I love writing humorous flirting scenes in my
romances. There’s something sensual and fun about two people engaging in verbal
jousting when they feel that initial spark and decide to test the waters.
Sometimes you can radiate more heat with a few lines of suggestive dialogue
than with a paragraph of in-your-face eroticism. Not that there’s anything
wrong with that.
Flirting is all part of creating sexual tension with
your characters. It’s defined as “trying to attract sexually but without serious
intent,” and is an essential ingredient in all romantic encounters. I think
it’s safe to assume that most of us write something more substantial than “What’s
your sign?” or “Come here often, Sailor?” in the getting acquainted phase. It
should imply emotional intimacy, and a willingness to commit at some level. Verbal
foreplay allows your characters to build up to the act, and that crescendo should
range from sensual to scorching.
A crucial element is conflict, both internal and
external, and creating barriers for your characters to overcome. Internal
conflict arises from beliefs or an emotional wound that prevents someone from pursuing
a relationship, such as fear of rejection, a bad prior experience, or a
deep-seated moral quandary. External conflict comes from parameters outside the
character’s control, like cultural environment, bad timing, or family/peer
pressure. Being in a marriage or committed relationship would also fall into
that category.
When does this dance called sexual tension begin? Immediately
after the characters meet, begin talking, and realize they want to go further. Flirting
should be a metaphor for the act itself. Start slow, build gradually, then eventually
end where your characters lead you, while teasing the readers along the way. But
don’t forget to include a little salacious humor to make it fun.
Here’s an example from one of my private eye
thrillers, “Lido Key” (Vic Fallon series). If this doesn’t put you in mind of
“Body Heat” or “Double Indemnity,” you probably aren’t a fan of film noir:
When Vic locked eyes with Ariel Weston across the bar,
there was no escape. He moved to the stool next to hers, drawn in like a marlin
hooked by a determined fisherman. “Excuse me, Miss, but I’m new in town. Could
you please direct me to your house?”
She began with a chuckle that escalated into
full-blown laughter, then she playfully smacked Vic’s forearm. “That’s so lame,
it’s cute!”
“Thank you.”
Her eyes scanned him up and down. “I don’t think I’ve
seen you around here before, have I?” she asked in a low, smoky voice.
“No. Do I need a reservation to sit here?”
She laughed again. “A smart-ass. I like that quality
in a man. Where are you from, smart-ass?”
“A whole other world. Would you like me to provide
references before we go any further?”
She placed her hand on his on top of the bar. Her gaze
radiated more sensual intensity. “I don’t think that’ll be necessary, but since
we’re going to be friends, I think I should call you something more formal than
smart-ass.”
“Are we going to be friends?”
“Unless you think you already have enough of them.”
“You can never have too many friends. Why don’t you
call me Blake?”
“Is that your real name?”
“No, my real name is Vic. I just use Blake to fool
people. What should I call you besides totally hot?”
“I like that, but let’s go with Ariel.”
“Pretty name.”
“Thank you. I’m rather attached to it.” She massaged
his hand. “I should tell you something, Vic. I’m married to a rich older man,
we don’t have any kids and we’ve always had separate bedrooms. He doesn’t
really notice if I’m not home, since he’s only there long enough to change
clothes before he meets his latest girlfriend. He doesn’t ask me any questions
and I don’t grill him about where he drops his pants. Does that bother you?”
“One man’s ignorance is another man’s bliss.”
“Ooh, a clever smart-ass. That’s another quality I
like.”
“And we’re just getting started.”
It’s important to pay attention to connotations, and be
aware of what a word means to a given audience. As an example, there’s a slang
word used in erotic literature that refers to a part of the female anatomy
(begins with “c,” rhymes with “hunt”). A lot of American readers find it
offensive, but in some European cultures, it’s considered commonplace and used
in everyday language. The lesson here is research your market. You want to use
words that will arouse feelings while conveying something about the characters,
but you don’t want to alienate people. For the record, I don’t use that word in
my books. My goal is to gain readers, not turn them off.
By way of a parting example, here’s a brief passage from
my romantic comedy, “The Sweet Distraction”:
“I should probably go,” George said. “I’m cutting into
your tanning time.”
“Why do you have to run off?” Cookie teased.
“Because I’m working.”
“You know what they say about all work and no play.”
“I always make time to play.”
“Like what?”
“Poker, blackjack, the ponies once in a while…”
“Are you good at picking winners?”
“I find it depends on who’s holding the riding crop.”
Cookie flashed a sly grin. “Ooh, is that a kinky side
coming out of hiding?”
He winked. “I’ll never tell.”
“I like to play, too.”
“What games do you like to play, little girl?”
“Pass-out, strip dominoes, escaped convict and the
Warden’s wife…”
“Those are a little out of my league.”
“Maybe you should move up from Little League to the
majors. That’s where they play night games.”
“Is this where you ask me if I know how to whistle,
then tell me to just put my lips together and blow?”
She raised her sunglasses and looked at him. “I can
think of a much better use for your lips.”
Tim Smith is an award-winning bestselling author of romantic mystery/thrillers and contemporary erotic romance. His webpage is Tim Smith, AllAuthor
"The Sweet Distraction" Amazon Kindle
2 comments:
Oh yeah - love your excerpts, Tim. :)
Flirting and the slow burn of romance - to me - is so satisfying. Makes the sex scenes even better.
Thank you, Tina. I enjoy writing those encounters, as you can see.
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