Advice for writing omorashi fiction?

[bigeboye100 2]

I was curious about beginning to write my own fiction after browsing through some, and was wondering what key elements should be included in a story and what other advice would help to create a good final product. My favourite writer on here is probably Kayn and I love their style, focusing around one (or sometimes two) individual and their desperate plight, which is what I would want to write akin to. If anyone has any pointers or anything, please share.

Also I've made a start on learning character drawing for a course I'm starting in September, so at some point I'd like to incorporate illustrations into my fiction. If there's any advice on that front for what the most important parts of a story to illustrate are, please share too. Thank you!

[kochel428 521]

My biggest advice for writing omo fiction is to read A LOT of non-omo fiction. Learn how stories work, learn what makes a good sentence, a good image. Learn how to make a character feel real and how to write convincing dialogue. Learn how to write a sex scene. You do that by reading work by professional, published authors with professional editors, and then practicing endlessly too. You’ll also find the more you practice, the more good ideas you’ll have. Ideas are important, but hoarding them will only give you a poverty of creativity, and the elements of good writing, some of which I listed above, are really what make an idea good or bad.

Enjoy!

Oh and one more thing: I mention writing a good sex scene because, even if you don’t want to write sex scenes in your omo fiction, there’s a lot of similarity between a good sex scene and a good omo scene. The mechanics of what happens are not particularly interesting—or at least, they’re terribly repetitive. The thing that makes it good is finding ways to make the sex (or the wetting) continue the story, define the characters, or just carry a pristine vividness that feels real and true. It’s about finding a new way to say something that’s been said over and over and over and over again.

[bigeboye100 2]

21 minutes ago, kochel428 said:

My biggest advice for writing omo fiction is to read A LOT of non-omo fiction. Learn how stories work, learn what makes a good sentence, a good image. Learn how to make a character feel real and how to write convincing dialogue. Learn how to write a sex scene. You do that by reading work by professional, published authors with professional editors, and then practicing endlessly too. You’ll also find the more you practice, the more good ideas you’ll have. Ideas are important, but hoarding them will only give you a poverty of creativity, and the elements of good writing, some of which I listed above, are really what make an idea good or bad.

Enjoy!

Oh and one more thing: I mention writing a good sex scene because, even if you don’t want to write sex scenes in your omo fiction, there’s a lot of similarity between a good sex scene and a good omo scene. The mechanics of what happens are not particularly interesting—or at least, they’re terribly repetitive. The thing that makes it good is finding ways to make the sex (or the wetting) continue the story, define the characters, or just carry a pristine vividness that feels real and true. It’s about finding a new way to say something that’s been said over and over and over and over again.

That's some pretty solid advice, thank you for sharing. Your point about the sex/omo scenes not being interesting on their own and having them adapt/continue the story is quite helpful and makes a lot of sense

[omoEnthusiast1 49]

I write short stories from time to time, no more than 2000 words each, so I don't focus much on character development, I just kinda establish what kind of person they are and then run with it. I'll put them in a scenario where they'd have trouble getting to a toilet or one where they want to force themselves into omo situations. To do good desperation, I recommend doing a solid amount of buildup, and make it very clear how they're acting when desperate, what they're feeling, what position they're in, how full their bladder is, etc. Then for the when they have to go I make it so dramatic that it's almost corny. xD Adds a lot of fun to the writing process. Hope you could take away something from this ameteur-ish advice.

[bigeboye100 2]

12 hours ago, omoEnthusiast1 said:

I write short stories from time to time, no more than 2000 words each, so I don't focus much on character development, I just kinda establish what kind of person they are and then run with it. I'll put them in a scenario where they'd have trouble getting to a toilet or one where they want to force themselves into omo situations. To do good desperation, I recommend doing a solid amount of buildup, and make it very clear how they're acting when desperate, what they're feeling, what position they're in, how full their bladder is, etc. Then for the when they have to go I make it so dramatic that it's almost corny. xD Adds a lot of fun to the writing process. Hope you could take away something from this ameteur-ish advice.

I'd say that's pretty good advice. Having a checklist of things to include for good desperation will be quite helpful, thank you.

[DesperateJill 2,894]

Everyone has their own particular tastes, so you should write what you like above and beyond and first and foremost because if you don't like what you are writing than you can't expect others to. As a person who has written full-blown novels including, really lengthy ones on the topic of omorashi one word of advice I could say is that have something else going on in the story other than just the fact that the character needs to pee. I like to think that a lot of my omorashi novels could be read as comedies by a person who didn't have the fetish, even though it's obviously catering to the person who does have the fetish, because the entire story revolves around the fact that the character needs to pee. But aside from the character needing to pee there has to be something else going on in the story otherwise things get pretty repetitive.

And as a person who writes speculative fiction there's no real limits to your imagination. You would think there are only so many stories you can write on the premise of woman needs a bathroom and doesn't get a bathroom and yet there is so much you can do with that, and I have more stories than I will ever be able to write.

And just on a personal level no story, whether it's an omorashi story or otherwise, has ever been made worse by including an Asian woman and a cat in it!

[trekkie 847]

@DesperateJill What if it was really the cat who needed to pee all along? What a tweeest!

[DerivativeWings 1,298]

Something I think about a lot when I write omosmut is characters, scenario and setting. This is something worth considering for any kind of writing (who are the characters in the story, what scenario is the characters being put it, what kind of world is the story set in?), though when it comes to omorashi stories in particular you can also consider how those aspects relate to peeing. A fairly mundane setup for an omorashi story would be

Character: A bright-eyed new teacher
Scenario: The teacher's bathroom is out of order at an inopportune time, and the main character never seems to catch a break
Setting: A non-specific college on earth

With this setup, we see how all three aspects of the story can inform what kind of omorashi scenes might play out. The teacher's optimistic outlook, coupled with the fact that they have something to prove, could push them to hold their pee until they become very desperate. The setting puts certain restrictions on when the characters can relieve themselves, and would make a wetting very unfortunate for the main character. Finally, the scenario is what sets the story into motion, essentially answering the question of "assuming people don't get desperate to pee every single day in your setting, how is today different?"

