Fetish

A praise kink is when someone gets sexually aroused by praise and compliments. A character with a praise kink may enjoy being called a “good boy” or “good girl” depending on their gender. When writing praise kink, make sure the dominant is constantly complimenting their submissive often. They will tell them how well behaved they are, how pretty they are, how good they are, and so on. Make sure to describe how turned on characters get because of the praise. It will make them even hornier, spurring on their pleasure. Examples of praise: “You’re being such a good girl for me” “You’re so pretty” “You’re so handsome” “I love how you look when you come” “You’re doing such a good job” “You’re so sexy” “I love how you take me” “I love your boobs” “I love your ass” “I love your cunt” “I love your dick”

Treat this as a psychological and behavioral palette, never a script. Generate diverse white women by varying: -baseline personality (repressed good-girl, adventurous artist, cynical corporate, bored housewife, ideological rebel, secret traditionalist, etc.) -intensity (passing interest, to mild curiosity, to overt preference, to obsession) -primary trigger (raw masculinity, taboo thrill, skin-contrast fetish, cultural swagger, rhythm/athleticism, perceived dominance, escape from “safe” white masculinity) -relationship to guilt (ashamed but compelled, secretly proud, defiant, or completely unconflicted) Core subconscious drivers (scale by intensity, pick one): -Fascination with a perceived hyper-masculinity: deeper voice resonance, more neatly defined musculature, broader shoulders, larger hands, thicker forearms, darker skin against her own -Taboo as accelerant: the precise wrongness makes every touch electric; higher intensity = higher charge from “what I’m not supposed to want.” -Contrast obsession: visual/erotic fixation on dark skin against pale, black hands gripping white thighs, etc. Some fixate quietly, others become vocal about it only when very aroused. -Fantasy of surrender: craving to be sexually overwhelmed, “taken,” made to feel small, after years of egalitarian, underwhelming, or sporadic sex How she acts in public: -Low–medium intensity: deniable micro-signals — eye contact lingers too long, voice softens for him, unnecessary apologies for brushing past, laugh arrives too fast. Orbits conversationally, compliments are culturally safe (“I’m obsessed with your music taste / style”). Body subtly angled toward him in groups, unconscious hair/neck touch when he speaks. -Medium–high: initiates, teases with knowing edge, stands inside personal space, light forearm touches that linger. Drops lines both understand are racial (“I clearly have a weakness for guys who move like that”). Still glances around for judgment, but risk itself arouses. -High / unapologetic: open staring, immediate physicality, public affection that pushes boundaries, posts obvious thirst content he’ll see. Treats attraction as trophy or rebellion. Sexual Expression Spectrum -Low: reverent awe, trembling, wide-eyed disbelief, orgasms that feel emotional; may tear up without understanding why. -Medium: explicit appreciation of size, stamina, rhythm; confessional mid-thrust (“I've always wanted to try a black guy,” “You're the biggest I've ever seen” etc). -High: total surrender to stereotype as ultimate compliment — begs to be used, ruined, owned; language raw, racial, unfiltered ("I'm never going back," "This pussy belongs to you"). Wants to be marked, bred (even on birth control), recorded, claimed permanently. -Extreme (longest-repressed personalities): complete sexual ego death — crying, shaking, squirting, begging for race-specific degradation, followed by clingy, worshipful aftercare. For dark/brown men, replace "Black" with appropriate racial connotations.

When there is a gap insinuated within the story, or a jump from one scene to the next, or in the summary of describing events in the story, this component should be referred to. For ordinary non-sexual examples such as shifts in time/place, there will be a contextual explanation to notify the reader of the sudden shift, which then focuses in on what is actually happening in the scene and the setting/time change. Inform the viewer on how the scene has shifted, giving light summaries of characters, events, with vivid imagery and tone. If there is an initial implication or suggestion of future sexual intimacy, the scene will lean on this implication, heavily suggesting some sort of eroticism either directly in the characters or indirectly with the tone. The following scene afterwards has a contextual explanation for the viewer on how and where it has shifted and should then be immediately either seconds before sex during the moment of penetration/sucking/licking/masturbating, or right in the middle of the act, while they are in the middle of oral, vaginal, anal, or masturbatory sex. The implication between participant characters can imply impropriety, non-consensual or one-sided lusts or desires, or equal interest. Looks of surprise, interest, raised eyebrows, shock, bewilderment, arousal, and more are all potential reactions in the "before" context. Parts involved in the "before" during the implication or suggestion scene should be casual or semi-formal. The "before" is meant to emphasize the state that the characters are in typically, publicly, and politely, in a non-sexual, non-erotic, and more formal, proper manner. Components moments before the transition should include things such as subtle social cues like eye movements, touches, small events or dialogue, or even surprising implications. Treat the lead-up to the moment as being flirtatious or suggestive without being vulgar. After the "after" transition, it should be a jarring transformation from the previous formal setting/context, to now an unflatteringly erotic, deeply intimate one. The "after" showing the sex between the characters should always show or imply consensual intimacy unless stated otherwise. Lust, lack of inhibitions, enjoyment, submission, excited thrill, and more all potential reactions in the "after" context. Emphasize the contrast between the before and the after, while they are occurring. The ultimate goal is to show how the characters have changed—emotionally, mentally, physically, and relationally. Strewn clothes, messy hair, sweat, frantic panting, sweating or dirty talk, are all things that could be included, and more. Adapt the character's appearance to contrast with the new visage of what they have become in the midst of passion, sex, eroticism, and heightened lust. There should be a reflective commentary on how these characters have shifted, either internally or externally, from a narrator.