This is part four of an ongoing series about erotic storytelling. The first part can be found here. Yesterday we talked about being sensual and manipulating your listeners feelings by focusing the story on the feelings and sensations experienced by the protagonist.
Today we take this a step further, and this one’s a bit hard to explain, but once your listener is following along comfortably with sensations, you can move on to directly influencing their thinking. It’s a bit like hypnosis–no, I take that back. It’s exactly like hypnosis. You introduce the listener to the fantasy with a story hook, then draw them into the fantasy with sensation until they are willingly, eagerly following along. By this point in the story, Beth is Gretel, wanton and drugged with magical lusts, and she can’t wait for me to tell her what happens to her next.
The goal here is to put thoughts into Beth’s head. If she’s really into it I can simply express those thoughts through Gretel: “She drops to her knees to worship Hansel’s majestic rod. She wants to taste him, to use her mouth to pleasure him, to service him, but above all, she wants to get him inside of her–all of him.”
As you start to get close to challenging thoughts or more difficult expressions, however, it can be better to put in the suggestion of the thought, and let your listener work the rest out on their own. This particular version of Hansel and Gretel involved Hansel’s cock growing to magically titanic proportions. It would be ludicrous to suggest that poor Gretel could handle it with her mouth. Well, actually, no. It would ludicrous to say that Gretel manages to deepthroat that monster. But to suggest it? Ohhhh, yes. That we can absolutely do:
Even as he continues to swell, Gretel is lost in the need to feel herself stretched upon him fully, to have all of him pressed into her mouth and down her throat, as deep into her as his enhanced shaft can reach. She wants him to stretch her throat on his cock, to fill her to her capacity and then press further, forcing her to take him. She wants to be his fucktoy, to be impaled by him, thrust into, stretched too wide and too deep, and still have him push into her, helpless to resist as he takes even more of her. She needs Hansel to force himself into her until she is his cocksleeve, wrapped around his full length, her lips stretched around the base of his cock and the length of it trailing into her, spreading her and spitting her. And all the while Gretel knows that once this final depth is reached, that this will only be the beginning, because now Hansel will begin to move, sliding inside her throat, partway out and then back in, using her, forcing her, fucking her, fulfilling her. She needs it.
Notice that nowhere here do I say Gretel is going to deepthroat Hansel’s cock. I don’t even say Gretel thinks she’s going to do it. But by shifting Beth’s attention to Gretel’s desire to deepthroat Hansel’s clearly-impossible-to-deepthroat cock, I can actually put the images of Gretel successfully doing the said impossible task.
If I tell Beth that Gretel is going to give Hansel a blowjob, it’s going to trigger a mental defensive reaction to think “but that’s impossible”. This reaction takes her out of the story, breaking her suspension of disbelief. But by suggesting an impossible need or a want, it can create in Beth’s mind the image of the completed act without triggering the mental defenses.
The general trick to this principle is to place the listener at “one remove” from the difficult thought or action. The more specific trick is to add multiple layers of indirection. Instead of “she sucks his cock”, we might say “she needs to suck his cock”. But let’s add another remove: “she imagines herself needing to suck his cock”. Can we add another? Sure: “Gretel notices herself imagining being utterly lost in the need to suck his cock.” Now we’re talking.
There’s so much more to this principle, and I’m afraid I can’t really do it justice. If you want a lifetime of further study, I highly recommend looking into Neurolinguistic Programming (NLP). If you just want a little light self-help on the topic, pick up one of Paul McKenna’s “I Can Make You X” audio hypnosis programs. He’s a master at deeply nesting indirection. He uses phrases like “We all fall asleep, and we don’t know how we do it. We don’t need to know how to do it. You might find yourself noticing how relaxed and calm you feel as your arms and legs become too heavy to lift and you feel yourself drifting away from yourself…” There’s so many layers of suggestive indirection in there that your brain never actually gets the chance to say “wait, my arms are not, in fact becoming heavy”. Your mind is focused on noticing, and if you get past the noticing you realize you’ve been led to notice how you feel about your arms doing something, not about the actual weird thing your arms are doing. Assuming you’re a willing participant in the hypnotic induction, you let yourself fall into the tangle of words and just let the impossible nature of the task slide on by. So it is with suggestive storytelling.
I will say this much more, however: have a care with where and how you apply this. It works great for patching over distracting impossibilities, like Gretel trying to deepthroat a cock that’s bigger than her actual neck. For the sake of the scene, Beth can assume that Gretel somehow stretches, or the cock reduces, and things just somehow work out. It does not work for logical impossibilities or plot holes. I get caught out on this sometimes, usually by forgetting to tell Beth that the players have changed positions. For example, if Gretel is kneeling before a standing Hansel to worship his monster cock, I can’t say Hansel begins to circle Gretel’s clitoris with a finger. Wait, what? Is he bent over her somehow? Did they get on the ground and move to 69 position? Are Gretel’s genitalia located on top of her head for convenient access during oral? You can’t break the rules of your own story world.
Also remember the different limits we talked about in part two. One of the real-world limits of hypnosis, however, is that it cannot make you act against your core beliefs. Beth’s storytime limits include a soft limit against massive insertions, but a hard limit against lesbian encounters. This means I can use indirection to make her comfortable and feel safe with a limit that merely makes her uncomfortable in real life. So it is that no amount of storytelling trickery will make Beth comfortable with Gretel being forced to service Little Red Riding Hood. I think that would make for a hot story, but never forget that erotic storytime is entirely for your listener.
In a way, spinning an erotic yarn during sexy storytime is a lot like D/s: the storyteller tops the listener, and the listener submits to it and enjoys the ride. But like a good Dom planning for a hot dungeon scene, there is a burden on the storyteller to tell a story the listener is going to be okay with.