The Small Print 2 is Out!

Last year, Taedis compiled twenty-eight size fantasy stories into a paperback volume and gave it away at SizeCon2020. She’s done it again, thirty-five contributors this time (including vintage size fantasists like Swift and Baudelaire), and you can get a free PDF here and a paperback copy here. Check her tweet to learn about Volume 3.

Write The Wrong Words

“I don’t like to discuss works in progress. If I let the words tumble out prematurely, it changes it, and I may never get it back.”

I’ve never had any formal training in creative writing, so occasionally I discover tips or good practices that might seem rather basic to other writers but that are revelations to me. I’m still struggling with my lifelong habit of refusing to do something unless I can do it perfectly the first time, and this is particularly endemic in my writing. I suspect that if I had more exercise in simply churning out volumes of words in a short amount of time, I might find down drafts easier.

The most common obstacle for me lately has been getting hung up on the right word, usually a verb or an adjective. Because English is blessed/cursed with a wealth of synonyms, my initial thoughts often come close to what I mean but not quite close enough. I would sit there spinning my wheels, trying to find the perfect word, eventually calling up a thesaurus and sinking more time and momentum into the hunt.

Once I (finally!) accepted that everything I wrote would require multiple drafts, however, it wasn’t long before I realized I could write the wrong words and keep going. I would just say to myself, “I’ll fix this later,” and continue with the passage. It was nothing less than a liberation. Sometimes during revision, I would come across the wrong word and think, “I remember you. Now we finish this.” Other times, the perfect replacement is obvious and I almost wonder why I didn’t see it before. And sometimes, more often than I expect, the wrong word works just fine after all.

I suppose this is just another expression of the truism that nothing is written well without first being written poorly.

From the Archives – 20210702

Added one page to Original Stories by Olo:

Taken, Vol. 1:  Making Omelettes

A young man embarks upon a career of shrinking women and taking them for his pleasure.

Shrunken Women, Giant Man, Non-Consensual, M/fff, Magic, Instant Size Change, Fatal Crush, Entrapment, Domination, Fatal Soft Vore, Masturbation, Bondage, Penetration By Object, Rape By Giant Cock, Medical Neglect, Ethical Dilemma, Forced Masturbation, Giant Bukkake, Unreliable Narrator

12 Feb 2016

We Come From Somewhere This Was Real

My review of We Come From Somewhere This Was Real, a collection of size fantasy stories by Aborigen. Links to the book at the bottom.

This is a fine sampler of both Aborigen’s range and his facility with smut. Almost all the encounters are F/m in configuration, but a rewarding variety of perspectives is explored. This buffet approach demonstrates a depth to size fantasy that a curious newbie might otherwise miss. No author could feature every aspect of size fantasy over five stories or fifty, but Aborigen’s versatility with characters and scenarios establishes both the plausibility and the desirability of any encounter one might suggest.

Three of Aborigen’s stories here impressed me deeply. “They Make Great Pets” is the only one with a female protagonist: Luna, a single woman who takes in a handful of tinies and gives them shelter and food. Like all the stories in this collection, little or no time is spent explaining how or why size-difference exists in this scenario. Instead, we get to know Luna and watch her relationships with her pets develop dramatically but coherently through many gratifying stages. Aborigen’s characterization is at its best here.

I had previously read “The Giant, His Prize, and Her Lover” in another venue, and I distinctly remember Aborigen relating how writing it took him outside his comfort zone. It starts from a perspective familiar to longtime readers of Aborigen: a tiny man (Ulysses) devoted to his giant mistress (Rosann). It enters unfamiliar territory when we learn that Rosann herself lives the life of a tiny woman, kept by an even larger giant (Blacwin) who took her from her homeworld. Blacwin at last learns of Ulysses’s existence, and Rosann decides that her two men need to reconcile themselves to each other. In addition to the challenge of inhabiting the possessive Blacwin, Aborigen has to portray Rosann as what the size community has called (borrowing from the BDSM community) a “switch.” The dialogue between the two men veers between the bawdy and the philosophical and back, and Aborigen does justice to all parties. I don’t know if this version of the story is more polished than the first time I read it, but it somehow seems more at peace with itself.

The final story, “No Good Deeds,” is the longest in the collection and features the most protracted and detailed sexytimes. Striving academically at the public library, Elvin lets his idle lusts drive him to speak to Joellen, a tall woman having difficulty with one of the terminals. His reward is that she shrinks him without consent or explanation and takes him home for her amusement. As with Short Shrift, Aborigen is undaunted by the idiosyncratic logistics of mixed-size sex, and he is very resourceful in repeatedly immersing the reader in the sensations and emotions of a tiny man at the mercy of a reckless woman. High replay value in this one.

While the tropes Aborigen invokes are familiar to this veteran size fantasist, he does not rely on them so precariously that a normie reader would feel confused or neglected. This collection is a wealth of thrills, passionately and meticulously realized. By following his curiosity and appetites wherever they lead him, Aborigen is inspiring as well as entertaining.

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