Erotic fiction inspired by Tigra
I was housesitting for a friend who lives in the city recently. I’m from the country, and I found the busy streets a little overwhelming, but quite exciting too. I wondered how many of the people rushing by were potential friends, or even lovers? The thought made me blush and look away whenever a stranger caught my eye.
One afternoon I came in from doing some shopping. There was snow on the ground, but inside the apartment was very warm, and I peeled off several layers of clothing, until I was down to just my underwear, and settled on the wide windowsill to watch the world go by. There were people passing in the street below, and I could see movement in some of the windows of the apartment block opposite.
I don’t know how long it took before it dawned on me that if I could see them, maybe people could see me too. I suppose at that point I should have moved away from the window, or put some clothes on, but I didn’t. It was exciting to think maybe someone was watching me right at that moment, hoping to see me do something I should only do in private. The idea made me flush with self-consciousness, but it also turned me on. I could feel my pussy getting creamy as I imagined some guy peeping at me. What if he was stroking his cock while he looked at me?
Trembling a little with arousal, I slid the strap of my vest top down, exposing more of my breasts. Was that bright flash I saw at the window opposite just a trick of the light, or was someone there, watching me? Encouraged by my own fevered imaginings, I pulled my top down further, so my nipple was exposed. Immediately it stiffened, almost as if someone had touched it. I imagined my watcher gasping with surprised pleasure, his hand involuntarily tightening around his dick.
Emboldened by the arousal that surged through me, I pushed my top all the way down to my waist, stroking my hands over my breasts. My pussy felt so hot and wet, and I rubbed myself through my panties, which were soaked through with my juice. I had never wanted to be penetrated so badly in my life. Kneeling up on the windowsill to give my unknown audience the perfect view, I eased my panties down around my thighs, giving a full-frontal flash of my pussy. I waited as long as I could before the urge to touch myself became too strong to resist. Then I stuffed my hand between my legs, fingers seeking out the slippery, cream-slick groove of my plump lips and sliding inside.
The tight panties around my thighs prevented me from spreading my legs any wider, and the pressure of my hand against my mound as my fingers thrust in and out was provoking a steady trickle of juice down my legs. Thinking only of my own need for release now, I pulled the panties down to my ankles so I could sit on the windowsill and open my knees wide, my fingers pumping into my slot harder and faster. Was my watcher’s hand a blur as he jacked himself faster too? My whole body shook as the spasms announcing my impending climax fired through me.
I spun back to my knees, this time with my ass towards the window, back arched so my pussy was on full view. I rode my fingers until my orgasm swept through me, then pressed my twitching pussy against the glass, smearing it with my cream. As I sank down onto the windowsill, utterly sated, I wondered if my watcher had sprayed the inside of his window with his cumload. I hoped so.
I’m thinking of moving to the big city now. Ever since this happened, I’ve been longing to find a place where I can see and be seen…
If you enjoy erotic fiction and would like to contribute some of your own, you can email it to me at email@example.com. I don't promise to post it in full, but I will pick out the juiciest bits to share!
Tracy Lindsay is the epitome of sex appeal – a beautiful golden-skinned blonde bombshell, with an incredible body (that world class ass!) and an enticing smile that suggests time spent with her would be unforgettable. She’s a major star on our sister sites SexArt and VivThomas, and although she’s only made a couple of appearances here at The Life Erotic, you can’t fail to be aware of her sizzling sexual presence.
Tracy’s solo scene ‘Honey’ is a sticky-sweet self-exploration of the most delicious kind. You’ll see Camille A masturbating to it in ‘Alone Again,’ and with good reason! It’s highly arousing to watch Tracy’s uninhibited quest for pleasure – and who wouldn’t dream about getting sticky with her? Tracy also has a steamy photoset with busty brunette Edwige here on TLE.
I thought you might enjoy reading the interview with Tracy that I did for the SexArt blog recently. If it’s whetted your appetite to see more of this irresistible babe, don’t forget you can watch her SexArt and VivThomas movies on Pay Per Scene, even if you’re not a member.
