why is it such fun? 

Why is whipping fun? One way of thinking about whipping is as another way of touching someone. People who are just getting into SM frequently play with spanking; it’s fun to be spanked! It’s a punishment, it’s a strong stimulus, it hurts very pleasurably. But if you’ve ever spanked anyone for a long time you know that your spanking hand wears out quickly!

Well, that’s what whips are for – to allow you to hit someone for a longer time, without tiring out. There are many varieties of whips (cat-o-nine tails, heavy floggers, canes, light braided switches, suede pussy whips, and on and on), all of which feel very different and which have their own individual effect. A whip-loving top will often carry a veritable arsenal of different floggers, but they are all extensions of the top’s touch. Indeed, when I whip or cane someone, I feel as though I am touching them – as though the instrument is an extension of my arm and my desire.

There are deeper reasons why the variety is so diverse. A whipping scene will often start off very lightly, with the top using a small whip to sensitize the bottom and get them into the rhythm of the scene, switching to heavier and heavier whips as the bottom gets deeper and deeper, more and more receptive to additional sensation. Of course, the top may choose to lead the bottom on any kind of tactile journey the top desires–switching from stinging light switches to biting canes to soft fleeces. (Yes, it can feel GREAT when your top stops hitting you and suddenly brushes a velvet cloth against your back! Or maybe an ice cube…). It’s all about physical sensation.

hanging floggers

Quite often people in the scene describe whips as being “thuddy” or “stingy.” Thuddy whips land with a solid impact; they shove you, they feel like a cross between a hug and a punch. Stingy whips land with a bite; they feel like a cross between a scratch and a slap. Both kinds of sensation are enjoyable in different ways, and a skilled top can alternate thud and sting (and then some!) to create waves of sensation that wash their bottom into ecstasy.

Most people enjoy a slow build-up when being whipped. This can culminate in an explosive climax of impacts, leaving both top and bottom drained and delighted. Or it can wind down gently, ending casually. Or it can stop feeling good suddenly, resulting in a safeword. Or it can turn into a galloping intense sex scene! But the general “start slow, build up, end intensely” tempo is common to many SM scenes: from gentle to stronger to WOW and then back to gentle, then a little stronger, then WOW!!… and gentle again. It’s the motion of the ocean, as they say. It takes practice to know how to use this to blow your bottom’s mind, but the more you learn, the more skilled you will be, and believe me, these skills – teasing your partner and making them feel better and Better and BETTER – are very useful in non-SM contexts as well!

Whips aren’t the end of the story. Some people use paddles – of leather or wood, sometimes with holes cut in them to decrease air resistance and make for a harder impact. Paddles produce a solid “smack!” which can feel like a super-powerful spanking. Some players like canes, which can be thick or thin, stiff or relatively flexible. Canes can produce some of the strongest impacts of all – the “whick!” of a quick-moving cane is distinctive. Not everyone can handle the intensely focused pain canes can produce, but those who can tend to greatly enjoy it. Wooden spoons and kitchen spatulas have been pressed into service as instruments of flagellation. For a while, Nerf bats were very popular in some San Francisco parties I went to. (Bonk!) If none of this makes any sense to you, well, if you have to ask, you might not understand.

Whipping or spanking is sometimes used as part of a “punishment” scene, in which the pretext for the scene is that the bottom has been disobedient or naughty in some way which requires chastisement. This can be fun to do as role-playing, but it may not work in a more long-term D&S dynamic. Bottoms often find it erotic to receive non-damaging sensation from their top – and of course any scene causing permanent damage is not safe nor sane. If your bottom learns that the best way to get enjoyably beaten is to misbehave, you’ll have a very bad bottom on your hands. It’s often then best to separate “play” punishments – which are intended to be fun – from “real” punishments involving seriously broken agreements. Here is where reality and fantasy need to be delicately separated, and here is where the real world differs from S&M fiction.

When whipping someone, be careful. Heavy whipping is usually done on the back or ass, simply because those are the parts of the body which can take it most readily. Be careful of hitting the spine, which can break the skin where the vertebrae come close to the surface. Stay away from the kidneys, as kidney damage can occur if you hit them too hard. Stay away from the neck, for the same reasons you avoided the spine. Be aware that if you hit someone hard enough (which may be lighter than you’d think) you will bruise them, and if you keep going you can break the skin, which is decidedly unsafe sex; and leather or string whips are tough to clean. For this reason, some dedicated masochists have their own toys which have come in contact with their blood, and henceforth can be used only on them. Whippings like this are very strenuous, but as with all SM, you can start out light and get only as heavy as you want! Bruises will heal (even large ones), as will light cuts or abrasions, but you should know how to avoid unintended damage that won’t be so accommodating.

One thing to watch for (a distant risk, but worth knowing): melanoma, a form of skin cancer, can be worsened by skin trauma. If you see a mole on your bottom’s back that looks uneven, discolored, or different than it used to, avoid that area, and have them see a dermatologist.

Based on materials written by Rob Jellinghaus; © 2000; republished here with his permission

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

Breaking In Your New Whip

As any quality leather good, a Whip usually needs to be broken in not to only to assess its merits (impact, weight, etc.), but also to gauge the responses it brings forth from the submissive.

To break in a Whip, you first need a whipping post, and a subbie tied up to a post. This assumes you are an experienced whip user. Otherwise, skip the boy for now–just practice on the post!

Swinging a bullwhip may require a lot of space, so be sure to have your boy take down frames and things in the playroom that the Whip could catch in its path. Then you can tie him up! Don’t forget a nice, wide collar and a good weightlifter’s belt to protect the boy’s sensitive parts is a good start if your not overly confident . You may also want to wear full leather or solid clothing to protect yourself. Swing the Whip to the boy’s back for a while and ask for some feedback. (Take the gag off at that point.) Then, proceed to the boy’s butt and ask for more feedback. The boy’s input will help you decide when and where to use the Whip for optimal results.

Keeping you whip in peak condition.

Cleaning Whips is not that tricky, (unless you need to get rid of blood stains) Here’s how to maintain your Whip:

  • 1. Rub the Whip along its length with a mixture of water and a good quality Saddle Soap (easy on the water).
  • 2. Dry in open air. Never put leather near a direct heat source–it damages the leather by contracting it and eventually cracking it. It may take a couple of days for the Whip to dry thoroughly, so hang it so the air cirruates the leather or lay it down flat if you haven’t the room or wish to keep it hidden . Do not allow to dry with a kink in it.
  • 3. Once dry, wipe the excess soap with a soft cloth. It will give the Whip a nice shine too.

