| My name is Aspirantus | Writing Requests Are Open | This is a place where I keep my loose snippets and parts of projects I am working on | Occasionally I will post prompts/prompt lists |
ㅤA SMUT WRITER'S RESOURCE — smut vocabulary, ideas per sex act, kinks list, etc.
ㅤI originally made this to be a resource for myself whenever I felt out of practice writing smut, but I thought it might be helpful for other writers who may be new to writing smut/feeling uninspired/translating from another language.
ㅤSometimes I've felt awkward or have cringed about writing smut (especially when I was new to it) but then I realized that sex is art; in all its nasty, sexy, heavenly, gross, glory — sex is art and a beautiful part of life. So after that I just let myself write freely without feeling ashamed.
ㅤWith that out of the way, I present to you my fundamental list of smut writing essentials. Hope it helps you even if it's just to find a word you're looking for.
VISUALS — Saliva/(pre)cum rolling down chin/neck, jerking what can't fit, making out with... (cockhead, shaft, balls, clit, etc.), cheek bulging with cock, hollowing out cheeks while sucking harder, rolling eyes back in ecstasy, tasting them, pulling in for a dirty kiss afterwards, juices smeared across cheek, lips glistening with slick
DEEPTHROATING — watery/glossy/dewy eyes, choked up, throat constricting, throating the length, tip prodding the back of the throat, choking, gagging, spluttering, coughing, gasping for air, using hair as a handle to control how much is taken, headrush when coming off for air, being held down on it
CUNNILINGUS — buttery soft tongue sweeping circles, flicking, nipping and kissing at clit, sinking inside, wriggling around, feasting on pussy, thumbing clit while tongue-fucking, curling against sweet spot, lapping at slit/folds, long strokes, squirting on their face
VISUALS — wetting palm/slicking fingers with juices, stroking at g-spot with fingertip, stroking his length, grazing fingertips down, eye contact as they ruin you with their handiwork
FINGERING — warming up with teasing, working at the clit simultaneously, using their whole arm, tensing their biceps the more they exert pressure, switching up techniques (stroking back and forth, sweeping/massaging circles, 'come hither'), curling fingers inside, sucking/tasting sweet slick off fingers
JERKING — cock hanging heavy or drooping from its weight, jumping in anticipation to be touched, throbbing hot in palm of hand, wielding at the base, brisk/quick or languid/slow strokes, balls jiggling each time wrist meets the base
VISUALS — the skin of the base of a cock wrinkling up when bottoming out, getting balls deep, balls tightening up and muscles flexing when a cock is about to cum, leaky cockheads and sticky precum oozing, splitting open hole on a big cock and watching it stretch into a wide O shape to accommodate its girth, holes twitching and spasming like they're aching to be touched or are overstimulated or have just orgasmed, heavy-hitting thrusts or short, quick strokes and which spots the tip is rubbing against, giving it to you/taking it/letting you have it, blissing out/pulling a lewd face/feeling high off an orgasm and rolling your eyes back, hissing through gritted teeth when it feels too good, the way your ankle wobbles over a shoulder in certain positions while getting pounded into, wet sounds getting sloppier/getting wetter and sweatier the longer it goes on
SEX TYPES — hate sex, car sex, gentle/rough sex, phone/cybersex, shower sex, (un)protected sex
POSITIONS — mating press, doggystyle, spooning, cowgirl (riding), prone bone, holding ankles, standing, against wall, standing in front of mirror, pushups on top of you, side split, etc.
DIALOGUE IDEAS — behave, do as i say, watch that attitude of yours, let me guide you, watch me fuck you, don't take your eyes off me or I'll stop, use your words, on your knees, open wide, you love it don't you? filthy slut, don't hide your face, let it all out on me, fuck me like you mean it, all for me?, dirty mind you've got there, need me to take care of you?, just like that, you take it so well, then come and get it, you like that huh?, i know you're into it, cum with me, say my name, who's fucking you this good?, can't resist you, irresistible little slut, take it, spread your legs for me, try a little harder for me
SWEET PET NAMES — baby, bambi, angel, darling, bunny, doll, babydoll, sweetheart, butterfly, good girl/boy, little Aphrodite, goddess, baby girl/boy
VULGAR PET NAMES — (nasty, dirty) slut, whore, bitch, toy
VISUALS — ropes of cum, trickling down the shaft to the balls, balls tightening/tensing during release, squirting, creaming/gushing all over cock/hands/toy/etc., shuddering or caving into yourself, buildup to an orgasm being stronger or weaker, stopping or not stopping until their orgasm is over, creampie dribbling out hole
ORGASM TYPES — clitoral, vaginal, cervical, blended, hands-free, cumshot/facial, in panties, etc.