Tracy, please tell us a little about yourself.
TL: I am 23 years old, and I live in Prague. I like fitness, healthy food, good movies, going on trips...
What inspired you to get into nude modeling?
TL: It was a friend who got me into nude modeling. At first I thought that I would just make some one-time money and gain a new experience, but I liked it and decided to continue on a long-term basis.
What is your favorite thing about your appearance?
TL: I am generally satisfied with my appearance; if you want me to pick which part of my body I like in particular, it might be my lips.
How do you keep in such great shape?
TL: I go to the gym. I try to eat healthy but it's sometimes very difficult with all the traveling I do.
What do you enjoy most about making movies?
TL: I like traveling and meeting new people –the production people, as well as the models.
Which is your favorite of the movies you have shot for the MetArt Network?
TL: The series I like the most is Sexpresso, for VivThomas. I like how the scenes are cheerful, colorful and full of passion. It was shot in beautiful surroundings and with a group of great people. Even my role of a dominant, horny mistress fit me so well. I really enjoyed making the movie, and I think you can see that on screen.
Can you tell us about shooting ‘Love For Sale,’ your series shot by Alis Locanta for SexArt. This series caused a lot of controversy because of the storyline! How did you feel about it?
TL: The whole thing was a huge misunderstanding and the situation needlessly escalated. Making the movie was very interesting and a lot of fun, all participants were kind to me and nobody pushed me into doing anything I wouldn’t like to do myself (I am responding to some of the comments made about it). The most intensively discussed issue was anal sex, disliked by some of the members, and I respect that. However, I enjoy anal, in my private life as well as on screen! I think this series has fulfilled its purpose, because it was meant to be controversial and unique.
You narrated the story for ‘Love For Sale,’ and your English was excellent! Did it make you nervous to do this?
TL: No, I was not nervous. I am used to speaking English in my work. But it's true that I worried about the pronunciation: the story was quite complex and some of the expressions were not part of my daily vocabulary.
Who is your favorite partner?
TL: I particularly like working with Suzie Carina and Whitney Conroy. And also Misha Cross [they have a terrific scene in the VivThomas movie ‘Imperfection’], Amarna Miller and Lorena B.
You recently shot a scorching hot scene with Lorena for her VivThomas movie ‘After Hours’ – did you enjoy shooting with her?
TL: Yes, I enjoyed it. Lorena is a very emotional person and she is always so dedicated to her role and the movie.
Did you ever have sex with a girl in your personal life before you did it in a movie?
TL: No, I didn't. Just some kissing and touching in a relaxed atmosphere at the disco…
Do you find it easy to get turned on when you are filming?
TL: If myself and my partner suit each other, it is easy.
Please tell us about the series you are shooting with Andrej Lupin for SexArt at the moment.
TL: ‘Secrets of Prague.’ Well, it's great! You just have to see it. I have a great partner, Whitney Conroy, and we just love it. We are having a lot of fun during the shoot. It's also a lot of hard work but it's worth it, I am sure the result will be wonderful.
Are you an exhibitionist in real life?
TL: Maybe, partly. I am not a fan of sex in public, but I like wearing sexy or eccentric clothes and I enjoy people's looks. I would rather say that I like being the center of attention!
You seem like a very daring person, who likes to try new things. How would you describe yourself?
TL: I think I am; I often enthusiastically jump in head first to new things. I like being active; sitting home and being bored is definitely not for me. Traveling and meeting new people is a part of my work, this is why I love it. I feel enhanced by each new person I meet.
What are your ambitions?
TL: I would like to continue doing what I do as long as possible. But I realize that it can't be this way forever, so I want to graduate from university while working and get involved in the social sphere. Or I wouldn't mind continue working in this field (not being a model) if I found a way.
Is there anything else you would like to tell your fans?
TL: Yes, I would like to thank the members for all their positive evaluations and nice comments regarding me and my scenes. I really read them and they always boost my mood.
