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Nexus
Please tell editors/publishers you read their guidelines on the
Erotica Readers & Writers Association Website
www.erotica-readers.com
Guidelines for prospective authors
Adam L G Nevill
Erotica Editor
Virgin Publishing Ltd
Thames Wharf Studios
Rainville Road
London W6 9HT
INTRODUCTION
Nexus is our long-established imprint of erotic fiction. It was the first British book imprint devoted exclusively to erotica, and there are hundreds of titles in the backlist. We publish two new titles each month, and regularly reprint and re-cover older, more popular titles in the series. Despite this rate of production and growing competition in the genre, the fortunes of the imprint show no signs of declining. Maybe this is because
over the years we've kept pace with changes in the sexual arena and publish books that satisfy the more sophisticated demands of readers of erotica. In order to maintain a clear identity and brand in an increasingly saturated market, we publish only very well-written erotica with an unusual slant. We do not, as a rule, publish vanilla erotica - books about either shagging birds or making love. We are in favour of proposals dealing with bondage, fetishism, SM, CP, fem-dom, contemporary swinging or anything experimental - our favourite books are written (and read) by those enthusiastic about the subject matter. Have a look at one of our anthologies, such as New Erotica 5, to see the kind of material were looking for.
We know that Nexus books are read by both men and women. However, our covers are designed to appeal primarily to men; we know that some female readers find the cover pictures off-putting. Since it's impossible to please everyone, we target our books at the majority.
Besides, there is now more provision in the market for women who want a sexy read. Black Lace is our imprint of erotic fiction for women, with subtler covers and more female-oriented language. However, we can only accept submissions for the Black Lace imprint from genuine female writers.
If you would like to submit something to Nexus, please read this document carefully.
THE READERSHIP
We want to provide well-written and unusual erotica for a mass-market readership. Although some women read Nexus books, we know the vast majority of our readers to be men. But please don't assume these books are for a lorry driver market. A large number of Nexus readers are well-educated, successful and highly literate - they can tell good prose when they see it, and tend to favour more sophisticated stories than those found in top-shelf magazines.
CORRECT ENGLISH
Contrary to popular belief, it is not the editors primary function to correct mistakes of English. The editor is there to give advice on plot, characterisation, house style, series continuity, etc. Mistakes of spelling, grammar and punctuation are irritating, time-consuming, and therefore expensive to correct. They should, as far as possible, be the responsibility of the author. In any case, if a writer is unable to use English correctly, it is unlikely that he/she will have mastered the more refined techniques of writing.
LANGUAGE
We want our books to be easy to read. Therefore you should use standard English punctuation, spelling, grammar and vocabulary.
Punctuation exists to make groups of words comprehensible. If you are not familiar with the use of punctuation marks, study a textbook of English usage.
Correct spelling is essential, and fortunately very easy. Consult a dictionary or use the spell-check facility on your word processor.
Slang, neologisms, strange abbreviations and words with irregular meanings can be used sparingly in the speech or thoughts of a character, but only if the reader can reasonably be expected to understand them. Otherwise, use standard English.
COMPREHENSIBILITY
Clarity of expression is almost always a prerequisite of well-written fiction. This is particularly so in the case of erotic fiction.
Transparency of writing style is paramount; our readers don't want to be distracted and distanced from the erotic content by an overwrought prose style. This is not to say that you should write blandly, or that you should restrict the vocabulary you use to that of a child. A number of Nexus titles are exceptionally well written, and these are among the most popular of our titles, but their style never obstructs the immediacy of their content.
Non-contemporary and foreign settings provide additional challenges. Antique cant, futuristic slang, unfamiliar machines, oriental customs all of these things present obstacles to comprehensibility. Make sure that unfamiliar objects, words and behaviour can be understood from their context. If something requires a lot of explanation, you should consider how essential it is to your story. Bear in mind, however, that we are more likely to look favourably at an original and unusual proposal than one that simply reworks tired formulaic erotica.
WRITING A NEXUS BOOK
The setting
A Nexus novel should be an arousing, escapist fantasy. The guidelines offered below are just that - guidelines. Many of my favourite Nexus novels don't really conform to these, and they should not be considered as rules. They are mainly pointers, based on what we know works well. It's unlikely, however, that if you're reading these as some kind of instruction manual on how to write erotica, you'll be able to write a successful Nexus novel. Our best books are highly original, well-written and very kinky erotic novels written by enthusiasts whose enthusiasm shines through. No hack writers, please.
Men and women tend to differ in the aspects of sex they put most emphasis on: men like anatomy, women like environment. Readers tend to enjoy a balance between believable escapist fantasy and realistic, down-to-earth storylines, so we try to publish novels with a variety of settings and themes.
