With Valentine’s Day in the recent past and all the posts (not necessarily here) about love, intimacy and swiping right, I was reminded of an RWA session I attended years ago with Linda Howard in which she presented Desmond Morris’s 12 stages of intimacy as a means to build sexual tension in a story. It comes from his Intimate Behaviour (© 1971), which I looked to buy and couldn’t find until my good 8LW pal Kay gave me her copy a couple of years ago.
One mention in the book that I recently delved into is play-fighting as a stage of intimacy (Chapter 5: Specialized Intimacy). I’ve used that in my stories and, at the time, I didn’t consciously know it was one, or part of one. I’ve read it in other stories. At times, I’ve read it done well and others, I’ve started reading the sequence and rolled my eyes and blew past it because it was too cliché. Morris highlights the possibility that it could escalate into something that is far different from the initial idle start to the play-fighting. That’s when it gets interesting and can be useful in storytelling. Does something go a little too far, then retaliation, then pay back, facial expressions change, play-fighting changes to not playing, or into something else entirely. Is it violence or sexual foreplay?
That’s one use of it with endless possibilities if used as a means to move the plot forward. The full list is below:
- Eye to body. This is the first step in general awareness, when one person gets a good look of someone else. It’s more than a glance that allows a person to notice the height, weight, and dress of another and registers an overall impression. A man will never approach a woman without this step and readers love it when writers get that first glimpse onto the page.
- Eye to eye. It seems to me that this should be first, but I’ll admit that The Des probably knows more about the topic than I do. He says this is the second step, but the first step of active interaction between two people.
- Voice to voice. Okay, now we’re talking. Literally.
- Hand to hand (or arm). This is used to acknowledge a possible relationship. Nora Roberts uses this a lot. I remember in the McD Romance program, several of us had trouble with how touchy Nora’s characters are early in the story. I believe Jenny put it succinctly (as she usually does) with something like, “Touch me again pal and you’ll pull back a bloody stump.” Obviously some people are more okay with this than others.
- Arm to shoulder. This strikes me as the classic yawn-and-drop move at the movies. This is upping the intimacy stakes because bodies are getting closer together.
- Arm to waist, or back. This indicated a growing familiarity and comfort level in a relationship. I like the hero’s hand on the small of the heroine’s back. Why I think that is romantic, I have no idea.
- Mouth to mouth. It would seem that The Des doesn’t differentiate between the lip kiss and the tongue kiss. Once someone else’s body part has entered mine, a hand to my head is, to me, less intimate. Again, I guess he knows more.
- Hand to head. I keep picturing a pat on the head, but I do love it in a story when one of the members of the couple holds the other’s head while kissing.
- Hand to body. This is the beginning of foreplay, but still clean (see stage 11).
- Mouth to breast. And again, I’d put 11 before 10 because I lump sexual body parts together. A hand to the breast seems less intimate than a mouth. The Des must just mean the vagina or penis.
- Hand to genitals. We’re rounding the bases now. And if one follows the mores for writing romance fiction these days, this is when the participants are stone cold sober or they stop.
- Genitals to genitals. Home run, baby! A funny aside: when I was noodling around on the web looking for input for this post, I stumbled across one that uses these steps for business relationships. This step for a business relationship means the customer becomes an insider. Ha.
Do you use this in your writing of relationships? Or do you follow a different path?