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Feb. 16th, 2011

Supermodel


Being a model is harder than people think it is. It's not all taking pictures and smiling, you get a lot of shit from a lot of different people about ridiculously miniscule things, and it's difficult. It's stressful and emotionally draining - you're constantly trying to live up to other people's views of you or how they want you to look. Being the best model in New York City is even harder, and that is apparently what I am.

A model's work is a fulltime job. I might not be posing for photos or walking a runway 24/7, but I always have to watch what I eat. I count calories daily, and exercise day and night to make sure that my body is as fit and as trim as possible. As a model I have to be scrupulous about my skin and hair care. I can't put off a haircut or a leg wax. I don't drink; I have to say no to nights out with my friends because I often have shoots extremely early in the morning. You have to not let what people say get to you, and that swings both ways. One person might call me too fat because you can't see every rib I have poking out of my side. But on the other end, I get people telling me how gorgeous I am every day, and I can't let it get to my head. I don't want to be the kind of model who thinks she's better than everyone else just because I'm considered attractive. My face and figure were both something I was born with and something I've had to maintain, but my heart and mind, things that I have worked hard to develop, are what I consider far more important. I wish that people would see past my beauty to what I actually consider worth admiring.

And then there are the perverts; the sleazy photographers who think they have some god-given right to take my photo and try to touch me. Funnily, it stopped once my best friend Felix started escorting me to shoots. He's my bodyguard now, which he thinks is hilarious, but he takes his job extremely seriously. I've never had a real issue with sleazy photographers with him around.

And now that I've told you all of that, you might think that modelling is the worst profession in the world. But it's not; it's just not easy. I love what I do; I'm a creative person who thrives on generating good art. It's usually always fun – if a bit painful sometimes – when I'm arranged into a difficult position that I have to hold for an extended period of time. Modelling also gave me the confidence I was never able to get naturally.

If you knew me before I became a model you might be interested in knowing how I managed to become one. It's true that I've always been considered very pretty, I was noticed throughout high school by all the guys. The girls I went to school with were nice to my face, but petty and jealous behind my back. I know that now of course, but at the time I thought there was something wrong with me. When I was sixteen, I was spotted in a crowd of people by an agent, who immediately swooped in on me and peppered me with questions about any experience I had as a model. At the time I'd had none, but that had been remedied quickly enough. Leah Brandon was tiny and came up to my shoulder in height, but she was a force to be reckoned with. Once Leah had my mother's permission, it only took two weeks for me to have a full portfolio and my first job for a Target catalogue wearing sleepwear.

I managed to finish school; I was smart enough and capable of entering a program where I was able to accelerate my education and graduate six months before the rest of my class. Once I was free from study, Leah took full advantage of me and I was soon thrown into modelling full time at the age of seventeen. I posed for fashion magazines and ad campaigns.

I quickly learned how to walk a runway; as I was tall and slim, my body type was perfect for the catwalk, but I didn't have small breasts, and so once I'd turned eighteen I often modelled bikinis and lingerie. Violeta’s Lingerie was one brand that saw me and wanted to use me as their top model; I signed the lucrative modelling contract and never looked back. I modelled exclusively for them for six months, being their top model until the contract ran out. Once it did, Leah and I had calls with offers from all over the country wanting me to be their model. I no longer worked exclusively, and had my pick of who I wanted to work for. The perks were great too at first, but after a while the free handbags, shoes, panties and bras, the clothes, the haute couture, the makeup and perfume, and countless other gifts from various brands got tedious. I lived in a great penthouse with lots of space, but I didn't have enough of it to keep every item I ever received. So more often than not, I gave the freebies to charities who would auction off the items piece by piece. It felt good to be able to do something, even if it wasn't much, but the money raised from the bits and pieces I gave to the charities was usually around the $100,000 a year mark, so it did feel good to be able to give something.

I'm twenty-two years old now, and my reputation as a fashion model is worldwide thanks to Leah. Like I was saying, anyone in high school who knew me then would find it hard to see how I got to be where I am today. But modelling has given me confidence in myself that I never had. And that's why I love it.

Except for today. I don't love what I do on days where I model with Oscar Faulton. A fellow model who I've worked with a few times before, he's good looking but he knows it and he's full of it. He also wants me for his own. He thinks that we would make an awesome power couple, but the only thing powerful about Oscar Faulton is the stench of the cologne that he insists on slathering all over himself whenever he knows I'm going to be working with him. And it's powerful in the knock-you-out-cold kind of way, not in the enticing, I-need- you-now kind of way that I'm sure Oscar is trying to go for.

Leah's phone rings and she picks it up, shooting me an apologetic look as she answers the phone. Leah is always on the phone, and usually on my behalf. She does have other models she looks after, but no one as big as I am. That's what she tells me, anyway. I honestly wouldn't mind if Leah left me alone for one day. One hour would even be nice. I love the girl, but honestly, she can be a bit overbearing sometimes, and more often than not I'm wishing to be a normal girl. A girl away from all this chaos, flashing camera lights and makeup artists with their huge powder brushes who hover around me like flies.

At the moment, we are sitting in my trailer waiting for our call to go on set. It's quite hot outside, and I've been told to sit in here in the air conditioning until they're ready for me. I've had my make up all done, and I'm wearing the Calvin Klein cut-off denim shorts that I've been specified to wear. I'm covered in a white, silk robe for the meantime but once I'm on set I'll be asked to remove it and get all intimate and close with Oscar Faulton. Gross.

Leah hangs up the phone and a moment later there's a knock on the door, which is a signal that they're ready for me. I stand up and cross the trailer to exit and walk the few feet it takes to get to the set. A makeup artist descends on me for last-minute primping, and a second assistant comes along to remove my dressing gown for me and to oil my skin. Her hands rub the oil over my torso and breasts and down my shoulders and arms, across my stomach, and then she turns me to do my back. The first time this happened to me it was weird. I mean, having someone running their hands all over me, and I don't even know who they are! But now I barely even blink, and just focus on a spot of in the distance and stand still so that the makeup artist can do her thing.

I'm mentally preparing myself for Oscar. I try to think of the most lewd comments he'd try to attempt make, so that when I'm on set with him, the tamer-but-still-not-so-subtle comments won't bother me so much.

I take a deep breath and turn around; the makeup artist and body oiler have finished working on me, and I'm ready to take my place on set. I haven't yet seen Oscar today, but it's not been that long since I last worked with him, so he can't have changed all that much. I am shocked, however, to see not Oscar Faulton, but the Adonis body of Jordan Carter standing only a few feet from me.

I've known of Jordan for quite a while. He's been in this business longer than I have; I believe he is five years older than I am, and started modelling when he was nineteen. He isn't as well-known as I am, but he is well-known enough that most people in the business would know his work. The first time I laid eyes on him was in Dolce & Gabbana ad for men's underwear. I hadn't been able to take my eyes off him then, and I still couldn't take my eyes off the man in front of me now. I take in his form; he is shirtless as well and slightly oiled too. It's hard not to appreciate how good-looking he is.

But I am confused; I was absolutely positive that Oscar Faulton was meant to be on set with me today. Why is it that the one guy I have yearned to work with in the six years of modelling I've done, but have never managed to for some reason or another, is now standing in front of me, where Oscar Faulton should be standing? I take a step forward and notice his gaze slip down my body. I realize then that I'm naked from the waist up, and the guy I've wanted to meet for the past half-decade is seeing me for the first time in all of my half-naked glory.