Published collections of sexual fantasies, such as those compiled by Nancy Friday, support the theory of gender differentiation, and also the idea that men like to invent unreal (but just about believable) worlds in which their sexual fantasies can unfold.
We try to base Nexus novels on this model of male sexual fantasy. You should strive for credibility, but avoid mundanity. Readers don't like to be reminded of domesticity, gas bills, car maintenance, rising damp, illness, and, above all, they don't particularly want to read about wives, families, difficult relationships, or sexual inadequacies.
However fantastic your story might be, the story should be believable within its own reality and internally consistent. Give the reader as much help as possible to suspend his disbelief.
Historical settings have been traditionally popular, because they maintain an intrinsic balance between believability and fantasy, but they are not as well liked as contemporary settings. This might be because a historical story can easily turn into a trivial romp The Three Musketeers with shagging. There are plenty of those around already, and many people don't find them especially arousing. Science fiction settings provide the same escapism and distance as historical novels, but the unfamiliar elements tend to work against the sexiness. SF erotica isn't particularly popular, although this is at least in part because it is usually clumsily executed.
Contemporary settings are perennially popular, and can work very well. It is often useful, however, when using modern-day places and characters, to create a fantasy world within the real world - any setting which is remote from the creeping banality of real life and where the normal rules don't apply. Popular recent settings have included special medical clinics and remote French villas - paradise islands and special academies have by now been done to death. SM dungeon stories have been similarly overworked, and often seem ludicrous nowadays. Please bear in mind that were looking principally for new ideas and original settings.
Most autobiographical works, and indeed fictional biographies of characters, don't work very well - they usually lack narrative tension and can be very dull for a reader.
As far as eras are concerned, there doesn't seem to be much preference for any particular period. However, wartime settings aren't terribly erotic; the 1920s, 1930s and 1940s aren't particularly rich in sexual imagery; and if you use the 1960s, don't be tempted to overemphasise the swinging aspect. There may be room for pseudo-Victoriana, but bear in mind that there's still a lot of genuine stuff on the market.
The paranormal is a difficult area. Themes and events which are out of most peoples experience do not lend themselves well to the erotic novel. Bizarre sexual behaviour is one thing; psychic phenomena in all its forms is another. Ghosts, the devil, mythical beasts or gods and goddesses of any pantheon make for interesting material in fantasy fiction and usually fit better into other genres. Unless you are particularly adept at magic realism, we would advise against it. The combination of the paranormal and the erotic can easily slide into the arena of the risible. Wed also rather avoid erotic novels with a high crime content - it can often be fairly sleazy and detract from the erotic content. This goes for prostitution too, for the most part - although there is some potential there.
SEX
Firstly, we aim to produce well-written, interesting novels. We therefore need believable but unusual settings; a gripping, sex-oriented plot; interesting characters who at least within the first third of the novel are very keen on sex; and an atmosphere dripping with eroticism.
Secondly, we can provide variety. Subject-matter should vary from book to book i.e. while one novel could be slanted towards a particular tendency or fetish, others would deal with different themes but should also be varied within a book. Try to make sure that, even if the sexual theme is very narrow, the sex scenes are varied in terms of characters involved, settings, sexual activities, narrative viewpoint and so on.
It is very useful to have more than one viewpoint character. In this way you can vary the point of view chapter by chapter or scene by scene. (Don't change viewpoint mid-scene; this can be very confusing for the reader.) The overwhelming majority of Nexus readers prefer to see things from the female point of view most of the time.
When it comes to varying the sexual activities, it has to be admitted that there are a limited number of physical variations of sexual intercourse. These variations should be exploited to the full, but you should increase the variety by introducing different characters, clothing, circumstances, props, audiences, power differentials, etc.
Talking of power differentials, we overwhelmingly prefer to publish novels heavily slanted towards SM and/or bondage or other forms of marginal or experimental sexual activity, either with men dominant, women dominant, or both. We will not, as a rule, publish vanilla erotica. But nor will we publish a novel that encourages or condones racism or hatred of women; or which suggests that all women should be, or enjoy being, subjugated to men; or which includes bloodshed or wounding or emotional anguish as a result of sexual activities. So be careful.
At the other extreme, almost, you should be careful about jokiness. Humour has a place in most novels, possibly even in grim tragedies, where it can serve to point up the awfulness of everything. And in real life, of course, sex can be very funny. An erotic novel, however, is not real life. Our readers don't want to be jolted out of the fantasy by a knowing, jocular narrative voice (often a problem with first-person narrators), or by characters with ludicrous names, or by bedroom farce. Humour is a contrast to eroticism, and can undermine sex scenes. Use jokes judiciously; your characters can have a sense of humour, but not your narrator.
