How To Write Smut ?

Can I have a smutty dictionary? Or a list of smutty words?

Sure! Now, this is definitely incomplete; these are the ones I use most often. If you have any to add, please do!

“The Smut Writer’s Dictionary”

Arousal/Anticipation

hot

warm

burn

ache

heat

swell

red/pink flush

roil

dizzy

foggy

rush of [heat, for example]

heavy

heady

intoxicating

thick [air/atmosphere]

thrum

ignite

desire

pulse quickened

tempt

tantalizing

throb

excite

prickle

tingle

turn on

What People Look Like

disheveled

blissed out

eyes glazed over

eyes rolled back in head

flushed

sweaty

glistening

mouth open

eyes closed

General Movement

clutch

crawl

slap

swat

smack

nuzzle

fidget

squirm

fast

slow

lift

fold

embrace

melt into/against

bend

shove

wiggle

wriggle

tuck

glide

clenching/unclenching

General Touching

caress

graze

brush

stimulate

flick

massage

skim

drag

shiver

goosebumps

flutter

grope

fondle

pet

pleasure [as in: pleasured himself]

nudge

stroke

feather-light

tease

probe

wander

knead

capture

grip

Kissing/Rimming

suck

bite 

nibble

lick

slide

wet

flick tongue at/against

bite

bury [his face] in

ravish

dip [tongue into]

weave lips together

capture [his] lips

press a kiss against

drop a kiss to [body part]

Noises

grunt

growl

moan

groan

sigh

breath hitching

gasp

sharp intake of breath

exhale

cry

keen

whimper

whine

hoarse

ragged

garbled

strangled

croak

shout

Verbs for Speaking

breathe

whisper

sigh

gasp

groan

moan

grunt

growl

order

snap

spat

cry

murmur

mumble

beg

whimper

whine

croak

Preparation

finger

open [himself] up

work [himself] open

pump [fingers/toy] in and out

spread

shove

slick/slicken

lubed [himself] up

Blow Job

lick

suck

envelop

wet

mouth at [something]

slobber

dripping

flick tongue at/against

blow

drool

Hand Job/Masturbation

pump

twist

squeeze

rub

fondle

cup

stroke

palm

tap

grip

Dry Humping

grind

rub

rock

hump

roll hips together/against

Fucking

push in

press in/against

slide in

breach

pop in

bury [himself] in/into/inside

in to the hilt

penetrate

sink down on

split open

tight

fill

roll

thrust

drive

pound

rock

bounce

buck

slam

meld

frantic

fuse

pace [fast or slow, for example]

clench

grind

Orgasm/Words for Feeling Pleasure

come/cum

climax

peak

topple over

fall over

tumble over

let go

spill

contract

convulse

writhe

quiver

shiver

shudder

shoot

tremble

ejaculate

pulse

pulsate

twitch

arch [his back]

blissed out

spasm

burst

reeling

throb

tremor

ecstasy

swallow

shockwaves

release

spurt

jerk

Taste

tangy

sweet

bitter

salty

Smell

musky

heady

intoxicating

tangy

sweet

Cooldown/Cleanup

sticky

sweaty

glistening

chest heaving

wipe

dab

wash

spent

soften

flagged [as in: his cock flagged]

fulfilled

satisfied

left reeling

cuddle

snuggle

plaster [as in: plastered themselves together OR plastered to each other’s side]

flop around

boneless

limp

Words to Describe Cock

cock

dick

shaft

tip

ridge

hard

firm

glisten

thick

length

red

flushed

engorged

throbbing

quivering

twitching

Words to Describe Feelings/Touches/Movements/Sensations

gentle

soft

rough

hard

fervid 

feverish

fervor

passionate

vulnerable

exposed

sensual

silky

fleeting

prickle

tingle

tender

warm

electric

spark

Misc. Smutty Words and Phrases

with abandon

need

want

overcome

erupt in [goosebumps, for example]

pliant

viscous

erotic

long for

yearn

yield

urge

bloom [as in: color bloomed across his cheeks]

intimate

relax

vigorous

thrill

“I’m Pretending I Don’t Love You” Behaviors

(for that beautiful, painful flavor of self-denial that authors LIVE FOR)

✦ Making fun of everything they do...gently. Like it’s the only way you can touch them.

✦ Telling them to be careful, but saying it like an insult.

✦ Correcting people who get their name wrong, then pretending it didn’t matter.

✦ Staring just a little too long—and then making a sarcastic comment to cover the slip.

✦ Showing up to things “coincidentally” wherever they are. All the time.