 

This way of looking at stories can be somewhat useful when looking at stories with ordinary settings and scenarios, but ultimately everyone knows what a school is and how that works, or can easily imagine being stuck in traffic or an elevator. When it becomes a more useful tool is when writing speculative fiction (also known as genre fiction). Speculative fiction is essentially asking "if we imagine the world being different from ours, what kind of consequences might that have?" and writing a story with that as a baseline. The character/scenario/setting framework becomes quite useful then, since you are using a setting which is different from the real world and would need to figure out how that affects the scenario and characters. "A world where nobility and bloodline are both extremely important, and those who are seen as noble are bound by tradition to only relieve themselves once each day." as a setting would produce very different characters and scenarios than a story set on Earth as we know it, for instance.

[LngPeefan 37]

17 hours ago, DesperateJill said:

Everyone has their own particular tastes, so you should write what you like above and beyond and first and foremost because if you don't like what you are writing than you can't expect others to. As a person who has written full-blown novels including, really lengthy ones on the topic of omorashi one word of advice I could say is that have something else going on in the story other than just the fact that the character needs to pee. I like to think that a lot of my omorashi novels could be read as comedies by a person who didn't have the fetish, even though it's obviously catering to the person who does have the fetish, because the entire story revolves around the fact that the character needs to pee. But aside from the character needing to pee there has to be something else going on in the story otherwise things get pretty repetitive.

And as a person who writes speculative fiction there's no real limits to your imagination. You would think there are only so many stories you can write on the premise of woman needs a bathroom and doesn't get a bathroom and yet there is so much you can do with that, and I have more stories than I will ever be able to write.

And just on a personal level no story, whether it's an omorashi story or otherwise, has ever been made worse by including an Asian woman and a cat in it!

 

This presupposes that we, who failed in grade school to compose a literate What I Did On Summer Vacation, can write a complex fiction tale with a cogent story line, subplot and running gags. That's a tall order. 😟 

[DesperateJill 2,894]

@trekkie

"What if it was really the cat who needed to pee all along? What a tweeest!"

Maybe a cruel aspect could be when she finally does get the cat and begins walking  home it stops to urinate while she is still holding it!

@DerivativeWings

"This way of looking at stories can be somewhat useful when looking at stories with ordinary settings and scenarios, but ultimately everyone knows what a school is and how that works, or can easily imagine being stuck in traffic or an elevator. When it becomes a more useful tool is when writing speculative fiction (also known as genre fiction). Speculative fiction is essentially asking "if we imagine the world being different from ours, what kind of consequences might that have?" and writing a story with that as a baseline. The character/scenario/setting framework becomes quite useful then, since you are using a setting which is different from the real world and would need to figure out how that affects the scenario and characters. "A world where nobility and bloodline are both extremely important, and those who are seen as noble are bound by tradition to only relieve themselves once each day." as a setting would produce very different characters and scenarios than a story set on Earth as we know it, for instance."

Most of my omorashi stories do take place in normal settings like schools and movie theaters and other places where people tend to get desperate, but when you add speculative elements you can make the story a lot more detailed because you can create an entire different world that will lead to those situations, sort of like that story I wrote about a city of robots that didn't have sufficient bathrooms for human visitors, or my aura of desperation novel where people have the psychic ability to understand how badly women needed to go to the bathroom, or the one that I plan to write about a dystopian world where virtually all public bathrooms are replaced by urinals only. Once you start to get into the speculative realm you can make much more imaginative situations and much more extreme situations than if you had stuck to keeping it in a modern-day and realistic setting.

@LngPeefan

"This presupposes that we, who failed in grade school to compose a literate What I Did On Summer Vacation, can write a complex fiction tale with a cogent story line, subplot and running gags. That's a tall order."

You know I was never fond of those writing assignments in school when I was younger and I actually didn't get great comments on them when I had to write about them in my journals, because what I did on my summer vacation is sort of a dull topic. I think that my rich imagination is compensation for a real life that is relatively boring. What I did on my summer vacation is not really that inspiring, what I did on my summer vacation on Mars where the space toilet broke down is a lot more interesting!

[ashnacamon 136]

I personally have been put off by stories that were too much plot or too little. It’s a delicate mix. I think about 2/3 of the time involve fetish content, but don’t just immediately jump from everyday activity to the climax: The story needs to build up gradually. Some that I feel hit the spot were Amy’s Second Wind (by bubbatub78), Haydee by Haydee Interactive (although it was a little bit weak), Alice In Wettingland (by IDK who, but the one with the rabbit named Blanch), and Beat Cop Sascia by TheDudeIV.

[LngPeefan 37]

12 hours ago, ashnacamon said:

I personally have been put off by stories that were too much plot or too little. It’s a delicate mix. I think about 2/3 of the time involve fetish content, but don’t just immediately jump from everyday activity to the climax: The story needs to build up gradually. Some that I feel hit the spot were Amy’s Second Wind (by bubbatub78), Haydee by Haydee Interactive (although it was a little bit weak), Alice In Wettingland (by IDK who, but the one with the rabbit named Blanch), and Beat Cop Sascia by TheDudeIV.

 

Both Splashfics and bubbatub78 are authors in an elite niche category. Perhaps one day they will return.