About Wilful
Biography

My most recent publication is...

A contribution to the Lush Summer anthology, available on Amazon. It's about a pair of Australian marine park divers who work out a mutual adrenalin rush after a close encounter with a great white shark. It's a slow burn, with plenty of tension and heat, just perfect for a summer read. And of course, it's amongst sizzling company from some of the hottest authors on Lush, such as Buz, Poppet, MadameMolly, Liz and Papergirl, just to name a few.

I'm inspired by...

Everything. Seriously, there’s a story in absolutely everything. Whether it’s an erotic spin-off of The Walking Dead, an experience I had at an airport lounge, a line from a song, or a fleeting vision of a woman in orange pants who was walking with her young son in a car park… I daydream a lot, maybe too much, definitely. I can spiral nearly anything into a story worth ruminating on. One that sticks hard for me is a young woman playing speed chess with a homeless man on a busy street corner in Sydney, while Hurt by Johnny Cash blared from a nearby stereo. I’d just love to turn that into a story, but I’m just not sure where to go with it.

I started writing because...

I love it. I’ve always loved it. I’ve always had a wild imagination, and the ability to create my own universe and escape into it is just so appealing. As far back as I can remember, I wanted to be a writer, even before the cliché boyhood dreams of becoming a policeman or a fighter pilot. I actually imagined I'd have to sell my novels on the front lawn, like a lemonade stand. Kids...

I got in to writing erotica...

Through Penthouse Forums. They were my first exposure to the art, which after many years of appreciation, eventually had me wondering if I could write some myself, and maybe even make a few dollars on the side. I thought it might be what I needed to break my procrastination for my own writing aspirations. In looking into it with a friend, he turned me onto internet erotica. Another year or two of…appreciation, and I finally had a crack at it myself.

I started with something simple, more as an exercise than anything else. I hadn’t set out to develop a plot or the characters, or anything. It was just to see what people thought of my writing. It was a version of Sleeping Over, which even now, remains my most read story. Beginner’s luck, I suppose.

My favourite writing genre is...

A bit of everything. I don’t know that I particularly have a favourite erotic genre in terms of writing. All my stories so far are in different categories. I prefer to write something with a bit more story to it, rather than just boy meets girl, boy fucks girl, the end. I think the common thread in my writing is the focus on the female characters, even though I mainly write from the male perspective.

As a reader, I mostly enjoy the stories where women are sexually confident, and either embrace their sexuality, or surrender to it. So in that regard, I suppose I’m drawn to the group and cheating categories as an extension of that. I hope that my own writing captures that theme of female sexual empowerment to some extent. I just find it so fascinating, not to mention arousing.

I get my creative juice / story ideas from...

A mixture of fantasy and real life experience, like I imagine most writers would answer. Position of Trust and the first part of Overflow are almost entirely dreamt up, whereas Warning Order and Special Assistance are drawn heavily from my own life. Either way, I usually map out the story in my mind first, “road-testing” the good bits during periods of more solitary…reflection, you know, to make sure they’re up to it, and then I type it out.

My turn-ons are...

Pina coladas and getting caught in the rain. Fuck, I don’t know. I’m up for just about anything. I love female first person stories where the writer takes me on a journey, bringing me in on the secret, the sluttier the better. You know, the kind where you can almost imagine her lips unapologetically curled in a mischievous smirk as she tells the story? The fantasy that it could actually be true heightens the experience for me. But ultimately, I think it comes down to the quality of the storytelling. If you ask me nicely, and all that.

I'm currently working on...

Finishing off my Gothic competition entry and a fun little romp that missed the deadline for the recent Hardcore competition to blow the dust off. Then I'm planning to rework Overflow into a full length novel this year. Wish me luck!

Name:
William Hawke
Sex:
Male 
Age:
40
Sign:
Aries
Relationship Status:
Married
Orientation:
Straight
Location:
Interests:
Hmmm, life – my family, writing, travel, getting out in the sunshine. And five hours of television each day, six if there’s something good on.
Favorite Books:
Shantaram by Gregory David Roberts.

