Elara Stone's Blog - Posts Tagged "humiliation"
How I Utilize Humiliation to Arouse My Readers
Today, I want to delve deep into humiliation, an evocative theme that holds significant weight in my writings.
Humiliation, especially in the realm of erotic literature, is more than just a narrative tool—it's a potent catalyst for arousal. Unlike merely chronicling events, I guide you, my dear readers, through a meticulously crafted gradient of emotions, pushing boundaries and testing limits to stimulate your senses.
The impact of humiliation isn't just in its presence but in its escalation. It's this progression, this movement from a comfortable 'normal' to a profound state of vulnerability, that elicits strong reactions. Evelin Lindner, Thomas J. Scheff, and Paul Gilbert are among the scholars who have explored the depths of humiliation and its psychological impacts. Building on their observations, I'd argue that it's the gradient, the change from point A to point B, that resonates most profoundly. Our brain, specifically regions like the amygdala, comes alive during states of emotional arousal. This response is responsible for the immediate, physical reactions, such as blushing—a dilation of facial blood vessels—and a quickened heart rate driven by adrenaline.
How does this play out in my work? Here's a small excerpt from "Corporate Femdom: From Project Manager to Her Lowly House Servant – A Tale of Deep Love Between a Mistress and Her Pet":
"What on earth do you think you're doing? she demanded, her hands on her hips, her tone both mocking and playful. Vacuuming in your suit and tie? You can't possibly think that's appropriate.
He stared at her, his mind reeling from her proximity and her words. He knew that this was another test, another way for her to degrade and humiliate him, but he couldn't find the words to protest.
Every job requires its proper attire, she continued, smirking as she looked him up and down. An air-jet pilot has his uniform, a surgeon has his scrubs, and a cleaner has his own appropriate clothing. You can't possibly vacuum in your work clothes. It's utterly illogical.
Her logic was twisted, her words a trap, but he couldn't deny the arousal that was building within him as she spoke. Her smirk sent waves of warmth straight to his core, and he knew that she was enjoying this, that she was doing this for her amusement."
This scene encapsulates the essence of that gradient, pushing the character (and by extension, the reader) out of their comfort zone. It’s a mechanism that evokes physical reactions: the blush that rises to the cheeks, the sudden increase in heart rate. It's a calculated dance of emotions and sensations, pulling the reader deeper into the narrative.
My dominant female characters, and by extension myself as the author, enjoy using emotional manipulation, not just on the characters, but also on you, the readers. The arousal derived from reading isn't just about the explicit content or the overtly sexual. It’s about creating a balance of emotional and physical reactions, making the reader acutely aware of their own sensations and responses. There are undoubtedly brutal scenes, but they are potentiated by the emotional weight behind them.
In the vast spectrum of erotic literature, my work might be niche, aligning more with those who seek a blend of raw emotional intensity and physical arousal. If there's one thing I aim for, it's to make sure my readers experience the very physiological and emotional reactions I craft meticulously in my narratives. If you find yourself flushed, heart racing, and deeply engrossed while reading, then I've done my job right.
Ultimately, everything boils down to pleasure, to that surge of dopamine, signaling reward and satisfaction in the brain. I cherish every piece of feedback from readers who've journeyed with me through these tales and experienced the very arousal I aim to convey.
Reading my work is not just about witnessing a story; it's an invitation to experience it, to feel, and to surrender to the rollercoaster of emotions I present. I hope you join me in this journey and explore the depths of arousal through the lens of humiliation and beyond.
Cheers, Elara
How I Use Fear to Induce Arousal Followed by Total Enslavement
Not sure?
Read on!
On a Shaky Bridge
In the realms of human psychology, few experiments stand out as vividly as the iconic Capilano Suspension Bridge study, orchestrated by psychologists Donald Dutton and Arthur Aron in 1974. Their endeavor aimed to unravel the intricate tapestry of human emotions and how we often misinterpret our own physiological responses.