✦ Knowing exactly what food they like, but acting like it was a random choice.

✦ Volunteering to be on their team, share their tent, go with them, whatever excuse works.

✦ Looking away fast when they laugh. Too fast. Like it hurts.

✦ Caring for them when they’re hurt, but muttering, “Don’t read into this.”

✦ Being furious when someone else flirts with them and not being able to explain why.

I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!

(save the images to zoom in on the pics)

Hey I made this document with everything Raphael says in BG3

Why? Why not!

And what are you supposed to do with this? I don't care! Use it as reference for writing fic, learn to live by Raphael's words, print it out and eat it, do whatever you want, as long as you have fun doing it!

---

mental heal ˊ^ˋ

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

---

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

A Semi-Relevant Guide To Tieflings

Based on my own ideas/beliefs/opinions. This is a part 3. Part One and Part Two are out already. I'm glad I could share my own ideas with a community. [Linking @tealfling]

Tiefling Society

Cultural Aspects:

Many adopt a second name to relect their true self, some infernal or exhibiting virtues to defy stereotypes; These names are often inscribed onto a personal talisman

Often they enjoy high-stakes games of chance or philosophical debates where wit and cunning are just as important as the subject matter

Structures/Communities:

Community structures vary widely, with some forming tight-knit clans while others integrate into broader societies

Some specimens prefer to travel in groups, forming wandering caravans to follow trade routes or avoid persecution

In larger cities, tieflings may form distinct neighborhoods where their customs and heritage are embraced rather than shunned

Due to historical discrimination, some may fom underground networks for mutual aid, intelligence gathering or occult study

Traditions:

Coming-of-Age ceremonies often include mastering latent magical abilities or ritual horn carving

Horn engraving can symbolize personal achievements, lineage, or even spiritual beliefs; Some families pass down traditional designs that represent lineage or infernal ancestry

Infernal festivals include magic performances, blood offerings (Symbolic or real) and competitive duels that can test wit, strength or magic ability

Funerals may involve sealing the deceased within a magically warded tomb to prevent soul theft as many believed their souls are claimed by powerful fiendish ancestors

Many engage in storytelling and oral traditions that preserve their infernal heritage

"Night of Burning Echoes" where they light a large bonfire and write down past mistakes/regrets onto parchment, burning them as an act of renewal

Beliefs/Philosophy:

Many believe destiny is not fixed and seek to forge their own paths, whether by seeking power, defying expectations, or proving their worth

Some struggle between honoring infernal leacies and rejecting them; some embracing fiendish patronage for power while others work to cleanse themselves of dark influences

Some cultures view morality as a balance between chaos and order rather than good and evil and may have different view on justice and punishment

Fashion/Adornments:

In certain societies, specimens wear adornments like tail jewelry to signify status or accomplishments

Tail jewelry like rings, chains or bands are commonly used to signify rank, relationships, or achievements (Some are enchanted to reinforce durability or provide minor protective charms)

Some may practice controlled scarification rituals to create patterns that enhance magical energy or symbolize life experiences

Marriage/Bonding Rituals:

Tail binding to signify commitment

Partners may polish, engrave or anoit each other's horns in scented oils/enchanted dyes as a sign of dee trust and love

Rather than traditional rings, some forge their wedding bands in ritual flames, infusing them with personal magic or protective charms

Wedding celebrations may include a ceremonial fire dance where partners perform together before their community and the flames are sometimes guided by manipulation magic

Some believe the flickering flames fortell the couple's future

Kisses Prompts that sends the readers reeling:

(5th, and 7th onee!! omfg 12th one PLSPLS somebody write and tag mee!)

hesitant kisses, but when they part one whispers "do it again. please."

hands caressing your neck or tracing your jaw as they kiss you nuts

their lips on yours, hot, feverish, partly sucking, teasing with their tongue (OMG-)

heated kisses - their hands on your bare skin, yours in their soft hair, lips nibbling, biting, moaning into yours, while heavily breathing after.

"love, don't hide your face, don't.." hands gently removing yours from your flushed face. "you make me fluster." you say, but they kiss you through those words and mumble against your lips, "you fluster me more, sweetheart."

kisses trailing down your chin, leaving love bites on your neck, chest, and all the shyness in between > < feeling their hot, sloppy wet kisses all over ur body, everywhere and beneath your stomach, and above it. :')

"i don't know how to kiss but let me kiss you, and I'll do it just right." (on my damn knees ffr)

moving to gasp for air, but the other still leans in, eyes closed, lips parted, absolutely wanting more!!! a string of saliva connecting each other's lips!!

hugs after kisses, that lasts several heartbeats long, as they nuzzle their face in your crook. kissing there as well, shyly smiling into it. (fyi im single since birth and haven't experienced ANY OF THESE BEFORE.)