More dos and don’ts:

  • * Store the Whip, clean, in a dark, dry place. Sunlight would dry it out, and dirt may crack the leather.
  • * Coil it along its natural bend. Do not tighten the coils unnecessarily.
  • * If you don’t like the shine on the Whip, use your boy’s tongue to clean the handle.( spit will dull it)
  • * If your boy’s tongue does not do a good job, soak the Whip in brine (lightly salted water) and use it on the boy–that should teach him some manners!

In any case, do not oil the Whip: It makes the leather become too soft and eventually crack or rip. Plus makes the handle slippery and put off your aim.

Using Your Whip

Depending on the Whip you use, and where you use it, you may want to position your boy so that he can fully appreciate his whipping. Here are a few favorite my positions

Whipping the butt:

  • * Bent over a horse or table with feet and hands secured to the support posts. Avoid having your boy grabbing his ankles and stand without any support: This causes a great pain in the lower back and distracts the boy from the focus of your actions–his butt. Of course, if you want to whip him for a long time, you can have him clean your girlfriends Boots with his tongue while you warm his butt
  • * Spread-eagled, face down on a bed or the floor: This is a nice position because it does not spread the butt muscles thin but rather bunches them up for a nice rippling effect.
  • * On the bed, with arms and feet tied together and to a wall behind the boy’s head. You can either have the boy spread his legs or keep them together; in either case you will have nice access to the boy’s butt and the tender flesh of his thighs.
  • * Bent over with head firmly locked between your Boots (if he failed to clean them properly).
  • * Whipping the back:
  • * Standing, spread-eagled, against a wall, with a Boot hanging from the boy’s balls. To keep the boy’s head up and protect his neck, a posture collar is good, and so is a hood attached from its top to the ceiling (just make sure the boy does not pass out!). Alternate the whipping between one side and the other, starting with the shoulder bones, proceeding to the shoulders and ribs (watch for the nipples). Finish with his butt for good measure.

Hanging upside-down with the arms tied in front. Your boy will swing back and forth and wiggle, unable to escape his punishment. If you do not want your boy to swing, anchor his collar to a ring on the floor and/or hang him with his legs spread wide.

Whipping the chest:

  • * Hog-tied (in the back) on the floor. You’ll see your boy squirm around while trying to escape your Whip. A nice work-out!
  • * Spread-eagled facing forward (on a bed or against a wall). Do not forget to hang a Boot from his balls if he is standing up!

This list is under no circumstance exhaustive. It just gives you an idea of how to get your boy to focus on the impact of the Whip rather than being distracted by muscular problems or a determination to keep his footing (if he is not tied up). If you have two boys (or a female to add to the mix;) ) to discipline, it is always a good idea to tie them together so they share the experience of your whipping. Spread-eagled face-to-face or butt-to-butt, on the floor in a sixty-nine position, for two males bending over with their balls tied to each other’s balls, are all excellent positions.

Article MissBonnie & Missbitch © collarncuffs.com

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging


(This article is reprinted from the library of the Society for Human Sexuality at the University of Washington. While there have been some changes in the formatting to make the document more appealing to the eye, there have been no changes in the text.)

Distribution policy:

Comments, ideas and constructive criticism always welcomed. As with all of my postings, any archivist is welcome to copy and distribute this story appropriately without let or hindrance, provided that the distribution is free of charge and the entire posting remains intact and unedited.

Disclaimer of a legal sort

Striking the human body must be considered dangerous. As I am neither a medical nor a legal professional, the following is offered as my opinion only, not a recommendation for any activity. Nothing can possibly replace personal experience and learning directly from those who have been there before. There are now workshops and demonstrations available in larger cities, avail yourself of one. I have no control over the use of this information, use it at your own risk. And as ever, proceed with caring.


A ‘flogger’ shall remain for the moment ‘any flexible many-tailed striking tool where the tails are simple strips of leather or similar substances, designed for use on the human body’. In short, not bullwhips, braided cat-o-nines, crops, scourges, thudtoys and such, simply floggers. A braided cat is similar to a flogger in many respects, yet has a distinct ‘feel’, both these and floggers with knotted ends are left for another discussion.

As floggers were less available in former days, many people made their own in various styles and weights. Even if you are not doing so, some basic principles of design might help you select a superior one from the regrettably large supply of the other sort. I shall not include specific designs, the subject has been done to death before, and they are readily available elsewhere. As Janet Heartwood has provided excellent information in her ‘Heartwood Catalog’, I have used a similar format in my materials listing below. Although I have not ordered from her and can give no opinion, her wares seem well received among posters here.

hanging floggers

Design notes-

For any given force, the smaller the contact area that force is concentrated in, the greater the potential for damage. Think of a knife edge as the extreme case. This is why quality flogger tails have rounded edges and tips; although sharp edges require less work and are less expensive, rounded edges are preferable.

The wider the tail, the more surface area to be forced through the air, and again, the more lands at once on the skin. As a general rule for the same material, thin tails ‘sting’, wide tails ‘thud’. Thin, rounded thong tails sting much more than 5/8 inch wide flat tails, for example.

If all things are equal, the more tails a flogger has, the slower it travels, and the longer the tails are, the more leverage is gained. Both of the above make a flogger heavier, but the longer tails can make it disproportionately more difficult to control, therefore many of the ‘standard’ floggers have tail lengths between 15 and 22 inches. It is possible to do quite interesting things with a long flogger, such as laying it down an entire back at once, but this is not recommended for beginners as it can take serious practise to do well. Very short floggers have special uses for close work, one nipple at a time, that sort of thing. Floggers with perhaps 15 to 25 tails are average, twice that makes a heavier version of the same design.

For safety, flogger tails must remain fixed to the end of the handle; this region is where the most stress occurs in use. A good covering knot will help reduce this strain, and keep the tails together. The handle must work with your hand, not against it, neither too large nor small for a proper grip, and a knot or swelling near the end of the flogger serves to prevent slippage. Short handles are better for control, longer handles provide more leverage. The weight of the handle must feel ‘right’ with the tails [something one must feel, not read about. If the sellers will not allow a cautious swing of prospective purchases, find another shop].

