach to the dominas in my stories.
I knew the opening location for the story: a flea market in Manhattan in the middle of winter in 2013 (a setting I know well), and I had the basic situation: an elderly lady selling fetish photos taken of her in 1953 when she was young and beautiful and modeling as a dominatrix. A younger submissive male, who also collects such photos, would meet her at the flea market and as a result there would be some kind of erotic scene later. Originally, in the “real world” version, the man was going to have an encounter with a young woman wearing the antique lingerie that the old woman once posed in. In the version I completed and published, the sub has a tryst with somebody else who wears the lingerie…but I don’t want to give it away.
I didn’t know precisely what was going to occur in the femdom scene until I wrote it, because I enjoy watching what happens to my characters as I write; just as, hopefully, readers will enjoy reading and finding out what happens. I only had the certainty that there would be an erotic encounter. I didn’t know exactly how I would handle the supernatural twists and descriptions, although I think subconsciously I knew that the “dominatrix who couldn’t die” would be described in the same kind of vivid light that Virgil Finlay often used to depict women in his illustrations. As I’ve said, Finlay was a huge influence on my imagination when it comes to things supernatural.
I wonder if Finlay modeled this blonde after Sally Rand, the famous 1930s stripper?
I wrote the opening half of the story in a white heat. I took some elements of dialogue from the first “realistic” version, between the elderly lady and the sub, when they discuss the photos, but everything else was new. Then, due to the necessity to do other work (and the fact that I had just written 3000 words in about two hours and was tired), I put it aside for what I thought was going to be a day, but which turned out to be a week.
When I finally got back to writing, the second half–the sexual encounter–went quickly and was exciting to describe as I imagined the scene visually in my head and raced to put it down. I also discovered things about the character of the sub, Alan Breshker, seeing what was underneath his cynicism and detachment. He came alive and so did the story for me. I looked at it again the next day and added some stuff to the last page to tie up loose plot ends. Then I put the story aside for a few days; when I returned and re-read it again, I was unfortunately very sleepy and tired, and I thought, “Arghh, this is crap!” But talking with a writer friend who reminded me he often felt that “arghh this is crap” way but then reversed his impression on taking another look, I returned to read the story yet again, realized it did what it was supposed to do, and decided to publish it.
Frank asked how many hours it took to write from inception to completion; if I had to total all the time, it would probably be about twelve solid hours, broken up over three or four days in a two week period (plus the couple of hours in February when I wrote the original version that I got a few lines of dialogue from). Writing for magazines and websites, I have learned to write, edit, and revise efficiently. My best work is done quickly. When I brood and labor over something, it’s usually because it’s no good to begin with, alas. I am in the tradition of the pulp writers who got the job done and moved onto the next piece. Which doesn’t mean that I don’t take my work seriously; it just means I prefer to work rapidly. Frank also asked, how much is inspiration, how much perspiration? I would say without inspiration, there is no perspiration necessary; with inspiration, I’ll devote whatever perspiration is called for! Meaning it’s probably about 50-50. The inspiration comes first, the idea, the notion that I want to explore; then the perspiration follows. To get that inspiration, though, I am constantly thinking of ideas that I might like to write; so I guess that is a form of ongoing perspiration, too! (Does the brain sweat?) And I better quit now with this or it’s going to start sounding like something from the Marx Brothers.
So that’s how I wrote THE DOMINATRIX WHO COULDN’T DIE. I hope you all read and enjoy it. Let me know what you think by leaving a comment here or a brief review on Amazon.