"Rich Bitch, Prison Bitch" -- A Fractured F*cking Tale

  

Click on this text to get my rapiest book evah!

I am really pleased and proud of my latest novella, “Rich Bitch, Prison Bitch.” I hope readers will feel the same way about it.

It’s full-on taboo erotica this time. Rape is the taboo that is being violated here, and it’s being thoroughly violated indeed. There’s M/f rape. There’s F/f rape. And there’s FFFFFFF/f rape. At no point does consensuality raise its ugly head.

But it’s not simple porn, of course. It’s another shot at the effects capitalism has on human beings, particularly in its worst manifestation, the American prison system. I use the form of a standard erotica trope: the fall from grace. My protagonist, Kim Halstead is beautiful young woman from a family worth millions. She comes from “good New England stock,” i.e., her parents are well-to-do Protestants who’ve been around since the earliest days of the New England colonies.

In college (University of Connecticut, majoring in Finance) she joins a sorority filled with wealthy elite women like herself and mocks the ‘losers’ who aren’t part of her sorority. She dates wealthy elite frat bros and has a generally wonderful time of it.

When she graduates from college, she gets a job offer from a prestigious Wall Street firm, Bluestone Investment Group (aka BIG money) and happily continues dating a lot of wealthy, handsome men in search of the one with the right moves and the right money.

But there’s a snake in the verdant garden that is Kim’s life, and what makes her vulnerable to it is the values she has unknowingly picked up from her elite family and friends. For her the world is made up of winners and losers, and most are losers, and Kim’s goal in life is to continue to be a winner. And having lots of money is a key to being a winner, and it doesn’t really matter how you get it.

And when you are an elite winner, you’re practically invulnerable, no bad consequences will happen to you, no matter what you do.

All this is subtly ingrained in Kim’s worldview, she isn’t even aware of it, and would probably renounce such views if they were stated so baldly to her.

Thus when she is accused of defrauding her clients via a pump-and-dump scheme (which she is definitely doing, but so is everyone at her bank) she’s totally unprepared when she winds up convicted and imprisoned.

The media fall all over themselves to find salacious pictures of the beautiful blond banker with the very curvy body during the trial, and thanks to Kim’s frequent clubbing and beach partying, there are plenty to find online.

But when she goes to prison, she discovers that the beauty that made her golden path through life even more golden, now makes her a target for prison rapists. She’s raped by guards, other prisoners, prison gangs and always while tied up and often while gagged, sometimes while hooded. She’s raped inside her cell and outside her cell. She is brutalized until she fears for her very life, and as a result she becomes the lowest of the low in prison, everyone’s sex toy, a prison bitch.

Never a fighter, more of a lover, she becomes prey in prison, where you’re either a predator or prey and the predators are expert at sniffing out prey.

The guards in prison are the worst predators. They’ve built a hidden playroom where they can rape the inmates in comfort and privacy with plenty of toys.

Now I tried to keep this story within the bounds of what’s reasonable. But I did want to provide the rape fantasies readers enjoy, and I know they like them hardcore. I had thought this might requires me to greatly stretch the limits of the prison genre, surely this sort of thing never happens.

But noooooooo… it happens a lot. Not just the sexual abuse of prisoners which is rampant and happens at the hands of guards more often than other inmates.

Here’s a Wikipedia summary on the topic. I did not have to go outside the bounds of the real world at all here, unfortunately.

Even the sexual playroom, while there are no known equivalents in the prison system, does have a non-sexual equivalent in the secret luxury lounge that prison staff built at Riker’s Island.

If such a lounge had been built at a place like FCI Dublin federal women’s prison in California, where because of the rampant sexual abuse, inmates and staff had named it “The Rape Club,” I think there would have been an exact equivalent.

I personally would be a LOT happier my story were a LOT more fictional. Like, dinosaurs chasing cavemen around fictional. Something that never happens in real life. But no, our crap-ass excuse for prison system has made my story all too realistic.