For the first time in ages, I feel self-conscious about my body. I wonder if he is seeing the flaws that others have tried so hard to cover up. The tiny mole on my left hip, the freckles that scatter the tops of my breasts, the fact that my top lip is slightly disproportionate to my bottom lip. I wonder if he feels my breasts are too small, or too big, or if he thinks I'm too skinny, or too fat. I wonder if he finds the shade of my skin too pale, or not pale enough. All of the negative things I've ever heard about my body come to the front of my mind in an instant as he stares at me. I've never felt so exposed, and not just because my top half is uncovered.

My pride and self control stop me from using my arms to cover myself; if I look at all unconfident with my body, then others will see it too. With all the confidence I can muster in myself, I take another step forward and finally reach him. Nobody has bothered to explain to me why Oscar Faulton has been replaced by Jordan Carter for today's shoot. They probably figure that telling the model anything to do with today isn't worth the bother. I glance over at Leah and I can tell that she is surprised as well. As I turn back to Jordan, I see him looking at me curiously. "I take it you didn't get the memo about Faulton? He got food poisoning last night, and the shoot I was scheduled to be on today was cancelled. My agent is also Faulton's, so he was able to arrange the switch. I hope you're not disappointed that Faulton couldn't be here." I hear him, but my eyes are travelling up and down his body, taking in the bare torso and the "v" formation of his hips. His jeans are slung low on his hips, and I can see the trail of hair that disappears past the waistline of his jeans.

"No, not disappointed. Just surprised… pleasantly so." I murmur and offer him my best smile. "I'm Chelsea."

"I know who you are," Jordan says. "I'm Jordan." Jordan finds it hard to tear his eyes away from my body, but does his best to look me in the eye when he's speaking to me. He's polite, I decide. I'm used to people staring at my body, especially when I'm naked, and I'm used to people not bothering to be discreet about it as well. But it's always nice when someone tries to treat me like the woman that I actually am, and not just a body to appreciate. I'm actually feeling excited about today's shoot now that I know that Jordan will be replacing Oscar. I grin shyly up at him.

"I know who you are, too." I smirk and step closer. I'm enjoying the flirting that's happening between the two of us. I'm used to guys giving me special attention, but for some reason the attention from Jordan seems better than anything else.

There's still a considerable gap between us. All of this has only taken a few moments, and barely anyone notices us as we exchange pleasantries. The photographer yells out for us to take our places and explains the first pose he wants us to use.

The set is fairly standard; it is set up as a living room, and there's a lounge by a wall and about five light stands that are pointing in the direction of the lounge. There's also a black backdrop on another wall, with even more lights pointing at that.

First up, we are to stand by a backdrop; it is a simple black backdrop with numerous lights set up to keep the set illuminated. The first position is with my back to Jordan. He is resting his chin on my shoulder and his arms are crossing over my breasts; my own hands are crossed over his, so that it is an intimate embrace. The photographer begins to snap away. He clicks the shutter button and flashes from the lights above us burst forth. I relax my face and jut my bottom lip out just a bit. I've done this pose before and know which expressions to use.

I am aware of Jordan's pelvis pressing against my ass as he holds me. We keep the pose for another few minutes before we're asked to change again. This time, I am asked to hold my arm behind my head and weave my fingers through Jordan's hair, my other arm is to rest on Jordan's hip behind me. Jordan's left arm rests on my pelvic bone; his right hand is placed over my left breast. There is a strange frisson of energy when our skin is in contact with one another. I feel a weird tingling feeling, my skin tightens wherever he places his hands, and right now, with his hands pressed against my breast, I can feel my nipple tighten against my will. I try my best to ignore it though, as I have to focus on what I'm doing, which is looking into the camera and giving my best sultry stare.

The photographer asks Jordan to slide two fingers down the front of my denim shorts and to cup only one breast while I cup the other. I know that all Jordan can feel is smoothness down there; his hand isn't covering me completely, but it is to only suggest that his hand is going down there. He turns his head into my neck and brushes his lips against my neck. The photographer asks me to move back a little, and to lean against Jordan more. I do as he says and shift back against Jordan, and find to my shock and pleasure that he is hard and wanting; his cock is poking me in the ass through his jeans.

Jordan's fingers seem to subconsciously brush back and forth over my bare skin, down there, where hair is supposed to grow, as though he is admiring the soft and smooth skin he finds there. His fingers are doing amazing things to my body and he is barely even touching me. I'm getting warmer and warmer as this shoot progresses, and if things develop even more than they are now, I'm afraid I won't be able to hold back and I'll beg Jordan to fuck me in the studio, on the couch in front of everyone. We're asked to change our positions a few more times, each intimate pose making me become hotter and hotter as we go on.

Soon, we're asked to move to the couch; once again, the photographer tells us what poses he wants us in. I take my spot, carefully lying back against the arm of the chair. Once in place, Jordan positions himself above me, holding himself up by his arms, which he places on either side of my head. He stares down at me, his eyes boring into mine. He slowly lowers himself on top of me, careful not to crush me; his knee comes to rest between my legs. His chest presses gently against mine.

"That's great, Jordan," someone yells. "Move a little to your right…" Jordan shifts his body, his chest brushes against my already hard nipples. "Perfect," the photographer mumbles before ducking behind his camera to take some pictures. He's silent for a few moments before his head pops up again. "I need you guys to be hot and heavy with each other without exposing parts, remember we're trying to shock the world with this ad campaign. I need you to be scandalous."

I've turned my head to look at the photographer, but after he's finished speaking I turn back to look at Jordan. He's looking at me strangely, smirking almost. "I don't think that's going to be too hard," Jordan mumbles to me.

He shifts above me and grasps my hips tightly; I am shocked again when I feel his hardness against me there. Let me start by saying I'm not a virgin; it's hard to stay a virgin in a world like this. I've fooled around with some guys, but I'm definitely not a slut, either. Let's just say that I'm not naïve enough to not know what was rubbing against me so intimately, but I definitely have never felt anything of that size rub against me, if you know what I mean.

Jordan's hands begin to trail suggestively over the skin of my outer thighs; his breath is hot on my neck as he leans in to trail a string of kisses across my collarbone. The photographer's praises come enthusiastically across the few yards between the him and us. "Your nipples look so sexy all puckered up like that," Jordan says. I hear myself whimper at his words, my body arches subconsciously into and, I feel him shift against me, his cock connects with my clit.

I turn my head slightly, allowing Jordan access, and I can see the room has cleared of most of the crew. Leah is gone and so is Jordan's agent. Felix remains as is customary, but he's talking to an attractive blonde who is in charge of the styling for the shoot. He's leaning up against the far wall way at the back of the room. The only other people in the space are Jordan, the photographer, and me. I run my hands over Jordan's arms, his lips trail up my neck and to the outline of my jaw. I want to feel his mouth on mine; I feel the desire to have his lips possess me so powerfully that I can't help but whisper into his ear. "Kiss me," I beg. He doesn't even hesitate, his mouth moves from my jaw line to my lips immediately, and captures them between his in a passionate, heart-wrenching kiss. The photographer moves in to get a few close-ups, but I soon forget about him and my own thoughts are for the sex god on top of me.

