Cynthia Waiting

Dad’s belt zipped through the air striking Cynthia’s reddened buttocks one final time. The tears stung at her eyes and she could feel the eyes of the rest of her family staring at her with the same cold disapproval her father’s demeanor exuded. She pushed herself to a standing position, a mere step away from the family car’s rear bumper and successfully fought the impulse to assuage her stinging butt with a quick massage. The family was watching and she didn’t want to give them any more of a show than they already had seen.

“Wait in the car,” Dad said, pointing toward the backseat as if she didn’t know where to go, “and I don’t want to hear another word out of you before we get home.”

Cynthia nodded, keeping her lips tightly sealed and avoiding eye contact with her father. The car was parked on the shoulder of the road, but luckily there had not been any traffic speeding past while she’d been bent over. The asphalt felt like hot coals beneath her feet as she took the few steps to the rear door on the passenger side of the car. She plopped herself down hard on the seat and immediately regretted it. Frustrated, embarrassed, and annoyed, she slammed the door closed with an unsatisfying clunk.

She watched the road rather than her family. The quiet in the car was immensely preferable to the teasing she knew they would soon be delivering. It was always the same. Her brother would tell her she was positively glowing. Her mother would comment; Now that you’re well red, I hope you’ve learned your lesson. Her father would chuckle at every word while watching her expression in the rear view mirror. Cynthia would be tempted to stick her tongue out, to yell, to scream, to blame the world, but the tenderness and the itching warmth consuming her backside would temper her responses. She would keep her mouth shut and keep her thoughts to herself. A blush would color her cheeks with the embarrassment swelling up inside her and she would avert her eyes from the family, anything to avoid them seeing the effect of their teasing glistening in her eyes.

A single car whooshed by on the road. The look on the driver’s face stuck in Cynthia’s thoughts. It was clear enough, he had seen her naked breasts peeking out from just above the lower rim of the window. There was no place to hide and the tint on the windows was insufficient to disguise her humiliation from the world. Everywhere she looked, even looking back at her own actions, was an embarrassment. She rested her head on her hand, elbow planted on the lip of the window, and closed her eyes. It was going to be a long trip home.

Waiting In The Car

What did poor Cynthia do to end up like this?

Still Waiting

Hi Everyone,
 
Sorry for the delay, but this week went nothing like I had planned (unless you count the fact I sort of expected my plans to take a long walk off the short cliff). Monday will still have the next part of The Jade Runner and with a little luck I'll have the waiting story finished for Friday. Yep, that means no Wednesday post next week. Bare with me, and I promise to have things all set for the new format soon.


Hugs,
Ash 

Waiting

It is not always possible or desirable for the Disciplinarian to initiate a spanking in the immediacy of an incident. In such times, the Disciplinarian will postpone the spanking until a more appropriate or convenient time and/or location. While there is definitely a satisfactory outcome to be obtained from taking “on the spot” action, there can also be a benefit gained from waiting. If done properly, the experience of waiting can be an effective accompaniment to the spanking.

The waiting period can be enhanced in a variety of manners. Most Disciplinarians, when faced with delaying a spanking, will at the very least inform the Recipient of what they can expect in the near future; Their spanking. On its own, the warning creates anticipation and can subdue the inclination for further misbehavior on behalf of the Recipient. Given a little more thought, the Disciplinarian can further enhance the Recipient’s calmer attitude by describing in more detail the precise punishment awaiting them. If desired, the Disciplinarian can also require the Recipient to recite the details of their future punishment aloud or even have them write it out.

While enhancing the waiting period with a verbal detail of the impending spanking event is almost always possible, other possible enhancements to this period may require a controlled, safe environment. The possibilities are limited solely by the Disciplinarian’s imagination and the suitability of the circumstances involved. Popular enhancements include;

Corner time - The Recipient is sent to stand, sit, or kneel in a particular location, often an open corner in a room, but the location can in fact be any specific location chosen by the Disciplinarian. A duration may or may not be set, although typically the spanking will occur immediately following the end of corner time.

Implement Fetching - The Recipient is sent to retrieve and hold the implement while they await the beginning of their spanking. Often time the Recipient will wait in a specific location, holding the chosen implement in their hands. Although this enhancement may be combined with corner time, typically the waiting location is an assigned room, such as the Recipient’s bedroom or a pre-determined punishment location such as a punishment room, a garage, a basement, or other room in the house.

Clothing alteration - The Recipient is required to alter their state of dress in preparation for the impending spanking. Often this will mean the baring of the buttocks, either by lowering the pants or shorts, and the undergarments or by removing them completely. Skirts and dresses may be lifted and tucked above the waist or removed depending upon the Disciplinarian’s preferences. In some cases, the Disciplinarian may desire full nudity, requiring the Recipient to remove all articles of clothing. When articles of clothing are removed, it may also be required that the articles be folded or stored in a specific manner and or location.

Punishment outfit - The Recipient is required to don a specific outfit which in some way emphasizes they are in trouble and about to be spanked. Outfits are often designed to make the Recipient appear childish, immature, or foolish. They can be anything from pajamas to undergarments, to a school uniform and often are modified to expose or enhance the buttocks.

The waiting period can be an effective disciplinary tool all by itself. When properly utilized, the Recipient will remain focused and apprehensive of their impending spanking all the while having ample time to consider their behavioral mistakes. The advantage gained by instituting a waiting period is very dependent upon the mindset of the Recipient and it is important for the Disciplinarian to know which techniques, words, and phrases will have the greatest impact on their Recipient’s state of mind.