"It took me a long time and most of the world to learn what I know about love and fate and the choices we make, but the heart of it came to me in an instant, while I was chained to a wall and being tortured."

So begins this epic, mesmerizing first novel set in the underworld of contemporary Bombay. Shantaram is narrated by Lin, an escaped convict with a false passport who flees maximum security prison in Australia for the teeming streets of a city where he can disappear. Accompanied by his guide and faithful friend, Prabaker, the two enter Bombay's hidden society of beggars and gangsters, prostitutes and holy men, soldiers and actors, and Indians and exiles from other countries, who seek in this remarkable place what they cannot find elsewhere.

As a hunted man without a home, family, or identity, Lin searches for love and meaning while running a clinic in one of the city's poorest slums, and serving his apprenticeship in the dark arts of the Bombay mafia. The search leads him to war, prison torture, murder, and a series of enigmatic and bloody betrayals.

Burning slums and five-star hotels, romantic love and prison agonies, criminal wars and Bollywood films, spiritual gurus and mujahidin guerrillas---this huge novel has the world of human experience in its reach, and a passionate love for India at its heart. Based on the life of the author, it is by any measure the debut of an extraordinary voice in literature.
Favorite Authors:
I don’t know that I actually have a favourite author. If a story can keep me engaged with good writing, an interesting plot and sympathetic characters, I’m in. I find myself being more attracted to who the author is and the life they’ve led, more so than what they’ve written. It’s when their stories are drawn from their real lives that I become truly hooked. Gregory David Roberts and Andy McNab are two that immediately come to mind, and I find myself wanting to consume everything they’ve written.

I loved the Roald Dahl books that were read to me as a kid, capturing my imagination and taking me on fantastic journeys. Jack London was an easy-to-read storyteller who was among the first I read on my own. Tom Clancy was a predictable transition into my teens and indulged my adolescent interest in big boys’ toys. And Matthew Reilly and Suzanne Collins are an almost embarrassing escape into airport fiction. But for the most part, I’ll read just about anyone. Andy Weir's debut with The Martian is my most recent love.
Favorite Movies:
I’m going to admit to Bring It On. That’s right, I’m not ashamed. I stumbled across it one night, while flicking through a dismal selection on television. I’d seen the shorts for it on a video a few years earlier – remember those? Video cassettes? – and I wasn’t particularly interested. But it was the lesser of all the free-to-air evils at the time. Anyway, I really enjoyed it. It was light, it was fun, it was chock-full of attractive high school girls in limited clothing. And Eliza Dushku’s character, Missy Pantone, has to be the coolest chick ever. It had attitude, but without being bitchy. I love it.
Favourite TV Shows:
These days I find myself drawn mostly to fairly contemporary American sit-coms, like The Big Bang Theory, Friends (including the Joey spin-off), Frasier, Seinfeld, and Everybody Loves Raymond. There’s something comforting and non-threatening about them that really helps me relax and forget about the world. I’ll often go to sleep with them on in the background.

Of course, I love a good story-driven drama too, such as The West Wing, Criminal Minds, Justified, The Gilmore Girls (they speak fast, but they speak true), Supernatural, The Newsroom, and The Walking Dead. I’m a great binger, and I’m really enjoying the evolution towards the streaming format of watching TV, with Downton Abbey our most recent foray. That's right, and I loved it.
Favorite Music:
Mainly top 40s radio in the car. Pretty boring and mainstream, I know. I like the more conventional melodic sound. But my wife is dragging me kicking and screaming into the present day, with her frequent downloads and constant retuning the radio to Triple J. I’m quite partial to some more alternative music, some Aussie hip hop, the occasional dance or dubstep number, and a little country too. A bit of everything really. The music that stands out though is the stuff with a political message. Check out the videos down below if you’re interested.
Website:
Twitter
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Date Joined:
15 Jun 2013
Page Viewed:
15,185 times
Friends:
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Followers:
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Days on Site:
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Forum Posts:
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Stories:
13
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Wilful's Friends
Latest Forum Posts
Topic: Dominate or to be dominated or pass the above person?
Posted: 25 May 2016 02:30

Oh, I'll definitely be doing the dominating. Grrr.