My legs have a mind of their own and wrap themselves around Jordan's, effectively pulling him closer to my body. His body shifts against mine and I feel him rubbing against my clit. His movements are only minute and would be hard to detect from any distance, but I feel him shifting, my whole body can feel him. Pleasure is spreading to every part of my body as we move together. God, I want him so bad. My body is not the only one begging for him, my mind is too.

"Fuck, Chelsea," Jordan swears into my ear. He murmurs my name as though he is in pain. "I want you so much." A thought briefly flickers in my mind that if it were anyone other than the man who is with me right now, I would feel repulsed. Hadn't I been dreading Oscar Faulton for the very same thing? But I can't help but feel anything other than incredibly turned on by this man. He smells good, he doesn't reek of anything; he might have the barest splash of cologne on him, but he smells sweet and hot and like nothing I've ever smelled before. And he tastes good too; his mouth on mine is like molten chocolate.

I'm not wearing any panties beneath the denim shorts, and I'm getting pretty wet, the evidence of which is starting to leak from me, pooling between my thighs. I respond to his statement by kissing him hard as I seek friction with my hips and arch my body into Jordan's. His hands trail over my body and over the sides of my breasts.

Things are definitely starting to heat up between us, our hands and arms are moving frantically over each other and the photographer asks us to slow our movements down, which distracts me for a moment, but then I feel Jordan's arm, the one that is closest to the back of the chair, sneak around me and down my side, hidden from the camera. His fingers slip easily under the denim of my shorts; they are loose enough and lie low on my hips, so that it is easy for Jordan to slip his fingers under the material to feel me. I try to contain my gasp of surprise as his fingers brush over my sex. My pelvis thrusts against him, encouraging him to touch me more, his other hand covers my breast closest to the camera and his lips attack my lips, my neck and throat.

My head rolls back against the arm rest; his fingers have found my swollen flesh and he is flicking at my clit, rolling it between two fingers as he strokes the wetness around.

All this time, the photographer is snapping photos; he seems to know better, to keep at a distance and to not give instruction. He knows that if he speaks, the chemistry between us might disappear, and he'll lose the magic that he's capturing on camera.

The room is dead silent except for my almost-silent sighs and Jordan's occasional grunts of pleasure and the clicking of the camera. Jordan is careful not to expose my nipples to the camera, his chest or hands keep them covered from view. It is fine if the swell of my breast is shown, advertising permits such things, but if a nipple, just a glimpse of one, is shown, it's game over. I am glad of this rule as Jordan makes sure that my nipples are covered at all times. His palm rubs over them while the fingers on his other hand play between my folds. I have to admit, it is a little difficult to manoeuvre in this way. Jordan's hand needs to cross over my backside to reach to my flesh. I can't imagine that his arm is feeling good right now.

But I'm so close, I murmur into his ear that I'm nearly there, pleading with him not to stop. But then the photographer steps closer and Jordan's hand freezes, withdrawing from underneath me.

"I think that's enough of that position, let's try with Chelsea on top now." Jordan sits up and I follow. I am pouting a little with disappointment, but when the photographer describes the image he wants us to portray I almost shout with glee. I am to remove my shorts for this shot; Jordan is to sit facing the camera. His jeans are going to be around his knees. I watch as he lowers his jeans; he is commando underneath, which isn't unexpected as I am also going commando. His length is hard and large. My eyes bulge slightly. I knew he was big, I've seen photos of him in underwear that left little to the imagination and I felt him just before rubbing against me. But the size of him makes me want to see if he can fit inside of me and to also feel him fill me completely.

He takes a seat, his eyes never leaving mine. I am supposed to straddle him and to sit in his lap; we are to look as though we are having sex on the lounge. Of course, I never would dare to actually have sex with someone while there are photos of me being taken. As tempting as it is…

"Jordan, bring your face to her shoulder… Rest your jaw against the side of her neck… Look in this general direction… But don't look at the camera... Chelsea, shift a little closer to him, don't be shy… place your head on his shoulder… that's it…" The photographer returns to his job and Jordan and I are naked, my wetness is seeping all over his cock as it is flush against me. I shift a little, my body begging me to just feel what it's like to have him inside me… just a little wouldn't hurt.

My mouth is right by his ear as is his, right by mine. "What I wouldn't give to be inside you right now…" he whispers hotly into my ear. I give a whimper at the idea. If only this photographer wasn't here right now snapping away. He seems to be thinking the same thing. "If this guy wasn't here taking photos of us right now, I would have you fuck me on this chair. Shit. Do you know how hard it is not to slip inside of you to feel how tight you are?" His dirty words are not helping matters.

"Jordan, I want you too. I love the way you feel against me," I say, breathlessly.

I know that the position we are in will hide Jordan's cock from the view of the camera. But I'm aware that once he's inside of me it will be so hard to resist moving on top of him, and then it'll definitely be obvious to anyone watching that we're having sex. Especially the photographer. But it's getting harder and harder to resist, the idea of having him inside of me is too delicious to even consider.

"Hold your poses guys, I just need to adjust this lighting." The photographer has taken his eyes off of us for a moment, and even though I'd already decided that we shouldn't do this, I can't help myself. I shift my body a fraction higher and situate myself so that Jordan's cock is right at my entrance. He has slipped inside only the tiniest bit, my body is begging me to slide forward so that he can fill me completely. Jordan's groan is soft, but as his mouth is right by my ear I hear his low curse. "Fuuuuuck." He groans. My whole body is throbbing in need. My clit is sensitive from the friction he created before.

It has only taken the photographer a few moments to get his lighting sorted, and he is back in position now taking photos. "I want you both to look each other in the eyes now… Jordan grasp both sides of her head in your hands... Chelsea I need you to shift your body closer to Jordan's…"

My eyes widen a little as I realize what the photographer has asked us to do. If I shift my body closer to Jordan's than he'll fill me completely, doing effectively everything that my body has been pleading with me to do. I bite my lip and shift my hips forward; Jordan's mouth opens slightly as he gasps. I am making a quiet whimpering noise; at least I hope I'm being quiet. "You feel so good," Jordan mutters. "We can't move," I tell him desperately; even though I want to so very much.

"Jordan, I can't see your face, tilt your head a little, bring it closer to Chelsea's face." Jordan does as he's told and brings his lips closer to my ear. "You're so tight and wet; you're dripping all over me, Chelsea."

How can he say those things? I wonder as my eyes drift closed and a sigh escapes my lips. He's so thick and long, he fills me completely. I shift my body just a little, trying to get a bit of friction. I try to pull it off as though my body is getting tired, even though I can usually stay in the same position for ten to twenty minutes at a time.

"That's great guys," the photographer says. "I think I have everything I need." I look over my shoulder at the photographer, who is scanning through the photos on his camera; he's not looking at us. The clock on the back wall says that we've been at this for about two hours. I see that Felix and the tall blonde have disappeared. Jordan's hands grip at my waist begging me not to get off of him, the photographer is enraptured in looking at his photos and seems to absentmindedly leave the studio to go and check out the photos he's already captured.

We're left alone. I turn my head back to look at Jordan. "Any moment now people are going to be coming along to check on us now that the photographer is gone…" Jordan nods and helps me off of him, he slips out of me and immediately I feel the loss of his cock inside of me. I want nothing more than to slide back onto him but somehow my head reasons with me.

"Meet me in an hour, if you can, my apartment is a block from here…" I'm nodding my head before he can even finish his sentence. I'm so desperate to be able to finish what we've started.