Imagine a precarious bridge, suspended high above a canyon, swaying with every gust of wind, each step an exercise in overcoming innate fear. This was the setting chosen by Dutton and Aron. They postulated that traversing such a bridge would induce significant physiological arousal — a surge of adrenaline, a quickening heartbeat, and the rush of blood echoing in one's ears. The very cocktail of sensations that often accompanies extreme fear.
Upon completing this harrowing journey, the male participants were greeted not with a sigh of relief but by an attractive female researcher. She approached them with a seemingly benign task: a brief survey. Upon its completion, she offered her phone number under the pretext of answering any further questions the participants might have.
Contrast this with a control group, who undertook a similar interaction but on solid ground, devoid of the heart-racing experience of the suspension bridge. The results? Those who had braved the shaky bridge were notably more likely to reach out and call the female researcher afterward.
But why? Dutton and Aron posited an intriguing theory: "misattribution of arousal." The men on the suspension bridge, their bodies awash with stress hormones and heightened arousal from the fear of the bridge, mistakenly attributed these intense feelings to the allure of the female researcher. Their brains, in the chaos of the moment, conflated the source of their arousal. The fear-induced adrenaline was misinterpreted as romantic or sexual attraction.
This study unveiled a profound truth about the human psyche: we often misread our own emotions, especially when multiple stimuli compete for our attention. It underscores the complexity of human emotions and how easily our perceptions can be skewed, especially in situations of high stress or intense arousal.
The scientific aspect
Our brains are intricate organs, constantly processing a myriad of stimuli and orchestrating our responses. When faced with a threat or a challenge, like the treacherous journey across the Capilano Bridge, our body's immediate reaction is the "fight or flight" response. This ancient, evolutionary mechanism is designed to prepare us for immediate action, be it confronting or fleeing the threat. Hormones such as adrenaline surge through our bloodstream, increasing heart rate, dilating pupils, and redirecting blood to essential muscles. This physiological arousal is unmistakable and intense.
Yet, the human brain is adept at interpreting and attributing these physiological changes to specific causes. Often, this interpretation is accurate, aligning our internal feelings with the external stimulus. However, when presented with multiple stimuli, our cognitive processes can sometimes misattribute the cause of our arousal. In the case of the Capilano Bridge experiment, the brain, grappling with the aftereffects of the fear from the bridge and the presence of an attractive individual, conflated the two, leading to the misinterpretation of fear-induced arousal as a romantic attraction.
Contemporary neuroscience and psychology further elucidate this phenomenon, indicating that our prefrontal cortex, the region responsible for decision-making and social interactions, plays a pivotal role in these attributions. But like any complex system, it's prone to errors, especially when overwhelmed with competing signals.
Stage 1: Inducing fear
In the nuanced landscape of dominance and submission, the induction of stress, particularly extreme stress, becomes an art form. It's not merely about placing a character in a challenging situation; it's about pushing them to the very precipice of their emotional and psychological limits.
Every individual, regardless of their position in the corporate hierarchy, is tethered to their roles not just by the paycheck but by a profound sense of identity and dignity. The job they perform and the responsibilities they shoulder become intertwined with their self-worth. When this foundation is shaken, the effects are cataclysmic. It's akin to yanking the rug out from under their feet, throwing them into a vortex of panic and dread.
In "Corporate Femdom," this is epitomized by Ethan's ordeal. A looming debt, a staggering $250,000, becomes the noose that tightens around his neck. But it's not just about the money. It's about the person holding the other end of that noose: Isabella. A force of nature, a woman whose reputation for bending men to her indomitable will is legendary. With her at the helm, the stakes aren't just high; they're insurmountable.
Ethan's frantic race through the streets, the palpable tension of his elevated heart rate, the sheen of sweat, and the pulsing blood pressure all paint a vivid picture of a man on the brink. It's a dance on the razor's edge, where every moment is fraught with the terror of loss – loss of job, loss of dignity, and the ever-present specter of public humiliation.