For best results it is advised that Disciplinarians avoid giving the Recipient complicated or mind dulling tasks during the waiting period. The Recipient should be given very little to occupy their thoughts other than knowledge of what they will receive and why their conduct has required they receive it. Under these circumstances the anticipation factor will significantly improve the effect of the further disciplinary actions soon to be taken.

Intermission & Behind The Scenes

I know most of you were expecting to see another part from The Jade Runner today, but I decided we could use a short break. In fact, I’m looking at shaking up the format here on Imagine the Stories. I can’t make any promises at the moment because all the work to make that change happen is still in process and knowing how my Summer has gone so far, plans (like rules) are apparently made for the breaking. (I’ve had some health issues on and off this year, but most seriously since early June and every time I start getting better it seems I have a sudden relapse.) My intention, however, is to provide all of you with a little variety in my thrice weekly postings. If most things go as planned, I’ll be rolling out the new format in a week or two. I’ll make a post on the Sunday prior to the change to let you know what to expect.

In the meantime, I thought I’d take today and talk about some of the behind the scenes work I do when creating stories. On Wednesday, I’ll be sharing a new article and on Friday, a related story will be posted. The Jade Runner will return next Monday for those waiting on the edge of their seats to find out what happens next to Kit Wilde and friends.

The image centered above is, obviously, a map. If you didn’t know this, either my art skills or your eyes (It’s probably my art skills, but to make me feel better we’ll pretend it’s your eyes) are in desperate need of replacement. The map (the horribly bad drawing at the top page) is supposed to represent a town in the American Old West. It’s fictional, so I got to make up all the details all by myself (okay, I did have some help from a very good friend) and I named this fictional town, Jasperia. (No, it wasn’t a play on Desperate Housewives.)

Now why would I go to all this work to draw (finger paint? scribble? chicken-scratch?) a map of a fictional place just to write a story?

Because it helps. Yeah I know, stupid answer, stupid question, blah, blah, blah. Okay, so let’s get a little more in depth. When I write I tend to visualize the scenes in my head (this is significantly different from seeing things that aren’t there). And it’s really hard to see the way an entire town is laid out in my head. Even a real town can confuse the mind, that’s why people get lost. So, to help myself visualize the places in my story correctly and the same way from scene to scene throughout a story, I draw (or at least something close to drawing) the important places.

The map seen here is just a first step. With it, I know where all the key place in downtown Jasperia are located and how my characters might traverse from one place to another. I also know, or have a good idea, the amount of time those different trips will take in comparison to each other. That matters a lot in writing stories because without having this consistent image and knowledge about the location, I could inadvertently have my characters time traveling or worse, violating the laws of physics and being in two places at the same time.

For shorter stories, like Shop & Spank these issues don’t usually come up because the story is rarely more than four to five scenes pieced together in the first place. With longer stories though, things can get more complicated with many different locations coming into play and literally dozens of scenes. When moving from scene to scene, I try not to bore my readers with unimportant details, like how many cracks they stepped over on the sidewalk and how many pot-holes (or heads) were in the road. Instead it’s more fun to focus on the action (paddles swooshing, canes swishing, straps singing, belts whizzing, hairbrushes clapping, and so on and so on). I’m sure you agree it’s more fun to read too.

The problem with leaving out the mundane is that the mundane is often what gets us from point A in our lives to point B. And believe it or not, the same is true for characters in stories. Most writers leave out these mundane parts because they are incredibly boring and sleep inducing which means we jump from point A to point B (kind of like the way a girl goes from bending over to standing straight up when a spanking gets a little too intense). When jumping from point to point (talking about writing here, not spanking) or scene to scene or location to location, it’s easy to make mistakes in directions and time.

For example; Lucy McCoy visits the sheriff in Jasperia at his office and they engage in a scene (It doesn’t have to involve spanking, but it could). After that scene (corner time not included) Lucy might decide to visit the train station (who doesn’t want to take a long trip, sitting on a hard wooden bench, after a good spanking?). Now let’s say she was at the sheriff’s office and heard the town clock chime high noon (cause low noon is only at the saloon) and when she gets to the train station she needs to buy a ticket for a trip on the 12:15 to Denver. That wouldn’t work too well unless she was leaving the sheriff’s office when the bell was chiming, now would it? The train station is two blocks away from the sheriff’s office and even though with a blur of my fingers, I can transport her from one location to the other, in reality (or my detailed fantasy, if you prefer) it would take her several minutes to walk across town. By the time she got to the train station, the 12:15 to Denver would already be boarding, if not pulling out of the station and heading on toward Denver.

Some people would say these kinds of details don’t matter and that it’s a waste of time to even think about them, but for me I have to figure these things out or I can find myself stalled in the process of writing. When scenes don’t mesh up with logical progressions I get hung up on the flaws. I’m sure some of you would get hung up on those flaws too and others, think those of us that do are simply crazy. Still, I think most of us can agree that a story with a clear and reasonably accurate progression of time is more enjoyable than one which seemingly violates the laws of the universe.

So, there you have it. This is why I draw maps. Of course, it doesn’t hurt that in drawing maps I also find scene ideas I might never have thought about otherwise. I mean look at Jasperia, imagine the stories that can be explored with Lucy visiting all these locations. What happens at the Bath House? Is she allowed to buy candy at the Candy Shop? What would she do for that pretty hat in the window? Will the school kids tease her on the way to dentist? How much money does she have and what will she do with it? What surprise might she get in the mail? To whom would she send a telegraph? What’s the big story in the paper? Who’s going to hang? Will Lucy get into the Town Hall for a meeting with the elders? And it goes on and on and on and, yes I know, you got the picture (not the one above, although I guess you got it too).