This interview originally ran on the SexArt blog in December 2014. I thought you might like to read it here on TLE, to coincide with today’s release of the mind-blowing new movie ‘Lost.’
If you think you know erotica, Paul and Ilona Black’s work is a game-changer. Their movies are dark, unsettling, sometimes even nightmarish – a far cry from glossy generic porn, with its emphasis on artificial perfection. They’re the perfect fit for The Life Erotic, marrying powerfully arousing imagery with a truly unique flair for the provocative. I vividly remember the night I was introduced to the Blacks’ movies. I binged until I’d watched every single one I could find. I just couldn’t look away. I’d scarcely caught my breath before scribbling down a long list of questions I wanted to ask Paul Black about their creative process. Like his movies, his responses were at once challenging, contrary and darkly humourous. This is a man who couldn’t be predictable if he tried!
Paul, your movies have a dark, often psychologically disturbing feel. Has that always been present in your work, or has it developed over time?
Even though most of my life has been devoted to professional music, I have always considered myself an artist first; everything else – musician, operator, director – came second. As an artist I would categorise myself in the drama genre. For me, drama is one of the most powerful and vital trends in art. The psychological pressure that’s subconsciously in my movies is all the same thirst for drama. Of course, when filming erotica, any director is limited in artistic terms. As a rule, erotic videos (particularly modern, commercial ones) already have a well-established genre in which it’s difficult to make your own changes and not scare off the viewer. I started as a director and screenwriter in art house cinema, working in the genre of ‘psychological drama.’ That’s where I developed my style, which is partially seen in my films for the MetArt Network. When I first moved into erotica and hardcore, I decided I would shoot everything the same way I was shooting normal feature movies. Otherwise it wasn’t interesting for me. The first years of such experiments were fails. Everyone advised me to start shooting in the classic genre, but I continued to experiment, and listened to no one. In any movie, be it erotic or feature film, what is important to me is the atmosphere. It can be in any style, but it should evoke emotion. Of course, the combination of an explicit erotic story and a dramatic atmosphere can lead to something similar to the horror genre. I have no way to deeply immerse the viewer into the story, and so contrary to my wishes, the movie has only a surface atmosphere – like horror films. That’s why the viewer may feel the movies are dark and perhaps even negative. But it’s always a happy ending!
Where do you draw your inspiration from – movies, books, music, dreams?
When I realized that my calling was cinema, and not music (although I spent fourteen years in a music group) I immediately paid attention to the outstanding Russian film director Andrei Tarkovsky. Before watching any of his movies, I realized that his point of view was similar to mine. I made that conclusion after reading one of his screenplays purely by chance, when I was learning how to write scripts. Just from his script, I felt the vibrant atmosphere of the movie, and I began to study the details of the scenes. Tarkovsky shot all of his movies in an exclusive, personally invented genre, which has not been used before him, and no one took up after his death. This is a unique director and unique genre. It’s uniqueness is in perfectionism. His every shot is a whole and well-designed work of art. In the words of Tarkovsky: “There are two basic categories of film directors. One consists of those who seek to imitate the world in which they live, the other of those who seek to create their own world.” I include myself in the second category. Let it be a crazy world – but my own. Of course, filming erotica in the genre of Andrei Tarkovsky isn’t in my ability range, and there’s just no need for it. But his world view has certainly left an imprint on me. Another director who is very different to Tarkovsky, but who also influenced my work, is David Lynch. If from Andrei Tarkovsky I studied the visual arts, then David Lynch attracted me with the psychological component to his work. They both created their own world! From the world of erotica, of course, Tinto Brass (although nowadays it’s difficult to watch without laughing). I will say briefly about music: I love all good music. Genre doesn’t matter. I myself, am a former rock musician and have a bunch of favourite bands. But if we’re talking about most favourite, that would be classical music – Johann Sebastian Bach. Concerning books, I’m not a big reader (I’m too lazy to read). As for the inspiration for a movie, it can come from anywhere: images, dreams, thoughts, or even my own desires.