Beyond weight, width and length, the materials matter most. I have personal experience only with the following, perhaps others may share their knowledge as well. A selection from the below provides a range of severity and feelings from ‘did you start yet?’ to ‘Omi god!’. Again in general, the softer and lighter the material, the safer it is [the harder/longer it may be used without risk], and the softer it feels. As ever,

~the RESPONSIBLE TOP TESTS each implement on herself before it touches a bottom, and checks for breakage or other safety problems before each use.~

Material List-

An ounce or two of loosely twisted cotton wool in a pillowcase folded lengthwise- this and the next two have been useful for those with no experience with flogging, yet much interest. Quite safe, I originally tested mine by repeated strikes to my own face with no effect.


a more permanent version of the above, a 3/8 inch tail width 20-tail is a specialized tool for flogging either a complete novice or one who prefers nearly no sensation. Noise, a very light skin-level sensation, and nothing else, tested as above. Of course it may also cause her to look back at you and ask if that is all you plan on doing….


silk and other softer fabrics can be made into floggers. Avoid fraying of edges by sewing the fabric into closed tubes, ironing each tube flat, then sewing the flat sides together along the long axis. Similar to chamois, more decorative colors available, and many fabrics are washable.


soft and caressing, a tiny bit of sting, a bit of thud, and little else. Unless one is hitting exceptionally hard, a deerskin flogger can be used for a very long time without any notable skin reactions beyond a light flush. My personal favorite for light play or the less experienced.

Light Nylon Cordage [1/8 inch diameter for a start]

Take 15 loops 34 inches long [circumference], tying them together in a knot at one end. Cut the other end [tail length now perhaps 15 inches], fray the cut ends and attach to a handle. Two sensations, a very light one from brushing with the tips alone, and a heavier one from the non-frayed section. Simple to clean, quite inexpensive, and different weights of cord are readily available. Elkhide- heavier than Deerskin, yet soft and compressible, almost entirely thud. A lovely flogger for a slow building scene, very easy to relax into, and can be used with astonishing force with little risk of harm.

The next three are varieties of cowhide, the ‘standard’ leather. These are not specific cuts or tanning terms, but are classes of weight and type.


in the lighter varieties, slightly harder than Elk, in the heaviest, just below the thick Topgrain below. Many floggers are made from various suede ‘splits’, these are inexpensive and simple to work. More thud and more sting than those above, may mark if swung sharply. Topgrain leather- smooth leathers create less friction than suedes, yet usually feel more ‘sting-y’ on the skin. Available in many weights, from light garment leathers to heavy saddle leathers, the more flexible varieties are recommended.

Oil tanned thick leather-

thick, heavy, and spongy leather, less flexible than thinner skins. Feels rather like an extremely heavy Elk as it compresses, yet a far more ‘serious’ thud.


Interesting rough grain, heavy, rather inflexible, unless careful attention is taken the edges may cut the skin. Not a material for the beginner, but certainly something to use if desired.


flexible, yet quite ‘harsh’ feeling, stings rather like a thong flogger, leaves immediate marks. Different weight to air resistance ratio than any leather I am aware of. Exceptionally simple to clean.


Extreme sting with no thud, entirely skin-level sensation of a very intense and itching sort. It is possible to break skin with horsehair, and it creates deceptively intense stinging at a very light touch. Cleanliness and body fluid precautions are required here, IMO. Additionally, most of these have tactile and scent qualities that may attract some, with the exception of the pillowcase, fabric, nylon, and the oil-tanned leather [much of which smells rather nasty]. All except the pillowcase may be made into floggers that look rather nice, and all of the above are now available ready-made through shops and catalogs.


Much has been discussed, experienced, debated, and counter-debated here and elsewhere on this personal topic, but as this is intended as a generic suggestion for the beginner, perhaps there is a possibility we might avoid the usual flamewar-of-the-moment? Of course it would be wonderful if others would add their own ideas to this basic outline [subtle hint].


Where to flog? Where not?-

As ‘flogging’ is something that covers much by way of different activities, I have taken the liberty of separating it into ‘light’ [entirely sting, no deep tissue effects], and ‘heavy’ [sting and/or thud, reaching and jarring deep tissue]. *Hint* it is impossible to do ‘heavy’ flogging with a 20-tail chamois flogger, and quite difficult to do ‘light’ flogging with anything over deerskin in the materials progression cited above [with the exception of horsehair, again a sting-only material].

Of course all of these are merely physical ‘possibilities’ rated solely on my own opinions of [relative] safety, all limits and preferences of top and bottom must also be considered.

Where not to flog ‘under any circumstances’ [obvious safety reasons]-

The face, head, neck, the fingers and toes, over healing skin [if you want it to ever heal:-|].

Where to flog *extremely* lightly and carefully if at all [Really a gentle brushing motion rather than a striking one, tips of a *light* stinging instrument only, such as the chamois or horsehair above]-

The palms and back of the hands, over any joint, the lower front and back and sides between the top of the pelvis and the lower ribs [kidneys and other internal organs], the spine, the tops and bottoms of the feet.

N.B. Both feet and hands contain many tiny bones, once broken, these rarely heal well. Joints do not respond well to stress internal or external. Crippling is neither safe nor sane and unless one has an X-ray machine at call one cannot tell. Internal organs are more fragile than one might think, avoid thud entirely in their area. Many people have particular problems with body areas as well, do attempt the above *very* lightly indeed if at all!

Where to flog lightly-

Lower legs, arms, inner arms, breasts, genitals [skin is more fragile there], upper shoulders [accuracy], top of buttocks near spine, the muscular ridge on both sides of the spine [accuracy], the ribs where not protected by muscle.

N.B. There is some evidence that ‘thud’ on the female breast is not advisable for reasons of health, nipples are far better suited to strong stimulation. The top of the buttocks protect the coccyx, a small and fragile triangular bone at the base of the spine, avoid striking between the upper buttocks.

Where to flog ‘heavily’-

Buttocks, upper back on each side of the spine, thighs, lower shoulders. These areas are principally composed of strong bones protected by muscle tissue and a fatty layer, any other organs present are reasonably protected. There are reasons for these traditional areas being so traditional, they reduce the likelihood of major damage, making an extended safer session possible.

Position considerations-

Body position affects the position of both skin and muscles. If someone is bent over, the muscles of the rear lengthen and are not as thick, so the muscles themselves no longer protect in the same way. If the skin is stretched as well, it will feel more than it would if relaxed. Flogging someone who is standing unsupported may lead to falling, and seems foolish given the known physiological and psychological effects [‘going away’]. Standing bondage changes without warning to partial suspension if someone faints, plan for that possibility.

HOW?- Technique repertoire-

The more ways one knows to do an action, the more effects may be created, and the less one’s arm aches afterwards. Varying the motions has a good effect for top and bottom. Practice the following until you can do them from various directions and speeds, they all feel and work differently. Knowing the techniques is only one part, knowing which to use and when is beyond my ability to suggest in a post.

