Since Katie Roiphe’s recent article in the Times a couple of weeks ago has sparked conversations among the lit set about sex scenes (or the absence thereof) in novels past and present, I thought I’d pass on this list of how not to write about sex–cribbed from Sonya Chung’s thoughtful response to Roiphe on the www.themillions.com
It’s a list that every MFA program should consider distributing–day one of the first semester (because as a former MFA student, I know how young writers grapple with sex scenes….but not me, of course).
And by the way, here are a couple of my thoughts on Roiphe’s essay The Naked and the Conflicted.
Here are Sonya’s five commandments on writing sex scenes….
In 1993, Auberon Waugh (son of Evelyn) established The Literary Review’s “Bad Sex in Fiction Award” – “with the aim of gently dissuading authors and publishers from including unconvincing, perfunctory, embarrassing, or redundant passages of a sexual nature in otherwise sound literary novels.” Reading through passages from this year’s “Bad Sex Awards” shortlist, along with an all-time bad sex passages list published by Flavorpill, it becomes clear the minefield one braves when crafting a linguistic experience of sex for a contemporary literary reader. If one were to develop a “Don’ts” list for fiction writers suiting up for the challenge, it might look like this (warning: graphic language to follow):
1. Beware of sensory descriptions which include food analogies – “honeydew breasts” (Styron), “like a spoon scraping the inside of a soft-boiled egg” (Littell), “the oysterish intricacy of her” (Anthony Quinn), “he felt his cashew become a banana, and then a rippled yam” (Updike) – or “wet” verbs like smear, suck, lick, slither, slide.
2. Be sparing with anatomical terminology for sexual organs, whether scientific or slang; and if your passage does contain such words, beware of mixing and matching high diction and low diction, i.e. it’s nearly impossible to get away with raunchy lyricism. (Here I will spare the reader specific examples, but suffice it to say that sex-organ diction, both high and low, is apparently like neon paisley; it doesn’t go with anything.)
3. Avoid spiritual-religious metaphors – “salvation” (Palahniuk), “rapture” (Ayn Rand), “magical composite / weird totem” (Roth), “on the edge of a precipice beyond which can be glimpsed a dark-green distance in a reeking mist and something shining out at them, a pulsing point of light” (Banville), “my licking a primitive form of language in a simple prayer” (Theroux) – or any language that gestures toward the grand or the epic: “weeping orifice” (Ann Allestree), “Imperial pint of semen” (Neal Stephenson), “Defile her” (Roth), “like a torero…trailing his cape in the dust before the baffled bull,” “gravid tremulousness of her breasts” (Banville).
4. Be hyper-vigilant about clichéd metaphors and similes, particularly oceanic ones: “like a tide determined to crash against those ancient rocks” (Simon Van Booy), “it was as if he were splashing about helplessly on the shore of some great ocean, waiting for a current, or the right swimming stroke to sweep him effortlessly out to sea” (Sanjida O’Connell).
5. Avoid machinistic metaphors: “with his fingers, now experienced and even inspired, he starts to steer her enjoyment like a ship towards its home port” (Amos Oz), “I’m going to pull the lever, I’m going to let the blade drop” (Littell), “he enters her like a f*cking pile driver” (Nick Cave).
I am here reminded of a word that, throughout grade school, never ceased to elicit mouth-covering giggles: rubber. We could be talking about the elastic things you shoot across the classroom at your nemesis, or the soles of your shoes, and yet still we couldn’t hold back the laughter. It was nervous laughter, of course, because at the age of 10, a condom – the danger, excitement, and illicitness that object conjured – was taboo, mysterious, unknown. We snickered out of anxious, uncomfortable curiosity; and, of course, to be cool.
Is it possible that our fun with “Bad Sex” lists – rooted, I’d argue, in our ambivalence about whether sex on the page, in all its linguistic sensory sloppiness and spiritual-existential achingness, is comedy or bathos or misogyny – reflects (along with our sound aesthetic judgment, of course) a devolving anxiety and discomfort about our core physical sensuality? Why do we scoff at all things exuberantly, epically sensual? Are sexual relationships really so blasé, so measured, in our modern lives? Is this how we now define “mature love,” i.e. as relationships in which an appetite for sex—the force of sex—is considered unevolved or juvenile; in which sex “doesn’t matter,” or, perhaps, shouldn’t matter?
There you have it folks. Start writing your sex scenes.