What genre of mainstream movie do you enjoy, and do you think this influences your erotic work?
Art-house cinema and auteur films. Mainly in the genre of drama. There are heaps of film makers who shoot good movies. It’s a pity that many of them aren’t known to the mass audience. As for purely commercial Hollywood cinema, I am indifferent to it. I don’t mind these movies and I think they are necessary and often watch them myself, but it is like, ‘watch and forget.’ But the auteur films definitely affect my work and even my outlook on life. This is why these movies exist – changing lives for the better.
What drew you to shooting erotica?
I started with feature films, nothing erotic. In my first experiment, I got straight into the professional field of cinematographers, which I didn’t expect. As an amateur dreamer, I immediately got the role of a director of a large project with the support of Riga Film Studio and a branch of the company Universal: a professional film crew, honoured artists from the former Soviet Union, plenty of legal issues – and a lot of haemorrhoids! This project got into the International Moscow Film Festival right away – the first project which got to a festival of this level since the collapse of the Soviet Union. So the local film makers took me seriously immediately. Into erotica I came after the silver screen showed me its teeth. Luck turned away. I didn’t finish my own movie. The crew ran off. There were a lot of reasons – one of them funding. There weren’t enough funds to make the movie the way I wanted to. So I thought it’s better not to make a movie at all rather than make a bad movie. And I didn’t have enough experience at that time. That’s the reason I came to erotica. I’ll spend ten years shooting erotica in a cinematic genre, will gain experience and then come back to the big screen. This is what I’m doing now.
Your ideas are often quite bold and challenging. Are you a non-conformist in other areas of your life, or do you channel it all into your work?
My main world view, I put together as a child. I’m not one of those people who often changes their outlook or opinion. I add to it with age, but the key points remain the same! As for society, I never understood it and it never understood me. But over the years I got used to it and I can’t say that it disturbs me. There’s a small number of people with whom I’m interested in spending time and they understand me, and that’s enough for me. At work and in my personal life I’m the same, everything is intertwined. For the majority of people in my homeland, I’m probably more abnormal than normal. But I think that the problem isn’t in me. I live in peace with my conscience, I prefer to tell people the truth and not be a hypocrite. But the truth is not always pleasant to people who are used to having a slaves’ outlook in the seventy years of total control of the population of the USSR. The Soviet Union is long gone, but the society in which I live is still steeped in the values – that are not actually values, from a logical point of view. Yes, I am a person that doesn’t recognize traditions, manners of a society or period. I live only on common sense and my life in the twenty-first century. And I don’t bother anyone. But my society claims that I do. I live in Europe, but where there are European values it’s bad for most people. So I swim against the tide in my personal life and at work and I’m not afraid. As sung in one song, “Do not cave in under the changing world, it’s better the world will bend under us!”
Does your Latvian heritage influence your work?
“Latvian heritage” isn’t really the right question. I was born in the Soviet Union, in the Latvian SSR. Latvia under the Soviet Union and independent Latvia are two different things. Independent Latvia has only existed for a very short period of time, and honestly, it’s doing very, very badly. I don’t even know whether there is a “Latvian heritage,” I know nothing about it. Good movies in independent Latvia aren’t made, good music either. Latvia doesn’t have time for creativity! But if we talk about the Soviet Latvia, then, of course, there were good movies and good music. But it can hardly be called Latvian heritage. It’s a Soviet legacy, which is closely linked with Russia. It’s the Soviet legacy that, of course, affected me and my work. For example Andrei Tarkovsky, before he left to live in Europe, began his career in the Soviet Union. And his most successful films were made in the USSR. Despite the fact that I don’t like totalitarian government and I love freedom, I am proud of the Soviet Union. I think that it’s the best thing that has happened to Russia. The USSR was unique, though with a lot of drawbacks. Soviet movies were totally different from American films, and this was their advantage. It had its own style. I still with great pleasure watch these old Soviet movies. As for the new Russian cinema, I’m completely indifferent! It’s the same as American films, but poorly made due to low budgets.