The crime aspects of my story are not all that fictional, either. There are a LOT of parallels between what happened to Martha Stewart amid the Wall Street insider trading scandal and what happens to Kim. It’s not exactly the same, but if I wanted to describe my story as “ripped from the headlines!” for a promo piece, I could do it with a clear conscience.

The “fixers” in my story who get nefarious things done for the wealthy and powerful, whether they’re wealthy oligarchs or political bigwigs, are kind of made up, but not really. Fixers are a fairly common phenomenon in politics, but they tend to operate mostly in the realm of legally gray spaces, doing things like conducting oppo research via sleazy means and initiating sleazy campaigns against political opponents, like Karl Rove, who’s probably the prime example.

And whoever killed Jeffrey Epstein was undoubtedly given the assignment by a more illegal sort of fixer, the sort that shows up in my story.

I also experimented with a different approach to the narrative in my story. In most of my stories the narrative is simple and straightforward, with the timeline being a simple unbroken arrow. In this story we start about two thirds into the story with a prolonged lesbian rape scene that’s punctuated by flashbacks to her earlier life that help us learn who she is and how she wound up in prison. The result is a sort of parallel progression in the story, with the nonstop raping of Kim by people and groups of people, occurring alongside our discovery of Kim’s backstory. The idea is that readers are never far from a rape scene as they read.

Otherwise, the story would have long sections of non-rape content early on with the rape content mostly in the last half of the story.

I think the fractured storyline worked out very well, but then, I’m the author so I may have a wee bit of bias. See what you think for yourself.

Karg Now Available on Smashwords In Kindle and Other Formats

 

 Get a copy of Karg right now by clicking on this link!

I originally published Karg in serialized form on my Jolly Roper website before Amazon existed. This was also before censorship existed on the World Wide Web, for all practical purposes. It was just for nerds, who cared what they said or wrote? The only major no-no at that time was child porn, because that was illegal generally, and it was the only thing that was generally illegal.

That was a good thing for me because Karg was full of stuff that is a no-no in modern terms. Like bestiality and scat. And rape and nonconsensual sex slavery – so MUCH rape and nonconsensual sex slavery, the book was awash in it (and it still is, check out the keywords).

I was able to publish Karg on Amazon without making any changes to it. Rape, nonconsensual sex slavery, bestiality and incest (incest was inexplicably left out of Karg, though) were all fine on Amazon at that point in time. This was a mistake in one respect: Karg could have REALLY used another thorough proofreading. When I was publishing from my website, I was doing it for the sheer joy of writing. I didn’t proofread nearly as thoroughly as I should have – proofreading isn’t innately joyous.

Over time, and not a hell of a long time, Amazon grew markedly more censorious. I never got a complaint about Karg on Amazon, weirdly enough, because it was by FAR the most censorable thing I have ever written. But when several of my books got banned (“blocked” was Amazon’s term, but it was censorship just the same) by Amazon for rape (most notably the “Riverbeast” sereis and the “President Slavegirl” series) I unpublished Karg on Amazon along with several other books that were bound to be blocked sooner or later now that the censors were on my trail.

Republishng on Smashwords now, I gave Karg another thorough proofreading and found way too many errors. I can’t guarantee the text is now error-free, being only human and all, but I CAN say it’s much less errored -up than it was.

My original impetus in writing Karg was to highlight how unrealistic the female characters in the Gor novels are. One minute, they’re feminist teachers and librarians and students and whatnot, then they get one thorough dicking down from a Gorean Master and they’re in full submissive slavegirl mode. It doesn’t work like that at all in real human psychology. It’s a straight up male fantasy and not a particularly sophisticated one, and it works fine on that low level I guess, if that’s all you are looking for. But I think it’s more powerful when the woman involved is more self-aware and resists more.

That said, the Gor novels have done a LOT better than anything I have ever written has, so taking my words with a grain of salt here is probably a fair idea.

But my critique of Gorean female characterization is why I conceived of Karg as being about a woman from an advanced starfaring society who is captured and enslaved by primitives. Her mind is different from theirs. She experiences things differently and thinks about them differently. She doesn’t become part of their primitive society from a single slave rape, or even a LOT of slave rape.