Topic: What's for dinner tonight?
Posted: 25 May 2016 02:28

Leftover spag bol and some brand new parmesan pan bread

Topic: Post the title most recent song that you listened to
Posted: 21 May 2016 23:25

One Horse Town by The Road Hammers, featuring Tim Hicks

Topic: Can I get an interview with you?
Posted: 21 May 2016 15:42

Introduce the title of your story: Banging for Roof
Genre/Category: Cheating
Provide the link: https://www.lushstories.com/stories/cheating/banging-for-roof.aspx

1. What first inspired you to write this particular story?

This was originally my idea for the Money Talks competition back in July last year, with Wendy’s lack of money obviously the premise of the story. Unfortunately life got in the way, and I missed the deadline. But toying with the experience versus material possessions theme as I was, I got a rush of blood and figured I could shoehorn it into the New Experiences competition in April. But life again…

The idea itself is drawn from a colleague of mine who came to town for a training course from one of our interstate sites. She was going to stay with a friend from our office, meeting her in a bar after work. Inevitably the friend didn’t show, so our wayward traveller picked up a guy and let him take her home for the night. I only wish I’d stopped off for happy hour that evening.

2. How did you come up with these characters?

I just love Wendy. She’s a real wolf in sheep’s clothing. In looking at how to get this average, middleclass, married mother to paratroop into Melbourne, I had to rev up her character more than the twenty-two-year-old colleague of mine. She needed to have done it before to even consider it a possibility. And her other dalliances gave her part of the justification to do it again. But it’s the frustration with her husband and the doubts about where their life is heading that gets her over the line, and more interestingly, fuels her journey through the story.

God, Michael’s who I wish I was! Not the cheating ass bit, but someone actually brave enough to follow through on the bullshit we all talk about. A little older and a little wiser, he’s based on me… the future me. I’ve enslaved myself in debt and consumerism, and I’m not happy. But I think I’ve discovered the way out. While I still have to figure out how to get through that hole in the fence, Michael’s actually done it. He’s free.

3. How does it differ from some of your other stories?

This one’s in third person for a start. Those familiar with my work know I usually write first person from the male point of view. It’s also from Wendy’s perspective. That threw up a few challenges for me, trying to capture her thoughts and feelings as events unfolded, rather than just observing her from a man’s viewpoint.

The other thing I tried this time was shifting between past and present tense. The setup in the bar and the flashbacks to the night afterwards were in my comfort zone of the past. But I wrote the action that unfolded the next morning in present tense. It was partly to make the story more structurally interesting and create a better distinction between the two different time periods. The main reason though was to bring the shower scene into the here and now, rather than an account of what’s already happened. I find third person detaches the reader from what’s going on, so present tense was an attempt to compensate for that.

4. What was the most challenging thing about writing this piece?

I could say that actually writing it was, given it’s been in a holding pattern for nine months. But the ending was the bit that gave me the most grief. And that’s not just finishing it!

It’s a pretty fun and impulsive story, as it kind of has to be. But as I went, developing wendy’s character to justify her behaviour, I found the tone of this shifted for me into something more sincere. My original intention for Michael’s hand to slip in the heat of the moment in the shower, with a few fingers unexpectedly sliding up her asshole, didn’t quite fit – pardon the pun. I like to inject a bit of humour into my stories, but it just didn’t suit this one.

So how to finish it? I didn’t want to spew out another saccharine cliché, as I have so many times before. I had to try and figure out what would be true to Wendy’s character. While I was brief – more so than I wanted to be, but damn, I just had to get it done – I think I got it right.