He rests his head against mine. "I've wanted to meet you properly since the first time I saw you at a party three years ago. I want to know you." He tells me. I'm surprised to hear that he was at a party I attended. I so very rarely go to such events that are thrown around town, and only go if Leah forces me to. It's good publicity, she says.

He kisses me fully and deeply on the mouth, I am aware that we are still standing naked in front of one another. He bends down and pulls up his Calvin Klein jeans, and I look around for the white robe I came in with. It's folded over a chair; I walk toward it, feeling Jordan's eyes on mine, but as I slip into it Leah bursts through the doors looking for me.

"Wow, that was quick. Usually we're stuck here for ages for the perfect shot. You must have done really well today. Good job, Chelsea." She's got a secretive smile on her face, as if she knows exactly how well the shoot went. I shoot a sideways glance at Jordan that Leah doesn't miss; she turns to look at him and appraises the model standing nearby. Jordan takes that as a cue to leave, which I don't blame him for. Leah, while small, can be quite scary.

"The shoot was good, really good actually, I think the photographer got his perfect shots," I say. "He ran out of here as soon as he was done."

"I bet he did," Leah arches an eyebrow at me and places a hand on each hip. I arch an eyebrow right back at her; she obviously wants dirt, which she isn't going to get.

"Soo… I have to go and get ready to leave. I have somewhere I have to be in an hour."

Leah furrows her brow and looks at me quizzically. "No you don't, you don't have to be anywhere for the rest of the day. You were supposed to be here for most of the day, I'm telling you, it's not often a photographer leaves so quickly. Normally it takes them ages to get the right shot."

I smile secretly a little as Leah says all this; it is true that it sometimes takes a while for a model and a photographer to warm up, especially when there is more than one model involved. I can only put it down to the powerful connection Jordan and I shared. Call it what you'd like: chemistry, pheromones, lust, or just being horny. Whatever. I can't help and think about him and how intense the session was. My body is still reacting to the way he felt against me. Which must have been why it didn't take all that long. Still, I am happy to hear that the rest of my day is free. It isn't often that I have free time. I'd break any promise or commitment to be with Jordan right now, but it's nice to know that I don't have to.

Leah doesn't say anything; she doesn't need to. Her expression says it all for her as things click into place. "Well, have fun…"

I don't need any more than that. I rush from the studio and to my trailer to remove the make up from my face and the oil from my body, and put my normal clothes back on.

Thirty minutes later, I am clean and fresh. I jump in my waiting limo and ask the driver to take me to Jordan's apartment. He'd left his address for me on a slip of paper that he'd slid under my trailer door.

My hair is was still wet from my shower, but I am not so concerned about that and more anxious to see Jordan again. I arrive at his apartment twenty minutes early, the doorman greets me and tells me to head on up as Jordan is expecting me. Once I reach his door, I knock and wait. There's a long pause and I am about to knock again when I hear the shuffling from behind the door that tells me someone is there, and Jordan opens the door.

He is standing before me wet, and in nothing but a towel. He has obviously only just gotten out of the shower. His hair is still dripping just like mine, and by god does he look hot. I take in his form as though I hadn't been staring at him just half an hour ago. The guy is definitely good-looking.

It's pretty hard not to pounce on him, so I do. The door clicks shut behind me as I launch myself into his arms. I reach for his face and pull him down so his lips can meet me. His hungrily capture mine and I feel the material of the towel he's been holding around his waist drop to the floor.

"I've wanted you for so long," Jordan admits to me. His lips begin to trail down my neck and find a pulse point.

"Really?" I ask, amazed, because ever since I'd first seen his photo I've wanted to meet him. Perhaps at the time I didn't know what I wanted to do when I did meet him, but I wanted to see him. I'm disappointed that he was at a party I attended and I was never introduced.

"Yeah, everyone always told me how you were different from all the other models, that you were more down to earth. I heard about all the stuff you gave to charities and…" he breaks off to capture my lips again. Wait, my brain is trying to catch up with what he's saying. It seems to me that while Jordan is warm for my form, he also seems to like what he's heard about my personality. I feel warm inside knowing that there's more than just a physical attraction shared between us.

"What do you mean?" I press him, wanting to know how he feels about me. Up until this point, I was under the impression that he was hot for me because of how I looked.

Jordan pulls back again to look at me. He frames my face with his large hands, holding me so that he can look me in the eyes. "Chelsea," he says. "You have to be the most beautiful woman I know. Outside and in. You're smart and you're nice. You're confident and sexy as hell. How could I not want to be with you? Ever since I saw you give that speech about animal protection about a year back and you were taking about the welfare of endangered species, I knew there was more to you than just a hot body and a pretty face."

I feel something inside of me melt. I've always wanted to meet a guy who saw more of me than what was on the outside.

I've been told that I'm "different" to other models. Like most models, I have anything I could ever want: an overflowing bank account, an attractive body, and I often receive compliments about how pretty I am or how I make a top/dress/handbag look 'absolutely amazing"...still, there's a brain under this hair, and a heart under my breasts, and it's so much nicer to be recognized as someone who has those things. It's even better that the person recognising this is Jordan Carter.

I place both hands around his face and press my lips to his again, fiercely.

His hands find my shoulders and he steers me backward until I am resting against the door that has only just closed behind me. He's pushing me a little roughly against the wood, but I like it. I kiss Jordan back roughly, my fingers play at his skin, and they make their way down the side of his body and to his waist. He flinches a little and pulls back. "What?" I ask, feeling alarmed that I've done something wrong.

"Nothing," he mumbles. "Just tickles." He grins and pulls at my top a little, trying to get me out of my clothes. I'm more than happy to help him out with that, and we quickly make work of the barrier of material working against us and soon I am as naked as he is.

I'm standing before him in nothing now; my body is aching for his touch. I haven't felt this turned on in my entire life. . I take in his naked body before me. We are without the presence of a third person in the room like before, when the photographer had been taking our pictures. Now that I am alone with Jordan, I am greedy to drink up the sight before me. I reach out my hand to touch him; he is remarkably big. I'm not so experienced with sex to know the average length of a penis, but I can guess that Jordan's is larger than normal. He's hard in my hand as I stroke him. His cock swells in my hand, getting even larger, if it were at all possible.

"Fuck… if you keep doing that…" Jordan murmurs, he is shuddering and I feel a pulse of pleasure knowing that I am turning him on so much. I stretch upward to kiss him again. His tongue invades my mouth hungrily.

"I want you," I tell him. I'm suddenly pressed against the hardness of the wall, his lips are attacking me again. I'm between a rock and a very hard place. I moan in pleasure as I feel him rubbing against me, his cock is in line with my sex.

"Fuck, I can feel you ready against me, Chelsea. It's so hot," he's telling me. I love that he speaks so dirty. I love that he finds me so hot, that how he makes me feel is turning him on… I moan again. His fingers are creeping lower down my body, I arch my back into him and press my pelvis against his cock.

"Please," I beg him.

"What do you want?" he asks.

"Please, touch me."

"Do you want me to make you come, Chelsea?"

"Yes. God yes."

His fingers find my centre and he slides the tip of one digit inside of me, while his thumb presses against me.

"Fuck!" I gasp.

"You like that, don't you, Chelsea?" he says. I grit my teeth, biting down on the screams that want to burst out of me.

"Don't hold back on me," he tells me, and I groan loudly as his fingers find the sensitive spot within me.

