I am practically lachrymose posting this piece, because I am sooooooooo very proud of my friend Jade A. Waters! Unless you have been living under a rock, you know that her amazing first book, The Assignment in her new series has been released. To see Jade’s star shine like this makes my hear glow! She was one of the first friends I made in this community, and I love her to bits and pieces. I love having her as a guest, and to be privileged to be part of her book tour is beyond humbling.
Jade is the real deal, a writer and poet extraordinaire and, and…well here is Jade!!!
Hi everyone! I am so excited to be here today—and I’m sending a giant thank you full of juicy kisses to the generous F. Leonora for having me over! As many of you are probably aware, F. is one of the sweetest supporters of our genre—and on the entire planet—so I was tickled she invited me to stop by to talk about my new release, The Assignment. Thanks, F!
Now, our lovely host left the door open for what I should discuss today, and since the two of us often talk about poetry on the social media circuit, I thought I’d spend some time focusing on flow. I mean this in two ways. One, in a writerly sense—as in, the style we each use in choosing our words and pouring sentences on the paper in the formation of a cohesive whole. For me, the second manner sweeps fairly naturally in and out of the first, in that I have a bit of a watery world obsession that keeps sneaking its way out into my stories.
Let me back up a bit—I’m still not sure if it’s because I took too many emotional walks under a downpour of rain as a teen, or that we should blame it on a last name of Waters, but I’ve long had an obsession with watery environments. I’ve lived in the San Francisco Bay Area for almost twenty-five years, which means I’ve had my fair share of exposure to coastlines, piers, beaches, and pretty much anything to do with life this near the ocean’s edge. Having spoken before on how important building the setting of The Assignment within the Bay Area was to me, the essence of our near water life of course had to make its way into the story. How could it not? We have views of majestic bridges over churning spans of the Bay, coastlines on which one can take a contemplative walk, calming beaches so easy to get to, marina life at our many docks and ports, the perfect (and moderate) sprinkling of rain in the winter months and in general, all this water, water everywhere.
And we mustn’t forget the tides. They affect so much—flooding parts of our freeways and cities at lower elevations after all—but they are beautiful nonetheless. I guess I’ve always considered the rise and fall of tides much like love; it’s a crashing wave sweeping in and overpowering everything beneath it at times, and yet, a wondrously slow, retreating roll at others, leaving remnants and bits (good and bad) in its wake. I wanted that tidal churn to serve as a backdrop to the romance between Maya Clery, the heroine of The Assignment, and her romantic lead, Dean Sova. Sure, they live in this watery area—but as I worked, I envisioned the rise and fall of tides as a sort of quiet echo of their budding romance and D/s dynamic. In some moments, it’s heavy and intense, a dance of sexual play between them. But at others, it can just as easily be a gentle caress or sweet, soft words they share.
Pulling it back to the craft level—while the two of them are actively engaged in their play together, I, too, am playing with my words. I love stories that ebb and flow, prose that draws you in and cocoons you in details rich enough to let you feel sensations as the characters do. It can be the smell of the salty air, the sound of the waves, the view of the crests rolling up on to a sandy shore—I want it to envelope you as deeply as the swell of their romance, or the anticipation and tension in their sexual encounters. This desire might be thanks to many years of writing poetry, which started as a way to address a gush of feelings I didn’t know how to say aloud. But with rhythm and pacing so important in verse, I found that when I’d immerse myself in writing a scene between Maya and Dean, the words had to dance for me like the couple did. Each action had a purpose, each snippet of dialogue had to further the connection, and every movement needed to flow into one cohesive whole. No scene can be a mass of prose, or all dialogue, just as it can’t be a repetition of short staccato sentences or excessively long ones. They must work together, dance together, as if swirling around to create a symphony of expression.
I am continually learning and growing as I write more and more. Hell, just through the course of the entire Lessons in Control series, I’ve found myself challenging and morphing how I write, playing with patterns, words, and styles. But no matter how I change it up, I like to hold on to a lyrical feel in the moments I can. Erotica is, after all, focused on a sexy, smooth act—and I like the words to follow a similar course.
All right. That’s enough technique mumbo jumbo for one day, don’t you think? I might have gotten a little swept away. 😉 But, since I’ve mentioned all the poetry, I’d like to wrap up with “Earth,” something I’ve posted in the past on my poetry site. This particular poem was inspired when I took a jog along a coastline near my house (much like the heroine of The Assignment, Maya Clery, often does). I kept envisioning a scene near the end of the book that she shares with Dean beneath the rain and on the coastline. It’s a highly emotional scene—one of my favorites, actually—and somehow this poem popped out in their honor. If I could build a poetry-track rather than a soundtrack for The Assignment, “Earth” would definitely kick off the album:
EARTH
We lie here, together
One with this earth
Bodies writhing,
Chests pressed
Arms stretching in soil,
We seek to grab anything,
Clawing into ground.
Muddied and sore,
Our fingers lace, tight—
Mine are yours
Yours are mine
And your kisses
Take my cheeks, my lips,
Shocking like raindrops
That tumble down from
The murky sky.
As we fuck, the dirt
Spreads, surrounds,
Hugs the grind of our hips
The arch of my back,
The dig of my heels
On this sandy shore.
Ours are desperate groans
That sway and hum;
They are the sweep of waves
Filling the universe
With an infinite, noisy lust.
For this, we press on,
Our hunger that of the dirtied—
Wanting, bearing down;
Together in this soil
We are one.
There is a tremor
Earth-shattering
A cry that fills our ears,
Rattles our souls
And we shudder in this caress.
This is closeness,
Us
But our need is harder,
Heavier,
Sweaty and raw
We are lost
In this feral clutch,
Longing to be closer
To be deeper, and part
Of the very earth
On which we grind.
I hope you have enjoyed both “Earth” and my musings on flow today. You’ll find much of the watery life in The Assignment, as well as later books in the Lessons in Control series, and while that certainly isn’t the focus of the story, I do hope it’ll sweep you in and that you’ll catch yourself floating alongside their relationship as you follow their tale.
Until then, happy reading to all, and a tremendous thank you to F. Leonora for hosting me today!
XX,
Jade
Jade A. Waters is an erotica author and poetess in sunny California. A lover of candy, coffee, dancing, and endless karaoke, she is happiest when surrounded by words—be they on the page or shared in good conversation. Her short fiction and poetry is featured in over a dozen anthologies from Cleis Press and Stupid Fish Productions, and currently, Jade is hard at work on the next book in the Lessons in Control series from Carina Press. Visit her at http://jadeawaters.com, or follow her at http://twitter.com/jadeawaters.
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