The complementary learning fantasy to this, of course, would have the female playing her role as slave and the male his role as master, and first, she directs both roles; secondly he directs both roles; thirdly, she directs herself as slave (plays the role as she wishes) and he directs himself as master (plays the role as he wishes); and, fourthly, he directs her as slave, and she directs him as master. In most fantasies, of course, the partners will know one another so well that little direction, from anyone, will be desirable or necessary; the fantasy will have been planned; further, the roles will be “understood,” researched, and allowed to unfold, under the inventive imagination of the partners. Part will be planned; part will be developed in progress. The third situation mentioned above, incidentally, where each plays the role as they individually wish, can be useful; but, in a genuine fantasy, as opposed to what is, in effect, a learning exercise, there must be congruence; the roles must, in detail, and exactly, fit one another; presumably, each makes certain concessions to the other, until a mutually satisfactory development of roles takes place. Remember that variety and experiment are desirable. Sexual fantasy is marvelous fun, and well worth some happy effort to perfect. Anyone who enjoys reading fiction or acting should take to sexual fantasy like a slave girl to chains.

Names, we remind ourselves, are important. For example, the wife, in directing the performance of the female slave, would presumably use her name, and the slave would respond, of course, to it. Female slaves usually address their owners by the title of “Master,” indicating the difference of status between them. Surely no girl in bondage would dare use her master’s name to address him. Such privilege is reserved for his peers. On the other hand, the master would, commonly, not address the girl as “Slave,” though he might upon occasion, for example when she is new to him, or he is being cruel to her, for example, “Be silent, Slave.” Normally he would use her name. This, of course, must be a slave name. A name must be found which is suitable, and sexy, to the slave. “Jane,” for example, is not a good slave name. “Hura,” “Mira,” “Rena,” “Vonda,” seem pretty good. Of more familiar names, “Sandra” seems to me an excellent name for a female slave. Any name, however, which for one reason or another seems good, is good, e.g., “Elizabeth” or “Stephanie.” Sometimes an aristocractic name is good, the name contrasting with the lowliness of the slave who bears it. In such a case, it might be supposed that it was the person’s original name, before she was enslaved, and her master has leniently permitted her to retain it, or, more likely, has, to insult her, given it to her, but now as a slave name. The actual name, of course, of the wife probably should not, generally, be used. In these fantasies, she is, commonly, someone else. Accordingly the name should be different. If the husband is acting the female role, of course, and the wife is directing, then she should give him a name. This teaches him, of course, what his wife might regard as a good slave name, or type of slave name. Further, he must accept it. A slave has no say in the name which is given to her. Her own slave names, as she acts the female role, of course, should be mutually stimulating. It should be a name which makes her feel vulnerable and sexy; and a name which makes him feel sexually hot and aggressive. It must be a name under which she feels it delicious to submit herself as his slave; and it must be a name such that it seems exquisitely appropriate in his eyes to be the name of the helpless woman he conquers.