Guest Blog: Charlie Kenmore

Good Morning, Internets!  Welcome to another edition of Blogging with Siobhan.  Today’s victim guest: Charlie Kenmore.  Charlie is the author of Earth Angel, a blazingly erotic science fiction story that is sure to leave you wanting more. He is here today to talk a bit about building steamy scenes and to give you a taste of his fantastic novel.

Take it away, Charlie!



Okay, you’ve procrastinated long enough. It’s time to write the sex scene. The first question you have to ask yourself is, what is the purpose of this scene? If you’re writing a biology text, then you probably need to explain the function of nitric oxide on the vascular structure of a penis. But if you are writing fiction, then the question most likely focuses more on the nature of the sexual encounter. However, before you get to the mechanics of the sex, ask yourself, how did they get there? What experiences or interactions brought the characters to this place and time?  What happened to these characters off stage, through indirect action, can make or break the sex scene.

Indirect action affects the sex scene in two different aspects. First, there is the set up. What brought these characters to where they are now? Did you ever see a play by Anton Checkov?  Checkov was the master of indirect action. Anything of any import tends to happen offstage. Did the characters witness a traumatic event? Is the sex a catharsis? Did the characters go out on a romantic date?  When I was in college, I took a date to see the movie Alien. During the credits, I recognized some of the music as part of Howard Hanson’s Symphony No. 2, the “Romantic Symphony” (which was unauthorized, but I digress). I identified the music for my date who snapped back, “There’s nothing romantic about this movie!” She said goodnight at her door. I didn’t even get a kiss, even though there was a precedent. The moral is that the characters’ offstage experiences will affect their interaction in the sex scene.

The second effect of indirect action is the character’s very makeup and composition. Every character’s back story is comprised entirely of indirect action. If Mary is age twenty-six, then she has twenty-six years of indirect action including her childhood, teen years, and early adult life comprising her education, her health, her skills and abilities, her esthetics, etc.  Before Mary and Dick have sex, you need to know a bit about Mary’s background. Was she molested as a child, or raped? Is she a diagnosed Nymphomaniac? What is her religious upbringing? Is there anything unusual about her physiology?  Significantly, what is her sexual experience? It will make a substantial difference to how your reader perceives the sex scene if Mary just left a cloistered nunnery or just quit as the principal attraction at a dockside bordello. Similarly, if it is a male’s first time, don’t expect him to pound away for hours in numerous varied positions.

There is more to the sex scene than inserting something long and hard into a waiting orifice. By giving due consideration to the “why” and “wherefore” of the sex scene, the author can add a substantial punch to the “how”.

Thanks for letting me ramble.




Blurb: There are seven parallel worlds known as the Seven Realms which are separated by a Veil. Six are inhabited by all manner of entities, some natural, some not. That may not be the case for much longer. The first portion of the High Sidhe Prophecy of the Sevens has been fulfilled. The Anarch, who is one with the Veil, has escaped. If she chooses, she can part or drop the Veil or she can lift the Veil in its entirety. The Seven Realms will converge. The laws of physics and magic will collide head on. Unless she is stopped, there will be nothing left.

Queen Amura has called for an assembly of the signatories to the High Sidhe’s Second Accords, a multi-realm peace treaty to consider how to deal with the threat of the Anarch. An Earthside TechnoWitch and other dark forces also are  seeking to control the Anarch. Prince Dzhok (Jack), High Sidhe Ambassador Salash (Jack’s oldest friend and lover), and Valkyrie Brunhilde set out to find and befriend the Anarch before all is lost.


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Jack took a moment, and then he saw the light. Unfortunately, it appeared to be attached to an oncoming train. Jack was no pacifist. Like Salash, he would kill to protect his children (and had). But as a pansexual high blood Prince of the Human Whisperers and Allied Kinds, “make love, not war” was not a mere platitude, but rather was the very core of his being. Jack knew that he would have little influence on the upcoming gathering in Paradox. This was not a symposium. It was a war council. The outcome was fairly certain. His Mother and her allies would seek to kill the Chosen. And they would fail miserably.

“We have to find her first.”

“Exactly, Jack.”

You’ve got mail.

Salash reached over and pulled the MAPP out of Jack’s pocket. She rolled down her window, and with a flick of her wrist, sent it pin wheeling into a fresh steaming pile of bison dung. Salash paused and scanned the tree line. She was fairly certain at least one of the shadows had flinched.


Thanks for stopping by, Charlie!  It was a pleasure having you today, and very informative.  I look forward to seeing much more of your work!

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