His other hand is kneading at my breast, grasping the soft flesh and pinching my stiffened nipple between two fingers.

He lowers his body until he's kneeling before me. I look down at him and see him staring at his hands, at my pussy. He's massaging my bare lips with his other hand now, inspecting the pink flesh and rubbing at my sensitive clit.

"Oh, God." Watching him look at me is making it so hard to keep standing. "That's so hot."

He presses a hot kiss to my clit, his fingers moving out of the way to make room for his mouth. He licks and teases, circling and lapping.

"You're so fucking wet, Chelsea," he mumbles.

He slowly moves his fingers in and out of me in time to his tongue flicking gradually against my hardened clit. I can feel myself clenching hard around his fingers, my hips are moving in perfect rhythm against his hand.

"Please, Jordan…"

"Please what?" he asks me, his hands continuing to torture me.

"Please, make me come."

It doesn't take him very long to get me off. I'm falling apart in his arms, my knees are weak and he has one arm around my ass and legs holding me up for support. "Jordan," I moan his name and pant breathlessly. He continues to lick up and down my slit from top to bottom and back down again, he circles my clit and repeats; his tongue dives into my entrance and then sucks my folds between his lips, flicking against the flesh. I am delirious, screaming and moaning his name. I want to feel him inside of me again, the brief moments we had before where I felt him fill me completely are at the front of my mind and I want it again.

He's moving back and away from me now and standing. Suddenly he has me in his arms, he's carrying me across his apartment and to what I assume is his bedroom. He lays me down on his bed gently, and then his lips are on mine again, kissing me softly. His fingers feather across my cheek as he holds my face in his hands. "You are so beautiful. You're the sexiest thing I've ever seen," he tells me languidly. I blush hard. This Jordan is such a stark contrast to the one I saw before that it makes my head spin. His hands move down my body, slowly, bringing heat to the surface at his touch. My back arches toward him.

"I want to feel you inside of me," I whisper. My hands reach for his face to hold him above me, so that I can look into his eyes. I see hunger and desire there, lust and craving. But I also see gentleness and tenderness. And a soft, quiet, calmness that moves over him and me both until it's surrounding me and consuming me all at once. He moves back and I'm scared for a second that he's not going to give me what I want, what I need. I feel rejected and humiliated almost immediately as he pulls away. He must see my look because he reassures me quickly.

"I'm just going to grab a condom…" Relief calms me.

"You don't have to… I'm on the pill… Unless you… I mean, I'm safe…" My sentences are fragmented and disjointed. I'm nervous and I'm sure it's showing.

He moves back to me, and his touch instantly soothes me. "All right," he says. He positions himself above me. He's gazing into my eyes, and suddenly I feel him right at my entrance and he's pushing against me. I gasp as he enters me; it's everything it was before when I felt him, but it's also so much more.

"Ahhh!" I groan loudly, raising my hips up slightly to feel him deeper. He moves inside of me slowly, pulling back and then thrusting forward and I can feel him rubbing up against my spot, that spot. It's sending delicious shivers throughout my body. We quickly and easily set a rhythm, and I can feel the intense pleasure build more and more as our movements become more and more erratic and desperate.

"GOD! JORDAN, FUCK!" I shout, I am so close to climaxing, and suddenly, I am. My whole body convulses with pleasure and I arch into him again, my orgasm is so intense it overpowers me and my body goes limp. He continues to fuck me though, forcing me to ride out my orgasm. He groans and I watch his face, I can tell that he's so close. I can't wait to see him come, to see his expression. "Come for me, Jordan," I beg. He groans again and thrusts three more times when his face contorts, and another moan of pleasure escapes him before he collapses on top of me. My arms fold around him, holding him to me. He rolls off so that he's not suffocating me, and I feel his arms snake around my waist.

"That was amazing," he murmurs. His face is buried into my neck and hair, so I can't see his face, but I can hear the grin in his voice and he hugs me close to him.

"Hey," I say to him. "I know this is kind of backward, but do you want to grab a coffee with me, later?" I'm hoping he'll say yes. I've never felt anything close to this with anyone before, and I really want to get to know him better.

Jordan grins widely at me and pulls me tighter against him. "Yeah, I really do."

 


Mar. 30th, 2010

Writer's Block: Destined for greatness

Do you believe that a higher power controls our fate or that we choose our own destinies?


I do believe in God. There was a time that I would have called myself a full on Christian. However I wouldn't say that anymore. I do believe in God and I believe you can have a relationship with him. But it scares me to think that if I don't call myself a Christian and have that relationship with God, that I will go to Hell. That scares me a lot.

New rec

It's been a while since I've updated, I'm sorry about that.

Sometimes it isn't so inspiring to update when I feel people don't read. :( *sulk*

Anyway, I have a new rec for you this one is a canon AU! I know right, shocking I'm actually reading Twilight fanfiction with vampires in it!!!!

This one is great, simply wonderful. I was rec'd it by someone from ADF (A Different Forest) which, by the way, is an amazing website that you should ALSO check out and join in on the fun.

The story is called Hide & Drink by Savage7289 and takes place after Bella's first day at school in Forks. It's a what if story... What if Edward COULDN'T contain himself and HAD to have Bella's blood. But instead of killing her he decides to keep her to feed on every few days, he kidnaps her and takes her all around the world trying to keep his family from finding them.

It's great because you don't know what kind of story it's going to be. Whether it will turn into a romance or if Edward will eventually kill her and this story will end in tragedy! I'm still reading, and it's not yet finished but it's good and I recommend it to anyone who enjoys a good read!

Link: http://www.fanfiction.net/s/5722450/1/Hide_and_Drink

Feb. 15th, 2010

Writer's Block: Compare and contrast

What ten words would you use to describe yourself? If your friends were asked to describe you, how closely would all the lists match up?


crazy, outgoing, scatter-brained, inarticulate, creative, loyal, gullible, child-like, sarcastic, strange sense of humour.

Nov. 26th, 2009

Fic Rec

Reccing a new fic today! It's called Schism by kharrizzmatik and it is seriously one of the best fanfic reads I've ever read.

Some of you may be familiar with khar's Emancipation Proclamation story that she is still in the process of writing. I started reading that one first but decided to give some of her other stuff a go too.

The summary that kharizzmatik gives us is as followed:

Everyone thinks Bella was killed shortly after Edward left her but 36 years later she reappears in Forks. Who attacked her? How's life been for the Cullen's? Where has Bella been? Will they be reunited? AU after Edward's departure in New Moon

Basically, Bella gets turned into a vamp early and everyone thinks she's dead. There are a few things that have changed regarding Bella's post change abilities but they're awesome and it suits. Bella is freaking scary in parts of the story as well.

I'm loving this story. I give it two thumbs up, five stars, 10 out of 10. Now stop reading this and go click the link.

Nov. 13th, 2009

(no subject)

Hi All!

Today I will be talking about character development.

I like to think of myself as God and my characters as my little people that I have created. I have created them, I love them and I know everything about them.

We create these lovable characters with adorable flaws and quirks and then we do horrible, evil things to them! It’s fun!!

I am both a high-level role player, and a writer so character development is important to me.

1). the importance of being realistic
Let me start this off by saying that every person has their limits. There is a point that they cannot go any further. Maybe it has something to do with a fear they have that holds them back. Or, maybe it’s physical. I’ll be obvious here; an eleven year old child is not going to be able to lift an object that weighs twice as much as him (unless he has a supernatural ability).

