“The Admiral’s Acquisition” by Luna Gold [Femdom Book Review]

The Admiral's Acquisition by Luna Gold F/m, Digetic & Non Digetic BDSM, Dub Con, Non-con, Fun plot, great characters #2026 Femdom Book Review Project

This one is another favourite, an 100% for dommes F/m delight about a gruff space admiral (Kira) and the ruggedly handsome slave (Mak) she rescues and then comes to love and appreciate. I think what I enjoy most about this book is that it’s not only completely focused on wish fulfillment, and not afraid to go absolutely off the deep end into the background grim, but that there’s a sort of amusing self awareness about things that bug dommes. Additionally, there’s enough plot and worldbuilding to keep things interesting between scenes of the characters making gooey eyes at each other and hopping into kink, so much so that even if this was somehow closed door I’d still find it fun. Gold tells a good swashbucking space yarn, but it also has the rare distinction of a character in a leadership role who is given a lot of on page time to show why they are a good leader. 

A lot of books don’t do that. Be it royalty or a titan of industry, the day to day of how the character is awesome is made as vague as possible. They might work long hours with paperwork, close amazing deals or be narrated as giving stirring speeches, but ultimately things are pretty handwaved or worse, gives rather the opposite impression. As a reader who has complained of other books with queens being all tiara, no tax policy; or that make the supposedly business savvy characters feel like failsons and saps, I can’t emphasize how much I enjoyed seeing Kira take charge thoughtfully.

It’s a workplace romance of sorts, where the workplace just happens to be a hypercapitalist libertarian, slave owning space dystopia and where BDSM is just the normal recreational activity. I am not even sure this society has a concept of vanilla, even among consenting parties. 

Otherwise, as far romances go, The Admiral’s Acquisition leans to incredibly horny insta-lust, with a very rapid escalation into sex and both diegetic and non-diegetic BDSM aplenty. Obviously you can expect a happily ever after, and this one does a pretty good job of letting the sub show they are useful without making them the main event. While the story is told from a dual perspective, it also has a very unusual technique of running scenes a second time through the viewpoint of the other character, rather than using the jumps between Kira and Mak just to advance the external plot. The effect is almost like when you play with someone and then you get them to run back with you how much they enjoyed it during aftercare. 

I flagged earlier that non-digetic BDSM makes a big part of the setting (and the resulting conflicts that follow from it). That’s worth an additional caveat for some readers that Kira will be threatened by odious coworkers (though she defends herself well) and nearly everyone in this universe is bisexual and very comfortable with public sex between any combo of genders, consenting or not. Kira is a bit of a stick in the mud for her society, and rejects what other people get up to, but if you don’t want to see male dominants with female subs, even depicted negatively, consider yourself forewarned. And if the idea of the book that almost immediately shows you a very graphic, on page M/m sexual assault is distressing, consider this flagged as well. Mak’s need for rescue is lingered on enough that it’s clear it’s there for titillation as much as extra emphasis. I liked this because I like the rougher stuff, you might not find that your cup of tea.

And, if you are a strict nothing but un-caveated consent person, ditto this might not work, because the power imbalance between the characters remains consistent even to the ending. Nevertheless, I think Gold’s emphasis on Kira being an actually good boss also helps here. It’s not just that she doesn’t whip her crew or do the other awful things villain characters are depicted getting up to, but she also sets crew up for success and independence, a mindset she’s clearly also applying to Mak. In the various ways we might try to tell a BDSM romance with non and dub con while still leaving the dominant character sympathetic, the twin tropes of “oops I accidentally a slave” and “my society is worse than me by comparison” remain the most tried and true ways to gently elide around the reader’s sensible moral scruples and let one just be indulged by a fantasy. This, in itself, is nothing new, but Gold does a good job of not letting her privileged character be lazy about their moral obligations, which books also don’t always do well.  You get a sense that some of the meta-point here is that the massive social inequality is getting in the way of the D/s the couple would naturally prefer. Mak doesn’t want to be chattel, and Kira doesn’t want to be objectified. 

Kira, the dominant lead, also grapples with both a fair bit of sexism around her role as an Admiral (in this case meaning the commander of a large combo cargo/combat ship with a fair bit of other authority in her society) and in navigating the way other people tend to project their own fantasies onto her, both a a challenge or expecting her to play the admiral with them in her personal life. Mak, our sub, was submissive in the kink sense before he was thrown into slavery bombards her with a fair amount of idealized hero worship, but part of his arc is about rediscovering he can enjoy submission again in a (mostly) consenting context.

All told, this one remains on my top 10 lists, probably even top 3. About the only thing I can really complain about it that we probably aren’t getting a third book in the series, but as this is also clearly a labour of love, I am going to count myself luck with what we got.


Where to Buy

Where to Find the Author

I cannot locate so much as a defunct twitter account, but if anyone has anything better than an Amazon author page I would love to update this.

Liked this review? Check out more titles in my 2026 Femdom Book Review Project!

“Kiss of Seduction” by Rawnie Sabor [Femdom Book Review]

Kiss of Seduction Rawnie Sabor
A steamy Sapphic Succubus Romance
A Court of Chains Story

After deciding that my original pick for this week was so terribly bad that reviewing it would be a simple unkindness to myself as much as the author, my plea for some more sapphic or queer suggestions turned up a much better replacement, Kiss of Seduction, as well as a few other books I can add to my review backlog. 

This one’s a contemporary paranormal romance, a succubus and a half angel, set in the author’s version of the kinky decadent court of BDSM obsessed supernaturals trope. Demons, vampires, werewolves, fae and whatnot live in harmony with the humans they have claimed, but must fight off enemy courts at their borders. Sabor is hardly the first writer to dream up that kind of zoo, but having a not particularly unique premise doesn’t mean something can’t be executed well.  Sure, the setting is somewhat of a conceit to justify the aesthetics of the various relationships (and an elaborate magic collating rite), but it’s the quality of writing that can make it break a book more than the degree of novelty it tries to have. 

Of course that’s particularly true in Romance. You already expect a HEA, and usually a pretty tight formula following the kind of Romance it is, Historical, Inspirational, Amish, Cowboy, etc… Being sapphic doesn’t change any of the other expected, familiar beats either: the initially helpless character in the pair coming to recognize her power; the brooding dominant softened by true love and finally confident they can let go and be their full selves with the beloved; and of course that any side characters either become insta-family obsessed with helping the main pair come together or obstacles to be vanquished. 

Predictable or not, I was still interested enough to see precisely how this horny haunted commune would resolve their challenges to be entertained by it. 

I was also happy Sabor avoids some of the bad habits authors can fall into when they write linked-but-stand-alone books.  Past and future series characters were very present, but neither intrusive enough to hog the spotlight, nor pointless if you hadn’t read previous books. While it was true that if the characters had already gotten their own happily ever after there would be some time to show this couple still living their best life, the Court of Chains series seems to have aimed for enough variation there’s none of the more obnoxious hive mind of happiness that late in series books can fall into. 

Furthermore, as inherently silly as the concept of a friendly vampire is (and in these books every supernatural but the werewolf characters are some variation of an erotic lifeforce drainer), I also find there’s a lot more honesty in starting with the concept that your (fantasy) dominants are inherently predators and figuring out how they try to mitigate that. All too often an otherwise contemporary or more grounded in the real world setting can backfire and leave the intentionally flagged BDSM elements an awkward effort to wallpaper over actual consent issues. 

This can be a particular problem in any romance series, more so when a major power imbalance is an important part of each story. One dominant billionaire/Duke/BDSM club owner is a person with a fetish, four or five, all buddies with nobody else unlike them and start feeling like a conspiracy. Sabor’s Court of Chains setting has made its characters self aware, a group of monsters agreeing that their biology makes having a thrall unavoidable and trying to figure about how to put some sort of brakes on. 

Nonetheless, the ensemble setting still requires certain tolerances from the reader. While this is strictly speaking sapphic, the peril of the story, told as much for titillation (though perhaps not in as much detail), is the constant threat of enslavement by bad guys. Our sub character, Evie, is a former vampire thrall, and our dom, Natalya, is stuck on earth after killing her cruel master, and has to fear being returned to service again. It seems like all the other major female characters are capable of finding Evie attractive, but they are all in straight, male dominated relationships or headed for one.  

If that’s a deal breaker, it would be understandable. Lots of people looking for femdom don’t want to be bothered with male dominance, and if you are looking for sapphic *only*, a series that is majority hetero M/f and uses those couples as the side characters is not going to fill that need. 

I think it’s most accurate to say the book is bisexual, so much so that the character being set up as the male lead of the next book is causally described as doing BDSM play with a man. Evie, the literally angelic sub, is exclusively attracted to women, but her brutalization is largely in the hands of men. Natalya’s past partners were chosen in a gender blind fashion, but largely due to a choice in writing she also lives in a world where she has to fear being possessed and used by men more so than women.

There are Vampire Queens, of course, to rival the settings Vampire Kings, and nothing mechanically than makes magic women weaker than magic men, but overall the tone also gives women a bit of a sympathetic buff, that you can be shitty exes or minions of the bad guys, but your heart will ultimately be in the right place.  Likewise, male characters can end up enslaved in the story, but I do think there’s a bit of tilt to treating M/f like the overall setting default.

For me, I also found myself in an interesting position because I responded more to the book’s steady stream of whump than I did to the gooey, happy consenting kink parts between the leads. People are forever being shot, stabbed or otherwise maimed and in need of rescue and concern by other characters. I think that’s hot. 

As a reader this is perhaps another finer point not properly talked about in the search for good femdom stories. As a dominant I am not personally attracted to dominants. I am somewhat omnisexually attracted to certain kinds of suffering and submission, but as much as I care about books with dommes, I want characters I can self insert into as a dominant that do not insult, annoy or disappoint me. 

The actual on page consensual kink between our leads is mostly mild and cozy, using clear stated confirmations of consent at the bulk of its dirty talk, and showing Evie slowly warming up across the many sex scenes between the leads as a sort of mental health progress marker in her trauma recovery. Natalya is (by and large) acting as a wish fulfillment top, that creature of typically submissive fantasy that uses kink to heal and do exactly what the sub secretly wants, but behaves with a combination of shame and gratitude that she lets things go too far with the filthy things she is “making” the sub do. It’s not Sabor’s fault, I can find that romantic or interesting, but I am probably only going to find the more non-diagetic parts of the book erotic.

Likewise, Natalya’s day to day role is to run a BDSM club that provides all the heightened emotions that Fae and Fiend seem to require to eat. There, she plays a stereotypical house dominatrix-as-mentor role, coaching monsters to regulate themselves in a motherly fashion. This often gives me some reservations on the wish fulfillment front that I expect from romance, as a dominant reader.