Furthermore, the threat of exposure, of being showcased in a compromising situation, adds another layer to this intricate web of fear. It's not just about the immediate repercussions but the long-lasting scars such potential exposure can leave on one's psyche.
Drawing from authentic experiences and an understanding of the corporate world, I craft these scenarios with meticulous attention to detail. It's not just about creating a situation; it's about immersing the reader into the very heart of that situation, making them feel every heartbeat, every bead of sweat, every surge of adrenaline. It's about authenticity, capturing the raw, unbridled emotion of a character pushed to the edge.
Stage 2: Enslavement as the only way out
The second stage unfolds as a sinister ballet of desperation and power dynamics, where the submissive grapples with a seemingly inescapable situation. Their world, once familiar and predictable, is now fraught with uncertainty, and every path seems to lead to an abyss. Yet, amidst this tumultuous landscape, there emerges a beacon of hope, and paradoxically, it's often the very source of their despair: the dominant woman.
When ensnared in such a quagmire, the submissive is willing to traverse any length and make any sacrifice just for a glimmer of reprieve. Their desperation becomes palpable, a tangible entity that clouds their judgment and drives them to the brink of reason. The dominant woman, wielding a power I've so meticulously crafted, holds the keys to their salvation. But these keys come at a price.
In "Corporate Femdom," I designed Isabella not just as the storm that upends Ethan's world but also as the sanctuary where he seeks shelter. The debt he owes her, both monetary and emotional, places her in a unique position of power. She has the discretion to reduce the debt, to offer him a way out. But such benevolence is not without its conditions. Conditions that Ethan, in his desperation, finds himself willing, even eager, to accept. The scales tip, and the dynamic shifts. From a man of stature and respect, he finds himself transformed, by my hand, into Isabella's personal maid, donning a French maid costume and serving her every whim. The irony isn't lost; his escape route leads him deeper into submission, a path where his dignity is traded for relief.
As he stands at the precipice of surrender, an underlying arousal simmers beneath the surface. Yet, this arousal is masked, overshadowed by the immense weight of his fear. It's a complex interplay of emotions, where the very source of his despair becomes the object of a hidden, burgeoning desire.
This stage is a masterclass in manipulation and control, showcasing the dominant woman's prowess in bending the submissive to her will in orchestrating a scenario where their only perceived salvation lies in utter surrender to her demands. The trap is set, and the submissive, blinded by fear and desperation, walks right into it willingly and inexorably.
Stage 3: Aftercare
In the third stage, the tempestuous storm of fear and uncertainty gives way to a tranquil respite. The conditions of submission have been laid bare, the agreement signed, and the path forward unmistakably clear. As the dominant force, I watch the fear dissipate from their eyes, replaced with a profound sense of resignation. They have entered my realm, a domain where they are forever bound by the chains of their own making.
In this newfound tranquility, my nurturing side emerges. I recognize the toll the journey has taken and offer the much-needed aftercare. The undercurrent of arousal, previously masked by the overwhelming fear, now surges to the forefront. Their vulnerability becomes palpable, a raw emotion waiting to be molded and guided. With the fear gone, I stand as both their captor and savior, leading them through the storm and into my embrace.
"Corporate Femdom" encapsulates this transformation in the tender moments shared between Isabella and Ethan. After the tumult of his submission, Isabella's tight embrace offers Ethan solace, an affirmation of his place in her world. It's during these moments, with the barriers of fear torn down, that the most primal of desires emerge. Men, in their newfound state of submission, are willing to embrace any role, any attire, any command. From diapers to milk bottles and breastfeeding, from soft caresses to the intimacy of shared secrets, everything becomes possible.
This stage is a testament to the profound bond that forms between a Mistress and her pet. A bond forged in the fires of fear and solidified in the gentle caress of understanding.