In every aspect of the human life we are limited, sexuality, physicality, mental ability. No one will find your character interesting if they have no limits. It’s not realistic.

Let’s say that your character does have supernatural abilities. What are their limits? Say they are really, really smart. What happens when they get an information overload? Does their mind go blank? Do they lose all knowledge they’ve obtained. Or maybe they become really weak physically? There needs to be some limit to this power? Even in supernatural humans, there needs to be a limit to make your characters seem realistic.

Secondly, creating flaws in your character. Ever heard of the term Mary-Sue, it’s predominant in both role-playing and fanfiction.

Mary-Sue is a fictional character that is liken to Mary Poppins. Practically perfect in every way. Mary-Sue has few noteworthy flaws (if any at all), and she will generally be hated by your readers. A Mary-Sue is not an intended character (unless she is meant to be portrayed as such for comic relief).

Ways to avoid the Mary-Sue.

Give the character note-worthy flaws; like impatience, chronic shyness, obsessive, These flaws should have real meaning to the storyline and can really help with creating conflict!

Just like the flaws, give your character quirks like nail biting, or being left-handed! But remember, while quirks give a character more depth and meaning, they are not flaws.

Flaws borne of good intentions, like "caring too much" or "trying too hard" can be legitimate flaws, provided they get your character into trouble. If your character cares deeply about one person or group of people, she may protect them to the detriment of her mission or be unable to make a decision that might harm them, but serve the greater good.

If your character is really good looking, charming, easy-to-get-along with, make them arrogant and give them fears that prevent him from going after what he wants! Balance the strengths with the weaknesses.

Make them different to you, whether you choose the opposite sex to you, make them introverted (if you are outgoing), give them strengths that can act as weaknesses as well. For example: say they walk really quickly, but they annoy everyone else because their fast pace means they can’t keep up!

Don’t make your character the centre of the universe. Not everything is about them. What is going on in the lives of the characters around them??

Don’t let everybody love them.

Make things hard for them. Life is not easy, don’t make your character achieve everything they want. The reader will be sick of your story before they get past the first chapter!


Hopefully, that will give you an idea of what to avoid when creating a character.

2). look through your characters eyes

What do they see when they open their eyes in the morning? How do they feel? Think? See? Get a good look at their world from their point of view. What is good and bad in their eyes?

An important thing to consider is how their past affects them. What was their childhood like? Now has does what happened when they were five affect them today? A good example that I can think of is Lord Voldemort from Harry Potter. I love using him as an example with this kind of thing.

Let’s use the what if scenario.

What if Tom Riddle’s (LV) mother never died and left him at the orphanage when he was a baby?

How do you think he would have turned out if he had experienced the unconditional love of a mother. Lord Voldemort never experienced the feeling of being loved his entire life, he turned bitter and felt adversity to anyone who ever came into his life.

In the end he turned into an evil Dark Lord who scorned the power of love, because he never felt it.


So that’s an extreme example. But something in your characters life could have happened to make them different to everyone else. Consider these points when making decisions for your characters.


3). give your character motive
This is a vital part of writing a story, you’ve heard the term ‘motive’ used in murder mysteries and all that but everyone has motive to do something. Whether it is motive to kill someone, or motive to go to school.

We want to make our creations leap off the page and into the third dimension. To do that, we need to make clear WHY they do what they do and feel how they feel. To just say, "Well, he's just nuts, that's why," is a cop out. He might be insane, sure, but how so? How long has he been insane? Was he born that way? If your character has a mental illness do research and define it. Be specific. Even if you don't reveal to the readers just what exactly is wrong with them, the fact that you know will make it that much more believable. Readers/fellow roleplayers can sense when there's something going on they aren't privy to and it keeps them coming back for more.

Here are some ideas of basic questions to ask your character to get a feel for his/her/its history.

What was your childhood like? Who were your parents? Did you know them? How do you feel about them? How do your parents feel about you? If your parents didn't raise you who did and why? Did you have a lot of friends growing up? What memories stand out? What impact did your childhood have on who you are now? Do you have siblings? How big is your family? How close are they? Do they keep in touch?

Where are you from? What culture did you grow up with? What culture do you feel closest to? What traditions do you believe in? What weather are you used to? How are you used to interacting with people? Are you used to people who are different from yourself? What kinds of foods are you used to? What are you willing to try? Do you believe in gender roles or certain types of moral behavior? How do you feel about Politics? Religion? What do you base this on? How many places have you lived? How has this impacted you? Is there somewhere that stands out as home?

How do you earn a living? Is this the career you always wanted? Did you dream of something else when you were young? Did you do something else before? How long have you had this job/career/trade? What do you like about it? What do you hate about it? What exactly does it involve? Ideally, what do you want? Is money or the job more important? Have you had to sacrifice money for job satisfaction or vice versa? Did you have to work hard to get to your skill level, or did you go with her natural strengths or both?

Who was your first love? Did you even have a first love? What is your perception of romance? Is that what you want? Why did or didn't it work out? What happened? Have you fallen in love since? Have you tried to avoid it? Are you searching for a soul mate? Do you care? Why? Do you have children? That you know of?

4). things aren’t always black & white
Personally, I don’t believe in purely good and purely evil. Though it can be easy to create an evil antagonist for your protagonist and never really explain the reason for why they are that way… I think it’s a lot more fun to give them depth and reasons for why they are the way they are!

So you have the hero, the villan and then of course, the in betweener. Let’s explore each character.

The hero. The hero is usually leaning toward the good end of the scale. They are concerned for the welfare of others and will generally try to do the right thing in most situations.

The villain. This guy is the opposite of the hero. He creates conflict in the story, without conflict there is no story. So this guy is important. Don’t limit yourself with these characters, they don’t have to be evil or criminals, they can be flawed and have quirks just as much as your protagonist can.

The neutral. These characters lie somewhere in between good and evil. Sometimes they feel they want to do the right thing, sometimes they have their reasons (whether it be self-preservation or cowardliness) that prevent them from choosing the right way.

But until actions speak otherwise, every character begins as neutral.

And now to my favourite part!
5). giving your character flaws, detail and merit
This act of developing your characters will make them far more realistic to your readers. As I mentioned before, you don’t want your characters to be perfect. People don’t like reading about perfect characters even if you enjoy writing about them. But they can definitely have good qualities too. ‘

I’ve already touched on giving your character flaws. So, now you need to create a balance. What are they good at? What skills do they possess? Make sure you keep a balance of flaws and merits.

Draw up a pro/con chart.

For every merit, list a flaw. Here’s an example:

Merit Flaw
Good looking Arrogant
Intelligent Manipulative
Loyal Impatient
Good at chess Lousy at sports


You could do the same for likes and dislikes.

Likes Dislikes
Chocolate Coffee
Bananas Fish
Brunette’s Skinny people
Swimming Chess


Here’s some good questions to ask yourself of your character as well to add detail to their lives.

What kinds of foods does she like?

What does he do to unwind?

Does she have any hobbies?

How does he decorate his home?

Any religious or spiritual beliefs? If so, what?

Optimist, pessimist or realist?

Does she dress for style or comfort?

What just irritates the hell out of him?

What kind of art catches her attention?

Is he allergic to anything?

Easy or hard to embarrass?

Any habits for idle hands? Nail biting, fidgeting, etc?

Like to dance, or wild horses couldn't drag em on the dance floor?

Any addictions?