Your studio is quite unique and fascinating – how do you create its look?
We try to make all props with our own hands, that’s the only way to make them as planned. We have enough experience in creating interiors from our own ideas. Over the years, we have mastered a lot of professions: from welding to tailoring, from electrical engineering to decorating. The basic experience, I personally got in the construction of scenery for my feature film project. It’s simple, when you’re interested – you do everything step by step, piece by piece, and most importantly, think it all through. Sometimes it’s better to think more, than to do. We gained a lot of experience on the BDSM porn project. We had quite a big team, and the project was very large. All the devices and props were made with our hands. We had our own engineer and electrician. I myself learned a bunch of crafts: welding, blacksmithing, carpentry, and others. It was on this project that I met Ilona, who was invited as a photographer. That’s where we got the idea to work together, even after the end of the project. In recent years, it was mainly just the two of us working together. And, of course, we are very limited in artistic and technical capabilities. But recently we decided to go back to the larger shoot: recruiting a team, developing our studio, in which we are going to build interiors, we’re buying antiques and other props. Generally moving to a new, more complex and large-scale stage, like in cinema.
Do you work with a prop builder or do you like to do all the work yourself?
At the moment there are three of us working. Me, Ilona and a technical assistant. Our technical assistant also has a variety of professions, including construction. But everything is done by the three of us. I am very demanding about details and hard to please. So I try to participate in all aspects of preparation and shooting. Otherwise, I’ll start redoing everything! Anyway, the director simply must take part in everything. We’re not making movies large enough for me not to have time for the construction or selection of clothes. If there’s time, it’s better to do everything yourself. So the three of us are carpenters, tailors, painters, designers and porters!
Can you tell us more about the studio?
It’s 300 square meters, which is necessary for the construction of large sets for our ideas. It’s very difficult to work in ready-made interiors. The search for them takes a lot of time, and it’s almost impossible to find a finished interior which exactly meets our artistic requirements. I’m not even talking about the convenience of interior lighting and other technical details that can only be realized in a stationary position. That’s why big movies are shot on studio sets. Shooting erotica in similar hotels, that all look the same, saddens us. Yes, you have to work less, but the result should be more important than laziness. We don’t have any special story ideas at the moment. The studio solves the issues with the interior, and the plot ideas come and go. We do have plans that include an idea of a mini series in the genre of steampunk. Those who know this genre, will understand how difficult it is from a visual standpoint and how hard it will be to work on the decor. With respect to the storyline, there are several options, but we are still thinking about it. Perhaps it will be a series associated with various sex machines. But I know for sure – erotica in this genre has never been done before!
How do you plan and script your shoots?
Before each shoot we write a detailed scenario. Every frame, every action, every emotion of the model, sound and light is clearly written in the script in advance. Usually a script for a movie is five pages of A4, about five scenes and seventy main frames. Improvisation is permissible only in the last scene. Prior to that, the model does what is written in the script. There I’m an uncompromising man. If the model isn’t getting it right, then we shoot take after take until she gets it. Ninety-nine percent of the models on our shoots end up in a state of shock. Since they are not used to working with such scenarios, it takes a very long time to get used to this way of filming – many run away from the shoot. I only feel the artistic emotion when writing a script. During the filming, it’s purely technical work.
You specialise in the ‘short, sharp shock’ for SexArt and The Life Erotic – very complex ideas explored in a very brief time frame. Any plans to shoot some longer stories, or do you prefer just to tease us?