5. Anything else you want to tell us about it?

This was originally going to be called Per Diem, in honour of Wendy’s travel allowance being the genesis of the story. And given where the tone of this has ended up, I actually prefer this as the title. But a very insightful friend suggested that a sexy title, more so than the category, is likely the reason for a high number of views on a story. So I thought I’d give Banging for Roof a try. It’s perhaps more crass than sexy, but I’m not writing Shakespeare here, so worth a shot.

As always, I’d love it if you’d check it out and let me know what you think.

Topic: Post the title most recent song that you listened to
Posted: 15 May 2016 00:34

Wild Things by Alessia Cara

Topic: Announcing our "Gothic Erotic Stories" Competition - WIN $150
Posted: 05 May 2016 18:17

Hmmm... Looks like I'm brushing the dust off my aborted magical competition entry.

But between 7,000 and 8,000 words... It's going to be hard to stick the landing on that one. Damn!

Good luck, my pretties. <img src="/forum/images/emoticons/evil6.gif" alt="evil4">

Topic: 29 Famous Writer's "Rules for Writing"...a rather comprehensive resource here...
Posted: 25 Mar 2016 17:13

Really great tips in these links, and heaps of other useful resources hanging off them. Thanks for posting.

I found Sarah Waters' and Joss Whedon's lists the most helpful (copied below), and John Steinbeck's sixth rule for writing dialogue is solid gold:

6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

Sarah Waters

1. Read like mad. But try to do it analytically – which can be hard, because the better and more compelling a novel is, the less conscious you will be of its devices. It's worth trying to figure those devices out, however: they might come in useful in your own work. I find watching films also instructive. Nearly every modern Hollywood blockbuster is hopelessly long and baggy. Trying to visualise the much better films they would have been with a few radical cuts is a great exercise in the art of story-telling. Which leads me on to . . .

2. Cut like crazy. Less is more. I've ¬often read manuscripts – including my own – where I've got to the beginning of, say, chapter two and have thought: "This is where the novel should actually start." A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it. In fact . . .

3. Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I've got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish – they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

4. Writing fiction is not "self-¬expression" or "therapy". Novels are for readers, and writing them means the crafty, patient, selfless construction of effects. I think of my novels as being something like fairground rides: my job is to strap the reader into their car at the start of chapter one, then trundle and whizz them through scenes and surprises, on a carefully planned route, and at a finely engineered pace.

5. Respect your characters, even the ¬minor ones. In art, as in life, everyone is the hero of their own particular story; it is worth thinking about what your minor characters' stories are, even though they may intersect only slightly with your protagonist's. At the same time . . .

6. Don't overcrowd the narrative. Characters should be individualised, but functional – like figures in a painting. Think of Hieronymus Bosch's Christ Mocked, in which a patiently suffering Jesus is closely surrounded by four threatening men. Each of the characters is unique, and yet each represents a type; and collectively they form a narrative that is all the more powerful for being so tightly and so economically constructed. On a similar theme . . .

7. Don't overwrite. Avoid the redundant phrases, the distracting adjectives, the unnecessary adverbs. Beginners, especially, seem to think that writing fiction needs a special kind of flowery prose, completely unlike any sort of language one might encounter in day-to-day life. This is a misapprehension about how the effects of fiction are produced, and can be dispelled by obeying Rule 1. To read some of the work of Colm Tóibín or Cormac McCarthy, for example, is to discover how a deliberately limited vocabulary can produce an astonishing emotional punch.

8. Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

9. Don't panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends' embarrassment, the failing career, the dwindling income, the repossessed house, the divorce . . . Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way. And if all else fails, there's prayer. St Francis de Sales, the patron saint of writers, has often helped me out in a crisis. If you want to spread your net more widely, you could try appealing to Calliope, the muse of epic poetry, too.