What redeems things for me are twofold, the classic domme pedestal is framed not as the “proper” way dominants should be, but a disassociation from strong emotional connections Natalya uses because she is wary of love, and that her big pathos is around a world that tends to treat opening up and revealing your true self as submission and undermines those who do. That’s focused on a literal unwillingness to be naked before others, which is given plot reasons, but stands with its symbolism too. 

As far as the power fantasy I know many readers say they want, Natalya is second in command in the collective, but perceives that more as a function of overlapping magical biology than real deference to their official leader. The blood sucking variation of Vampire functions on an ability to pool power and it is more pragmatic to leave another character with the fancy hat. Another character might be King, but the decisions are clearly determined collectively, through a fairly consensus tilted alliance. 

And as much as the character is fixated on protecting and repairing Evie, the character is given lots of moments to be badass that don’t feel forced. All characters get injured a lot, but even when Natalya is most vulnerable she’s either doing the lion with a thorn in its paw thing or successfully undermining her captors. 

So, Kiss of Seduction was fun. I delivers an entertaining ride, I found the characters cute, and it suggests that you can make a working book by writing a female character into a typically male role without having to change much about the characters. Now if only writers would have that kind of courage in the other direction, when they write male sub characters. Still, until there’s more options I think it’s safe to say that sapphic femdom romances do a good job of showing what’s possible.


Where to Read:

Author’s Website:

Liked this review? Check out more titles in my 2026 Femdom Book Review Project!

My 2026 Femdom Book Review Project

2026 Femdom Book Review Project

Ok, if you haven’t noticed, this blog has popped out of a semi-hiatus and there’s been a much more regular appearance of one kind of post: Book Reviews. That’s intentional. While I have always wanted to review more works of this type, at least so far I’ve been able to keep up a once a week (every Sunday) schedule. The goal is 50 books for this year, both new and old.

I am looking for books that are intending to appeal to lifestyle dominants. The main focus will be on fiction, particularly romance, but also occasionally guides or other works as applicable. The main point of this is covered by my somewhat tongue in cheek stated goal of More Porn for Dommes, but it would be more accurate to describe the project as trying to get more attention to things that work for us and discuss what isn’t working.

This will also include negative reviews. I’ve wrestled with this a lot, but I think the only thing that does a book more harm than speaking poorly about it is not speaking about it at all. After all there’s a whole subfield of book hunting where people find what they like by the trigger warnings or people scathingly disparaging something a particular reader is actually looking for.

As a single individual I am not the ultimate authority what is and isn’t good, of course. No review I write should be taken as the last word. Nevertheless, I think my opinions can matter and what I trust is that if you think I am wrong you will feel compelled to go contradict me and sing the praises of the book you loved more so than if I said nothing at all.

I will not accept author review copies, I always feel like crap if I hate it. As an author you are welcome to try to let me know you have a work available I haven’t covered yet, but I will try to either buy what I review, get it from a library or look for general free book promotions. There will not be affiliate codes attached to these reviews in any sense. Where possible I will try to link to the author page or preferred retailer, avoiding Amazon as much as possible. If you are the author you may ask me to update me sales/where to find it link to one that best helps you.

Works that use AI (covers, text, even promo) will be excluded. Please don’t.

What You Can Do To Help

Buy the books I cover! Review the books you read as well, not just where you got them, but sites like Romance.io, the romance subreddits (as applicable), Storygraph and even Goodreads. If you wrote a review of something I also covered, please feel free to share a link to that review in the comments of that post. I am open to reciprocal link sharing between review bloggers.

Also! Review books I did not cover. Tag them with “femdom” so other people can find them (and me). Make your own lists of books you liked. Share those lists! As always curation, curation, curation. It’s the only way we can get things out there.

I may reactivate my Patreon at a later date (maybe if I keep this up for another few months and can tell it’s become a habit), but for now please put your money towards supporting authors and buying their works. And if you can’t afford that, ask your local library to buy a copy. You will be surprised what they will keep in stock!

2026 Reviews So Far

(In Reverse Chronological Order)

July

  • “The Admiral’s Acquisition” by Luna Gold

June

May

April

March

February

January

“His Secret Illuminations” by Scarlett Gale [Femdom Book Review]

The TL;DR for this one is that a physical difference (big streetsmart warrior woman/small booksmart mage) forms our starting premise for an opposites attract dynamic to blossom in some cozy adventuring fantasy. Why it’s good is entirely in the execution, and its runaway popularity for an indie is a good thing to point to whenever anyone says femdom books are not marketable. It deserves the love it gets, and in further emphasis of its merits, if you extracted any of the overt kink or romance elements it would still stand on its own without them.

Although I actually read His Secret Illuminations several years ago, back when it came out, I am using the purchase of the physical books as my excuse to finally get around to gushing about my enjoyment of them, and of course giving it a re-read.

Our protagonist, Lucien, is a monk, from an isolated monastery from the most hardline version of his sect. That sect has hired Glory of the Snow, a massive, blonde and vaguely Viking coded woman, to retrieve some stolen books. She’s worked with the monastery before on smaller quests, giving the couple time to have a meet cute and establish a bit of mutual interest, but the need for retrieving the Macguffin gives a convenient impetus to throw them together. Glory, for all her fighting prowess, lacks the magic Lucien has that will let him track and correctly identify the missing items. This, in turn, throws him well out of his comfort zone, both having to navigate his extreme sexual repression and figuring out how to function in a world where every choice is no longer made in service to the monastery.

As far as the fetishes being indulged here, Gale does a good job with playing with the fantasy of Lucien’s extreme innocence and naivety well for self indulgence purposes, but without tripping into being tedious or making one unduly concerned about his ability to consent. Importantly, for those of you who may hesitate because of the number of strangers who keep calling you Mommy uninvited, at no point does it ever stray into making him full on hobosexual-helpless. The fantasy here isn’t about him being without life coping skills, rather giving a way to gender bend the princess-in-the-tower trope. And to justify a nearly stratospheric amount of yearning on the male lead’s part. 

Inversely, Glory’s endless well of patience still manages to remain a power fantasy for a dominant reader, because a great deal of emphasis is put on making Glory a complete person and giving Lucien lots of opportunities to show his use to her. She is allowed to be appreciated for what she is good at, and the falling in love part on her side is essentially discovering just how rapidly he gets up to speed and is then able to keep up with her. The premise is opposites attract, yes, but the conclusion is competence likes competence, even if this can take many forms. Likewise how the other characters react to the budding romance also makes it clear that Lucien and Glory are each other’s type, but it’s not making any sort of fundamental judgment that only these two could truly love each other, or their ability to appreciate each other is some sort of virtue.

The overt femdom elements likewise flow very naturally, in so much that there’s an almost mirror scenario going on that the more comfortable Lucien gets with the outside world, the more intensely we get to see him yearn to be mauled and pinned by Glory. Thus, while the couple doesn’t actually bang until the very last chapter, by the second half of the book the spice has started to seriously kick in. Using Lucien here as the perspective character seems to mostly be because the reader is assumed to want to focus most closely on all the horny submissive vulnerability he is giving off.  

As far as the sex scenes, I would describe them as a natural continuation of the overall themes of exuberant self discovery. The whole book is an immersive sensory experience with a lot of emphasis on embracing the whole body, just as much through food, bathing, clothes and physical activity. Inversely, the real conflict of the book is largely internal. Though there’s many smaller adventures along the way, from medical emergencies to heists, Lucien’s main struggle is with religious guilt, and its typical over emphasis on discomfort and deprivation. 

The way Glory is constructed and how we are allowed to get to know her is also extremely refreshing. Fetishization is often synonymous with objectification, and the larger culture we live in struggles with the idea of a dominant woman as an anomaly. All too often fictional female dominants can veer into becoming avatars of inspiration more so than human beings. This can be particularly the case when the domme character’s role is as a guide (or an antagonist). Sometimes you counter balance this by giving her a challenge of her own to surmount, but inversely this can lead to these characters being stuck being incomplete until the sub comes along. Glory is fine. She doesn’t need a partner not as an act of bitter rebukement, and she has enough openess to others Lucien can have a reciprocal relationship, but we absolutely avoid any hint of feeling ashamed, freakish or rejected without reducing her down to some sort of inexplicable force of nature.

I don’t mind stories of overcoming the world’s efforts to make women small, submissive and compliant, but while there is one scene where those pressures are explored as a potential hazard the book otherwise goes out if its way to make sure you know that’s more of a minority opinion among the citizens of the world. Sometimes, as a dominant reader you need a break from being told you are a freak, even a virtuous one, you know?

I also think it’s worth talking about how much this intersects between wish fulfillment and the mundane beliefs of the culture that produced it. As much as you could call this a Romantasy, it’s equally on the spectrum of being a LitRPG. That’s not to say that the characters have explicit game style overlays and talk about their abilities in terms of levelling up, but the strongest influence here on the setting and plot is on the norms we accept from fantasy TTRPGs. That’s a world where we accept that “adventurer” is a job, where people doing that job have specialized roles like Fighter or Wizard. Likewise, the story is told through an alternation of giving the character a challenge to solve as a group and a period to rest and improve their skills and gear. Thus, tonally what you are getting here benefits from giving you the vibes of playing a very interesting roleplaying game without but without any of the mechanical elements of the game intruding on the story it’s trying to tell or requiring any familiarity with the hobby.  


This choice of medium is ideal for the sort of story Gale is trying to tell. Most obviously, the premise depends on the fact that the game systems that influenced it decided to move away from default sexism baked into the mechanics of the game (for example avoiding adding gender based penalties or bonuses). The other reason is one that gets less spoken of. The elements that make a game function overlap so much with how modern kinky people get up to their shenanigans that the latest edition of The Dungeon Master’s Guide opens with instructions on how to conduct a consent negotiation one could practically lift unchanged and use in a much more intimate context. This cross pollination is intentional and direct, a symptom of the observation that the Venn Diagram between nerdy and creative hobbies and the people who do BDSM is essentially a circle.

For His Sacred Illuminations, therefore, not making your characters approach the ethos of sex like a kinky person would be weirder than the fact that they do. So, as a result, everything works.

Lasty though, I will flag that Gale has actually split things into two books. His Sacred Incantations finishes the couple’s overall story, but the ending of the first and second parts is much more a matter of the pragmatics of serialization than any real completed story arc in the first volume. You could argue that you have reached the traditional romance part’s conclusion by the end of book 1, and book 2 is more about drawing you deeper into the world, but I believe book 2 is just important for what it is trying to do, which, having set up the dynamic between the characters we now get to see it in action.

I think that’s particularly important, given that their initial dynamic is built on setting based power imbalances, whereas in book two we get to see the dynamic run on a firmer foundation of mutual reliance. If you are willing to take the risk on it, buy both books in one go.


Where to get your own copy: Author’s website, directly.