Swinging styles-

I know of four basic ways to end a stroke of any force:

  • [1] The tails land ‘flat’, with all of the force hitting at once [the tails either bounce off or drop almost vertically after this].
  • [2] The tails swing ‘through’, with the some part of the tips hitting and moving past the target area. From there, you may stop them [see ‘Accuracy-‘ below], or use some elliptical pattern to bring them round again, such as vertical or horizontal figure-8, circle, and the like.
  • [2a] The tail tips strike, go past, then immediately return via a swift spinning motion. If fast enough, this can seem continuous and the light, sharp touch has some sensational advantages.
  • [3] The tails are snapped or ‘whipped’ for a smaller point of stimulation that is more discrete and feels ‘sharper’.
  • [4] The tails land all at once on the body in a strongly forward motion resembling a punch or push more than a swing. Difficult to describe, and not as common, a hard thud stroke.

Each of these and all their variations may be primarily accomplished by wrist motion alone, or with arm and wrist moving together, this depends on your strength and the effect you seek. A properly balanced flogger requires less effort, and may be used for a longer time with less fatigue.


I would like to add my voice to [I believe] Mauser’s previous post on this, bad technique is simply inexcusable; although we are all fallible, misplacing a stroke is not something to be taken lightly. There is indeed an art to the physical act of flogging. This may be learned as any other physical art, by observation, thought, and practice.

Practice in the air will teach you the balance of a flogger, but there is no substitute for actual impact. I believe it was STella who suggested a velvet pillow, and another person suggested suspending it in a way that allowed for movement. This works nicely, a safe and useful simulation.

If you rarely find velvet pillows strewn about, a towel wrapped round a pillow will serve the same purpose, you will see the path of the flogger tails quite nicely in the nap of the fabric. When you are able to land all the tails in one area on the pillow, practice moving that aiming point about until you know exactly where it will land each time. Now practice varying the speed, pace and strength of the blows without sacrificing that accuracy. When you have that in balance, try these variations on your own leg, get the feel of that specific instrument, *then* consider using it on the willing form of another.


A flogger [as opposed to a crop or whip] ‘flops around more’, it naturally covers a wider area and is more difficult to control. If one avoids any spin on the handle, the first stroke may be accurate with the tails close together. Unfortunately the next ones tend to be less so unless some care is taken with the tails between strokes. The tails may be caught in the free hand between strokes, allowed to wrap gently on the top’s torso or leg to gather them together, or hang straight down between strokes. Any of these options will make the next stroke more accurate as the tails will at least start together. It is possible to stop them in mid-air as well, but more difficult to cause them to swing together. With practice, a well-made flogger that is 2 inches in diameter with the tails gathered together may be precisely placed within a 3 to 4 inch target path.

As a suggestion for beginners, start with the bottom reclining face down and the top kneeling or standing a-straddle, thus allowing gravity to assist in the guidance of the tails.

Swinging at a body part that protrudes ensures accuracy. The buttocks of a standing bottom whose entire front is pressed against a rigid support are a classic example of this, a straight side-to-side swing with the tips of a flogger can strike only the intended area, leaving the lower back and upper thighs untouched. Costuming may help as well, certain corsets may provide some protection for the kidneys, and may act as a sort of armor against mishap.


If the middle section of tails strikes first on a rounded ‘edge’ of the body, and the tips ‘wrap’ following the curve, the tips actually accelerate far more than the original swing [physics, try it on something inanimate and see]. This is ‘wraparound’, and is usually a bad thing, causing inadvertent hard blows to areas one did not intend to touch at all, or ruining the controlled stroke one did intend. Keeping the flogger handle the same distance away from the skin as you did in practice will help here, as will being very careful to plan where the tips will fall at each stroke, avoiding curved edges to wrap around.

Being ‘tip conscious’ is the best way to avoid wraparound, but placing a pillow to protect the side of a reclining bottom works as a temporary solution for those who have this problem [works neatly with ‘whippy’ canes and crops as well].


How often?-

An average of one stroke every few seconds often proves best, with the exception of the spinning technique above, a fast version of which will seem constant. This ‘blow-rest-blow’ allows processing time to feel each sensation, and this rhythm once established may easily be changed for effect. No doubt some people will differ with me on this, but I maintain that it is a suitable pace to maintain in many cases. Increased speed near the end is also popular, and pacing oneself early on will allow for that.

Scene Structure-

Different people seek to give and receive different experiences. I offer two quite diverse scenarios to begin the discussion, perhaps others might volunteer their own favorite experiences or methods.

The slowly building endorphin encouragement-

Start slowly and lightly, begin by placing the flogger on the skin, holding the tail tips in one hand and the handle in the other, moving slowly to and fro on the skin. Then a slow caress with the tips for a bit, using more and more of the tails in a soft motion, building the movement into a partial swing, then a full swing. Vary placement gradually, work up and down the body in a methodical pattern with few surprises. When changing to a ‘harder’ flogger, repeat the above ‘accustomization’ process in miniature, the ideal being that although the actual force applied increases markedly, the ‘feeling’ remains much the same, matching the growing ability of the bottom to enjoy the increasing sensations. In a person looking for this, it is often possible to cause a ‘flying’ sensation of complete relaxation, buoyed by trust and natural reactions of the body to slowly increasing stimulation, with little or no feeling of actual ‘pain’.

The overwhelming sensation-

More of a ‘hard’ style than the above, to take a bottom past the ‘comfortable’ area into one more likely to push her strongly. Useful for ‘sensation overload’ and for those who seek a more ‘painful’ feeling. Beginning as above, vary the speed and intensity of the blows much more, pushing more, being less predictable. Work upper body and lower at seemingly random times, not allowing the bottom to grow used to the sensation before moving on. When changing instruments, do so with less subtlety, let her feel the change as an increase in intensity. Should he enjoy both sting and thud, use these interchangeably as well, surprise is often more effective than merely increasing the power of blows. Emotional and other considerations [IMO]-

A few suggestions in this admittedly most subjective area. A flogging of even the gentlest sort may have exceptionally strong effects on both participants; leaving time and energy to ‘wind down’ at the end of the session is, in my view, a requirement. Reassurance, a caress, or a simple touch during the flogging may do wonders also. Do not expect verbal responses if the flogging takes the bottom into new areas, he may not be possible to speak readily, and it may be that he will not be hearing well either. I find that flogging the front of the body, use of ear plugs and blindfolds, stringent bondage to open up delicate body areas, and making the bottom look at himself being flogged all are more ‘serious’ and have more emotional impact than a ‘simple’ flogging. Bruises may appear immediately, not appear at all, or suddenly appear after as much as a day or two, depending on the body concerned, and most people have some reaction to such marks, whether positive or not.


Flogging can be a powerful and loving act, top and bottom not separated by the flogger, but connected through it. While basic competence and sensitivity will increase the chances of this, caring does help a bit too.