I tried to make my story generally more realistic. I’d read a number of accounts of how captured and enslaved people are and were treated by primitives in real-world Earth, and it was definitely Not Good. That influenced the way I wrote my story. I tried to maintain accuracy, though of course I leaned in the direction of nudity, bondage and sex as the book is erotica, albeit SF erotica.

Hence, the protagonist, upon being captured and clearly not from Around Here, was enslaved, stripped and gang raped. None of these things is done to every attractive female captured by primitives, but they were done to some female captives by some primitives in real-world Earth. And my reasons for choosing those options was to create a believable and realistic story. It wasn’t hard, if you read actual history instead of the sanitized stuff in textbooks, you’ll find a lot of stuff that will leave you stunned.

So I did have the astronaut beaten and tormented by women and children while bound naked to an altar at the center of the village. Historically accurate. She wasn’t sexually assaulted by them, that was the men’s prerogative, a prerogative they take later.

But nowadays you can’t assume censors are people who give a shit about your story. They’re there to protect their corporations from legal liability, and they do not give a rat’s ass about the quality of the stories they publish, one way or the other. Therefore, any mention of children in the vicinity of a naked woman in a work of erotica, much less children hitting and physically abusing said naked woman is close enough for any such corporate censor to ban it. So that scene had to be removed.

It wasn’t a big deal, it wasn’t essential to the story so I had no problem removing the scene.

But there was also the bestiality. Nothing to keep me from publishing the bestiality on Smashwords, except that I had sullen teenage girls as the ones who had a reptiloid rape her. When I published the story on Amazon, bestiality was starting to get censored. Like, you could have erotic stories about werewolves but they could only have sex while in human form. Never in wolf form. There were still stories about women falling in love with dinosaurs and dragons and having sex with them for some reason, though. I think the justification was that so long as the animal didn’t exist in the real world it was fantasy. (Like your average male character in an erotic romance exists in the real world. I mean, biker billionaires? C’mon! Tell me another!)

I could see the writing on that wall. Plus, the teen girls were going to be an issue, I knew. So I rewrote that portion of the story so that it was young adult women and not teen girls who were planning on having the reptiloid fuck Susan. And in the rewrite of the story, the reptiloid refuses to fuck Susan ,who is of course still tied up and gagged and helpless, So the scene would have been described by a censor as underaged bestiality bondage rape, which is probably the most awful kind of porn that isn’t snuff. (Which probably helps explain why Karg was so darned popular in the serial version.)

Susan doesn’t smell right to the reptiloid, or look right, so no go. The refusal is actually a pretty realistic depiction of how things might have gone. The Romans for example had to smear the vaginal fluids of female hyenas in heat on the genitals of virgins they had staked out in the arena to be raped by male hyenas for the amusement of the crowds. (Not making this up, the Romans really did that. As I said, real history is just full of stuff that will make your skin crawl.)

But by the time I was publishing on Smashwords I knew that scene would eventually get me in trouble from censors who do not give a shit about stories, so I nixed the entire scene. I actually came up with a neat way to resolve the scene so that it really highlighted the cultural differences between Susan and her captors, though it wasn’t nearly as dramatic as underaged sexual bondage bestiality rape. (But then, what is?)

But then there was the baby-smelling scene in the barn. Given what I have already told you about the scenes I have removed from Karg, your hair is probably standing on end right now. Calm down, this is mild stuff. Susan gets captured and put in a barn because her captors think she is a former hucow because her breasts are so large. She’s not lactating so they try to encourage that by tying her to a post so she can’t move then hanging a sling from her neck and putting a baby in it, forcing Susan to look at and smell the baby.

Afterwards, a couple of nursing toddler are brought in and encouraged to suckle at Susan’s empty breasts.

Susan doesn’t care for her breasts being gnawed on and orders her nanoset (you’ll just have to read the book to find out about the nanoset) to crank up milk production. It’s not an erotic scene.