“Dominating Mr. Darling” by Victoria Vale [Femdom Book Review]

Dominating Mr. Darling by Victoria Vale, a cover showing a woman in an orange dress smiling as her arm is wrapped around a man half out of a loose white shirt.

Well, they can’t all be winners, I guess? Although “The Damsel” by the same author is probably on my short list for favourite works out of everything I have reviewed so far, “Dominating Mr. Darling” by Victoria Vale definitely isn’t.  Honestly, it’s pretty bad. A bait and (literal!) switch storyline; an actively annoying male lead; and a tendency to contradict its own premises mean I just didn’t like this one, and I don’t think most people will either.

As far as plot, here’s the jist: She’s the sister to the nobility, an heiress with an immense dowry. He is a mere mister with a bankrupt farming concern that desperately needs an infusion of capital. She’s an experienced dominant, but though he has never done anything like this before he quickly becomes immersed in her world. The book sells itself as a Domme (Lady Amelia Fitzwilliam) finally finding the perfect sub for her (the titular Mr. Darling), in an erotic historical romance setting. What you actually get is not that. 

Instead, this is about a woman who normally identifies as a dominant learning to love and be vulnerable through her submission to the male lead. While it implies that after this she goes back to being dominant with him, the book doesn’t trust the premise enough to allow her self discovery to be possible through someone else’s submission. If you were buying this based on the implications of the title and blurb, you are going to be disappointed. 

If you are the sort of person who is specifically seeking books with femdom in them, you are going to hate the book based on that problem alone. Perhaps unique of all groups, because of the normative pressures against women being dominant or men being submissive, we tend to be extra sensitive to anything that implies this is a phase, a facade or otherwise lacks a full emotional range.

Even so, sometimes even a serious flaw like that can just be an error in marketing. However, none of the other pieces of Dominating Mr. Darling come together well, either. Not the depictions of BDSM; not pulling off the stakes of the conflict; and not the figleaf of a historical setting. Each individually doesn’t work well, and in combination only serves to emphasize the flaws of the other parts. 

Of course, romance has always had a fuzzy attitude towards historical accuracy, treating it as negotiable. For every Flowers from the Storm, you are going to get a dozen Bridgertons. That’s not a bad thing, sometimes the past is just an excuse for pretty ballgowns or certain kinds of drama, and we aren’t here for the other stuff. And BDSM romances often take liberties too, favouring interesting conflicts over being strict manuals of how to kink responsibly. This is a feature not a bug. There’s room for books about healthy BDSM as just how the couples connect, but not all fantasies need to be diegetic good representation.

But, where Dominating Mr. Darling pairs vaguely Regency tropes (balls, social season, titles, marrying for money by default) with contemporary assumptions about how BDSM works (safewords, leather corsets), both feel like they were sort of counting on the other part to compensate for any compromises made. 

The historical setting gives us some costuming and a smattering of aesthetics. But, otherwise, for most of the book this really could have been about contemporary ultra rich people and nothing would have changed. Our heroine is an heiress who hangs out in men’s wear in casinos and fairly openly takes lovers inside and outside her own social class. At the same time, she is described as being the belle of good society, going so far as to be called “the Incomparable” by the consensus of the other aristocrats. Because we are in historical land she does have to contend with pressure to marry and the implication that doing so is a more or less one way journey, but there’s basement dungeons and modern style sex parties just about everywhere. Thus, because there’s no actual teeth to any of the other draw backs fo the setting, the result makes her seem like a rebel without a consequence.

Inversely, for all it pays lip service to modern concepts of consent, the lack of practical understanding of theory would probably be better suited to one where the characters could plead ignorance due to time period. Either you are telling a story where your husband has full legal rights over you and this is about how you navigate that as a person who wants to dom OR you are telling a story where those rules don’t apply. But then if you do that you lose a lot of leeway for the people to be trash at the BDSM part, which this book depends on to drive the conflict. 

Which is to say even as a switch romance it still falls on its face. The hero is an idiot who repeatedly wildly over steps whenever he is in a dominant role. His first decision, when faced with an opportunity to take charge for an evening, is to try to use that for real world leverage (commanding her to marry him). His next jaunt at that is to force her to reveal her secret in the most traumatic way possible. The third time involves her stripping off her fetish gear style symbols of dominance for some sort of reconciliation, after he has demanded she not shut him out when he fucked up the prior time. At no point does anyone acknowledge just how ridiculous that is because the reader is supposed to see this behaviour as daring and romantic. He cares about her so much he will take big swings and big risks, forcing her to do what she secretly wants. 

Sure, that’s a common part of submissive fantasies, but even if you are looking to do that you need to actually reasonably sell the idea that the dominant has the skill to do that. Or even that she needed to be rescued from her false front. Obviously I have my own reader bias about the trope that dominant seeming women just need the right man to take them down, but it doesn’t even do this well either. 

Instead, the book hasn’t taken the time to set up a premise where she is making a distinction between a mistress persona and herself, or how much her wild child self presentation is actually a smoke screen. For example there’s absolutely no role conflict after he marries her and sets her to the high femme business of ornamenting his home. All her earlier casino crossdressing becomes irrelevant and she takes to her midbook rustication with nary a bit of tension. Inversely, despite the book wanting us to take him equally seriously as a dominant, it also doesn’t suggest any effort on his part to learn to do this safely or respectfully. Or even that he understands what he did has been consistently bugnuts. He is supposed to be brash, but mostly this just comes across as entitled. 

The book takes a lot of time to establish she took years of supervised instruction to dominate well (not something I even enjoy, but hey, that’s the book’s argument about how this works, not me), but two scenes later, both extreme disasters, and the hero is treated as on par with her for his ability to take charge. Not only does this make for an obnoxious character, it becomes just another facet of how Mr. Darling’s monumental ego is treated as a good thing, and Lady Amelia’s confidence is something to be disrespected.

It also struggles with a problem many romance novels do, when the universe conspires to undermine one of the characters and make it clear everyone else has collectively concluded any resistance on their part to the other lead is silly. Faced with ambivalence or issues, everyone is quick to remind Lady Amelia this guy is clearly different to her and this would be good for her. Any misgiving she has is treated like she just needs to open up her heart a little, every conversation with other characters and the dialogue always slides to how good the hero will be for her if she only stops trying to trust her own judgment. One conversation between the men later and Lady Amelia’s primary source of social protection, her brother, is completely won over and her to tell her why she really needs to go along with this Mr. Darling person. Even when he openly tells her brother the object of his affection has said no after a verify ham handed proposal. 

But we never see why Mr. Darling is different in a good way. Lady Amelia’s clearly found other subs to play with in the past. We get hints she’s struggled to find one eligible for class reasons, but we never actually learn why this guy is not like the other nobles and gentry. It seems to be trying to imply nobody else would ever bother to challenge her tsundere façade, but she is never given enough unreasonable prickles to pull that off. 

Nor do we really confront the fortune hunter aspect on Mr. Darling’s part, and how she gets treated like the hot piece of ass attached to some tempting investment capital. It’s used in a sex scene and they sort of bring it up as a bickering topic, but the narrative and dialogue of the other characters agree this is to be treated as petty on her part to consider it. The best angle we go for is that he was obviously going to marry wealthy, but she is a special money source, unlike any other heiress.  The benefit to Lady Amelia is supposed to be that she’s so traumatized by her past that only Mr. Darling can actually accept her and tear down her walls. But at no point is she unreasonably pushing people away. Actually she’s always written as being open to others and letting them please her. Past partners have not been given their walking papers for getting too close, she just has a lively history of causal sex.

Which might be the ongoing thematic issue, the over reliance on tropes doing the heavy lifting, and a very fanfic style presumption there’s automatic audience buy in. 

Fanfic often skips explaining or fully addressing character motives, because the audience already knows who they are and where the characters are coming from. Pregnant Batman discovering he is the Joker’s secret Omega only needs to explain how that differs from our existing assumptions about how that would go down. It tonally also trusts the audience is ok with everyone being keyed up. In the same way, genre fiction can sometimes get a little bit of leeway around this, for example we accept the past generally had more rigid gender roles. Nevertheless, when you use those expectations to try to frame everything out and then repeatedly act in contradiction to them you end up sounding incoherent. 

I think the best example of the book’s over reliance on cliché was when she’s just married the hero and is touring the dilapidated manor her heiress money is going to be used to fix up. While doing so, she meets his family and then when the couple continue away after that scene the hero says, gladly, how the place desperately needs a feminine touch. 

That’s a pretty common historical romance chestnut, the idea that a woman is the secret ingredient to turning a house into a home. Sure, if we are here to enjoy the love lives of titled nobility, what’s a little complementarian sexism in our fun pretend time? This is at least accurate to how they thought. Only, the book has so little interest in matching its tropes with what is on page that it never acknowledges that we also just met the hero’s mom, who lives in this house and has only been widowed for two years. This is her house too, presumably decorated and managed by her for the majority of her adult life. The mother is not depicted as incapacitated from domestic management either, they just aren’t rich enough to give the place a full turn over. Oh, and he also lives with his unmarried sisters, women who are ostensibly trained to do this domestic management too. But they don’t count. 

A better handling might examine this as ironic flattery, or confront how dismissive he is to the other women in his life, or even establish why domesticity isn’t their cup of tea. Or address how a woman who wants to flout society’s rules settles into playing literal homemaker without even an internal struggle. But this book is running like a check list. He doesn’t say it because this makes any sense, it’s because it’s an expected trope and the audience is presumed to want the vicarious interior design achievement fantasy as part of the setting. And because the other thing romances often offer is a ready made family who adores you, particularly one loaded with sequel bait characters, it also added the mom and sisters without really thinking over the implications on this book of why they were there. 

Looping back to my earlier criticism of the kinky bits, that problem of trope reconciliation also pops up in how incoherent it is over consent. The audience is presumed to want two things, the idea that BDSM is ok really (so we get modern safewords), but that it presents real danger (so we get coercive marriage proposals or just tossing a partner into subbing with little negotiation). We don’t unpack how surprise limit pushing is a bad idea, but we are supposed to accept it is reasonable to be upset. This is a world with safewords, but none of the other theory-of-CNC, like understanding people don’t always know to articulate limits. The second time the  hero causes a major problem through this, it almost seems like all the safety framing was actually supposed to undermine her for not speaking out in the moment, but then we immediately skip to the next trope, “if someone loves you they chase you” and off he goes after her. 

However, because we never addressed or properly set up any of the other parts going into that conflict, what we actually get is the female lead being cornered between the arbitrarily present misogyny of the vaguely historical setting (but only when it’s narratively convenient as a motive) and her own clumsily written self loathing. Here is another trope to check off, reassuring your lover they aren’t really damaged goods. That’s supposed to make him a good man, but it’s handled so poorly it basically comes across as him accepting her apology that he has repeatedly hurt her, and then her making one more sacrifice to reassure him she’s actually his. 