Article by MissBonnie © collarncuffs.com

Related Articles:
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

Need more advice or videos? Many more ideas, hints, tips and discussions are located in Free Video and PDF download section within the Free Femdom Community

Synchronized flogging

Florentine flogging is a two-handed style of flagellation used in BDSM which involves the rhythmic use of a pair of matching floggers, one in each hand of the person administering the flogging.

The term Florentine originally designates the art of wielding two weapons at once, one in each hand. For instance, it can refer to fighting with one sword in each hand, or a sword and a dagger. It is a style developed by the Italians in the city of Florence, hence the name

This video demonstrates the two beat weave/four point florentine movements with a pair of 5′ paracord snignal(signal) whips by Lauren and MidWest Whips.

Messing around in a flogging workshop at Dream Visions Photo Studio in Surrey, UK. Slow 6-point florentine.

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.



One of the factors that sets spanking apart from other forms of swatting is the deliberate and sometimes ceremonial positioning of the participants. While some spankings are haphazard, I prefer spankings that include the ritual of positioning. Both the submissive and Mistress adopt positions that facilitate and enhance the spanking. These positions generally work to the advantage of the spanker and the disadvantage of the spankee.

The spanker enjoys the following advantages from their position:


  • Whether standing or sitting, the spanker is positioned to be comfortable throughout the spanking. They are able to swing their arm at a natural angle and able to sustain a lengthy spanking with ease because of their position.


  • Because they are able to wind up and freely swing their arm at a natural angle, the spanker is able to apply swats to the intended target with force. While standing, the spanker cannot only swing their arm but rotate their body to deliver maximum energy to an anxiously awaiting, clenching derrière. Full access to the bottom to be spanked. The spankee’s position is designed to fully expose their bottom and the spanker’s relative position is designed to put that bottom at a convenient angle and height. Therefore, the spanker is able completely view, tweak, pat, and spank it.


  • Because the spanker is in the position to easily spank the rear-end at the correct angle, it is much less likely that a blow will fall too high or too low.


  • The spanker’s position gives them the “upper hand” and allows them to easily control the spankee. They sit or stand higher than the spankee and are easily able to restrain and situate the spankee.

The spankee realizes the following effects from their position:

  • Relative comfort. Except for the notable exception of their backside, I think it’s important that the spankee be relatively comfortable so they can focus on the sensations being inflicted upon their posterior.
  • Anticipation. Bending over and getting into position to get your bottom blistered signals the beginning of the spanking and builds anticipation.
  • Increased sensation. A properly positioned bottom will tend to be spanked harder and more completely on the sensitive “sit spot”.
  • Humiliation. Being put over the knee is a childish, humiliating posture. Having to “assume the position” is humiliating in its submission and rubs in the fact that they are being spanked.
  • Exposure. A properly positioned bottom is fully exposed. The cheeks are fully presented and split, their undersides turned up. In the case of men, the anus and back of scrotum show. Women are even more exposed, their rectums and vulvas fully visible.
  • Emphasis on their bottom. Spanking positions place the center of attention on the bottom of the person being spanked, a fact not lost on said person. The bottom is emphasized by its exposure and upturned position relative to the spanker.
  • Presentation of their bottom. Not only is the bottom exposed and emphasized but the spankee feels they are willingly “sticking it out” and presenting it for its punishment in the same way as the condemned man who must place his head on the chopping block. The spankee knows their bottom cannot evade or escape the swats.
  • Submission. Cooperatively getting into position to be spanked is the primary act of submission in spanking.
  • Safety. Although it may be of little solace, the spankee can take comfort in the fact that their position affords safety from injury. Of course, this can be disconcerting if they know they will be spanked with even more abandon.
  • Loss of control. Once positioned, the spankee has relinquished control and may not easily regain it until the spanking is done. They may have difficulty removing their rear from the line of fire if they try.
  • Inability to clench. When standing, one can clench their cheeks together, mitigating the sting of a swat and the exposure. When properly positioned, it is more difficult to clench cheeks and the spanking will be applied to a relaxed, bouncing bottom.
  • Excellent visual presentation. Speaking from the point of view of an admitted bottom fancier, there a few times that someone looks more adorable and beautiful than when he or she is positioned to be spanked. Not only is the bottom emphasized, but it is formed to a flattering shape and sexily perked out. Spanking positions would be sexy even to people not into spanking.

Following are descriptions of various positions that I find erotic, their distinguishing characteristics, tactics that can be used to enhance them, and precautions to take. All descriptions assume a right-handed spanker.

  • Over the lap. Spanker is sitting with good posture in an armless chair, knees together. Person being spanked must lay face- down across the spanker’s lap, their head to the left and feet to the right. They must be over the lap far enough so their bottom is conveniently located directly over the spanker’s right thigh.

In order to preserve modesty, the person being spanked may be tempted to lie flat with their head up and legs straight out behind; however, if they are concerned for their modesty, they shouldn’t have gotten themselves spanked in the first place. The spankee’s head and shoulders should be angled down and their knees tucked down out of the way so that their bottom is well turned up. A palm pressed against the back of the head and swats to the thighs are helpful in positioning the spankee.

Knees should be at least six inches apart and the lower back should be “arched” or dipped to further turn up their rear. For a woman, this will result in her vulva being fully exposed and presented. Depending on size, toes will either be resting against the floor or hoisted off a few inches. The full weight of the spankee should be resting on the lap.

Hands can either be on the floor or grasping the legs of the chair. If the right hand flies back during spanking, it should be pinned to the lower back by the spanker’s left hand.

Prior to starting to spank, the spanker should firmly grasp the spankee’s waist above the right hip with the left hand to prevent squirming off the lap. Then the left elbow should be planted between the shoulder blades to keep the head and shoulders from bobbing up.

The spanker should raise their right knee slightly, turning up the bottom further. In the case of a woman spanking a boy, she should make sure his penis is pressed firmly against her right thigh and aimed to the left.

By turning their upper body to the right, the spanker can get a fuller swing and more comfortably apply a stronger swat. By combining all of these tactics – the raised knee, the elbow in the back, the hand in the small of the back – the spanker can effectively pin the spankee down and spank the daylights out of them.

  • Over the knee. Similar to over-the-lap except the spankee is bent over the left knee with their legs restrained by the spanker’s right leg.
  • Hands on ankles. This is the classic school-style paddling position. The student must stand well clear of obstacles with feet shoulder width apart. Leaving knees straight and back straight, the student must bend over and grasp their ankles with both hands. The spanker may want to observe the student’s hands throughout the paddling to ensure they do not leave the ankles and earn extra swats.
  • The spanker stands facing the left side of the student. They should stand far enough away so the paddle barely overlaps past the right cheek. They should adjust fore and aft to ensure that both cheeks are struck at the same time (assuming a paddle is being used. Canes and straps warrant slightly forward positioning).