Heh! I don’t believe that the length of the frames in our films are ‘short’ or ‘prolonged.’ The frame shows exactly as much as it was created to show. The duration of the movies isn’t long. If you take a big movie, which lasts one and a half hours on average, you can show a whole life. And in our movies we have only one scene – masturbation. Why stretch it? I would make it even shorter, about five minutes. That’s enough to see the process even wrapped in a movie wrapper. I’m also a big opponent of the view that when shots change rapidly, it’s impossible to see something. Something is still possible? That’s what I want the audience to see. It’s not a static image, which you can watch as much as you wish. Films are vivid pictures and frames. Put together, they give an overall picture of what is happening, even if they change frequently. Take any Hollywood movie, there is a frequent change of frames, and to me personally, everything is clear. Although there are those who complain about this, they say, “too fast, nothing is clear, too dark.” Reminds me of my grandmother, when she first saw a clip of Michael Jackson: “Oh, everything is so fast that nothing is clear.” But she’s a grandmother and saw it for the first time, so it’s forgivable. She just has to watch carefully and train the brain for quicker analysis! The twenty-first century is the century of speed! I don’t think that the process of masturbation is very different from a similar scene in the cinema, and there it’s lively and concise. It’s old school, that the frame should last at least five seconds.
Is there a SexArt or The Life Erotic movie that you are most proud of?
Most likely not. I would say that there are bad movies, and movies that are more or less okay. I’m always unhappy with the result. I’m like that. To make a film, showing the most of our abilities, we need other opportunities that we don’t have. It’s time, technical possibilities and other circumstances. At the moment, we do things based on our capabilities, rather than abilities. My idea of a good movie, which I can be proud of, is levels higher – by all indicators – from what we are doing now. That’s why now we decided to move to another, more challenging phase of filming. Let’s see what we will turn out. But for now I’m still not happy with the result. For that, I’m not liked by models and sometimes the team. Nobody will ever hear praise from me...
Which movie was the most challenging to shoot?
It’s difficult to answer this question. Each film is unique and each has unique difficulties. I’ll reveal a secret – the atmosphere at our shoots is horrible! I’m a very demanding and also nervous person on the set. Any of our shoots is a mini stress for everyone. Therefore, no one loves the process of filming, and many models absolutely don’t want to work with us. Everybody likes it when it’s finished. Working with models is difficult for our genre. Not all models quickly get into the heart of the process. Not everyone can act. Not all understand what’s happening. I don’t know how other people shoot and how they manage to keep calm, but our shoots take place in a very nervewracking atmosphere. First of all, the models can’t always do what we need them to do – it’s very rare that they can. Second, we have a lot of technical difficulties, which – as far as I can judge – others don’t. We simply don’t have enough hands to work properly. I’m also very demanding about details, pedantic, in fact. We spend a lot of time and effort on things that it is quite possible no one will even notice, but if they are noticed, then it will only be by someone who understands such things. But I can’t decide for other people, “will they notice or not?” We must always do everything perfectly, as if for ourselves.
Do you have a muse – a model who particularly inspires you?
I think not. Of all the models I’ve shot, I haven’t yet found one that would be one hundred percent right for our genre. It’s not models that we need, but actresses. But, actresses don’t film in such frank erotica. The model that best copes with the tasks is Raeah. Usually, with her, the shooting takes place with minimal conflict! And, of course, if everyone played and understood the process of filming like Emily, then the level of shooting would be much higher. But Emily isn’t a ‘model.’
Does it take a particular kind of model to rise to the challenge – you are asking them to do so much more than just look pretty?
Ha ha ha!!! For the models we’re a silent (or loud) horror! There hasn’t been a single model that didn’t say something like, “I’m shocked, I didn’t think it would be so difficult! I wasn’t warned that this was such a nightmare, I want to go home... ” They all say roughly the same thing: “No one shoots such complex scenarios. Nobody takes that long. No one takes so many plans, takes, parts, bottles, buttons, and so on. ” They don’t understand why we shoot an orgasm ten times. Why it’s necessary before each shot, to stay still in the correct position and analyse the previous frame. Why are we constantly managing props, light, focus. Why they can’t move after each frame. Models get a good lesson and remember our shoots for a long time. For the next director who will be filming her after us, it’ll be much easier to work with the model. But in the beginning, they’re all spoiled and capricious. But after five hours of filming, they begin to understand that nothing will be over, unless they do what’s asked of them. Some even run away!