But I knew damn well that censors would see it as as erotica, and hence the toddler sucking scene was going to be trouble. So I tossed the toddler scene out, instead having an adult male farmhand work her breasts. I also knew the baby-smelling would be trouble for the same reasons. So I tossed out the baby and instead had Susan forced to smell a big ball of baby swaddling that still had the smell of babies on it. (In hindsight, this represents a little more realism, since the farmhands regarded Susan as a wild hucow.)

I also tossed out a scene that involved forced piss-drinking, because urolagnia, i.e., scat, would be the call from censors, even though it was more attempts to induce lactation.

At this point I realized that any and all references to children were probably a mistaken, even if they were just standing around in the background, e.g.: “The women and children went off to gather fruits and nuts.” So I did a global search for the words “child” “boy” and “girl” and removed almost every occurrence. As a result, the primitives in Karg live in those erotica villages which are inhabited only by adult men and women over 18 years of age, thankyewverymuch.

You are probably thinking, “Pat … have you got any story LEFT after tossing all that stuff out?” And the answer is, “Yes, I do.” The manuscript was over 120,000 words before I started editing, it’s over 117,000 words now. All the stuff I tossed was just a drop in the bucket. Karg is epic.

And no individual scene that I dumped/altered was essential to the story. But here’s the thing: though none of the scenes were essential, they arguably made the story more real. They may have been part of the background scenery, but they were helpful parts. Most people who read or even watch movies “knows” that if you visit a primitive village there will be lots of children swarming around. It’s not like they have daycare or schools.

Furthermore, the crude, ignorant cruelty with which Susan is treated by the tribe she encounters, and by the “civilized” Kargians she encounters makes the raw, primitive story more real. We “know” at some level that this is the sort of nastiness you might encounter from primitives if you are captured by the wrong ones. We need look no farther than the experiences of settlers captured by indigenous people in America to know this is so.

Still, if you like sex slavery and slave rape, you’re going to like Karg, you’re going to like it a LOT. And there will be a lot to like: 117,000 words, and in most of them Susan is either a slave being raped or headed for her next experience of being a slave who is raped. (Her travels are very eventful!)

I’m not complaining about “whatever happened to my novel?” here. I’m trying to make a more global point about the effect censorship has on erotica. When I wrote the serialized version of “Karg” I wasn’t concerned at all about censorship. I crossed a lot of what would now be considered red lines, without a care in the world, just because I thought the scene would make the story more real, more believable based on what I knew about how primitives treated slaves. And I think overall it did.

In the censored version, by contrast, I’ve got primitive villagers living in villages where there are no children in evidence. I’ve got a woman in a barn full of lactating women being induced to lactate via dubious methods.

It’s subtle, and I doubt if most erotica readers would note it consciously, because of course every OTHER work of erotica has to operate by the same rules. It’s what you get when you censor.

Note: copies of the original serialized Karg are stored in the same vault with the original Necronomicon and you know who guards that vault.

Three Tavern Slaves, A Bundle of Stories for Labor Day (And You Thought Your Job Sucked!)

 

You can buy it here for just 3.99!

It's Moira the Yard Sale Slut, Jessica the Virgin and Mia the Contortionist, all in one very bendy, very lengthy (over 100,000 words) volume. Have a great Labor Day, and remember, workers of the world, unite!

Da blurb:

"Tavern Sluts" is the adventures of three women who serve as waitresses in the Smiling Slut Tavern, a very different sort of tavern where the waitresses’ sexual use is on the menu along with the food and drink. This collection includes “Yard Sale Slut: The Novel,” “Jessica’s Virgin Auction” and “Mia the Contortionist.” All of these stories, available separately on Smashwords, are now in one tasty package!

We start with Moira, an orphan who's at one of the may low points in her life. Moira begins her story bound, gagged and naked, a slave being sold along with various other knickknacks and whatnots by her owners, the Grayson family, at their yard sale.

The slavers who’d bought her and broken her to slavery had been more than evil enough, with all the rape and whipping and whoring of her, but this was just humiliating. Sold, raped and now … discounted.