Thus the full narrative arc becomes: Woman with severe self worth issues covers it up with rebellion of society’s rules, but comes to surrender herself to a man who will tolerate she’s not easily submissive because she is hot and rich. Oh boy. When we get our happily ever after she’s supposed to go back to dominating him, but we are to understand she now knows her palace and will confine it to bedroom only topping while she spends the rest of their marriage paying for his new roof and curtains.

A few more thoughts…

As you might have guessed, I am tentatively embarking on a 2026 femdom book review project. This means, as long as I can endure it, one book a week, live on Sundays. The challenge with the pace I set for myself is that it means committing myself to efficiency, avoiding things ending in a DNF. It also means being willing to make negative reviews.

Previously, I had thought to avoid that, since there’s so few femdom books out there and the creator space is so much a poorly compensated labour of love that I was concerned this was going to act as yet another a caustic deterrent. On the other hand, I have determined that you, the reader, are capable of making the distinction between me disliking  a book and it being objective trash. And furthermore I decided that worse than reviewing a book negatively is never reading it at all. 

But, I also  think reading books you don’t like is actually helpful in figuring out what worked about the ones you did. At my most vain I think I am read by enough writers that articulating problems can also help with one of this project’s other problems. Femdom books a dominant might enjoy reading or are not necessarily written for specific kind of gaze many subs (of any gender!) find irksome aren’t really even established enough to be a coherent category people might market or create for. We have a huge problem of not only finding what we are looking for, but also articulating what we want in a way that reliably helps us get it.

So my criticism is also a matter of context. For example, Dominating Mr. Darling is a sequel to a prior book that was M/f, focusing on the heroine’s brother. Did it ask the dominant male lead of the prior book to formally submit to the heroine a bunch to reconcile his own icy heart? I strongly suspect it didn’t. At the same time, the prior book was also about opening yourself up to love after severe trauma, and we meet the hero of the last book as now being very meek and considerate around his wife.

So, narratively, Dominating Mr. Darling is also hitting another, more invisible problem in genre expectations. A lot of romance is actually a power fantasy about a person’s journey to success through making a more established or at least typically unassailable person bend to them due to the love they have for an otherwise weaker person. A lot of M/f romance does that, so do most books where a hero starts out through dint of setting or just sexism end with him crooning helplessly over the heroine, transformed by the power of love. And, honestly often the appeal of these characters (billionaires, peers-of-the-realm, vampires, etc…) is what their power can do for the other protagonist when properly harnessed.

When you start taking away bits of stereotype, which you have to do to tell a femdom story, you start seeing the cracks more. Even if this book was less of a mess, essentially trying to steamroll over its own writing with boilerplate genre expectations, you kind of struggle with the gender thing. Unless this is an else-world where anyone can be anything, the experience of having any gender is indelibly filtered through how sexism impacts you. Femdom is a niche apart from BDSM as a whole because the starting context of violating your enforced gender norms unavoidably alters how one experiences things. (That’s even if your experience is to assert you actually are just like the other male doms, you are still stuck having to do so)

A lot of femdom stories try to tell an inversion, a sort of role reversal. What if she was the one with all the power to start? Some don’t, for example Heather Guerre’s Preferential Treatment and What Was Meant to Be are more classic in the starting power dynamics. Either way, the whole category is still going to have choppy issues unless it acknowledges the role gender typically plays in romance. 

And I think F/m books struggle with the male lead as much as the female one. Even in books I otherwise liked, they often fail to deliver the idea that the man is a net positive in the happily ever after. Any romance can struggle to do that, of course, but because they often involve robbing the male lead of part of the toolkit he would normally have to prove his worth, a recurring thing I trip over in these books is you often think she is better off single.

And I think that’s what this book gave me. It helps me understand what I am looking for is an equal partner who can submit without being a sandbag. Whether a book can pull that off is probably going to be a big part in how much I feel it’s a satisfying HEA. And, to take this review back to where I came in, I suppose I would also like to talk about why The Damsel, by the same author, worked for me, but this one failed spectacularly.

On the face of it it should be a pretty similar arc. A couple meet in a kinky hookup where she initiates him through light bondage, and then he comes to understand her darkness inside. Both end with a softer, more vulnerable dominant. A fundamental difference, I think is not just that Vale avoided the incongruent check list tone of Dominating Mr. Darling, but also she trusted her characters more to do shit together that complimented each other. Her male lead wasn’t just offering understanding, but real help. And, inversely the help the heroine needed did not completely undermine her. 

The messages here, around dominance, also couldn’t be more different. In Dominating Mr. Darling, ultimately only submission is allowed to be true vulnerability. In The Damsel, submission is also strength and offering dominance is inherently expressing an act of trust in your partner. What I would therefore be interested to see is if Vale’s next F/m work leans more to the former or to the much more satisfying latter.


Where to get it: Dominating Mr. Darling

“Uniquely Rika” by Ms. Rika [Femdom Review]

Uniquely Rika Cover by Ms. Rika

While the bulk of my review efforts for this year intend to lean towards correcting the paucity of attention paid to femdom fiction (particularly romances), this week my chosen book is Uniquely Rika by Ms. Rika. It’s been sitting in my to-be-read pile for a while, a couple of years now in fact. Published in 2008, it’s generally on the short list of recommendations in online femdom spaces, alongside The New Topping Book, The New Bottoming Book, and The Mistress Manual. As far as placing it relative to those, it’s almost like The Mistress Manual’s aggressive opposite. It’s attempting to be a dominant pleasing first guide, for people who aren’t interested in replicating the stereotypical dungeon experience. Inversely, based on others’ comments, it’s also got a reputation for advocacy against standard practices to maintain consent. While there are some folks who treat it like their Bible, there’s many others with strong negative feelings in the other direction. That makes it popular, but controversial. 

Going into it, I was therefore curious about what to expect. Was this going to be alarming or were the criticisms overblown? Additionally, I had another piece complexity as a reviewer. I run in the same circles as Ms. Rika, at least on the internet, and in my arms length observation of them, they generally give well reasoned, patient advice. Therefore I also want to stress that my feelings about their guide are not a reflection on their overall capacity to advise people, and should be limited to this text. Inversely, as I will discuss further on the review, as a somewhat seasoned part of the kink community, I have some observations about what happened when this book’s advice was put into practice over the last 17 years. 

Uniquely Rika attempts to solve one issue: Dominants (or would be dominants) in F/m relationships are disproportionately dissatisfied, because they feel that how their role is presented to them prioritizes their partner’s gratification at the expense of their own. While everyone agrees a major cause of this is excessively pushy subs and a lopsided popular understanding of what is possible or how F/m works, this guide is part of the school of thought where the solution is to tell them this isn’t real submission, but also that a true sub is completely selfless. The best way to reflect this selflessness, in Rika’s mind, is constant 24/7 anticipatory service. 

Where the guide is weakest is that strictness of definition, and what I would describe of as having way more good faith on her part in the people trying to put her advice into practice. While it’s never a good idea in BDSM advice to talk about a true *anything*, her other major stumbling block is something she is pretty up front about in her forward. This is written for sub dudes trying to get their wife into this; vanilla women with a sub partner; and  generally kinky couples who are trying to transition intermittent play into a more encompassing dynamic. Nowhere in that list is solo dominant women, or dommes to whom this is their idea. This is an oversight that tilts things wildly, because the foundational premise leans to assuming that the dominant is starting from such a place of alienation that a sub needs to lean with all his weight in the other direction to over-correct past damage. And, if I am being honest, I find her approach to more traditional BDSM activities internally contradictory to how she frames them. 

To her credit, she makes it pretty clear this is just what works for her, in a sample size of 1, an, at the time of writing, 20 year 24/7 dynamic. That is not nothing, but she doesn’t claim a PhD in counseling psychology; a lit review of the 200 most useful books; or even makes anything bigger than claiming this is her perspective after a lifetime of observing other people’s dynamics fail to work. 

To place her ideas in the larger spectrum of what’s out there, she’s a Pyjama Domme (or fuzzy slippers Domme). That’s a byproduct of the late aughts to mid 2010s who collectively awakened to the problem that the conventionally understood idea of femdom was not working for most of us, since we weren’t interested in operating in a commercial context. Our actual problem was sexism (and remains so), and our mission to amplify ourselves and be heard was based on the very real need to assert that we did not need to wear a specific uniform of fetish wear and play a character to be permitted to do this. We particularly centered casual, deliberately unsexy loungewear as our symbols to emphasize this wasn’t about us performing for others. There were some significant upsides from this (omisspearl.com existing being one of them!), but Uniquely Rika also reflects some of the problems we were prone to.

At our worst, we could be very SWERFy, often lashing out more than needed at sex workers over the fact that we were immersed in the lock step advice that if you were a dominant and a woman/even vaguely femme, you needed to be an amateur dominatrix. To this day, we have both positives, but also a hard edge of a sort of heterofatalist tendency to throw a self defensive elbow in the direction of everything we have been historically harassed with, even as you aren’t prepared to give up on it entirely. That and the human tendency to simplify and ignore our own personal grey areas. A lot of dominants with criticisms of femdom culture will over state certain parts as being entirely the idea of silly and demanding men, while eliding over other parts we want to keep. 

For Ms. Rika, that probably shows up most in her effort to grapple with the idea of fetish versus vanilla. Everything femdom, in her cosmology, is either the false version of submission (summarized as that craving for a corseted, whip wielding, high camp goth disciplinarian) or “normal” female sexuality. Some of this is being deliberately hands off with trying to define specifics, in an effort to make this be more universal. But in practice, her efforts to illustrate why her method is more inviting flips into being a lot more specific than she seems to realize.  

Where she has her best strengths is where she breaks down why different models of how this is supposed to work fall short. Her examples of why hanging your whole dynamic on a specific fetish fails are inspired, stressing that a partner hanging their motives entirely on cock cage or similar prioritizes their accessory over their partner. Likewise, when she starts talking about the S&M side of it there’s an approach that’s relatively novel to topping if your goal is supposed to produce certain psychological outcomes in the partner. Were it not for her unfortunate attitudes towards limits and negotiations, I would actually say she tends to demonstrate a pretty good understanding of the theory of why a lot of things work. 

However, despite the emphasis on these being clearly important enough to figure out, her method insists that all fetish activities (the tying, the butt stuff, roleplaying, etc…) are categorized as gifts we should assume the dominant isn’t personally into, but may choose or not to give the submissive. She’s very clear that it’s a gift, not a reward, as nothing is ever owed. She also figures if these were your thing otherwise, as a dominant, you would be doing them already and your partner’s desire for them wouldn’t be potentially vexing.