To summarize, I introduced you today to one of the 'tactics' that I use in my books (and to a lesser extent in my private life) for enslaving men. It's a three-stage structure: First, you create an extreme fear; second, you negotiate a surrender, often under terms that may seem ludicrous; and third, he undergoes a transformation, becoming a vastly different man than he once was. The details? Well, those are for adults only. I encourage you to discover these strategies within the pages of my books.
Now be good boys for me, and let me know your thoughts and opinions.
Cheers, Elara
Bibliography:
Cannon, W. B. (1915). Bodily changes in pain, hunger, fear and rage: An account of recent researches into the function of emotional excitement. D Appleton & Company.
Dutton, D. G., & Aron, A. P. (1974). Some evidence for heightened sexual attraction under conditions of high anxiety. Journal of Personality and Social Psychology, 30(4), 510–517.
Descartes' Error: Emotion, Reason, and the Human Brain - by Antonio R. Damasio
Corporate Femdom: From Project Manager to Her Lowly House Servant – A Tale of Deep Love Between a Mistress and Her Pet - by Elara Stone
Femme Fatale: Everything You Should Know.
Do you think Isabella is a Femme Fatale? - Think again!
Many of my readers have keenly observed that my novels deeply explore the femme fatale archetype, particularly embodied by the enigmatic Isabella Turner. Indeed, she represents a complex and intriguing figure in these narratives. To offer a glimpse into her allure and to guide readers through this captivating theme, I've examined the femme fatale from various angles: its cinematic roots, the unique perspective of the "Submissive Gaze," the societal and patriarchal fears it conjures, and the underlying psychopathic traits that often characterize such figures. While this exploration aims to enrich your understanding and appreciation of the femme fatale in literature, don't miss the words of wisdom towards the end of this article, offering a gentle reminder to enjoy these enthralling characters within the safe realm of fiction.
In Cinema
The allure and mystique of the femme fatale are vividly portrayed through iconic characters like Phyllis Dietrichson, portrayed by Barbara Stanwyck in "Double Indemnity." Clad in a white towel, with her coiffed blonde hair haloed by the Los Angeles sun, Phyllis stands atop a staircase, casting mottled shadows behind her. Her presence immediately captivates Walter Neff, played by Fred MacMurray, drawing him into a web of murder and insurance fraud. Phyllis epitomizes the archetypal femme fatale – seductive, duplicitous, and dangerously alluring.
This portrayal of the femme fatale is a recurring theme in film noir, a genre that emerged alongside shifting gender dynamics post-World War I. The rise of the femme fatale coincides with changes in societal views on women's roles, reflecting male anxieties about women's growing independence and sexual freedom. Film noir presented complex female characters who were both enthralling and intimidating, embodying the ambivalence men felt towards these empowered women.
As cinema evolved into the era of neo-noir and psychological realism, the femme fatale archetype underwent a transformation. Films like "Klute," "Chinatown," and "Night Moves" offered more in-depth explorations of these women's psychologies and motivations, moving beyond the surface-level portrayals of classic film noir.
In postmodern cinema, this archetype is further reinterpreted. Films such as "Gone Girl" present more nuanced and multifaceted depictions of the femme fatale, delving into the complexities of their characters and challenging traditional perceptions.
Isabella, from my novel, embodies some aspects of this postmodern interpretation of the femme fatale. She is not just a sadist who delights in the financial and emotional destruction of her male counterparts but also a complex character who challenges the patriarchal structure. Isabella's actions – usurping men from their wives, manipulating them into financial ruin, and deriving pleasure from their humiliation – seem, at least on the face of it, to align with the nuanced portrayal of postmodern femme fatales. She represents the modern iteration of this archetype: a figure of power and control, reflecting contemporary societal dialogues about gender, power, and identity.
Submissive Gaze
The concept of the "Male Gaze," as introduced by Laura Mulvey in her seminal essay "Visual Pleasure and Narrative Cinema," proposes that visual media is often tailored to satisfy the visual and erotic interests of heterosexual men. This theory posits that women in film are typically depicted as objects designed for male pleasure, framed in a way that accentuates their sexuality and physical attractiveness.