10. Talent trumps all. If you're a ¬really great writer, none of these rules need apply. If James Baldwin had felt the need to whip up the pace a bit, he could never have achieved the extended lyrical intensity of Giovanni's Room. Without "overwritten" prose, we would have none of the linguistic exuberance of a Dickens or an Angela Carter. If everyone was economical with their characters, there would be no Wolf Hall . . . For the rest of us, however, rules remain important. And, ¬crucially, only by understanding what they're for and how they work can you begin to experiment with breaking them.

Joss Whedon

1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.

2. STRUCTURE
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.

3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’

4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.

5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.

6. LISTEN
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.

7. TRACK THE AUDIENCE MOOD
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.

8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’

9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.

10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.

Topic: Post the title most recent song that you listened to
Posted: 13 Mar 2016 01:09

Nothing Too Serious by Icehouse

Topic: The Walking Dead
Posted: 09 Mar 2016 01:07

Sooo... has the group lost its soul?

I did not like seeing Glen pop his cherry, and so easily too.

But I was on YouTube again and saw the Honest Trailer for Seasons 4 to 6. I love those guys!

Topic: Skinny dipping with the lush member above
Posted: 02 Mar 2016 01:12

Yeah, go on.

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Recent Activity
Stories Published By Wilful
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Wendy scowled at the screen of her smartphone, the inane smiley-face emoticons fuelling her anger. Her blood boiled. She knew it was a mistake to rely on such a tenuous relationship, but her husband had insisted. The latter part of that thought sent her eyes rolling. Before she could refocus her irritation on him, however, the panic began to set in. She could feel the thump of her heart as...

Added 20 May 2016 | Category Cheating | Votes 14 | Avg Score 5 | Views 4,325 | 9 Comments

Adrenalin

Neither of us spoke. The only sound was the foaming waves washing in around us. I held my hands in my lap beneath the froth, willing them to be still. Out of the corner of my eye, I saw George tuck the camera away and look back up at me. I stared off into the main part of the bay beyond the rocky islet, not really watching the sun seekers sprinkled on the larger beach that curved southeast...

Added 22 Aug 2015 | Category Oral Sex | Votes 13 | Avg Score 4.92 | Views 3,645 | 11 Comments

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Recommended Read Overflow (Part 1)

"Will, quick! Pull in here," Katie cried, breaking the droning monotony of the off-road tyres on bitumen. I stood on the brakes and heaved my maroon Toyota Prado off the road to the right, bumping slowly onto the dirt track between the gates of a vineyard. The name on the sign seemed vaguely familiar, but all of these boutique wineries did. As we crawled up the long, winding drive, I...

Added 15 Sep 2014 | Category Masturbation | Votes 28 | Avg Score 5 | Views 14,302 | 20 Comments

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"Are you hungry?" Katie stretched against me, groaning like a lazy cat. "That's code for, you want dinner.” I flirted, watching her eyes twinkle back at me. "I know female-speak. I pay attention." "Well, if you know 'female-speak', then where's my dinner?" she grinned mischievously, snuggling her naked body tighter against me in the sleeping bag. She looked so unbelievably cute, her big...

Added 19 Sep 2014 | Category Cheating | Votes 26 | Avg Score 4.92 | Views 7,670 | 21 Comments

Recommended Read Special Assistance

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Added 25 Aug 2014 | Category Office Sex | Votes 39 | Avg Score 5 | Views 15,647 | 22 Comments

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Added 22 Nov 2013 | Category MILF | Votes 38 | Avg Score 4.92 | Views 13,673 | 20 Comments

Recommended Read Warning Order

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Recommended Read Position of Trust

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eBooks Published By Wilful
Lush Summer
Lush Summer

A sexy, Southern California MILF catches the landscaper's eye in her tiny new bikini. A pair of Australian marine park divers work out a mutual adrenaline rush after a close encounter with a great white shark. The girl next door meets the badboy biker of her dreams and needs him so much she...

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