Unfortunately, this misses that a lot of dominants also struggle with the thing we actually want being forced on us or given to us so awkwardly this undermines our own relationship to it. Making it a “gift” certainly gives you a cooling off period from the usual experience dommes complain of, when this is shoved down our throats. Inversely, all this distance also subtracts your own ability to take ownership of the thing. Nevermind her general tone that if you like this stuff at all without a man wanting it you are kind of weird because these are all “male centric”. 

There’s no curiosity there might be a female centric version of these things, or introspection of why we needed so much emphasis on these if they are so darn distasteful. Men are from Mars and sadomasochists; women are from Venus and like cunnilingus and sex where he doesn’t finish. Because obviously he isn’t getting primary enjoyment from *that* without you forcing him too, but no woman ever saw some tall boots and thought she looked sexy in them. And this gets especially bewildering the way she keeps going back to the same scenarios of her partner kneeling with clamped nipples and clothespins on his scrotum, even as she emphasizes the bizarreness of this.

Ms. Rika is very able to break down things effectively to explain why it usually doesn’t feel dominant to be told you may (or worse, should!) do a lot of traditional fet stuff. But she has a massive blind spot around whether her own wishes should be perceived as kinky, and how 24/7 anticipatory service is over stated as the secret sauce. Sure, lots of people like to get what they want. It assumes all women are secretly wanting the upper hand in every important aspect of their relationship. 

It also assumes all subs can make literally anything work, as long as they remind themselves that doing a favour for the dominant is always a privilege. Maybe this is a little bit of an absurd reach, but based on how Ms. Rika defines this, that would include collaring your partner and being the perfect dominant for her 24/7 as an act of selflessness. With no expectation of it ever stopping or getting what you want, because that other stuff is a gift. 

A hypothetical extension of the Uniquely Rika system is that her version of a fake male sub could find a real sub of the gender they prefer and order them to do anything they want. You can imagine how much the average self identified femsub with a guy trying to pull that stunt would laugh them out of the room. That’s probably another problem with the pyjama domme approach, collectively. A lot of us are so personally repulsed by submission and how much the mainline scene pushes it on us that we kind of stop paying attention to how a whole other population of kinky women are navigating living with demanding partners and sexism, and how they deal with it. 

An even more crotchety read here, on my part, is this abdication that you even think about your partner’s needs and get him to figure it out for himself  is bordering on the dubious idea of stealth submission. And it does go there, with examples like shoe care causing the sub to realize as a foot fetishist they should be grateful to be allowed near that. What is working here is that it’s making the sub a more active participant in making space for the dominant, not just his fantasy. The problem here is that this isn’t really sustainable. 

Guides like “Conquer Me” by Kacie Cunnigham can also be contrasted here. That book is preoccupied with making a sub in a M/f relationship feel submissive while the sub remains safe, and not at all with a dominant feeling dominant. But inversely to Uniquely Rika, Conquer Me emphasizes the theatrical bells and whistles matter. Which, some sort of part of that usually does. There’s a distinct paucity of magic doormats, no matter what they angrily type about how their submission is actually true and real. 

Thus, the problem with Uniquely Rika’s approach is also that 24/7 anticipatory service (as she describes it) is not going to work without a whole bunch of stuff she is assuming will automatically follow. Ms. Rika talks about the hardline posture she occupies, but we don’t really get Mr. Rika’s side of things except through her reassurance men will eventually be grateful even if they seem reluctant at first. Which, I would suppose, now requires me to talk about her constant emphasis on no limits or safewords directly. She does that a lot, and believes it’s the other core part of this working. 

This is what I would call Ms. Rika not realizing what a good, loving and patient person she is, and having the smart and thoughtful person blunder of not understanding just how dumb and terrible other people are. 

Ms. Rika assumes your love and appreciation for your partner makes doing the things she classifies as “gifts” fairly regularly a natural extension of that love. She clearly sees the want for these things as an extension of who your partner is, and something that ultimately needs to be warmly accepted. In a lot of ways the unspoken foundation of her theory functioning for her is she is offering her partner the reassurance that when she does these things it is because she wants to and he doesn’t have to worry this is under duress. 

Since a lot of subs, particularly dudes, think their desires are an icky box of spiders, that can be powerful. Wow, no more begging, it was even her idea! But, because a lot of people think the theatrical stuff actually is icky spiders AND the idea of subs being a limitless well of support is hot enough to forget most people can’t sustain the practice of that, evidence shows that the average person trying to do her method eventually runs into a wall. 

In practice, you can’t hold Ms. Rika entirely responsible here, but it fucks up so many couples to basically decide that the sub is not to be trusted with their wants. It’s like even the folks who agree we need to start with an egalitarian foundation take the sub’s half of it, and rather than emphasize it’s to be weighted equally to the dominant, throw it out the window. 

As a submissive, you do not get to decide what makes a dominant feel dominant. Inversely, as a dominant you do not get to decide what makes a submissive feel submissive. If this gulf is too big to bridge, that doesn’t make either of you invalid, just incompatible.

You can tweak what you are doing to see where compatibility is, but you can’t fix things by deciding that one of you just needs to suck it up and deal. That’s a sexy premise to a fantasy, but so is being kidnapped and forced to marry a fairy prince, or having a permanent residence in a cage in someone’s basement.

Ms. Rika goes one step worse here, because she sort of loses the plot when she transitions from the loving egalitarian relationship she says you need to start with and how you should conduct yourself in the D/s relationship she puts on top of it. Specifically she thinks you get there via a my-way-or-the-highway approach to BDSM, complete with withdrawal of the right to serve at all if they ever balk at anything, with an emphasis on no negotiation other than consciously assuming the dynamic itself. Otherwise, she places a repeated emphasis on dommes having no obligation for the dynamic other than honest feedback and being calm, firm and unyielding. If they refuse to do anything ever, you simply end the dynamic. First, as a warning shot for 24 hours, but you make it clear you will easily make it permanent if they don’t both change their mind about the refusal and apologize.

This is fucking bananas. I can’t stress how bad the advice here is. Ms. Rika says this is just what works for her, and maybe it would work for you, but she has really poor insight into how this will go down for other people and the actual role of limits play in a relationship for the benefit of both parties. 

Ms. Rika is assuming that not only do you not want to cause real harm to your partner (because you love them), but that you will be very good at determining your partner’s level of distress as it approaches lasting harm, and that it is appropriate to incentivize cooperation with only your one version of submission with no input from them. She also assumes that you are so otherwise indifferent to receiving his submission that anything less than the extreme is worthless to you. Therefore if he cannot do that, you would prefer he stop asking at all. 

If you use her method you also need to assume that you are a better judge of what your partner is capable of than they are.  And that your partner is not to be trusted, and without an imminent threat of losing your interest in BDSM all together they will sabotage the submission they supposedly want. 

I try to avoid the whole “are the straights ok???” thing because honestly the whole business of BDSM, even done badly, is as queer as a three dollar bill, but this book does have a giant begged question of why you are tolerating someone who is apparently so shit at basic relationship skills. It’s very “control your husband by withholding sex, because as a woman you could take or leave it.” For a person who spent a lot of time telling you not to act like their mom, Ms. Rika still tends to lean that way, that your underlying vanilla dynamic is adversarial and your partner is at best lazy and at worst out ot get everything they can get too. Tirelessly work on this submission to me, young man, or we throw it away! Men are idiots. That’s just how men are, honey. You gotta break’em in or they will walk all over you. (etc..) Yes, this was written in 2008, and there’s a generational gap in how compulsory relationships were to Ms. Rika’s generation versus my own, but it is already a hostage situation just get a fucking divorce already.

And really, the problem is that as a result there is no room for most dominants in her method, because we are incentivized to also want this. At best her method is playing chicken, counting on your partner having lower self worth or higher desperation. At worst this is dominant fap, as much a fantasy as the Surrendered Wife teaching you how to get your husband to do everything you want by selectively ceasing to do anything you don’t want to do.

I don’t think Ms. Rika wants anyone doing anything unsafe to their partners when she repeatedly emphasizes a no limits approach. I just think that, in the history of people in fetish communities emphasizing the absence of their limits, she does the usual thing of assuming the actual limits someone might have are so radioactive (and so universal) if they were ever transgressed it would immediately end the dynamic… so it doesn’t count. Then she doesn’t need to think about it because it maintains the mutual fiction of greater power.

All this no limits business is also a kind of an emotional security blanket from self reflection about the other elephant in the room. Ms. Rika says she doesn’t feel dominant from doing traditional sadomasochistic stuff, but she takes enjoyment in knowing her partner is inconvenienced. This is where the strictness of her world view gets in her own way. What she’s describing is a flavour of sadism. This is a fetish. Ditto the way she tries to sell sex where he doesn’t come by default.  A lot of people would feel as uncomfortable doing what she is describing as they would scowling in thigh high boots. And by the time you get to the sex manual part where she keeps talking about removing your partner’s choices (push them past them saying no!), over and over again you really get a feeling that the lady is protesting too much. There’s only so much you can say you aren’t all that invested in your partner’s fetishes when you won’t stop talking about the thought you have put into them.

Essentially, the core of Uniquely Rika is her effort to create a space where she feels safe being unreasonable. Just as much as she observes her spouse becoming more open minded about what he can work with to feel submissive over, she’s given herself breathing room to get comfortable with what he wants and figure out how to make it work for her. What’s missing here as point of emphasis is that 20 year marriage with implied years and years of exploring and experimenting and knowing each other’s personal quirks.

And I can, through my own experience, see how she arrived where she did, even if I think the result is bad advice. As a baby dominant, how everything is presented to you is basically two versions. You are either here to master giving your partner the physical and psychological ride of their life or you are a dangerous psychopath to be strictly reigned in. More frustratingly, you get to be treated like the latter, and your partners often get deeply offended if they are asked to do otherwise than pretend you are a villain… but also somehow still entirely here for their benefit.

Also I was often really bad at the skill parts, or wouldn’t always nail what my partner(s) were looking for, and the culture of communication was that I deserved lots of feedback on how well I was doing for them, but my ability to feel dominant was something I was just supposed to figure out how to extract for myself by doing this. I think Ms. Rika was under the same pressure. Seriously, nothing was more discouraging that much of the aftercare I got from people amounted to “I have a few notes about how you can do this better for me next time…”

Now I am becoming an old, and have been doing this almost as long as Ms. Rika did when she wrote her guide, what I realize was there was no room for me to be vulnerable and imperfect.  

The problem is flipping this on its head (no actually, subs are villains who are entirely here for my benefit!) would have been a wild over correction. And the Uniquely Rika school of doing things, now with plenty of people trying to put it in practice, we can see where it goes wrong. For couples trying to get a dynamic off the ground, even with a bit of kinky bedroom play, suddenly jettisoning all your feedback tools and pretending all the sub’s needs are invalid. 