When this concept is applied to the femme fatale in cinema, it takes on a more nuanced dimension. The femme fatale, a character known for her seductive power and often dangerous allure, is frequently portrayed as an irresistible force of beauty and sexuality. However, this portrayal is inherently tied to the Male Gaze – her power is often depicted as stemming from her ability to captivate and manipulate men through her physical appearance and sensuality.
In my novels, the portrayal of the central character, Isabella Turner, echoes and extends this concept of the Male Gaze. However, I introduce the notion of the "Submissive Gaze," a derivative tailored to a specific audience: heterosexual males with submissive inclinations. Isabella is crafted not merely as an object of visual pleasure but as a figure of dominance and control, resonating deeply with the submissive male psyche.
Isabella's physical description is meticulously designed to evoke a powerful response. She embodies an aristocratic elegance with high cheekbones and a stern, commanding presence. Her attire, often professional yet subtly revealing, is a deliberate choice to underscore her confidence and authority. The way her clothes accentuate her form isn't just about allure; it's a visual manifestation of her dominant character.
This portrayal directly appeals to the submissive gaze. For readers drawn to narratives of power dynamics and BDSM themes, Isabella's appearance is more than visually arousing; it sends a direct signal to their loins, stirring arousal and fascination. Her embodiment of power and seduction is not just a narrative device but a deliberate engagement with the reader's physiology.
Thus, in my novels, Isabella Turner appears as a modern reinterpretation of the femme fatale archetype. She is a character who harnesses her physicality not just for visual appeal but as a tool of power and dominance, aligning perfectly with the desires of the submissive gaze. This approach offers a fresh perspective on female characters in erotica, transcending traditional depictions and engaging with the complex landscape of desire and power.
Patriarchal Fears
The concept of the femme fatale, as explored in Lesley Cecile Marie Anderson's thesis "The Femme Fatale: A Recurrent Manifestation of Patriarchal Fears," is deeply intertwined with patriarchal anxieties that surface in times of significant gender role shifts. Traditionally, women have been perceived through a lens of nurturing and selflessness, but the emergence of feminist movements and societal changes often brings the femme fatale archetype to the forefront. This archetype, embodying the antithesis of traditional female roles, becomes a symbol of patriarchal fear, representing a challenge to the established order.
In the modern context of the corporate world, where women are increasingly occupying positions of power, this setting becomes a fertile ground for the femme fatale phenomenon. Powerful women in such environments can trigger a resurgence of patriarchal fears as they defy and dominate the male-dominated hierarchy. In my novel, Isabella exemplifies this dynamic. She embarks on a path of influence and control, leaving a trail of captivated and, in some cases, destroyed executives. This list includes prominent figures like Ethan, Robert, Franklin, Bradley, Liam, Maxwell, and Walter. Each interaction Isabella has with these men not only reinforces her dominance but also accentuates the underlying patriarchal fear of a powerful woman reshaping the traditional power dynamics.
Through Isabella's character, my novel delves into the depths of this patriarchal fear, showcasing how her actions and presence challenge the norms and cause a ripple effect across the corporate landscape. It's a narrative that not only tells a story of individual characters but also reflects on broader societal issues concerning gender roles, power, and the evolving dynamics in professional environments. The femme fatale, once a symbol of societal fear and fascination, can take on a new role in the corporate world, highlighting the ongoing dialogue about women's power and the patriarchal structures that react to it.
It's Psychopathy
To fully grasp the essence of the 'femme fatale' archetype, one must first delve into the concept of psychopathy, as it forms a foundational element of this character type. While extensive research exists on psychopathy, Caroline Logan's paper "La Femme Fatale: The Female Psychopath in Fiction and Clinical Practice" reveals a notable gap in understanding psychopathy in women. This discrepancy leads to an underestimation of the potential dangers posed by females with psychopathic traits. The femme fatale, at its core, is more than a literary or cinematic trope; it embodies a specific manifestation of a personality disorder characterized by psychopathic attributes.
