The scene, of course, takes place inside an artificial supernatural construct free of the possibilities of interruption, discovery, misinterpretation, complication, or any of the other pesky vagaries of human existence. Other characters are mentioned but as soon as they have been used to establish minimal context they are explicitly verbally dismissed as unimportant. The two main characters (it is difficult to determine which is indeed the protagonist, since the viewpoint character is a surrogate for the audience and the other is a surrogate for the author) are not only surrogates, but surrogates originally invented and written by someone else.

The author of this fictional scene has thus seemingly written it completely within the framework of her previously established character, building multiple layers of obfuscation to separate it from reality or even from the reality of the author's fantasy. It is, after all, not the author clad fetchingly and femininely in transparent pink sinking submissively to her knees to worship the reader's erection with her mouth. Yet taken in the context of the reality of this story the work displays a hint, perhaps even a desperate hint, of character development. The most paradoxical and subtle hint to this development is the degree to which the author's own fears and defense mechanisms are evident in the writing; her own character, however lovingly flawed, is deeply imprinted in the separation and the darkness of the scene itself and, more speculatively, the flashes of light revealing the previously hidden submissive nature of the author's borrowed surrogate represent the writing and reading of the story itself.

But it is the context of the writing and the reading that are most revealing. The scene, offered as a gift to an individual reader establishes (or perhaps enhances) a bond and a relationship previously unknown and a laudable capacity for boldness. For in that context of offering, which is in itself an act of submission, the author cuts through all the walls of obfuscation established in the scene itself to present herself, and therefore the reader himself, as surrogates for the borrowed surrogates of the characters. In presenting the scene in the context of an individual private gift she transforms those walls of obfuscation and separation in to an invitation to dismiss the other characters and distractions in their lives and to fuck her as thoroughly, as lovingly, as romantically, and as dominatingly as his surrogate fucks her surrogate in the scene.

And that is impressive writing.