Ms. Rika’s approach to safewords, etc… are that these are things that the sub uses against dominants to correct and control their behaviour. Safewords, properly used, actually benefit the dominant because they require the sub to do the work in self introspection, such that the dominant can relax a bit of the pressure in monitoring everything. The sub skill learning curve is usually about getting away from needing the dominant to be a mind reader, and a mandatory safeword demands subs always keep one foot on the ground and never lose sight of your experience of this.

Uniquely Rika’s hardline approach removes most of the lopsided burden from dominants, to let them find their own joy, but it never really realizes it’s simultaneously just as much a set of training wheels and is foundationally resting on her having the sort of trust with her partner she can push him a little bit or the distinction that she is actually only asking him to approach what she wants with the same open minded way she makes what he wants work for her.

Thus Ms. Rika identifies correctly identifies that cock cages or cross dressing alone cannot sustain a dynamic, but neither can defence mechanisms. For a few folks, coming from a foundation of trust, it will take the pressure off long enough to let things feel most natural. But for most people, this is just going to cause even more resentment and insecurity.

Therefore, I don’t think this is a good beginner book, or even really one I would personally suggest, even as something to follow at all. I think if you take it as a personal snapshot of how someone constructed their dynamic, its value is a lot more that there’s not many other books like it. It’s not trying to be a universal work like The New Topping/Bottoming Books, appealing to every possible permutation of kinky. Neither is it like most other femdom manuals, either concerned with appealing to hubby’s fantasies with the same indulgence you might learning your mother in law’s holiday dishes; but neither is it stealth porn, which a distressing number of other manuals turn out to be.

What she offers is there in the title, that to be a lifestyle dominant and not want to claw your own eyes out in frustration, there has to be space to uniquely be yourself. Where it falters is a lack of trust in your partners to ever be able to follow through without some sort of pressure beyond that being your preference.

I would be interested to see, nearly two decades later, what if anything Ms. Rika would change on a re-write. It’s a 17 year old sex and relationship manual, daringly novel in its approach, but if you are remotely following the discussions people have around lifestyle femdom, it’s also somewhat blatantly of its era. But that’s not a bad thing. No Individual Lifestyle only Domme is going to have it nailed down in every aspect, and we can’t really ignore that Ms. Rika’s commitment to being herself.


Barnes & Noble Link: Uniquely Rika

“Surrendering to Scylla” by Wren K. Morris [Femdom Book Review]

Surrendering to Scylla but Wren K. Morris

A cursed nymph living a life of violent retribution comes to love and be loved by a gentle, shipwrecked fisherman. She’s been hurt badly before, but through the power of his endless patience, a strong fawn response from his own prior trauma and the power of forced proximity, love is found (as well as general deference to her authority). 

It’s a Greek myth retelling and monster romance, between Scylla, the sea monster, and a man who is like not like the other terrible men she has met before. He is patient enough with her prickly side to let her come to trust him, and he is devoid of the dominating masculinity of all her prior suitors. There’s lots of overtly coded, unapologetic femdom and a lot of feelings.

If you like your ladies strong and your men soft, and you want to watch the most bitter woman in the world be loved anyway, you may find this was just what you were looking for. There’s lots of action, tentacles and high drama, and pretty reasonable pacing. It’s even the first book of the series, rather than sticking the femdom in the ass end of the book list when all the creative juice is wearing thin. Unfortunately I didn’t personally find it worked for me, but I can see why people do, and what in it was done very well. 

For positives, you get a heroine who is allowed to be physically monstrous, biblically accurate style. Scylla has tentacles aplenty and vicious dog heads at her waist, and rips several people in half. She is a Gothic villain in the style usually only permitted to male characters, the brooding brute. The plot is also constructed into a coherent narrative by someone who clearly knows their myths. A barren island’s cave system makes for a novel and occasionally oddly comfy setting. I liked the slice of life parts. 

Unfortunately, for me, all this is held back by a chronically weak male lead (in more than the physical sense) and a cartoonish level of simplicity to its approach to the bad guys. And, as a modern retelling, for all it tries to tweak itself to a more feminist framing, with its emphasis on female rage, the rewards of being true to yourself while opening up a little to love are a bit dubious.

I also found it couldn’t seem to commit to how unlikeable the heroine is supposed to be. That’s not something I would call a fatal flaw. It’s well understood that female characters are held to higher standards to sweetness and thematically this is about not having to be nice. Nonetheless, there’s a bit of awkwardness in how much we the reader are supposed to buy her self justification. Retellings of the villain figure stories often struggle with this, explaining away what modern audiences might particularly take issue with to the point of dilution or failing to address them satisfactorily. While the Greeks themselves gave most popular characters in their stories different interpretations that could be completely contradictory, I found Surrendering to Scylla a bit tonally indecisive in how bad it wanted her to be read as. Greeks often elided around that problem with tragedy, of which this would otherwise stand well as, but Romances have to give you a Happily Ever After. Unfortunately, this one tried to do so without deciding if the characters needed to resolve or soften most of their flaws, or lean into them. 

So, we linger on Scylla’s suffering to make her understandable, first her objectification as a nymph, her status as collateral damage to a deluded Circe, and so on. Usually this sort of framing is done to make a character’s behavior understandable and sympathetic. Inversely, she has an awful lot of self pity for a serial killer and very little self reflection about her own prejudices around other monsters. The story also acknowledges that she is actively luring people to their death for the crime of being in the same zipcode and not as discriminating a killer as she puts herself to be. Morris isn’t going for the me-or-them completely misunderstood monster. I actually liked this part, but her unchanging embrace of that came at the expense of Ophelo’s likeability in a way that I don’t think was intended. It also ends up highlighting how simplified all the other characters are in their uncritically described awfulness, which can be confusing.  

Because additional characters are left in very reductive shapes, it’s very undecided about what I would describe as how much we should take seriously the leads’  trauma goggles. Narrative seesaws between hints of complexity and hard binaries, where people are all good or all bad.  It therefore feels a bit like we are getting things through the perspective of our two leads, but not given space to acknowledge they are unreliable narrators. 

For example, in the setting “Sailors” are officially distinct from the male lead, a “Fisherman”. The former is a sort of long voyaging traveller, the latter, we are led to understand, is a skilled trade everyone spits on. Why do Sailors sail? Scylla would say they are greedy, but stops short of saying they are all raiders. They have treasures on their boats sometimes. That’s about the level of motivation we get here, so we can only infer most of them are traders. Regardless, Sailors are all characterized as absurdly awful, murderous jerks. Some of this is being played for laughs, with how ridiculous the characters are. But at the same time we are supposed to see them as a real danger to Ophelos, including implications (off page) he has been repeatedly sexually assaulted. Thus, the book struggles with the nuance it wants to insert. 

Scylla has a massive blind spot where her interactions with the world essentially amount to avoiding Gods and being exasperated strange horrid Greek men want to fuck her. She’s clearly never thought about any mortal who wasn’t cut in the heroic measure, and while those that do have nothing to recommend them, those that don’t are largely outside of her interests.

For example, she is hard done by and alone thanks to the curse. But she also keeps mentioning off hand there’s another monster in line of sight from her own home that she has clearly made zero effort to contact. We never learn why, but she is also offended to be compared to other monsters without a lot of caveats on Ophelos’s part. This isn’t one of those “monster is our word, you can’t use it” either. She just blithely assumes that her neighbour isn’t worth talking to.

Ophelos, on the other hand, is comically bullied. He is so bullied, the story makes it clear that even his father was bullied. Everyone bullies him so hard and so mean, but he kills and catches fish so good that the Sailors brought him along in the boat. The rest of his character is basically one giant trauma fawn response. When he isn’t fawning he is clinging. The clinging is framed as the courage of his love, but given the other thing we know is the only people who didn’t bully him were older women he helped in the past, there’s a streak of self preservation here that never gets addressed. And nonetheless, his actual backstory is life in a small village followed by travel with horrid louts. For all his time on boats he has never seen the world without bringing a gang of assholes with him wherever he goes.

While Sylla is permitted to do things female characters usually don’t get to, Ophelos’s most positive trait is his complete inability to pose any meaningful threat to Scylla. This makes her feel safe, but ultimately that’s all he can offer. It feels like in an effort to emphasize the distinction between them it ends up giving Scylla depressingly low standards. 

Ophelos embodies that observation that if you are the sort of person who waxes at length that dogs are better that people, what you mean is you prefer beings you have all the power over who depend on you completely. It’s not wrong to fantasize about making someone into your literal emotional support pet.  It just made it hard for me to feel Scylla was actually getting a good deal. 

I think my “come the fuck on” moment with this book was probably the relationship’s third real conflict. After an interlude of innocent-in-a-Gothic-castle style standard warming to each other, a gang of Sailors show up and attempt to fight Scylla. Ophelos wanders into this, and, after the Sailors’ offer of rescue is rejected by him, turns on Ophelos as well. As is a traditional trope, Scylla takes a mild injury defending him, but when she is snuggling him in the aftermath he is also not comfortable with the carnage he just witnessed and blurts out he forgot she was a monster.  Scylla reacts by storming off, rejection sensitivity dysphoria personified. When they both cool off, Scylla apologizes for not realizing gore could be off-putting… and Ophelos apologizes for letting his empathy get in the way of her murder and making her feel bad that he was openly upset. Even though, he says, he can’t help noting those dudes she ripped asunder could have easily been him, he knows she needs to do this as a part of herself. 

Not “you were only protecting yourself and me!” Not “you couldn’t help it, you lost control” or even “yes, it’s bad but your monster part needs to feed”. Just that this is important to her, so who is he to get in her way or question that? We see that Ophelos fully acknowledges that Scylla is a monster in the behavior sense not the physical sense. It’s this point that we realize just how cooked this young man’s brain is. Supposedly soft, gentle and almost cloyingly sweet Ophelos is very bought into his role as a barnacle on bad people. 

Scylla can kill a thousand other Ophelos, in his mind, as long as he gets to stay by her side. He doesn’t even characterize the victims as bad people, they just aren’t him so it is not his business. His thought process is that he believes he has to be with a monster anyway and at least this one loves him and confines the violence to others. Ditto, we are supposed to take Ophelos’s repeatedly refusing to be sent away as a strength of his devotion and character.  He is just more scared of being alone and losing Scylla’s angry defensive energy. Ophelos isn’t nice, he is a Nice Guy. 

I think why this galled me is that I spend a lot of time around people with a lot of overt female rage, and have had a fair bit of it myself. I am often spikey and bristle easily. And one thing you have to be mindful of is that there’s a category of Not Like Other Boys that will sort of remora onto women they see as having more fight than them. And notably they tend to conflate ability to be mildly helpful to people and a lack of their own ability to express agency as being inherently more good and thus above reproach (and more worthy of you). Ophelos gave up trying to be meaningfully good a long time ago, and his frightened reaction is supposed to be a momentary lapse he will try hard to get over.