What kinds of things would they take offense to?

Any phobias? Are they sensitive to changes in weather?

Who do they trust? Why?

What are they like when they get sick? Tough? Whiny?

What kind of music do they love? hate?

What makes them laugh? Ticklish?

What kinds of movies/shows/books/entertainment do they like?

Do they like kids/animals?

What do they take pride in?

What do they notice about the opposite sex/same sex?

What's their astrological sign?

What's their sleep schedule/habits like?

Do they have a favorite color/item?


Let the characters speak to you. Learn from them. Interview them. Ask them how they felt about a scene you had them play out…

Sources

fullcircle.comicgenesis.com/characterdevelopment.htm

Nov. 11th, 2009

Fic Rec

Okay, so here's a fic rec.

http://www.fanfiction.net/s/5021455/1/Time_and_Again

Time & Again by ooohlalaa.

Bella looks back on her years with an erratic, unpredictable Edward when she's faced with a life-altering decision that will effect all those around her. AH AU OOC

Basically, I've read most of what she's got up on ff.net and it's pretty good.

This particular fic is just awesome. It's about angsty teenage romance and it's fucked up (but in a good way). I love how Alice is portrayed in this fic, I won't spoil it for you, you should read it. But basically I've never read a fic with her portrayed this way, it is so unique in that regard.

The story reminds me of Wuthering Heights, just how flawed all the characters are and how fucked up everything seems to be.

Great story, you should read it. :)

Nov. 3rd, 2009

The dreaded plot

Outlining has only been something that I have started to do very recently. I always found it too hard and stressful, and I never really thought it would be that beneficial. I mean, I'm the kind of writer who likes to just see where the characters take me. I think about my stories as I wash the dishes and then I get a bright idea, I abandon the soppy plates and make way to my computer to write it all down.

With outlining, I still get to do that, but I've already sat down and thought of a beginning, middle and end. I know that lots of authors refuse to plot their stories out. They will insist that they've written books where they haven't known where it will take them until they sit at their computers or note pads and write away...!

And that's true. For some people that works really well, but for others, not so much. I know for me, I'm not a natural-born-storyteller. You get me up in front of a crowd of people to tell my story and I'll be all over the shop, going off on different tangents until some wise ass will tell me to get to the point. Usually, this is my boyfriend. :P

I need structure. Do I plot out every single scene? No. But some writers do. Sometimes I will plot out a chapter when it's coming up and there are a lot of ideas that I want to put into it.

The Three Acts:


When broken down, each of the acts do their own separate jobs. It helps to setup the story, it creates confrontation and it brings resolution.

In romance you may break this structure down to boy-meets-girl, boy-loses-girl, and boy-gets-girl.

There are many other methods as well though, that is not the only one you may want to work with. You are the one who gets to decide which works best for you as a writer. You can work with one method or you could combine several methods together. It's completely up to you!

Methods To Help You Write


The 'W' Plot
                                                                                                                                        
This plot is known for it's graphical representation as it resembles the letter 'W' (see figure above).

  1. First Barrier: The protagonist begins work toward his objective and encounters the first barrier.

  2. First Barrier Reversal: Things don’t look good, but the protagonist manages to overcome the first barrier

  3. Second Barrier: At the high point of the action, just when it looks like the protagonist has it made and his objective is within reach, the rug is suddenly pulled out from under him in the unexpected second reversal.

  4. Second Barrier Reversal: At the low point of the action, when things look very grim, the protagonist still has an opportunity to overcome this catastrophe and achieve his objective.

  5. Resolution: The protagonist either does or does not pull out of the catastrophe, resolving the plot either tragically or triumphantly.

Mike Meyers’ film "So I Married an Axe Murderer" displays a good example of a "W" plot structure. Charlie meets Harriet, the woman of his dreams, and wants to live happily ever after. But he has intimacy issues, so (in the first reversal) he convinces himself that she is the infamous "Honeymoon Murderer," and he breaks up with her. But then he learns that the true murderer has been arrested, and so he convinces Harriet to give him another chance, and they get married. Unfortunately (in the second reversal), on the wedding night, Charlie finds out that the true murderer was not arrested, and that in fact very strong evidence points to Harriet, his new bride! He spends his wedding night fleeing an axe-wielding maniac on the roof of their hotel. But in the end he survives, and finds his true love, and everyone lives happily ever after.

The Mountain Plot
                                                  The graphic you see above shows you the main parts of any story that you read. This is the basic organization of any short story, and even most novels follow the pattern you see above.

The first part of Plot Mountain is the EXPOSITION phase. Exposition is the brief part of the story where you meet the characters, learn a little bit about the setting that they are in, and you will find out a little bit about the situation the characters initially find themselves dealing with. Our hero is a brave knight who lives in a village. The princess has been taken by an evil dragon. The king says anyone who will rescue his daughter will have a great reward. Our hero volunteers and everyone else thinks he's a great guy. 

The second part of Plot Mountain is the RISING ACTION phase. This is where the character(s) begin to struggle and run into challenging situations. The Rising Action is usually the greatest portion of the story. This phase unveils all of the trials and tribulations that the hero must overcome in order to save the princess or capture the dragon.

The third part of Plot Mountain is the CLIMAX. This is the high point of the story. This is where all of the tension has been building, you are sitting on the edge of the seat, biting your nails, and then you gasp because it is so exciting. In an instant, our hero proves himself and saves the princess or captures the dragon.

The fourth part of Plot Mountain is the FALLING ACTION. This is the ride home, where our hero has the princess on his white horse and the dragon tied to his wagon behind them. They talk, he tells some clever jokes, he may kiss the princess, but things are starting to look up for the hero.

And finally comes the RESOLUTION. This is where the king gives the hero the hand of the princess in marriage, they barbeque the dragon, and they all live happily ever after.

As you read, you should try to categorize the parts of the story into these five parts of the plot mountain graphic. As you read, pay close attention to the CLIMAX, as it is truly a turning point in the story where the hero either wins big time, or loses it all.


                                                                                                                     
The Episodic Plot

The episodic plot is often used in picaresque novels — common in the 18th century — such as Tom Jones and Moll Flanders, which follow one lively and resourceful character through a series of adventures. If we were to chart the plot’s rises and falls — Aristotle’s "reversals" — we would see something like a horizontal zigzag, as the tension does not generally increase as the story progresses. This is the plot structure that most closely resembles real life, with its endless series of largely unconnected adventures. Though still common in video games, it has fallen out of fashion in fiction writing, due to its usually less intense emotional impact on the audience.

Pants Writing

If you have a general idea of what you want  your story to be. Say, for example, you want to write a story where your hero and heroine are in competition with each other, you have some ideas as to what they're in competition over, but not yet fixed on any idea in particular, you may use this method to flesh out your ideas until one sticks. From there, you'll move onto the next plot point.

You might have an awesome opening scene and you create your story from there, or maybe you've decided on a theme you want to explore and can visualize a dramatic confrontation between your main protagonists and have to get it down on the page before you can figure out where to go next.

Whatever your motive for writing this method, you're in good company by working this way!

Writing Out Of Order
Many writers aren't sure of what is going on just yet. All they know is one thing, so they start with writing that scene to get it out of their head and onto paper. Stephenie Meyer is like this. She had a dream about a vampire and a girl, lying in a meadow and the vampire was sparkling like diamonds. She woke up and decided to write down the vivid scene from her dream. From there, she wrote other scenes and created the world we know of Twilight.