When she's bought by a local slut tavern owner, Moira figures it's just another humiliation in the long sequence of humiliations she had endured. But the Smiling Slut Tavern, Moira's new owner, has some surprises in store for her. She had no idea she'd fall in love! And she was unprepared for Sky, the First Girl, whose mysterious psychic powers take Moira's life in a whole new direction.

The next time we visit the Smiling Slut Tavern, more than a century has passed. Technology has given men and women ways of expanding sexual pleasure greatly. But technology has potential for misuse, too, and Jessica of “Jessica's Virgin Auction” is a prime example. Her parents, deeply religious and socially conservative, put a watcherball on her, a tiny flying camera that could deliver electric shocks. It was commonly used to protect children. Most parents turned the watcherballs off when their kids were safe at home.

But Jessica's parents never turned her watcherball off. The watcherball was always right there to give her tiny electric shocks if it sensed her sexuality budding.

As a result, Jessica's sexuality is a mysterious unknown territory that she is desperate to explore in the most extreme way possible. And there's no more extreme method that Jessica knows of than to become a tavern slut.

Which is how, shortly after her 18th birhday, Jessica winds up naked, bound and gagged in an alcove at the Smiling Slut Tavern, the living prize in a virgin auction, waiting eagerly for the first of ten lucky men who will have her that night.

What Jessica doesn't know is that her auction will be the spark that sets off fireworks throughout the tavern, and which will put the Smiling Slut Tavern on the map as one of the most exciting slut taverns ever and make her name forever famous!

Finally, we have Mia. Mia, like most women of her times, enjoys the dating scene as it has evolved under basic income. Mia's problem is that she likes having sex with the guys all too much. Women are supposed to string the guys along, releasing the kitty from the bag bit by bit, never emptying it. But athletic, vital, sensuous Mia had a tendency to empty the bag on the very first date.

Tavern sluts get to empty the bag all day long, every day. But Mia can't become a tavern slut because tavern sluts are the enemies of regular women, always on offer along with all the other items on the menu, making it so much harder for regular women to string the men along. How could she maintain her friendships with regular women when she was in the enemy camp?

These three stories have already been published separately on Smashwords. If you've already bought them, you won't find anything new here. If you haven't bought them, give the stories a try. You'll be glad you did!

These three stories together are over 100,000 words long, and are part of the Basic Income universe, although as noted, Moira's story precedes the advent of Basic Income.

Yard Sale Slut: The Novel Now On Smashwords

Smashwords link (includes Kindle epub and other formats) $2.99

“Yard Sale Slut: The Novel,” is the greatly revised and extended version of “Yard Sale Slut” a novella published on Amazon three years ago. The novella was 33,000 words long and the novel is 53,000 words long.

The additional 20,000 words deals with the protagonist’s experiences after she is drugged and sold to the Mossport Slave Agency by a disgruntled ex-employer. (Her employer had her reasons.) It is basically 20,000 words of pure sexual bondage BDSM goodness. Moira gets tied up and whipped, put in stocks and raped by two male slavers, locked in a cage, tied up and gang raped by three other slavegirls who aren’t tied up (lesbian gang rape) put in chains and forced to rape a tied-up slavegirl, and whored out as a slave in the slave agency’s bordello, chained to the bed the whole time of course.

And many of the proceedings are captured on video to sell as porn. The Mossport slavers profit from Moira in every way they can, totally without her consent.

This is in keeping with the original concept of “Yard Sale Slut” in which the protagonist has a very rough time at the hand of the slavers and a very dispiriting time at the hands of her first owners, which sets things up nicely for a big turnaround when she becomes a Smiling Slut Tavern slavegirl.