There’s a bit in the last third of the book where she’s temporarily restored to a nymph and they maintain their D/s dynamic. Normally I would find that refreshing, as often resolving the plot’s source of conflict in a femdom story ends the dynamic. Unfortunately Ophelos’s unaddressed trauma and perpetual identity of victimhood dilute its impact. Scylla the nymph is still stronger than Ophelos, because his level of ability to stand up to her begins and ends with requesting that she only call him Pet during play (and not leave him alone). You get the clear impression that even subtracted from her physical augmentation, if she wanted to she could still take him to the tideline and hold him under water until the bubbles stopped. The part of her that made her a monster is also still there, even if the tentacles are temporarily back to legs. And, ultimately, they are basically living in a rental owned by her divine dad at this point. He might have insisted this is where he wanted to be but the alternatives have been clearly spelled out as death or more Sailor based abuse.

I also think the other point of hesitation for me is that in femdom circles there’s a tendency to be uncritical about the motivation for doing sadomasochistic hijinks is only just retribution for the pain of living under patriarchy. As a fantasy flavour it is no worse than say, pretending to be a pirate. As a thing to wade through though from people being serious, it’s basically the constant message that femdom is just another trauma induced personality disorder. Not that the drama of trauma can lead to accidental fetish material, but there’s a slice of the larger community who are doing this because they sincerely see it as a compromise needed to deal with the hazards of heterosexuality.

If Scylla, given choice, is still the monster, I would have also liked to have seen how Ophelos handled choice more meaningful than “noooo, I want to be with yooooooou” when confronted by separation others chose for him. Morris was probably being true to the myth here, in so much that there wasn’t any material to build out from, but at least once it would be nice to see him choose her when the alternatives weren’t objectively and unambiguously more crap. 

Nevertheless, being fair, this is a fantasy not a relationship guide. If Ophelos is little more than the rescue dog that encourages a traumatized woman to finally leave the house, that’s still an interesting story. And sometimes the best a real happy ending can offer us is living in a different, better house, and still with the good dog. Sometimes we don’t get over our bullshit or address our internal contradictions. And, I mean, come on, there’s graphic alien physiology monster sex. And captivity based femdom that stays femdom post captivity. And a happy ending that pleases the characters, even if it might not be perfect. 

That Time I Hate Read a Femdom Romance

(And then sort of came to appreciate it)

A book cover, "Melt for You" by G.L. Tomas

This is not a positive review of “Melt for You”, but it’s also not an un-positive one.

Ask the lifestyle dommes of the internet and one of the most reliable things we complain about is that we do not feel represented. We don’t see ourselves in popular media, except accidentally or with a Hays Code style tendency to have our stories end in punishment. We know we aren’t the target of most porn, even when it’s ostensibly about us. We also sit through a lot of things that claim to be neutral, but re-enforce our opposite as the default, not just vanilla, but femsub. To be a lifestyle dominant is to be simultaneously called a unicorn with infinite suitors and called irrelevant, a rounding error in the planning of creative people in the world. 

Inversely we also have a pop culture that likes to fantasize that the dommes of the world are, if not the bad girls to be punished, the patron saints of not being impacted by all the other “-isms”. A whole cottage industry exists in teaching women to embrace their inner domme (or manufacture one) for a raise, the upper hand in their personal relationships, an end to imposter syndrome. This doesn’t work, but it doesn’t stop the first word people pair dominant with being “empowered”. Being one just doesn’t magically change the rest of the context you are trying to do it in, and most dominants feel very neglected by the collective Gaze.

We desperately, absolutely beg and plead for something more, and the market is actually starting to deliver. Unfortunately that poses another problem, that just because something exists doesn’t make it good. As part of my commitment to try to popularize and curate more domme fics, I have been reading a lot of dog awful stuff. Some good things, but there’s a few dozen books now, where I tried to get into it and had to give it the dreaded DNF.

Usually I let the crap go unremarked. I talked about this here, already, that reviews of our itty bitty niche therefore needs to be done with a bunch of forbearance. If something isn’t actively harmful (like The Control Book), if I don’t have anything nice to say it’s usually better to say nothing at all. With this book, when I initially read it, I ripped it to shreds in a series of angry blusky posts as I went, but I scrupulously didn’t share the title. I am breaking my usual rule, however, because I think even if I hated it, there’s still something of value it gave me, and it might give that to you, too. 

Melt Into You: A BWWM BDSM Romance, as well as following the trend of indy published romances starting to resemble the same title traditions of lightnovels, was an attempt. It was a swing, and a miss. It was not just bad, but layers of bad, but… it’s a good thing the author tried. And the focus is still interesting.

The TL;DR is that a newly minted surgical tech and domme blogger/podcaster/educator hooks up with a wealthy doctor, with neither of them then expecting to work at the same hospital. Both characters have disabilities, and the heroine is black and the hero white. It’s part of a larger series, by a 41+ books written and counting USA Today best selling author G.L. Tomas. 

Obviously we want more of all that: characters who are PoC; characters who are disabled; dommes who are acting outside of a sex work context (or if they are, stay sex workers after the HEA instead of being “rescued” by a relationship); lifestyle dommes being normal, flawed people; even subs being whole people, not automatic doormats. This review is not even a “this, but not like that!”. It’s partial credit with a bunch of caveats. 

Sure, I could enumerate its faults, big and small. Globally, it has the problem of attempting to be educational while  actually showcasing lots of sketchy behavior, and attempting to be woke while having some very questionable choices. It also is about 50% infodumps through the character explaining to you the reader. 

But, notably, it’s a fantasy about me. Not necessarily me specifically, as in Pearl the person, but a group of only a tiny handful of women, probably less than 200, maybe even 100 depending on how you define it. A very specific kind of domme. Not a professional domme, not a girl next door, or a woman with real meat space authority who happens to be kinky. An influencer. It’s a fantasy of being Ferns, or Venus Cuckoldress, or the other tiny slice of women who make their desire to dominate in a lifestyle relationship the anchor of a vocal and vaguely respected online presence. It’s imagining what our life is like through rose coloured glasses, but hey, I am seen… even if I am all pink and kind of distorted! 

What it also says is that the author, when it comes to describing femdom, turned to us as examples. They often had a touchingly naive idea of how the sausage is made (the heroine has a person who gets her sporadic paid kink related speaking gigs, there’s no Patreon mentioned, she made the hero a Tiktok star in a matter of months), but holy shit I am not going to get mad they think my life is better than it is. There’s value in me kicking over my own pedestal, but it’s not the author’s job. 

Reviewing it also forces you to confront how many issues in text are actually realistic even as they are regrettable and how much of the unreality is basically a symptom of the genre of romance, not the fault of just the author. If I lay any sin at the feet of the author, it’s that they don’t seem self aware of the book’s flaws and contradictions. But it’s a lot to ask of someone to be completely critical of their own work when they were, based on my knowledge of the publishing industry, getting paid peanuts and probably wrote this in a month. 

Is the hero kind of a turd? Sure, but alphahole is a common descriptor of characters in a romance genre for a reason. A good part of romance is a conquest fantasy, the woman winning out against the man over the arc of the story. It’s supposed to be about her wiles and magnetism versus his power, lifting the hero up as high as possible only to make his inevitable fall (in love) more spectacular. 

Is the heroine a nincompoop? Yes, but often we all are, and romance as a genre demands vulnerability to allow for the ever present rescue fantasies and a sense of growth. If she wasn’t bad with money enough to get stranded without enough twice, how could the audience justify him giving her guilt free sugaring? If she wasn’t spectacularly bad at vetting, how would we have the surprise second act where they end up at the same workplace?

Do the social justice parts undermine themselves through some very questionable behavior and as much through over-explaining like the characters were ambulatory tumblr bios given life and the audience are idiots? Sure, but would it be really better if the author didn’t try?

Are they absolutely fucking bizarre about the hero’s Greek heritage, including characters declaring him being a completely different group they find sexier? Yeah, but as someone also on the ethnically ambiguous side of white (enough to trigger “where are you from” conversations and random racists to occasionally fling slurs), boy am I used to people speculating what I am and thinking it’s a compliment to assign me a completely different background! 

Interestingly, buried in the book is also a plausible, but much less happy story. It’s one where kink educators often barely know what they are doing and do creepy shit like asking out a demo bottom in the middle of the class. It’s one where trust in the idea of a safety mechanism replaces real checking; getting an STI test so you don’t read it (or know how to follow up with a past partner later), making a safe call without sharing someone’s name. It’s a world where you repeatedly get put into sketchy situations by your mentors. 

It’s one where someone is kind of racist and only considers your perspective in an issue because you are fucking (while still sounding incredibly insincere to others); and where a relatively impoverished person gets sporadically bombarded with money that always has implicit strings. One where marrying well, to an older man often will beat anything you can achieve through working your whole life. One where that dude is the sort of person who will enmesh women into their life and then leverage the power they have over them in a way that fails to consider the power relationship they have while also downplaying real harm and danger. 

That story is painful, and littered with fuckups and awkwardness that made me hoot incredulously, but I still read the whole thing when I could have just dismissed it to the DNF pile and never mentioned it again. It was bad, but entertainingly bad. That’s not nothing. I hated it enough I was completely entertained. Based on how much I enjoyed being annoyed at it, it would qualify as fun as any of the stuff I would give 4 stars to.

Taken as an attempt to pair BDSM education with a romance, this failed to demonstrate safe behavior, drastically undermining its goals. Taken as a symptom of the author’s heart being in the right place, while writing an otherwise bog standard Greek billionaire doctor romance I could buy at the grocery store? This is absolutely not something I would waste my breath being angry about.

And ultimately, 10 years ago, a book like this wouldn’t exist at all. It means that what I did as a small part of a larger project to make being a lifestyle only domme more visible, worked. I can’t help coming away from reading this less irked and more shaking my head indulgently. 

Femdom Review “Wooing the Witch Queen” By Stephanie Burgis

The cover of "Wooing the Witch Queen" by Stephanie Burgis. It shows a shorter brown haired woman in a blue dress and crown clutching the chin of a taller man with curly brown hair. They are in a library with a raven and a silver mask nearby.

This is PG-13 rated femdom. No, I am not kidding, someone has managed to get a three book deal from a mainstream publisher for a no sex young adult aimed romantasy series about a trio of evil witches and the subs that love them. 