It is not possible to more fully expose and present a rear end than when in this position. When one is told to bend over and grab their ankles, one is, in effect, being told, “we intend to thoroughly paddle your bottom. So not only will you present your rear-end but you will stretch and endeavor to stick it up and out as far as you can absolutely positively can. And throughout the paddling, you will continue to strain to stick it out for the paddle.”

Since the angle between the legs and the upper body is well under 90 degrees, this position spreads the cheeks and exposes the rectum and genitals more than any other position.

This is a great fantasy position but I think it only works safely in reality for spankees with flexible bodies (especially when a thick paddle is used). Inflexible people can’t reach their ankles without bending their knees. Men run the risk of getting their testicles whacked. Non-fleshy butts get pulled tightly across the pelvic bones and don’t provide enough padding when a heavy paddle is used. Hands on knees. A safer, more workable position than hands-on ankles. The bottom is presented in a plumper, more paddle-friendly shape but visually, the position is still very school-like. Depending on the person, I think this position can be more visually appealing because the back can be arched a bit which perks up the bottom. In fact, the further up the legs the hands are placed, the more the spankee can arch their back and stick out their rump.

Again, feet should be shoulder width apart and hand position enforced. Because the back can be arched and bottom upturned, it should be required, both prior and during the paddling. A technique which tends to arch the back correctly is to require the student to look forward at a spot high on the wall. That way, they are required to pull their head up and arch their back.

  • Over the desk on tiptoes. Another school-like position. The student must bend over a desk with nose or chest pressed to the desk. Hands and arms should be placed on the desk over their head to further arch the back. To further elevate their bottoms to be spanked, they must raise up on to their toes. Penalty swats can be awarded for every incidence of a heal touching the floor (hint: watch after the “last” swat before the student is told they may relax).
  • Over a barstool or horse. This is probably the best position for paddling because the bottom is presented in a plump and relaxed manner. The person to be punished must lay their full weight across the stool, their feet hanging and hands grasping the legs of the stool at a level such that there is a little support for their upper body.

This is a relaxed, comfortable position which works well for lengthy spankings.

  • Laying on bed. Another comfortable position for lengthy spankings and ensuing diversions. The spankee must lay face-down on a bed. Their face should be pressed to the mattress while their hips and bottom are elevated on pillows. Since pillows are compressible, it may take three or four to achieve the proper elevation.
  • Kneeling in chair. One of my favorite positions for spankees with great butts because, properly executed, it presents the rear in its most flattering light. The trick is in the execution.

The spankee must kneel in the seat of a padded chair (save those knees) facing the back with the thighs vertical and upper body forward over the back. Again, the spankee should be required to arch the back well. Two things conspire to shape his or her bottom cutely. First, the back of the chair prevents him or her from bending so far as to preclude a good back arch. Second, just as high heels shape calves fully by angling the foot to shorten and bulge the calf muscle, kneeling with the calves at right angles to the thighs seems to allow the buttocks to bulge fully.

I’ve found the following tactics can be used to enhance and focus on positioning:

  • Adjustment & readjustment. I think it’s important to deliberately position and adjust the spankee prior to the first swat. Emphasis should be placed on positioning and presenting the bottom fully. Throughout the spanking, the spankee should be readjusted as their position begins to fail.
  • Verbal instruction. I think it’s best to require the spankee to willfully maintain their own position with out the physical assistance of the spanker especially in the case of stand-up paddlings. Therefore, verbal communication is necessary throughout the spanking to encourage the spankee to continue to assume the correct position.
  • Pickiness. One of the disciplinary aspects of spanking is that no matter how perfect the spankee is positioned, they can always improve, stick their bottom out a little further, etc. The spanker should not feel guilty that their exacting demands regarding position are perhaps a little too picky and unrealistic.

From a USENET posting Article by MissBonnie © collarncuffs.com

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

Melanoma Dangers During SM Play

Quick Summary

Melanoma is an increasingly common form of life-threatening cancer, usually found on the skin, and known for its early and rapid tendency to spread to other organs. Melanoma is frequently found on the back – a location often whipped during SM play. The back is also a location not easy for a person to examine themselves. Studies have shown that manipulation of a melanoma (and a whip stroke, spank, or other type of blow would, obviously, be a form of “manipulation”) definitely increases the number of cancer cells that break off and begin to spread to other parts of the body. It is therefore essential that SM practitioners know how to spot possible melanomas, both on themselves and on their partners, to avoid whipping or otherwise disturbing melanomas, and to receive early, definitive medical diagnosis and treatment.

Basic Facts

Melanoma is a form of cancer that arises from a type of cell called melanocytes. Most of these cells are, obviously, in the skin, but melanocytes are also in the mucous membranes, under the nails, in the mouth, and in the eye (including the retina). Melanomas can develop from the sites of existing skin lesions or can develop on their own in areas of previously clear skin.

Melanoma is the eighth most common form of cancer in the United States and currently accounts for about 2% of all cancer deaths, with 6,900 deaths predicted for 1994. The U.S. death rate from melanoma has been growing steadily at a rate of about 4% per year for the last thirty years and is now more than double what it was in 1960. The frequency of melanoma is expected to continue increasing.

The skin is by far the most common melanoma site. About 600,000 new cases of skin cancer are diagnosed in the U.S. each year. Roughly 95% of these are “relatively” benign basal cell or squamous cell carcinomas and about 5% (32,000 cases) are melanomas. (Non-melanoma skin cancers are predicted to cause 2,300 deaths in 1994.)

Risk Factors

The average overall lifetime risk of developing melanoma is about one in a hundred. Melanoma is most commonly found in fair-skinned Caucasian people, especially if they have blue eyes and naturally blonde or red hair. It is more common in people who have a family history of melanoma, and more common in people who have more than fifty ordinary moles. Melanoma is most frequently found in people aged twenty to sixty. A strong correlation exists between episodes of severe sunburn during childhood and increased risk of developing melanoma later in life.

Exposure to sunlight

Exposure to large amounts of sunlight, both in childhood and as an adult, increases the probability of certain subtypes of melanomas appearing, but not of others. (There are four basic subtypes.) Melanomas are more frequent near the equator, and the population of Arizona has the highest frequency of melanoma in the United States. Cancer prevention authorities recommend the use of sun block with a SPF of 15 or greater.

