Kitty

She has only fucked him a handful of times, but he has asked her to feed his rabbit while he’s away for Easter. She’s not sure if that’s just a friend with benefits level commitment, or whether it indicates that he wants something more. After all, it’s not like he’s asked her to look after his cat, or his houseplants, or anything that would require the keys to his house and therefore the opportunity to snoop through his stuff, which disappoints her. She would totally do that, if she could.

But no, the only thing she has the opportunity to root around in is the vegetable seeds and garden tools he keeps in the shed alongside the rabbit food and hay. It doesn’t give her much insight – what meaningful conclusions can you draw about a man who plants carrots, runner beans and cabbages, really?

The one conclusion she can draw is that it means he’s grown up, responsible – what sort of man lives alone but grows his own vegetables and has a pet rabbit. Not any of the other guys she’s slept with, that’s for sure.

She herself is not there yet. She rarely does the washing up, lives on Super noodles, would like a pet but isn’t allowed one in her rented flat. And, truth be told, she’s not sure how good she’ be at looking after animals on a permanent basis, isn’t sure how good she is at looking after them full stop, in fact, although he didn’t ask how well-qualified she was, just sent her a couple of text messages with hasty instructions.

The rabbit is cute. She strokes its floppy ears a bit, fills its food bowl, tops up its water, puts everything she’s used away neatly.

She’s feeling pretty pleased with herself, right up until 3am. At 3am, she wakes, and remembers, in the moonlight, that she forgot to lock the hutch.

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Jessica

The day she finds out, Jessica has to work. Her heart is broken, but she still showers, dresses and is at the shop, ready to open up, by 9am.

It is hard to make it through – everything, from the heartfelt words on funeral flowers sent to commemorate a marriage that’s lasted for decades to the kindness of a get well soon message to the cheesiness of the words accompanying a flashy gesture to an obviously new lover – makes her eyes sting with unshed tears.

She is glad that her colleague is off sick. She needs some time alone.

She runs her finger down the stem of a rose, grateful for the sharp prick of its thorns that causes blood to bead, crimson and sudden. She shreds tissue paper anxiously, ties raffia in pointless, fidgety bows. She does all that to stop herself from checking her phone, because she doesn’t want to hear that he’s sorry; that it means nothing. She’s not ready to hear that yet. She wants it to mean something, in a way, because it would be doubly gutting, somehow, to feel this shit because of something that was meaningless to him.

But the routine of the day – the orders, the queries, the deliveries – it’s not enough to take her mind off things. By 3pm, she’s itching for revenge. And she has the weapons for revenge right at her fingertips.

The bouquet she makes is beautiful. She wants it to be hard to throw it straight in the trash. It’s all springlike – tulips and snowdrops and hyacinths – the promise of new beginnings. She wants it to contrast with the message she writes on the card.

‘I’m sorry, I made a mistake. I can’t do this to Jess. I don’t want to see you anymore.’

India

India is twenty-three and she’s been telling the same story for five years now.

The story goes like this – she might be sensible and settled now, but she hasn’t always been, don’t you know – once upon a time India was on her gap yah and during that year she met a man, and that man taught her everything she knows about sex. When she talks about him, she varies the focus – sometimes it’s his rippling abs she mentions, other times his piercing green eyes, occasionally the fact that my god, the guy was hung. The amount of details she gives might vary according to how much wine she’s drunk, but regardless, she never, ever mentions his name.

After these evenings of drinks with the girls, India goes home to her boyfriend who fucks her – missionary position, obviously – as he does twice a week, three if his libido is demanding more attention than the consultancy projects he gets paid a small fortune to work on. India doesn’t come. Nothing unusual about that, either.

After, he gets in the shower. And that’s when India comes.

She comes to the thought of the man she talks about. The man she met in Thailand, who did have, sure, rippling abs, because he spent more time in the gym than he did studying for his A-levels, who did have nice green eyes, although piercing might be over-stating it, and who, yes, had a nicely proportioned dick.

She comes to the thought of the thing he taught her that she’s never had the chance to try again since: he taught her that sometimes it might be fun if she went on top.

Holly

Holly hates Christmas. She hates it because she’s named for it, obviously, and because her birthday comes so hot on the heels of it, but she also hates it because all the sparkle and glitter of it – all that light in the darkness – it just makes her feel more, well, dark inside.

And so at Christmas, she fucks. Anyone, anywhere. Which makes tonight unusual. Tonight she picked a guy up in the pub, but rather than fucking him in the loos, or in the street, as would be typical for her, she lets him take her home.

There’s a reason for that, though, a good one. The guy – Pete – has a kid, a kid who lives with him, and a babysitter who won’t stay later than midnight.

‘I wouldn’t normally do this,’ he says, ‘I don’t like to introduce him to people until I’ve been seeing them for a while. But, y’know, it is Christmas.’

‘Oh, don’t worry,’ Holly says. ‘I’ll sneak out long before he wakes up.’

‘You don’t have to do that,’ Pete replies.

She laughs. ‘Maybe not. But I will.’