How do you get the model into character?
Any emotion on her face is thought through and written by me, up to the point of me rehearsing it in front of a mirror. Another thing is that often the model can’t repeat fifty percent of what is written in the script, and instead of getting the correct emotions, I get something else. But I’m sure that if I don’t demand the maximum, then I won’t even get a minimum. So I always fill the script with complicated things. Often the models have gloomy emotions, and it’s their actual real emotions. As I said, we have a gloomy atmosphere on set and models have a similar emotional outcome. Our models more often cry than smile. I used to try to be patient, but then realized that this tolerance to the models reflected badly in the movies. I’d rather have the models hate me, than make a movie where the models act like in a porno, restrain smiles, look into the camera, and so on.
Yourself and your wife Ilona obviously share a powerful creative vision – do you find yourselves discussing shots over the dinner table?
Ilona is the second director, and from scripting to the last stages of working in the recording studio, we do everything together. Also many scenarios and ideas are fully owned by Ilona. The only division of responsibilities occurs during the assembly of the film and photo processing. Everything else we do and come up with together. Yes, of course, we often talk about the shoots. It also happens in the middle of the night. It may occur during lunch and in the bathroom and even during a visit to my family or friends. It’s an essential part of our lives and all of our loved ones are up to date about it.
Has Ilona influenced your portrayal of women on film?
No, I don’t think so. Images of the models in the films aren’t really worked through. We want to correct this situation and begin to pay more attention to it. Before, often, the appearance of the model didn’t correspond with the film. But, of course, there’s a common style and understanding of how the model should look in our movies. The key aspect here is simplicity! The most frequent difficulty lies in the fact that the model is too glamorous, and we have to wash the whole thing off to somehow infuse her into our film. But sometimes there’s just not enough time.
What do you hope your viewers get from your movies?
I still don’t know what the audience wants. First of all, the audience is diverse. One needs one thing, another something else. Someone will say they got aesthetic pleasure from our movies, and the other will grumble that they didn’t have time to see something there. But, of course, I have an idea of what type of audience will understand our films. If a person has an aesthetic artistic taste, they will appreciate and understand our films at least from that point of view. If a person is just in need of an orgasm, it’s unlikely. It’s probably almost impossible to masturbate to our films – I wouldn’t be able to! But there’s porn for that. Our movies are for careful reviewing by certain people – and such people do exist, I know.
If you think you might be one of them, take a look at Paul and Ilona Black’s movies. I guarantee your view of erotica will never be the same once you do!
Erotic fiction inspired by Leila A
There are things I need to do, calls I should make, work to be done. But I just can’t shake that urge. You know the one I mean.
My denim shorts are so tight, the seam between my legs pressing right between my pussy lips. Maybe that’s why I’m feeling the telltale throb radiating from my crotch all the way to my stiffening nipples. I grab the bottom of the shorts and pull upward, grinding them even tighter against my hot snatch. It feels so good.
Unbuttoning my shirt, I flick a nail across my hard nipple, feeling an electric current spark down to my cooch, juice soaking through the fabric that’s rubbing deeper between my plump lips. I lie on my back on the table, legs high in the air, tugging at the thin strip of denim and sawing it back and forth until it’s saturated with my cream and waves of pleasure are pulsing through me.
I spread my pussy lips apart so the wet fabric can slide even deeper, then force a finger past the confines of the denim and right into my hot hole. Immediately, my sugar walls spasm around my probing finger and I feel a fresh surge of juice spurt out and trickle over my hand. I’ve never squirted before, but the pressure of the tight shorts all around my crotch is causing such a throbbing sensation that I feel like I might explode. I taste my cream from my fingers and it’s hot, sweet and tangy.
I need to cum now – badly. I thrust two fingers into my pussy, one either side of the drenched fabric, and press it harder and harder against my clit as my fingers move frantically, searching out my sweet spot and rubbing insistently. My legs stiffen, my back arches and the throbbing builds until suddenly – oh, oh, oh – I’m cumming like crazy, wetness gushing from deep inside.