Melanoma and non-Caucasians

Melanoma is distinctly rare in non-Caucasians, and all but unheard of in Asians. Non-Caucasians face about one-twelfth the average overall lifetime risk of melanoma that Caucasians face. (Still, 200+ non-Caucasians die of melanoma every year – the majority of them either Black or Hispanic.) When a melanoma is found on a non-Caucasian, it is usually found on the palms or soles, under the nails, on a mucous membrane (including inside the mouth), or within the eye. Melanoma and people with HIV Melanoma is distinctly more frequent and more aggressive in people who have HIV or are otherwise immunosuppressed. These people must be watched especially carefully.

Location on the body

Melanomas can appear anywhere on the body’s surface, including the ano-genital region, the hair on the head, the inside of the mouth – including the palate, and the interior of the eye. The back and lower legs are the most common sites in women. The back, chest, abdomen, and arms are the most common sites in men. (The issue of whether or not melanomas can be encapsulated with breast cysts – and possibly released during heavy breast play – was not itself specifically explored during the research done for this article; no mention of such a phenomenon was noted in the references consulted.)

Appearance of Melanoma

Melanomas are described according to the classic ABCD criteria:

  • Asymmetry: Common moles are both round and symmetrical. A line drawn through a melanoma, no matter from what direction, will not create matching halves.
  • Border: Common moles usually have smooth, even borders. Melanoma borders are usually uneven.
  • Color: Common moles are usually a uniform shade of brown. Melanomas can be of differing shades of brown, and/or may have various patches of red, white, or blue skin. (When I was in medical school I heard it referred to as “the patriotic lesion” for this reason.)
  • Diameter. Common moles are usually six millimeters – a quarter of an inch – or less in diameter. (About the size of a pencil eraser.) Melanomas, particularly in their early stages, can be larger.

Some authorities add a fifth (E) criteria:

  • Elevation: A dark nodule elevated above the rest of the skin can be a melanoma.


Experts recommend that each person conduct a monthly self-examination of their skin, including their scalp. Mirrors can help a great deal, as can a helpful partner. Learn the location, size, color, and other characteristics of whatever marks your skin already has. This will allow you to quickly detect any changes in existing marks or the appearance of new ones. “Knowing your skin,” particularly the skin on your back, is your first, best line of defense against this very serious disease.

This monthly self-exam should be supplemented with an unhurried annual examination of your skin by an experienced physician. (One physician I consulted stressed this point, and also cautioned that not all examinations done by physicians are unhurried.)

Several different sources cautioned that moles which bleed relatively easily should be regarded with the traditional “high index of suspicion.”


Treatment is usually by excisional biopsy, which involves removing the entire lesion plus a few centimeters of surrounding healthy skin. A pathologist then evaluates the tissue. If the suspected melanoma is unusually large, an incisional biopsy is done. However this is avoided if possible because of concerns that cutting into the melanoma might cause it to shed cells. In the case of melanomas that are exceptionally large, or on a location that has cosmetic importance, such as the face, the patient may be referred to a plastic surgeon.

Complications and Prognosis

Melanoma can metastasize by either the bloodstream or the lymphatic system. If found while still localized, the overall five-year-survival rate is in excess of 90%. If the disease has spread to the local lymph nodes but no farther, the five-year-survival rate is approximately 50%. If the disease has spread beyond the lymph nodes, typically to sites such as the liver, lungs, bones, or brain, the five-year-survival rate is less than 15%. Melanomas on the torso have a grimmer prognosis than do melanomas on the limbs because less “filtering” by the lymphatic system occurs in that region.


Cancer cells do not bond to each other as strongly as healthy cells usually bond to each other. Therefore, many cancer sites “leak” cells, which then travel elsewhere in the body, to a greater degree than healthy tissues leak cells. This is known as increased friability.

Studies have definitely proven that manipulating a melanoma increases the number of cancer cells that break off and “float downstream” (or is it “upstream”?). While the body’s immune system consumes most such cells, preventing them from forming new cancer sites, it certainly cannot be assumed all such cells will be so consumed.

Medical-related precautions

Medical professionals are cautioned not to manipulate a suspected melanoma site any more than absolutely necessary. The treatment is excisional biopsy if at all possible. Incisional biopsies, and other cuttings of the site, are avoided unless clearly necessary. Electrolysists are trained not to stick their needles (which can give off heat, or electricity, or both) into moles. There could also be Sports Medicine aspects, particularly regarding contact sports such as football or the martial arts.

SM-related precautions

SM-related precautions include not whipping or otherwise striking a possible melanoma, not piercing or cutting through it, and noticing if a mole starts to bleed after being whipped. Those about to receive a whipping, piercing, or cutting should caution their partners about “suspicious” moles on their skin. In addition, subjecting the site to intense heat (from dripping candle wax, for example) or to jolts of electricity (from a cattle prod or violet wand) could also be much more risky than previously thought.


While many sadomasochists like “on the edge” play, I doubt that many would want their submissive partners, no matter how self-sacrificing, to risk getting a fatal case of cancer. Like many other cancers, melanoma is almost completely curable if detected and treated early. Informed, monthly self-examination of the skin is the most important step.

Check your partner’s skin. If you spot a funny-looking mole, don’t whip it!

Article by MissBonnie © collarncuffs.com (Disclaimer fact where correct at time of publication)

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

Florentine Flogging

Florentine flogging is a two-handed style of flagellation used in BDSM which involves the rhythmic use of a pair of matching floggers, one in each hand of the person administering the flogging. The term Florentine originally designates the art of wielding two weapons at once, one in each hand. For instance, it can refer to fighting with one sword in each hand, or a sword and a dagger. It is a style developed by the Italians in the city of Florence, hence the name.

Florentine floggers

The florentine flogging strikes can follow two different patterns:

  • “Four-Count” is the basic florentine pattern where the arm that stays above the other one remains the same.
  • “Six-Count” is a more elaborate pattern that alternates the arm that is above the other. It is also called full Florentine.

The ‘count’ denotes points in the pattern where a strike lands on the target. For the four-count, there will be four hits before the pattern starts again. Four-count florentine flogging

This is a step by step description of the four-count florentine flogging pattern. Both hands will travel roughly through a horizontal figure 8, or ‘infinity sign’, following each other.

Starting position

This position is only useful to place the arms in the proper place to get started. The hands will no longer be in that position during the pattern.

  • Both hands start on the same side of the body (for instance on the left side in that description), positioned as if holding a small box between them, at waist height.
  • From this position the right hand will lift up to just above the left shoulder height

Count 1

  • The right hand extends outward and swings diagonally, down and across the body towards the opposite (right) hip. It strikes the target with a backhand motion when it is about midway through the swing.
  • The left hand raises towards the left shoulder height. The right hand continues to travel past the right hip. The left hand in position to begin a forehand swing.

Count 2

  • The left hand extends and swings down towards opposite (right) hip in a forehand motion It hits the target about half way through the swing, as it follows the path of the right hand.
  • The right hand raises towards the right shoulder height. This will help clear the way for the left hand as it swings through. The left hand reaches the position near the right hip.