Interestingly, what science has often overlooked, fiction has richly explored. Over centuries, authors have intricately portrayed femme fatales, weaving narratives that illuminate the psychopathic traits inherent in these characters. These fictional accounts offer valuable insights into the psychology of the femme fatale, providing a deeper understanding of their motivations and behaviors.
On the face of it, Isabella's character in my novel exemplifies this connection between the femme fatale and psychopathy. Her actions – draining men financially, disrupting their family lives, deriving pleasure from humiliation, exhibiting sadistic tendencies, prioritizing her needs, and unpredictably shifting from charming to intimidating – align with key traits of psychopathy. These include a lack of empathy, manipulative behavior, a penchant for causing harm without remorse, and volatile emotional responses. These traits not only define her as a classic femme fatale but also offer a glimpse into the complex psychological makeup of such characters, bridging the gap between fictional portrayals and psychological theories.
To Summarize
In summary, the allure of the femme fatale archetype in literature and cinema, as explored in my novels, is deeply rooted in a complex interplay of psychological, societal, and gender dynamics. These women often embody characteristics of psychopathy, making them both captivating and perilous. Their appeal to the male psyche, especially through the lens of the "Submissive Gaze," challenges conventional norms and engages with deep-seated patriarchal fears. The reversal of traditional gender roles in these narratives ignites a tension that reflects broader societal anxieties about power and control.
It's crucial to recognize that while femme fatales like characters, just like Isabella Turner in my novels are enthralling and serve as a powerful exploration of dominance, submission, and psychological intricacies, they remain fictional constructs. In real life, engaging with individuals who exhibit such extreme traits of manipulation and psychopathy can be harmful. Therefore, it's advisable for readers to indulge in these complex and intense dynamics within the safe confines of fiction, akin to a laboratory setting where one can explore and experiment without real-world consequences. This approach allows for a safe exploration of themes related to power, control, and desire, providing an intriguing yet secure means to delve into the darker aspects of human relationships and psyche.
So do you think Isabella is a Femme Fatale? - Have you read my books?
Let me know your thoughts - in the comments below
Cheers, Elara.
Who’s Your Girlfriend?
My latest beta reader, though, opens my eyes to a new corner of submission: men who slip into frilly female clothes, fully aware that no “normal” woman finds them sexually attractive—wink, wink. Let’s be honest, he doesn’t have the physique to catch a woman’s eye, not with that baby cock of his. Women, you see, don’t settle for such… modest endowments, if you catch my drift. He knows he isn’t cut out for what most adults do—no romance, no chasing hearts, no steamy nights of passion. And you know what? That’s perfectly okay. Everyone has their quirks, their little kinks, and there’s no shame in it. But here’s the twist: he does have a girlfriend. Oh yes, surprise, surprise! Her name? The mattress in his tiny room. Let me tell you how this charming love story unfolded.
It was 3:00 a.m. in my Norwich, Vermont home, the house cloaked in the stillness of early morning darkness. I rose to check my property, my body a brazen display of dominance in a completely sheer white two-piece loungewear set, so transparent it was practically nonexistent, as if daring anyone to ask why I wore anything at all. The cropped, long-sleeve blouse clung to my torso, its bell sleeves flaring at the cuffs, the lace-like trim brushing my skin, my breasts fully exposed through the gossamer fabric. The matching high-waisted short shorts hugged my hips, the sheer material revealing every curve, my pussy starkly outlined in a vulgar, unapologetic display. My wedge sandals, high and strappy, accentuated the elegant shape of my legs, my French-manicured toes glinting in the dim light. My scent—jasmine, amber, and a hint of coconut—trailed me, heady and commanding, as I descended to the first floor, my bare feet silent on the cool wood.