"kiss me again, but- mphh"

cupping your lover's cheek. staring into their eyes with a grin before the kiss, their hands curling around your neck, anticipating it.

"lay down, love and let me do you how you deserve it."

---

Writing Notes: Children's Dialogue

Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.

BABBLING

Babbling begins at about 6 months and is considered the earliest stage of language acquisition

By 1 year babbles are composed only of the phonemes used in the language(s) they hear

Deaf babies babble with their hands like hearing babies babble using sounds

FIRST WORDS

After the age of one, children figure out that sounds are related to meanings and start to produce their first words

Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning

Example: "Up" is used to indicate something in the sky or to mean “pick me up”

Most common first words (among the first 10 words uttered in many languages): “mommy,” “daddy,” “woof woof,” “no,” “bye,” “hi,” “yes,” “vroom,” “ball” and “banana”

WORD MEANINGS

When learning words, children often overextend a word’s meaning

Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)

They may also underextend a word’s meaning

Example: Using the word dog to refer only to the family pet, as if dog were a proper noun

The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts

SYNTAX

At about two years of age, children start to put words together to form two-word utterances

The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:

Example: "mommy sock" = subject + object or possessive

NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the child’s mean length of utterance (MLU) to measure development

The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection

Examples: "He play little tune" or "Andrew want that"

Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development

By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:

Examples: "He was stuck and I got him out" / "It’s too early for us to eat"

After 3;6 children can produce wh-questions, and relative pronouns

Sometime after 4;0 children have acquired most of the adult syntactic competence

PRAGMATICS

Deixis: Children often have problems with the shifting reference of pronouns

Children may refer to themselves as "you"

Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about

AUXILIARIES

In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences

Examples: "I ride train?" / "I not like this book"

As children acquire auxiliaries in questions and negative sentences, they generally use them correctly

SIGNED LANGUAGES

Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage

When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules

IMITATION, REINFORCEMENT, ANALOGY

Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation

Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"

Children cannot imitate adults fully while acquiring grammar

Example:

Adult: "Where can I put them?" Child: "Where I can put them?"

Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it

NOTE: Children May Resist Correction

Example: Cazden (1972) (observation attributed to Jean Berko Gleason) – My teacher holded the baby rabbits and we patted them. – Did you say your teacher held the baby rabbits? – Yes. – What did you say she did? – She holded the baby rabbits and we patted them. – Did you say she held them tightly? – No, she holded them loosely.

Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy

But while analogy may work in some situations, certainly not in all situations:

– I painted a red barn. – I painted a barn red. – I saw a red barn. – I saw a barn red.

Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age

BIRTH ORDER

Children’s birth order may affect their speech.

Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.

They favor different words than their siblings. 

Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with “brother,” “sister,” “hate” and such treats as “candy,” “popsicles” and “donuts.” 

The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstborns’ idyllic world of sheep, owls, the green of the earth and the blue of the sky.

MOTHER'S LEVEL OF EDUCATION

Children may adopt vocabulary quite differently depending on their mother’s level of education.

In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: “so,” “walker,” “gum,” “candy,” “each,” “could,” “wish,” “but,” “penny” and “be” (ordered starting with the highest frequency).

The words favored by the children of mothers in the “college and above” category are: “sheep,” “giraffe,” “cockadoodledoo,” “quack quack,” the babysitter’s name, “gentle,” “owl,” “zebra,” “play dough” and “mittens.” 

BOYS / GIRLS

One area of remarkable consistency across language groups is the degree to which the language of children is gendered.

The words more likely to be used by American girls than by boys are: “dress,” “vagina,” “tights,” “doll,” “necklace,” “pretty,” “underpants,” “purse,” “girl” and “sweater.”

Whereas those favored by boys are “penis,” “vroom,” “tractor,” “truck,” “hammer,” “bat,” “dump,” “firetruck,” “police” and “motorcycle.”

Tips for Writing Children's Dialogue (compiled from various sources cited below):

Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.

Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.

Too Wise - It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.

Unintelligent - Don’t confuse a child’s lack of experience with lack of intelligence. 

Baby Talk - Don’t make a habit of letting them misuse words. Children are more intelligent than most people think.

Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.

Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.

Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.

Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).

Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.

Sources and other related articles: 1 2 3 4 5 6 7 8 9 10

Writing Notes: On Children Writing Notes: Childhood Bilingualism