She keeps her word. When they fuck, she keeps her screams to a minimum, so as not to wake the kid. When she creeps to the bathroom down the hall to pee, she puts her dress back on, so as not to be accidentally caught in the nude. And then, in the early hours, once Pete is sleeping, she creeps down the stairs.

In order to get out, she needs to find the keys. That would be her excuse, if he ever asked her why she did it (although he won’t; he doesn’t have her number) – that she was searching for the keys and she saw it, and she was what … starving?

But that isn’t why she did it.

That isn’t why she ate the chocolates in his son’s advent calendar.

Every. Single. One.

She did it because she hates Christmas.

 

 

Georgie

Georgie wears her new boots to the pub. It seems like a good opportunity to break them in, but there are no free tables and after just half an hour of standing at the bar, she can already feel the blisters beginning to form on her heels.

‘Nice boots,’ says some random guy, and she can’t quite figure out his intentions. He’s not the type who usually hits on her, and he looks like maybe he really is only interested in her footwear – he’s heavily tattooed, wearing a battered leather jacket, and sporting some pretty jazzy footwear of his own.

‘Thanks,’ she says. ‘They’re killing me.’

‘I’ve got a life hack for that,’ he says. ‘You got a tumble dryer at home?’

Georgie nods.

‘Well then, what you wanna do -,’ he pauses, ‘is, you wanna run the tumble dryer until it’s nice and warm inside and then you wanna turn it off, and put the boots in there, and a wet cloth, too, and I swear to god that the heat will make them stretch and you won’t have anymore trouble with ’em.’

Georgie has no idea whether this will work, or whether it will just trash her brand new boots. She might try it, maybe, but either way, it won’t help her now. Luckily, she thinks she might have a plaster in her bag.

She excuses herself to go to the loo, where she peels her tights off the raw skin and covers the wound.

When she comes out of the loos, he’s waiting for her directly outside the door, lounging against the wall. She knows not that it’s definitely not fashion he’s interested in after all.

‘You want another life hack?,’ he asks. ‘You got an iPhone? You know the one with the space bar?’

She gets up close to him, real close, clutches a handful of his t-shirt.

‘Wanna fuck me, Lifehack?’ she hisses. ‘Then have the guts to ask me. The rest of my life, I’ve got it sorted, but thanks.’

Fleabag

The original plan for my A-Z posts was fictional bad girls of my own creation. But how could I not talk about Fleabag when Fleabag has done so much to help me write bad girls of my own?

In many ways, Fleabag is flawless. In a couple of other ways that I just want to touch on before I get into the main body of this post, it’s not. It is, undoubtedly, very middle class, and therefore completely understandable that, although nearly everyone I know can relate to it, that doesn’t mean that everyone can. Also, it’s not great with its disability representation – the character of Jake functions, I think, too simplistically and comedically for him to be considered a fully-rounded disabled character.

But. I’m trying not to allow slight quibbles with things I absolutely adore to ruin them for me entirely – loads of bloggers and podcasters I enjoy are great at pointing out the flaws in stuff while still celebrating the strengths – so on with the main point.

For years, when writing longer fiction pieces, I’ve struggled with endings for ‘bad women.’ Fiction is, after all, almost always about transformation, and how do you transform the bad girl if not by making her good? And yet, I never want to. I never want to write women who learn to stop chasing the wrong kind of men, women who learn to be happy with themselves, with their lives. I haven’t learned to do it myself, so if I write women like that, I’m writing women I can’t quite relate to, and that feels weird. Maybe one day I’ll get there, but I’m not there yet. And Fleabag is a woman I can relate to now.

There’s so much I could say on this (fears about having a massive arsehole are just the start), but in the interests of keeping it brief, I’m just going to focus on the final episode of Season 2. In fact, probably just the last ten minutes of the final episode of Season 2. What, if anything, has Fleabag learnt by the end of the season? When she tells the sexy priest she loves him and he says ‘It’ll pass,’ does he mean that it’ll pass and she’ll just go back to doing what she’s always done – having largely meaningless sex as a way of avoiding her feelings? Didn’t Fleabag need to learn how to love? Or does it mean something more than this? Does it mean that one day, she’ll learn to stop pursuing unsuitable men, even if she’s not there yet?

The thing is, by that last episode, I’d argue that Fleabag has learnt to love – she’s learnt to love other people and by doing so, she’s learnt to, if not love herself, then certainly to make her peace with herself, which, let’s face it, is far more realistic. It’s just not by falling in love with a man that she’s got to that point.

I’ve described Fleabag to friends as ‘Frozen, but sexier,’ and although that’s kind of a joke. I don’t think it’s an unfair way of looking at it. It’s all about coming of age by grieving and appreciating just how much family can love you – just look at how tight the relationship between Fleabag and Claire becomes over the course of this season. Plus, at the end she takes the statue back from her wicked stepmother – she gets her mum back.

So maybe she will carry on fucking the wrong men. It kinda doesn’t matter. She knows she’s loved, she knows she’s capable of love, and that? In the end, that is all that really matters.

Emma

Emma is fucking a writer. Well, she thinks she’s fucking someone who writes from time to time, but him? He assures her she’s fucking a writer.