VOCABULARY — let me have you, can we...?, is it alright?, unless you don't want to, do you like it?, go faster/slower, let's take a break
AFTERCARE IDEAS — getting cleaned up together (bath, shower), carrying you, cuddling, having food, giving water, massaging numb/sore/tired parts, soothing bite/hit marks, brushing hair out of face, kissing forehead, praising for taking it so well, helping put clothes back on, making jokes, petting hair, telling you how much they love you, confessing their feelings
My bullshit pet peeve is when people make up fake Latin names for fictional species. Not the fake Latin names themselves; they just always get the formatting wrong. They should always be italicized (or underlined if handwritten), with capitalization on the first letter genus name but all lowercase for the species name.
✧ Broken ribs suck. You don’t just “walk it off.” Breathing hurts. Laughing hurts. Existing hurts. Characters with rib injuries won’t be doing heroic sprints.
✧ Concussions aren’t instant naps. Dazed vision, nausea, dizziness, maybe even personality changes, but they’re not going to collapse neatly like in the movies.
✧ Blood loss is sneaky. It’s not just about dramatic pools of blood. It’s dizziness, confusion, and the body getting cold as circulation tanks.
✧ Adrenaline lies. Someone can take a serious injury and not feel it until the fight’s over. That “I didn’t realize I was bleeding until later” trope? Very real.
✧ Twisted ankles are brutal. One bad step and suddenly running is off the table. Even walking hurts like hell. Perfect way to ground a chase scene.
✧ Burns linger. Even small burns hurt more than most people expect. Blisters, infection risk, constant pain, it’s not just a cool scar later.
✧ Dislocated shoulders = useless arm. Characters can’t keep swinging a sword or firing a gun. They’re basically fighting one-armed until it’s fixed.
✧ Shock is a thing. Pale skin, trembling, rapid heartbeat, and eventually disorientation. A character might not even realize how bad their wound is.
✧ Stitches aren’t magic. Getting sewn up is painful and recovery takes time. They’re not instantly battle-ready after a needle and thread.
✧ Scars tell stories. Some fade, some don’t. Some stay sensitive forever. Don’t forget the aftermath when the wound becomes part of the character.
One of the most important parts of writing MYSTERY is figuring out what to do with clues and red herrings - and how to use them effectively. Here’s some advice that’s never steered me wrong:
Hide the real clue before the false ones! Most people, so by extent your readers and your sleuth, tend to focus on the last piece of information presented to them. A good strategy is to mention/show your real clue and then quickly shift focus.
Do a clue cluster! Squeeze your real clue in among a whole pile of red herrings or other clues, effectively hiding it in plain sight. This works especially well with multiple suspect mysteries.
Struggling to think of what a clue could be? Try this list:
Physical objects: Letters, notes, tickets, emails, keepsakes, text messages, diaries, etc.
Dialogue: voicemail recordings, overheard conversations, hearsay, gossip, rumours. All of these can hold grains of truth!
Red herrings distract and confound your protagonist and your reader, so you should be careful not to overuse them. Well balanced, red herrings should lead your characters down false paths to create confusion, tension, and suspense.
Contradictions! Have characters claim they did so-and-so at such-and-such a time, but other characters have evidence that contradicts this.
Balance! Avoid a clue that’s so obvious it’s like a neon sign saying “Look at me, I’m a clue!” but don’t make it so obscure it’ll be missed entirely. A good clue should leave a reader saying “Damn, I should have noticed that”
5 Tiny Writing Tips That Aren’t Talked About Enough (but work for me)
These are some lowkey underrated tips I’ve seen floating around writing communities — the kind that don’t get flashy attention but seriously changed how I write.
1. Put “he/she/they” at the start of the sentence less often.
Try switching up your sentence rhythm. Instead of
“She walked to the window,”
try
“The window creaked open under her touch.”
Keeps it fresh and stops the paragraph from sounding like a checklist.
2. Don’t describe everything — describe what matters.
Instead of listing every detail in a room, pick 2–3 objects that say something.
“A half-drunk mug of tea and a knife on the table”
sets a way stronger tone than
“There was a wooden table, two chairs, and a shelf.”
3. Use beats instead of dialogue tags sometimes.
Instead of:
"I'm fine," she said.
Try:
"I'm fine." She wiped her hands on her skirt.
It helps shows emotion, and movement.
4. Write your first draft like no one will ever read it.
No pressure. No perfection. Just vibes. The point of draft one is to exist. Let it be messy and weird — future you will thank you for at least something to edit.
5. When stuck, ask: “What’s the most fun thing that could happen next?”
Not logical. Not realistic. FUN. It doesn’t have to stay — but chasing excitement can blast through writer’s block and give you ideas you actually want to write.