It takes a few moments for me to come back to my senses, and I know I’m not done yet. Easing down the soaked shorts and pressing the crotch to my face so I smell my own arousal, I crouch up on the table with my legs parted so my pussy is spread wide. I slide a couple of fingers back into my slippery hole and ride them, imagining it’s a big cock filling me, the aftershocks from my orgasm twitching and pulsing through me. My fingers aren’t enough now, and I take off one of my shoes and wrap my shirt around the heel, then stroke it up and down along the groove of my pussy lips. Turning onto my knees, I rub the makeshift dildo against my cunt over and over, until I’m cumming again, just as hard as the first time.
When I get the urge like this, it’s impossible for me to resist. What would you do if you were with me, I wonder…
If you enjoy erotic fiction and would like to contribute some of your own, you can email it to me at firstname.lastname@example.org. I don’t promise to post it in full, but I will pick out the juiciest bits to share!
Here at The Life Erotic she’s known by her original modeling name, Nessy – but to the wider world she’s better known as erotic superstar Whitney Conroy. This blonde bombshell is an unstoppable force of nature, her myriad movie liaisons on our sister sites Sexart and VivThomas marking her out as a girl with a compelling physical presence. Gradually, a fascinating side to Whitney’s personality has begun to emerge on screen; far from being the soft, sweet little babe she first seemed, she has a powerful, almost masculine confidence, and loves to dominate her partners with utter disdain for convention. It’s this devil-may-care side to Whitney that I find irresistible, and the insanely hot way she dominated Margot in the sensational SexArt movie ‘Lift’ (my pick of her movies, as well as her own!) was one of many reasons why I made her my ‘SexArt Girl of 2014.’
Whitney is more – much more – than just a hot girl. By turns sweet, flirty, sassy and insatiable, she becomes what one MetArt Network member described as a “sexual tyrannosaurus” when she’s intent on reaching one of her trademark mind-blowing orgasms. You can imagine how thrilled I was to get the opportunity to ask Whitney some questions for the SexArt blog – and her forthright way of expressing herself made me love her even more. I though you might enjoy it here too…
Whitney, please tell us a little about yourself.
I am 21 years old. I live in Prague and I was also born here. I love Prague very much.
What inspired you to get into nude modeling?
I saw some advertising for nude modeling, so that was the first impulse. Nothing that special; I was 18 and wanted to make some money, like everyone else… and then I got into it and started working a lot!
What is your favorite thing about your appearance?
My favorite things are probably my bottom and my lips and my smile.
Did you do a lot of stills photography, before starting to make movies?
I didn’t do any! I started with stills and movies at the same time.
You seem to enjoy making movies with themes of dominance and submission – and we love watching you in them! Are you more dominant or submissive by nature?
Honestly, I am more dominant than submissive. I like this kind of shooting because it’s something different.
Which is your favorite of the movies you have shot for the MetArt Network?
I really like the SexArt movie ‘Lift’ with Margot, she is a really great person. I like it because it’s also something different, I like the power of this movie! And it’s amusing to watch it.
Who was your favorite partner in a movie?
Margot A, Tess B and Matt Ice.
Did you have sex with girls in your personal life before you started making movies?
Yes, I did it twice. I was about 15 years old. And it was with a friend of mine in our pool at home!
What do you like about girls, and guys?
There’s a big difference between guys and girls. I like girls because of their body, soft movements, the shape of the pussy, and nice kissing. I like boys because of their mind, thoughts and attitude to life. I don’t like a girl’s psyche very much.
What are you ambitions?
My ambitions are very big! Some of them: improve my English and Spanish, finish university, keep up my healthy eating (mostly raw and vegan), be with the people I love, buy a flat, and live in the moment and enjoy life (that’s really important).
Is there anything else you would like to tell your fans?
Don’t ever waste your time, do everything you like or love, put yourself first and live your life to the maximum!!! Love, kiss!!!
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