And then he gets published, and even she has to admit she’s fucking a writer. It maybe wouldn’t bother her so much if she didn’t also write, but she does, and she’s disciplined. For two years, she’s been getting up at 6 every morning, weekends included, to write, and she knows her novel still isn’t quite good enough to submit. Perhaps she’ll send out the next draft – the ninth draft. He on the other hand, wrote a whole book in what seemed to Emma like a series of afternoons in the pub. She didn’t even realise he’d proofread it before he sent it off.

When the book comes out, she takes solace in the fact she knows he’ll at least say nice stuff about her in the acknowledgements. But his mum is there, his sisters, his nieces, even his fucking cat is there. But Emma is not.

‘Read it, honey’ he tells her, when she confronts him, ‘maybe there’s a surprise for you inside.’

So she reads. Fifty pages, a hundred pages, two hundred pages. Still no Emma.

‘I wouldn’t lie to you,’ he says. ‘Keep going.’

She’s on page 356 before she discovers her surprise. He’s waited right to the end to show her how much she means to him.

On page 356, the hero proposes to his girlfriend with a ring hidden in a cake.

And Emma?

Emma is the name of the waitress who carries it.

Delphine

Delphine is having a clear out. It’s been three months since her husband left and she’s ready for a fresh start.

She has already filled two bin liners with clothes, dithered over whether to keep her wedding photos (not the professional ones, they cost too much to bin, but the ones the guests took – Delphine and her husband had left disposable cameras on every table. The idea had seemed cute at the time), and got rid of all the novels her mother-in-law bought her as gifts. She’s never read a single one.

She moves on to the cupboard under the TV. There are so many DVDs, so many board games – so many things to not have in common with someone. Perhaps it’s no surprise it didn’t work out.

Behind all the DVDs and games though is a box she’d almost forgotten about. A box full of VHS tapes – of home video footage. But this is not footage of weddings, christenings or birthday parties, this is recordings from the bedroom in the first year of marital bliss. It seems incredible that the man she could no longer bear to lay beside, let alone have inside her, was the same man who let her film all these tapes with a second-hand video camera, but somehow that’s the truth. For the first year of their marriage they made the tapes, in the second year they watched them together, and in the third year Delphine watched them alone. Since then, they’ve been forgotten – the thick layer of dust that coats them is testimony to that.

Watching them now is not an option. She no longer has a VHS player, and even if she could find one, on Gumtree or somewhere, she can’t imagine her therapist having anything good to say about her filling her time watching sex tapes of her ex.

And yet. The thought of the videos alone has made her wet. She slicks her fingers between her folds, finds herself drenched. An idea comes, just before she does. Perhaps she doesn’t need to watch them. Perhaps she could just…

She fetches a piece of A4 paper and a Sharpie. In big letters she writes ‘Free to a good home.’ She carries the box downstairs, leaves it next to the bins.

And then she waits.

Known/Unknown

‘It’s the virginity thing,’ one of my best friends says, when I tell her I’m writing the intro to #KOTW and the kink is brutalism and/or concrete, and although they undoubtedly turn me on, I have no idea what’s behind this kink.

And she’s probably right. After all, nearly fifteen years on I still conjure up the vision of my French Connection cotton halter dress round my waist and the smell of metal railings on my hands when I need a fantasy to make me come.

So it’s a kink fuelled by something known, by a memory, but also, I think, fuelled just as much by the unknown, the unfamiliar. The most common concrete structures are, after all, shopping centres, train stations, blocks of flats. I’ve spent most of my life in the countryside, so those things just aren’t part of my everyday life: they’re the geography of fantasy, the landscape of sexual escapism.

Which isn’t to say you can’t combine the known and the unknown. More often than not, when I summon the mental image of the stranger I lost my virginity to, it’s that same car park, those same smells, same noises. But recently, I was on a train, and it sped past a bleak grey high rise, concrete balconies high above the ground. And since then, I dream that instead: a hand in the small of my back and another in my hair. I dream of being forced and the background is almost always concrete.

 

Charlie’s Challenge #1

For Marie Rebelle’s wonderful #WickedWednesday meme last week, I wrote about how I was keen to set up a monthly prompt for all bloggers, no matter what category or genre they write in. And now I’ve actually done it!

Monthly prompt #1 is: Grand National 2015

Over on my Pinterest, you’ll find the names of all the horses running. Your challenge, should you choose to accept it, is to write something – fiction or non fiction, sex, beauty, fashion, lifestyle, opinion etc. etc. – using one of the runners’ names as your prompt.

As I said, there won’t be prizes for this usually, because it’s a meme, not a competition, but because this is the first month, I’ll pick my favourite of the posts that are submitted prior to Grand National day (April 11th) and that person will get a £5 bet on the horse of their choice (and the winnings if it comes in, obviously). If you’re just writing for fun, you have until the end of April.

All entries will be linked to here, provided you either link to them in the comments, email me a link or tweet @sexblogofsorts with the hashtag #CharliesChallenge. Just to be clear, your post doesn’t have to be about racing. You just have to be inspired by the names!

I hope you’ll give it a go!

Charlie xx