What’s a tip that unexpectedly helped with your writing? Let me know!! 🍒
Some of you on this site are so scared of writing fairly conventional anatomy-based sex porn because of the cringe-words and general discomfort with sex. It helps to have had sex, but that's not necessary. After the break, as it is somewhat explicit, here is all you need to do, and it is not a list of euphemisms for penis or vagina or xenoapparatus:
Choreograph it in the same respect that you would any scene. If you can do this, you can have some confidence that your porn is exactly as good as your fights, your key gambling maneuvers, your political oneupsmanship, whatever. The key to writing any scene is to know where everyone is and what they are doing and impart this from the lens of the point of view character. If something feels "off" or weird, check in with yourself: what is the point of view character doing? Say it. She has her nails digging into her lover's shoulders. Was that, what she's doing, the last sentence? Let her react to it instead: the thrill of hot blood against her fingertips is intoxicating.
Many of the "porn mistakes" are just writing mistakes, and writing is an unending dialogue between the material (what is physically happening) and the ideal (how a perspective processes the material, with human and personal limitations but also human and personal additions). When you've firmly established the material, you move back to the ideal, the thought-space, the recollection-space, the processing. Then back to the material. Each action spins out and away from the earth, into the ether, where it is reintegrated, leveraged, subverted, and then returns, changed, to collide with the earth again, changing it in turn.
You do not have to say words for penis over and over any more than you need to keep clarifying proper names in a dialogue, and in fact, even less than this. Remember, unless your character is specifically having sex with the penis, she is in fact having sex with a woman, and her feelings and reactions and ideal likely center that woman more than her penis. Put her in dialogue with the woman rather than the penis and you have your answer: you only need to say cock as many times as you would say "rapier" in a swordfight. Once you know what sword it is, you move to sensation, movement, "large scale choreography", and processing.
The unique thing when talking about genitals is that most people don't think much about genitals when they are having sex. They think about sensations: what feels good, unexpected, painful, pleasant, intimate, jarring, etc. Saying "her cock" over and over is not just a little offputting because it's excessively repetitive; it's like putting "gauntlet" in five subsequent paragraphs. We get that there's a gauntlet and a penis. It feels wrong because the gauntlet is an extension of the striking-appendage and the penis is an extension of a character.
To avoid saying gauntlet over and over, as in any writing, you either get vaguer or get specificer. You describe the interaction with the wrist-plate, where the rapier rebounds from the shape of the steel, or the fingertip sliced-through by the superior blade, just barely shallow enough to spare the digit beneath (specific). Alternately, you get vaguer and describe the strike itself - the reader knows there's a gauntlet there! - a fist thrown in desperation after losing hold of a dagger, the weight both pulling down the blow and putting momentum behind it until it meets the enemy's helmet with more of a thud than a clang as the cheap steel crumples into the leather padding beneath, dented skull-deep.
Neither of those used "gauntlet". Both used the concept of the gauntlet. This can be done with anything that you establish - once it's on the stage, it's not off until you take it off.
Of course it helps, to an extent, to have had the kind of sex you are describing. It helps more to have been thoughtful about your own sensation and reaction and action during sex in general; few people really do this, but doing it is extremely useful for writing, the same way riding a horse and not thinking about it will lead you to over-describe the tack you're familiar with vs. riding a horse and thinking about it will help you develop a coherent material dialogue with the content of your own narrative. To an extent, to write about sex, you need to have some level of comfort thinking and reading about sex. Anyone can do those two things, and allow themself to think: at the moment of being penetrated, is her shaft sliding into my fragrant blossom? Or is the sensation more like pressure, more like pain, more like an insistent heat, more like an awareness of her and her shape or an awareness of myself and my limits or my pleasure?
As in sword fights, it helps to imagine yourself in the scene rather than only observing it, when it comes to blocking out a scene like something other than stage directions or a video game novelization.
The last thread this leads me to is pussy. No one wants to write pussy, unless they do. So they write entrance, which you can only really write once before it sounds goofy. Or cunt, which not every character would say. There is not really a cock of pussy, at least in my literary opinion. So how do you say this stuff? How do you say "into her pussy" if it causes you physical pain to write pussy?
You may not need to specify at all. When penetrating someone, you are penetrating a person, not just an organ. Depending on the nature of the sex, you may want to get into more or less detail, but I'm not talking to the people who are already writing about the color of the labia and the specific tactile sensation of a blood-flushed clit, okay? I'm speaking to you if you have stopped and made a terrible face at the thought of "pussy" and then deleted it and written "cunt" and cringed again.