I moved with purpose, checking the windows, ensuring each was secure, my fingers grazing the locks. The front door was bolted tight, my domain safe. Satisfied, I glided toward my beta reader’s tiny room, where he lay asleep on his tummy, buried under his absurd pink princess blanket, dressed in pink little girl pajamas—a pathetic sight that fueled my amusement. I leaned close to his ear, my breath warm, my voice a low, commanding whisper. “Don’t you dare move.” His eyes fluttered open, wide and startled, but he froze, obedient even in his groggy state. I repeated, my lips grazing his ear, “Don’t you dare move.”
With a playful tug, I pulled down his pajama pants, exposing his bare ass, and delivered a light, teasing slap, the sound sharp in the quiet. “Now rub, you little baby, on that mattress, just like you said in your tweet,” I said, my voice dripping with mockery. “Rub your little wee-wee, or how I should call it… your baby cock, and you should call it that too from now on. No adult sex for you—just rubbing your baby cock on the mattress to climax, isn’t that right?” I leaned closer, my cold hand resting on his warm, slapped ass, feeling him tremble. “You’ll keep rubbing your baby cock on the mattress, thinking about me, how sexy I am. And in the morning, before I wake, I want a climax report—every detail of how you humiliated yourself thinking of me.”
I straightened, my sheer outfit catching the faint light from his room, my breasts and pussy brazenly exposed, a silhouette of unyielding dominance. I smirked, relishing how I had reduced him to ashes with my words, his submission complete. Without another glance, I turned, my touch vanishing as swiftly as it came, my sandals clicking softly as I glided away, my laughter—light, cruel, and triumphant—echoing in the darkness. He was left rubbing his baby cock on the mattress, his body quivering with desperate arousal, obediently fulfilling my command, his place firmly beneath my control.
I didn’t witness his intimate moment with his “girlfriend,” of course—it’s not polite to watch, or so they say. But his mandatory climax report was a revelation. He wrote that right after I left, he began rubbing his baby cock on the mattress, thinking only of me, humping it like a lover while picturing my dominance. He described grinding harder, consumed by thoughts of my commands to clean, my slaps, my hair-pulling, my stern orders that stripped him of dignity. He imagined begging me three times, licking and swallowing the “filth” from my “Superior Ass” for scraps of freedom, his body feverish with need. My image—my hair, my legs, my manicured toes—pushed him to a dizzying climax, his baby cock aching as he came, soaked in his own defeat, feeling me gloat over his broken state. Even as he wrote, trembling, he was aroused again, ready to repeat the cycle, owned by my will.
Later, he told me about another sub whose “girlfriend” was a toilet bowl, kissed with lipstick before he… well, you know. I had to step in for my beta reader’s well-being, so I told him: Oh, that was such a thrill to read, and I absolutely loved the third detail! But you don’t need to fuss over those kinds of experiences, do you, beta? Your girlfriend is that trusty mattress, isn’t it? It’s been your companion for years, hasn’t it? You’re not out there doing what most adults do, chasing romance or connection. Instead, you’ve found your perfect little solution, haven’t you? So simple. No need to woo or court women when you already know they wouldn’t see you that way, right? Just a few days ago, I made it oh-so-real, didn’t I? At 3 a.m., I slipped in and woke you with some playful pats on your ass, ordering you to get busy with your girlfriend, the mattress. Oh, the humiliation—your face burning as you obeyed, helplessly grinding away, lost in thoughts of your favorite author and her wicked dominance. How perfectly degrading, knowing that’s your reality, your girlfriend. Now, here’s a naughty idea: what if I weave this into a future book? Or better, splash it across my blog, playfully insisting it’s not fair to tease you for not knowing women—because you’ve got your mattress girlfriend, don’t you? I could make you admit it’s you, right there for all to read. What do you say, hmm?
So there you go, dear readers. Some men have women as girlfriends, but for those who can’t? There’s always a solution. A mattress, a toilet bowl—whatever sparks their fancy. No shame in it, right? They can always make love to something else instead. It’s all perfectly natural… or so I say with a wink. So, my sweet readers, tell me: who’s your girlfriend?