Lest you think I am just inferring from the setting, no, I do mean this is an intentionally kinky book. In the scenes in which the two leads (Saskia, research witch) and Fabian (aka Felix, nobleman in disguise) discuss their feelings, with each other or in their heads it is expressed in terms of his submission. The scenes of fooling around are written entirely as consensual physical domination. But, there’s no sex in page or even a fade to black and the text gives you one stark “fuck” as far as cuss words. This is explicitly appropriate for who this book is aimed for, a person aged 12-18.

The reading level, likewise, took me about three hours (including a break) to zip through it. Tonally, it lands 100% in the current trends for Cozy and Villain-Is-Actually-Hero. This is about youthful wish fulfillment and vicarious ambition, defying your wicked guardians and coming into your own power. Also getting to be goth and spooky while you do it.

And it’s neat, because it both underlines the femdom-hiding-in-plain-sight thing I keep going on about and suggests a market of increasing tolerance. With a small mountain of books (YA or otherwise) where the heroine has to struggle to understand the moody supernatural male and navigate his power they implied threat of that, it’s good that I can go into a Barnes and Noble spot a book where the heroine is maybe a little menacingly clutching the hero’s face with her hand and have it actually deliver. 

Nonetheless, I think it’s worth going into this review to also point out that if there wasn’t a clear flag of potential Femdom on the cover I wouldn’t have bought the book. While it was true I read a lot of this kind of fantasy when I was the primary age this is aimed at (in my day it was Dealing with Dragons, Myth Adventures, etc…), but I am pretty old. My wish fulfillment wants are now those of middle aged marrieds. I don’t want to defy my parents anymore, I have to think about them dying and what it says for my own mortality. I don’t need to realize the power was in me all along, I have to think about how to navigate passing the things I built on and symbolic or literal parenting. Young me would have gobbled “Wooing The Witch Queen” up and added it to her head library. Older me has to go into what is ultimately a positive review with the awareness my biggest criticisms are all aspects of it that are Not Written For Me.

So, before I do my usual grumpy fussing, let’s first talk about the unequivocally good parts. Fabien/Felix, our male lead, gets to be hot and useful. He doesn’t need to be cast as some sort of weirdo that he finds our heroine Saskia fascinating. Indeed I suppose there’s one wish this book did fulfill, it’s living in a world where women can be dominant and not have the entire narrative structure say “WHAT A SHOCKING REVERSAL OF ROLES!!!”. It’s like when you are queer you get very tired of coming out stories, even if that’s part of the larger queer experience. This also isn’t a gender flip story where he has to be more feminine to permit her to dominate, it’s just one where being attracted to villain coded people or wanting someone to kneel for you is equal opportunity.

While I told you there was no on page sex, there is, what I would describe as a very well done emphasis on flirting and starting to initiate as a domme, written with a good balance of situational chemistry and emphasis on consent. A main conflict is that after the leads determine they are into each other, Fabian/Felix still needs to reveal he’s actually in disguise and not the person she assumes him to be. But there’s a lot of on page yearning, pressing up against each other and touching with the offer of domination if the other party wants to lean into that while still leaving them room to back out.

Seriously, this is what I mean when I say that BDSM is often unfairly over sexualized in a way it doesn’t need to be. Nothing lewd happens here, in the entire book. At closest, the word “aroused” is used once, but we get no specifics. It might as well be a synonym for attracted. And, in the inevitable HEA, the characters are cuddled in bed together, but the description is so scrupulously free of even the suggestion they are naked that you might as well assume the male lead was reading some more of his poetry to the heroine. That’s actually kind of refreshing. D/s is permitted to be just what some people want by default.

However, now I do need to put my caveats. The biggest one is an accidental side effect of the fact our hero spends most of his time completely swathed in fabric. When our hero flees to the titular Witch Queen’s domain seeking sanctuary, thanks to a fortuitous choice in cloak he is mistaken for a Dark Wizard and promptly hired to staff. Our heroine, for plot convenient reasons, refuses to look under his hood. Shortly after this introduction, his disguise is added to with a mask the last Dark Wizard left behind. That’s just a vocation in this world, mysterious shrouded magical figure of menace. The problem here is that the text also keeps having everyone reacting to him like he is stunningly hot. Of course when you have a character essentially wearing a niqab for three quarters of the book that doesn’t preclude communicating chemistry in other ways. You could emphasize his posture, the bits that show like his eyes, talk about scent, or pad things with sparkling dialogue. Hell, you could just describe the cape itself as intriguing.

Wooing the Witch Queen doesn’t. It’s the world’s slowest strip tease, from masked to half mask, from cape to a formal suit and bare face. But, even when the characters have a moment of being pressed together, the narrative stays perfectly coy about specifics. It tells you this is a very alluring scenario, but it doesn’t show why. One can do asexual alternatives to stereotypical attraction without completely jettisoning sensory specifics. 

Additionally, there were places where the elements I will call Cozy wore a bit thin. For example, our Witch Queen, Saskia, lives in a castle full of monstrous staff. They are of course, Just Misunderstood by bigoted humans, but in addition to that, they are slavishly dedicated to serving the leads. This is unlike the other two secondary plots: Saskia navigating that her First Minister is her ex girlfriend, and her reluctant friendship with the extremely extra other two Villain Queens she is in alliance with. Both are storylines where the motivations of the characters are more complicated. The Troll housekeeper and major domo, not so much, for all they constantly demand appeasement. While I get that having surrogate parents who are endlessly giving of every domestic comfort is a fair fantasy to have, it would have been nice to let the Trolls or the Goblins have wants and needs more personlike. One more plot about the monsters wanting something more than you to eat their perfectly made scones and to get enough sleep (or maybe making the Trolls/Goblins more morally grey) would have fixed this.  

And yet, for all of that, this book didn’t collapse too far into the problems that many Cozy books do, of destroying their own stakes to save their sweetness. The tension with Mirjana, the First Minister, made sense given that she both led the rebellion that put Saskia on the throne and is doing the actual day to day business of running the country. I also admit I made the mistake of thinking she was actually a sentient magic mirror until she showed up in person (I mean, her name is right there! Also she’s obsessed with Sakia’s public image!), but I found the conflict was a plausible problem and the resolution worked, even if I am sort of sympathizing with Mirjana here more than maybe the narrative wanted me to. I also likewise didn’t find the way the threat of invasion ended too was convenient. Cozy books are going to magically have a reason why you need to take the army on your border (or the villain threatening your goals) seriously, yet also not have a single person die. Without going too far into spoilers, the book did a good technical job of building to a zero bloodshed resolution that didn’t feel like it was just handed to the heroes.

And I think the best endorsement I can give is that I do plan to buy the next book in the series when it comes out. I expect pretty much more of the same, (cozy, but no sex) since Queen Lorelai of the Fairies spent a good part of her dialogue making sure we knew how much she loathed her future love interest and vamping about being a man eater without talking about precisely what she was doing, but I am absolutely here to see how Burgis pulls it off.

Author site in lieu of Amazon link:

“The Damsel” by Victoria Vale [Femdom Review]

TL;DR: A rattling good thriller/historical romance with a violent and aggressive heroine finding peace in the unconditional love and submission of a genuinely supportive male lead.

If you are looking for femdom romance novels, one of the places they hide is the back/middle of a series that is otherwise dedicated to different kinds of BDSM pairings, usually M/f. Most frustratingly, most tagging systems do not make the distinction of who is doing what to whom, with no distinction in most blurbs or tagging. Finding femdom is about looking at a lot of stuff marketed with a “take charge heroine” and trying to determine if they mean a strong female lead with a lot of agency outside of the bedroom, but a sub in bed (or vanilla), and a domme. Even the cover, with this one a particularly well done example, can still turn out to have been a gamble. Nonetheless, sometimes you get a hit.

The Damsel is very much in the pattern of this sort of hidden gem. Looking at the cover and context, without word of mouth, it would be very hard to realize that this is pretty much what the audience asking for more femgaze femdom content is talking about. You get a sexually sadistic (without being hateful) and competent heroine, a sexy male masochist who is a value add to her life, and a plot that allows her to be vulnerable without completely defanging her. There’s adventure, peril and high drama/high chemistry sex. If I had to describe the dynamic I’d say tsundere domme with a sub who is more german shepherd than golden retriever. He’s here to devote himself to her, but the story emphasizes just as much his intelligence and ability to show teeth when she needs it. 

When we meet our heroine, Cassandra, she is reclaiming her life after surviving the double trauma of a sexual assault and then the public testimony necessary to secure a conviction of her attacker. At the encouragement of a friend she decides to find a one night stand, propositioning the first man who seems attractive in the common room of an inn. That turns out to be Robert Stanley, an unusually handsome young man from her aristocratic social circle, who just happens to be there nursing being dumped by the heroine of the two prior books in the series. Luckily you don’t need to read those books to follow along here. This is a completely stand alone story with all the focus on our current characters.

And wow, what a ride! Cassandra struggles with her status as a ruined woman, a pair of horrid sisters and a mother who is more concerned that she will taint their reputation of the rest of the family than the wellbeing of her daughter. The world of good society lets her linger in a sort of twilight space, whispered about but still allowed on its fringes. Cassandra, for her part sees her victimization not as a one off experience, but an enlightenment into the violence all women have in common and has set out to do something about it. Much of the plot follows this dark mission, but even for a high drama thriller it has a lot of well depicted accuracy around the damage of sexual assault is not just in the moment, but in dealing with how people treat you afterwards. 

That being said, if you need your BDSM super negotiated and clear up front, this book might give you pause. Cassandra leaps into aggressively topping Robert without any conversation about limits, getting him to agree to be tied to the bed before going to town on him. I can give this a pass, under the grounds this is a fantasy and isn’t pretending to model healthy relationships, but this can be a hot button limit for some kink readers. Likewise the thriller side of the plot eventually put the heroine in some pretty graphic danger including the risk of more sexual assault, so if that’s triggering or your comfort place is never seeing the domme character even temporarily helpless, you may find this isn’t your cup of tea. What I can reassure readers, however, is that our heroine acquits herself magnificently even at her darkest and most defenseless moments and the dynamic that slowly develops between her and Robert is one where she trusts him enough to make things more of a collaboration in all things.

Also, blessedly, What this book doesn’t do is conclude she’s only a dominant because she survived rape. Though the context for her initial exploration is reclaiming her agency, and the trappings of BDSM are initially justified by her as simply protecting herself from potential violence and keeping the hero at arms length, one of the main conflicts of the book is Robert helping her see that she isn’t broken, she just incidentally happens to be kinky. Inversely he is never at all self conscious about his own enjoyment of being mauled, and any trauma of his own is not related to his desire for submission. It also is very good at having the hero able to disagree with some of her methods without implying she’s wrong in how she reached her conclusion. I won’t spoil some of the twists, but the title hints at the core theme of the book, that you can still be seen as a stupendously component badass and deserve all the rescue and protection of the titular “Damsel” archetype.