Take care with anatomical descriptions it is quite astounding how many men are confused about the relative positions of the female genitalia. Female orgasm is triggered in most instances by clitoral stimulation. The clitoris is not situated inside or adjacent to the vagina. If a penis (or anything else, for that matter) has penetrated the cervix, something very unusual is going on.
THE LIMITS
What we want is as much varied and exciting sex as possible. But please no sex with children (i.e. people under 16) or flashbacks to childhood experiments; in fact, wed rather all participants in sex acts were 18 or over. No sexual acts that cause bloodshed or other permanent physical damage; no sex acts that would cause genuine tragedy or anguish; no incest from parent to child, or with close family if one of the participants is much younger; no bondage that involves constriction around the neck; no sex against anyone's will; and no sex with corpses. Watersports are fine. It's often the tone of a piece rather than the actual content which is offensive - we don't publish misogynistic prose.
Gay male sex - we think we should follow the Oscar Wilde philosophy. Humans are not strictly hetero or homosexual, just sexual. You should bear in mind, however, that Nexus readers will overwhelmingly regard themselves as heterosexual, so you shouldn't overplay gay elements.
Many authors feel that it's OK to include fictional potions which have impossibly aphrodisiac qualities or render the object of their lusts powerless to resist particular characters. Characters should be keen to participate of their own will - this is usually more believable and more erotic.
WHAT TO SEND
A Nexus novel should be between 70,000 and 75,000 words long. It should have a fairly traditional structure, for instance divided into ten to fifteen chapters.
That's the finished book. What we want to see in the first instance is a paragraph explaining what the novel is about, a full synopsis of the story (about 1,500 words) and about 15,000 words (usually the first couple of chapters) of finished text. We have, in the past, published collections of short stories by established writers of erotica. While we don't consider publishing individual short stories, if you have enough to fit our word count for a novel, and your work has been published in one of the many magazines dealing with erotic short stories, then wed be happy to see a few of them. Please bear in mind, however, that we don't publish material of a standard men's magazine nature. Short stories should be especially kinky and unusual. Send your submission to the address on the front page.
The number of submissions we receive means, unfortunately, that we can no longer afford to be generous to everyone. If you would like your typescript returned in the event of rejection, please enclose a self-addressed envelope and enough postage to cover its despatch. If you're sending in a proposal from outside the UK, please enclose enough IRCs to ensure its return.
A FINAL WORD
When you've come up with something that you feel fits in with these guidelines, by all means send it in and let us read it. But you'll have to be patient. We receive something like 25 proposals a week, and there's only one editor, so were constantly working with a huge backlog.
Your typescript will be acknowledged as soon as we receive it. Once this is done, wed very much appreciate it if you don't call to ask how your manuscript is faring. Well get back to you as soon as we can, with a detailed assessment of why it is or isn't suitable.
CHECKLIST
Mandatory points
House style: Must be followed.
Language: Correct punctuation, spelling and grammar essential. Use standard English. Take care with slang. Do not use phonetic spelling in dialogue because a character is foreign/has a regional accent: Oim Oirish, for example. Avoid over-use of onomatopoeia - especially in spanking stories i.e. swish, crack, thwack etc.
Comprehensibility: Clarity of expression is essential.
The limits: Sex: anything goes except children, bloodshed, parent-child incest, and non-consensual sex
What to send: A synopsis and a sample of text. Return postage.
Advice
Readership: Men and some women. Female narrative viewpoint characters preferred.
Setting: Escapist fantasy, but believable, consistent. Contemporary settings good for all readers. Historical settings liked also. Take care with slang, and technical terms in non-modern stories. Setting should maximise erotic possibilities. Realistic, believable situations, but no mundanity.
Plot: A story - narrative tension - is required. Plots intrinsically about sex a good idea. No biogs. Plots arise from personal interactions.
Sex: Aim of books: to cause sexual arousal in reader. Frequent, varied sexual acts required. Esoteric sexual practices encouraged. Take care with humour can undermine eroticism. Efficient use of words required to convey sex and story. Narrate sex acts through characters perceptions.
Favoured Obsessions: SM, bondage, spanking, lesbianism, power games, sex in unusual places, clothes.
Copyright © 1996 and on, Erotica Readers Association, Inc.
All Rights Reserved World Wide.
Reproduction in whole or in part in any form or medium without express written permission is prohibited.
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