When you don't know the whole story, this method is what will work best. Once you've written one scene, you can think of another. Perhaps you know the character vividly, and you have a general idea of what you want them to be or do but you haven't thought of that big middle or end section of the story... So you start by writing scenes that involve your characters interacting with each other. Write these scenes as they come to mind. You may not know how they will tie into your story, but eventually, when you have enough written down, you'll be able to make some links.

Remember, if you write scenes out of order, don't forget to thread the plot lines and character development together. You don't want a subplot to vanish for chapters only to reemerge toward the end of the story to wrap up at 'The End'. And you don't want your character growth that you added in chapter 8 to be missing in Chapter 9 and appear again in Chapter 12.

You may find that many authors who plot by the seat of their pants or write out of order wind up at the conclusion of their book needing to do extensive editing and revising to be certain they have a seamless and logical narrative.

Writing To Road Signs
This method is a little different to straight out three act outlining in the sense that you're plotting from one major point to another instead of fleshing out a beginning, middle, and end. By using this method, you write one scene or section and then work out what will happen next based on what has happened already.

For example: Your first scene has your two protagonists (who are in high school) meeting. But they have a disagreement. A rather public disagreement. A teacher sees them fighting and puts them both in detention. Next scene? Could it be detention? Or perhaps you want to have them fuming with their friends about how insufferable the other is before the detention scene? Where will you go once detention has finished? Have they spent the class glaring at each other? Did the teacher leave them to their own devices because he went to get a coffee? Did they talk and solve their differences or get into another heated argument? After detention, did they go home or did the heroine find that her car didn't work to get home and that all her friends had disappeared for the day, so no one could give her a ride home. Does the hero of the story feel sorry for her? Does he give her a ride home or does he laugh at her and leave her in the dust his car creates?

See? It's relatively simple, I create a scene and from there I am able to create a new one based on the things that have happened in the previous scene.

Writing Blind

Writing blind is not for everyone, it's foggy and you can only see a few feet ahead of you at best. But it is a method you could work with and it does work well for many writers. You have no idea what is going on to start with, in a way you are like the reader. You're reading a story for the first time and you have no idea where it's going to take you.

It requires faith in yourself that your intuition will guide you in the right direction. Also that you have developed strong characters that can tell you what path to take you next! You may not know where you're going but that's all part of the fun!

Aristotle's Approach To Plot

Aristotle wrote the first known analysis of plot, in his Poetics. Though written some 2300 years ago in Ancient Greece, his approach to plot has yet to be surpassed and is still widely studied as the primary authority.

Aristotle said that a plot should have an appropriate beginning, middle, and end. This may sound simple and obvious, but it bears closer examination.

Beginnings

By this, Aristotle did not mean that you should start with a character’s birth, or with the creation of the universe, but that you should find the proper beginning for the specific story you want to tell. You should begin with some interesting moment, some event or decision or information that will be crucial to the story as a whole. For example, Oedipus Rex, which Aristotle uses as his main example, begins near the end of Oedipus’s life, just before he begins his quest to find the man who murdered the previous king. Though this moment is not the beginning of the "story" of Oedipus — which might have begun with his birth, or even his parents’ births — it is the dramatic moment that initiates the plot of the play, which will follow Oedipus’s quest to its tragic conclusion.

In another example, the classic film "Casablanca" begins with the police search for the murderer of two Nazi couriers. This search certainly is not the beginning of Ilsa and Rick’s love story, but it is an exciting, dramatic, interesting moment which begins the string of events that will end with two lovers using those Nazi couriers’ "letters of transit" to fly to freedom in America.

The appropriate beginning for a story depends on the ending. Sometimes, you might not be certain of the right beginning for your story until you’ve written the entire thing, or at least a full and detailed outline. Just try to stay open-minded, and not feel anchored to the starting place where you began writing. It may not be the right starting place for your audience to begin reading!

Middles

The middle of your story, of course, needs to get your audience smoothly and believably from the beginning to the end, building the tension along the way. This doesn’t mean that the story must be linear, since many stories are not. In the middle of "Casablanca," we see scenes of Ilsa and Rick’s prior love affair in Paris. Even in the most linear of stories, like Oedipus Rex, characters can uncover information about the past which changes their interpretation of events, changes the choices they make, and therefore changes the path of the plot.

Endings

Many of the things I wrote about beginnings also apply to endings. The key is to find the appropriate ending for your plot, the true resolution of the events begun in the first scene. Bear in mind that your beginning and ending are completely interdependent. You can’t start with the search for the murderer of the Nazi couriers if their "letters of transit" won’t be important to the ending. And so, when you find either the true beginning or ending of your story — and this is largely an issue of intuition — it will help you figure out the other.

Many writers sit down to write a story with an ending in mind. There is nothing wrong with this tactic, as long as you keep your mind open and flexible. You may find, once you begin writing, that your characters develop in directions you hadn’t intended, that they make different choices than you had planned, and that the ending you originally had in mind no longer works. Or, alternatively, you may find that your intended ending still seems right, but you started in the wrong place to get there. Some writers find it helpful to outline their plots in advance, while others prefer to just write and see where the story takes them. You might want to try both strategies, to figure out which works best for you.

Aristotle’s Elements of Complex Plots

In addition to his theory about beginnings, middles, and endings, Aristotle described a number of elements that he considered crucial to the creation of a complex, fully developed plot:

reversals — Characters should find themselves going from good fortune to bad, and back again, etc., as both result and cause of their choices and actions. These reversals serve as climactic moments in the plot. A pot reversal occurs when a character's decisions result in an outcome opposite of what was desired. This throws a new obstacle in the way of the character reaching their goal.

discoveries — Aristotle said that characters should make discoveries, especially about themselves. These discoveries may be about their pasts, their flaws, or even their own motivations. (For more information, see also the third article in this series, "Creating Vivid Characters.")

complications — Something should stand between the protagonist and his objective. (For more on motivation and objectives, see "Creating Vivid Characters.") Characters with different objectives, for example, may find themselves in conflict with each other, which helps to create plot tension. Bear in mind that an even battle is more interesting than Bambi vs. Godzilla, but also that an underdog effect (as in the first "Star Wars" film) can be most thrilling. In any case, your characters’ efforts to resolve the situation should create further complications, allowing the tension to escalate. And, when in doubt, follow Raymond Chandler’s advice: "When things get slow, bring in a man with a gun." (It doesn’t have to be a literal gun, of course. It could be anything that will raise the tension level a few notches.)

catastrophe — It needn’t be an earthquake or a mass murder; it might be an emotional catastrophe, completely internal to your character’s psyche. But no plot will be interesting if things go too smoothly. Bad things should happen, even to good people. It’s how your characters deal with catastrophe that produces plot.

resolution — The plot should reach some satisfactory conclusion that continues logically from the events of the story. (In other words, don’t rely on coincidences, or a deus ex machina device, in which some new element gets introduced suddenly at the end to resolve the plot.)


So, there you have it, a multitude of methods for you try your hand at. Find out what best suits you, like I mentioned before, you might want to try a whole different variety of ways of writing your story.
 

 

Sources:

Websites: www.skotos.net/articles/PlotStrategies.html
demo.coolschool.k12.or.us/courses/109910/lessons/assignments/02/Part1/plotmtn.html
Book: The Complete Idiots Guide To Writing Erotic Romance