Now you may be wondering, “but then, why did you not include all that wonderful BDSM sex slave rape in the original “Yard Sale Slut”? And the answer is that I could not do so because “Yard Sale Slut” was originally written for Amazon, and Amazon does not do nonconsensual erotica. In order to sell the story on Amazon I had to tone down the nonconsensual stuff to virtually nothing, in fact, I had Moira AGREEING to be enslaved, signing contracts agreeing to be enslaved and everything. (This is actually more humiliating than being drugged and taken by force, and I played it for all the humiliation I could manage, but it can’t come close to matching the impact of the direct BDSM thrills as originally conceived.)

What I’m saying is, the novel version is the REAL “Yard Sale Slut” story, the hardcore pure-D sexual bondage fuckathon I originally envisioned. Oh, and it comes with a Happily Ever After, too. But … that’s not all.

I also envisioned “Yard Sale Slut” as a real science fiction story. It’s set in my Basic Income timeline, in the runup to the Oligarch Wars. The Oligarch Wars are an “If this goes on” dystopia in which technology, specifically automation, has advanced enough that machines can provide the oligarchs with every material need they might ever have. Basically, the oligarchs see the rest of humanity as leeches who compete with them for resources and who produce way too many greenhouse gases. (Though, of course, on a per capita basis, the oligarchs do a lot more damage than regular folks. But without regular folks greenhouse gases will be greatly reduced even though the oligarchs keep on oligarching.) 

Hence, the oligarchs have decided to get rid of 95 percent of us. (They’ll still need servants and employees of various kinds, of course, so a few hundred million will be saved.) But they don’t go about it in a comic book supervillain sort of way and declare war on humanity. They instead create terrible conditions in the societies they control. Things like mass evictions of the poor, food shortages, bringing back horrible institutions like chattel slavery. And when the inevitable revolts occur, they see to it that the government quashes them quickly and violently, with plenty of civilian casualties.

And the oligarchs use their control of the mainstream media to prevent anyone from knowing about all this horrible stuff going on. You could be living in the next town over from a government massacre and not know about it if you didn’t know anybody who lived there well. The oligarchs want spontaneous, local, easily quashed rebellions, but they don’t want widespread organized rebellions. Those might succeed, or perhaps get some oligarchs killed, and that’s unacceptable.

None of these things are spelled out in my story.  We see things from Moira’s eyes, and she wants mostly to escape from the world via Italian Renaissance poetry, and so has only a superficial, fragmented viewpoint of what’s going on around her, though she’s sure she doesn’t like what she sees of it.

Also, one of the things I’ve noticed in written accounts by people who have lived through wars is how weirdly isolated a war can be. People can be living an approximation of normal life in one place and going through hell not far away. 

Moira’s story takes place early on when the oligarchs are successfully waging their undeclared war on everyone. I hoped to give an unreal, science-fiction feel to her ordeals, sort of an alternate-timeline feel although this isn’t really an alternate timeline. It’s our timeline, if horrible trends get even more horrible. I wouldn’t be surprised if this future is completely off base and wrong about everything, and I devoutly hope it is. But human history makes it feel all too possible.

So, here’s da blurb:

Nobody who knew Moira Evans thought she had a brilliant future, but at least she had a good one. She was a topnotch student with a passion for Italian Renaissance poetry, unusual for a kid from a remote rural town. The most she could hope for was a teaching job at some podunk college, but it would be enough to make her hardscrabble mountain family proud and give her the sequestered life of academia she craved.

But when events beyond Moira’s control cause her to lose her family and her scholarship, she swiftly descends to the depths of a society that lost its bearings decades ago. Drugged and sold into slavery, she experiences the whip, slave rape, bondage rape, lesbian gang rape, being a slave whore, and worst of all, being sold for cheap at a yard sale! The world is going to hell and Moira is chained beneath the ground floor.

Will Moira be able to regain some semblance of peace and happiness when she’s bought by the Smiling Slave Tavern and becomes a tavern slave, having sex with customers on demand? You’ll have to read the story and find out.

This novel is 53,000 words long, and is an extensively revised and expanded version of the 33,000-word novella “Yard Sale Slut.” The story is number 3 in the Tavern Slut series but is set about 100-150 years prior to Tavern Slut #1 and Tavern Slut #2, which are roughly contemporaneous.