Reel Sex

The “ins and outs” of writing a sex scene.

Warning: Contains some profanity. Because sometimes, you gotta.

I’m at an impasse. A sexual impasse.

My new screenplay is a contemporary take on “Looking for Mr. Goodbar,” the 1977 Diane Keaton vehicle based on the best-selling novel of the same name, by Judith Rossner.

Rossner’s novel is the fact-based retelling of the 1973 murder of a New York City school teacher by the name of Roseann Quinn.

If you haven’t seen the movie or read the book, I recommend both. Highly. As I don’t want to spoil it for you, I won’t go into detail. I’ll just say the Goodbar story is riveting. And, in the film, Keaton commands the screen.

Back to my dilemma. In my script, I’m at the juncture where my female protagonist and the dude who is her male emotional counterpart — are about to have sex. Their first coupling. And I am frozen.

I’ve reached this impasse because in the screenplay my manager is currently shopping, I wrote a sex scene that was scorching hot, and she asked me to edit it. I’m guessing it was a ratings thing. Stupidly, I didn’t question the edit. So, I cut it but still retained the heat.

This new script is something else again because sexual obsession is at the heart of the story. So, my characters’ first roll in the hay (or wherever) has to sizzle.

There are so many variables to consider when writing a sex scene. Surely, novelists face the same dilemma as screenwriters. I would love to hear how my fellow writers address the following while writing about two people getting busy:

Who is the instigator?

Should the characters be partially clothed, or totally stripped-down?

Do they rip each other’s clothes off or take their time?

Locale. Where should they get it on? A bed? Floor? On a Lay-Z-Boy? In a closet? The head in a Taco Bell? (The sex scene that was deemed too hot by my rep took place in the bathroom of a French bistro. I have to admit: It was trés passionate.)

Are the two fucking, or making love?

Should their bodies be “slick with sweat?”

What noises do the copulating couple emit? Do they moan, groan or grunt?

Is their breathing hoarse or raspy?

How are their limbs positioned? Do they flop around like a beached fish?

Oral sex. Before, during, after, or not at all?

Who comes first?

Raunchy, or lovingly choreographed, like a ballet?

Close-up of their facial expressions or a fly-on-the-ceiling viewpoint?

Genitals? Let ’em all hang out or just a peep? (There’s a pun there, somewhere.)

Anal sex? Or not.

Money shot. Yay or nay?

Finally — how much is too much? Should you show the whole scene or just a part, then cut to the post-coital smoke? Or the sharing of Pad Thai from a takeout container?

For writers like myself, who want to want to craft a titillating sex scene, but one that’s not over the top, Scriptsecrets.net offers up this tidbit worth noting:

“You want a “hot” scene to get the reader hot! That can be accomplished by describing FEELINGS rather than organs. Again, what makes a scene “hot” may be the location rather than the friction. You’re writing a studio feature, not a porno film.”

In Script Magazine, Los Angeles-based theater critic, Bob Verlini shares his take on sexy-time.

“At the end of the day, it’s the screenwriter’s command of language that enables him to retain a place at the table when a sex scene is being shot. The suggestions planted in the script will be respected if they are specific, appropriate, and vivid, and if they materially relate to character and theme.”

Somehow, I get off my ass and just write the mofo. For inspiration, I’ll recall a few of my favorite movie sex scenes:

In Body Heat, William Hurt breaks down a door to get to the ridiculously sultry Kathleen Turner. We don’t see much, but the scene is smokin.’

Dennis Quaid’s seduction of Ellen Barkin in The Big Easy is smooth as silk. Adding to the heat: His raspy, heartfelt crooning in the accompanying background song. Yes! He’s giving voice to his screwing!

The sex is carnal as hell and over-the-top lusty between Michael Douglas and the gorgeous Sharon Stone in Basic Instinct. Although, there are a few moments when it creeps up on “Showgirls” territory,

In Fatal Attraction, Glenn Close and Michael Douglas devour each other on her kitchen sink, while she splashes water from an open tap, on them both.

In the 1978 Coming Home, the love-making between Jane Fonda and paraplegic vet, John Voight is sensitive and moving. And, so erotic. Here, too, the background music, “Expecting to Fly” by Buffalo Springfield adds yet another element to a beautifully shot scene.

Natalie Portman and Mila Kunis serve up a unique take with their girl-on-girl action in the psychological thriller, Black Swan.

Maybe I’ll amp up my caffeine buzz and clean out a couple of closets. The script can wait. After all, it’s taken me this long. What’s a few more days?

No. Writer’s write. Enough procrastinating. I’m going to put on my big girl pants and get fucking. No. Cracking. Geez.

Sherry McGuinn is a longtime Chicago-area writer and award-winning screenwriter. Her work has appeared in The Chicago Tribune, Chicago Sun-Times and numerous other publications. Sherry’s manager is currently pitching her newest screenplay, a drama with dark, comedic overtones and inspired by a true story.

I must have sex on the brain. Here’s more:

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