My hot tip, as connects to all the rest of this, is that if there is not a word for the place you are stabbing her, you are just stabbing her. You are dragging your fingers over her until she yields. You are lining yourself up with her, pressing in, adjusting cautiously until she wriggles her hips, urging you to get on with it already. You are drawing your hips back against the friction of her trembling body. Could any of these be her asshole? Her neovagina? Her alien hole where she excretes salt waste? Of course! If it's important to specify, specify! If what's hot about fucking someone is the logistics of the hole, then by God, logistics the shit out of that hole without shame. But what makes porn hot is not the hole itself. It's the interaction with the hole, gone warm and molten as her desperate breaths come quicker. It's how the hole makes you feel. Fuck you.
Word choices for describing sex organs are an expression of how the perspective character feels about them. A heavily euphemistic description may either reveal something important about the character and her misgivings or set the narrative itself up for subversion - the girl who winces and thinks of her penis as "her manhood" is going to have something to unpack later or even during sex. The dispassionate "shaft" could either reflect disinvestment, to be dramatized later on, or set up that disinvestment to be subverted, as the humble shaft becomes the instrument of orgasm.
Think of how anime often has internal-monologue turning points to explain where a character's last reserve of energy comes from - the setup, the dead parent, the tragic past, the loss of a friend, it comes from somewhere, and the payoff to winning the duel is catharsis. It's just a more straightforward way of illustrating the point of most building-to-a-climax, which porn often deliberately does: you can only pay off on what you set up. Otherwise you revert to tropes and the underdog-hero wins for no reason and the girl-hero cums and it doesn't even matter because ten thousand she/hers have cum exactly that way in ten thousand prior okay scenes. The difference in payoff is all in a setup that the payoff can reintegrate: a material and an ideal that unite in a moment of pure emotional release.
I can't make you better at writing sex scenes than you are at writing fight scenes, but if you follow this advice you can be just as good.
some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.
it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:
doing it wrong:
She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.
doing it right:
Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.
Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.
This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.
Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:
She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.
Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:
She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.
Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.
hmm I think fantasy oppression and "racism" can actually work if the dynamics were explored in a nuance way along with understanding how it works and what leads to this thinking instead of reinventing the Zootopia furry racism for the 100th time created by white people who have zero racial minorities on board.
I actually find fantasy oppression extremely interesting but some people do think it's a cheat code to otherwise lazy world building, why do the characters get treated like that? why are there social hierarchies?, and how did this come to be?
those are the three things I think of when making my story as a black person with non human characters. it can be fun and interesting and a good think piece especially from my perspective as a racial minority.
but saying "group a doesn't like group b because group a is scared of b" and leaving it at that is lazy to me.
When a character is pretending to be someone they’re not
Pretending isn’t just lying, no, it’s becoming a version of yourself that feels easier to manage (easier to love, or control, or survive inside.) It’s a mask that starts out as protection and slowly becomes a second skin. One that’s hard to take off, even when you want to.
✦ They mirror the people around them without meaning to. Their laugh, their phrasing, the way they sit, it all shifts depending on who they’re with. Like they’re constantly adjusting, matching the energy in the room, trying to be what they think people want.
✦ They’re vague when things get personal, and not because they’re secretive, but because they don’t know anymore. Ask them their favorite song, and they’ll pause too long. Ask about their past, and their answers are half-finished, polished at the edges, like they’ve been told too many times to keep it clean.
✦ They over-prepare for conversations. They run through the dialogue in their head ahead of time. Rehearse their jokes, their exits, their answers. Everything feels a little scripted, like they’re playing the role of “themselves” instead of just… being.
✦ They always look put-together, maybe almost too much. Their clothes, their hair, their whole vibe is carefully chosen. But there’s a difference between style and armor, and this is armor. A version of themselves they’ve curated, down to the last thread.
✦ They panic when the script slips. Catch them off guard, and it shows... like, they freeze and fumble. The real stuff, feels dangerous. Being authentic means being vulnerable, and they’ve learned the hard way how risky that is.
✦ They shift depending on the room. One version of them at home, another at school, another with friends, like flipping channels. It’s not manipulation, no guys, it’s muscle memory, and they’ve learned to survive by adapting, and now they can’t stop.
✦ They touch their face or hair when they’re uncomfortable, like they’re checking to make sure the mask is still in place. A nervous habit that’s half-grounding, half-ritual, as if letting their guard down even physically would let everything else fall apart, too.
✦ Their smile is always photo-ready. Perfect, pretty, practiced...But there’s something in the eyes that doesn’t match, like they’re smiling at you, not with you. Like they’ve learned what people want to see, and they’ve gotten very good at giving it.
✦ If someone tells them, “I like the real you,” they go quiet. Not because they’re shy, but because deep down, they don’t know who the “real” version even is anymore. They want to believe there’s someone underneath it all, they just don’t know how to find them.
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