Count 3

  • The right hand extends as it swings down towards the opposite (left) hip, striking the target in a forehand motion. The left hand continues in its figure 8 path and the two arms are now crossed.This step when the arms cross can be tricky as they restrict each other’s motion. Twisting the body a bit to the right as the left hand moves helps keeping the arms free of each other. Lifting the right shoulder as it swings in this step is also helpful. Dropping the left shoulder a bit as the left hand raises to shoulder height will help to move through this position.
  • The right hand is moving up towards shoulder height, with a bent lifted elbow to make room for the left arm to swing.

Count 4

  • The left hand extends outward and down, diagonally towards the left hip, following the right hand path, striking the target in a backhand motion. The right hand is moving up to position to start its next swing, and clear the area for the left hand to swing through.

If the torso was twisted earlier to ease the crossing of the arms, the body now twists back comfortably to a neutral position. The pattern begins again. The next position is count 1 for the right hand to start its next swing.

Article MistressAsTemptingAsSin AKA IamDesire © Collarncuffs.com (page now returning 404)

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

Different Strokes for different folks

So, you’ve gone out and gotten a flogger, you know which end is the handle, and you know where it’s okay to whack… you’re ready for a human target, right? Wrong!

At this point you’re missing one vital element: control. And the only way to get that is to practice.

Practice, Practice, Practice!

It would definitely be more fun to practice on a real live person… as long as things went right. But even though a flogger is one of the safer impact toys, it’s possible to hurt someone if things go wrong. Swing too low on the back shot, and you could hit the kidneys. Wrap on a hip shot and the tips of the tails will pound on sensitive nerves. And take it from me, those tresses sometimes have a mind of their own. First rule of Femdom…practice makes perfect

Probably the best practice target is a pillow. Pick a soft one; a foam pillow won’t “remember” where you hit, but a down or feather one will: you’ll be left with a “dent” that reveals exactly where your flogger landed. Better yet, if you can find one with a velour covering – or any significant nap – smooth it out evenly first, and your strokes will be very obvious.

Lay the pillow on a bed if you want to practice for a reclined submissive, or propped in a chair or on a sofa for standing. Move an easy arm’s length away. Pick a spot on the pillow where you’re going to land your first blow. Swing the flogger behind you and over. Bet you miss.

This is where the practice (part) comes in. You need to learn how far to stand from your target so you just “kiss” it with the tips, or land the full force of the tails as you choose. You have to discover how to guide the tails through a gentle arc so they won’t fly off where you don’t intend. And you’ll want to get the hang of swinging smoothly so the tails all group together instead of spreading out. It’s really not as difficult as it sounds. If it is, you’re trying too hard.

Let’s rewind a bit. If you’ve tried a couple of swings you know about where you want to be standing. For practice’s sake, try to have the tips just barely caress the pillow. Now, relax. Stand with your weight balanced between both feet, facing your target squarely. (Some folks prefer to “lead” with one shoulder or the other; I’m one of them. If this feels more comfortable to you, go for it.) It’s really impressive to “lean into” a flogging stroke with all your might and body weight. But there’s no need if you have the right tools. I find a certain perverted pleasure in being able to loaf my wrist over and elicit a yelp from a submissive with my “stinger” made of hard rubber. And you’re practicing now, remember? Let’s stick to good form and save the fancy stuff for later. Keep your shoulders squared, and don’t lean into the swing.

Different strokes, for different folks

The Basic Forehand Stroke

Now, hold the flogger with a loose, comfortable grip near the balance point, and let your arm hang naturally at your side; your palm will be turned towards your thigh. As you swing your arm back, your hand should turn; by the time your hand is behind you, your palm should be facing up. It will remain facing “forward” until the flogger makes contact.

The circle you describe should be smooth and even; don’t snap or jerk the flogger. You should be able to “pinwheel” your arm in a gentle circle and hit the pillow each time. Focus on the pillow – not the flogger – and “will” the flogger to always hit the same spot. It may be difficult at first, but keep trying and you’ll get the hang of it.

If you’re serious about flogging and practicing, your arm is going to get sore. Unless you’re a baseball pitcher, you’re probably using your muscles in a new way. Don’t overdo it; each day you’ll find your practice gets easier and your aim will get better.

Working On Your Backhand

Once you’ve gotten the hang of hitting one spot consistently with a forehand stroke, try a backhand. This will be easier if you turn your body a bit so the shoulder you’re not swinging with is closer to the target. Cross the arc across your body at about a 45 degree angle instead of straight-on. As you swing the flogger up in back, continue turning your palm instead of letting it face forward. By the time you reach your target, your palm should be facing up.

I’ve not seen many people do a backhand for a backhand’s sake. But practice this stroke until you can reliably hit the same spot with the same intensity, and then you can graduate to…

The Figure Eight

This is a combination of a forehand and backhand on each pass. You’ll find it works your muscles more evenly and is a bit easier for longer flogging sessions… plus it has a certain flair.

Start with a normal forehand as you’ve already practiced. As you come down towards your target, however, don’t go straight down; instead, cross in front of yourself. Rather than bringing your flogger down along your right side, bring it down to your left. Now swing up on the left and cross back; you’ll find your palm naturally turns for a backhand shot. Swing down and back to the right, then repeat the eight. This one will probably feel awkward at first. One key is not to travel back as far as you do for a forehand or backhand swing alone. Just let the flogger follow a gentle figure eight in front of you. With practice you’ll find you can hit the same spot with the same intensity on both the forehand and backhand strokes.

As you’re practicing the various strokes, keep an eye on the pillow and what’s happening to it. Are you seeing marks in the nap that extend from the center around the pillow, a clear sign of wrapped tails? Learn how to avoid wrapping with a pillow, before you ever lay your flogger’s tresses on a real person.

“figure eight” pattern that was simply beautiful. I am told that his style derived from Nito, a style of Kendo (Japanese sword fighting) which uses twin swords


Spinning or pinwheeling a flogger can provide a gentle breeze, a fast caressing touch, or a barrage of stings. The technique is simple: hold the flogger’s handle firmly, and whirl the tails around in a tight circle. At first you might find it easier to get the tails spinning, then move them into contact with your target.

You may find you have lots of problems with spinning; don’t blame yourself until you try a different flogger. Some just don’t seem to want to cooperate, tangling their tresses around the handle or twisting amongst each other. Thicker, softer tails seem to exhibit this problem the most.

Wrist Action

Most references and teachers will tell you to swing from the shoulder. But when I attended Sarah Lashes’ flogging workshop at BR10, she also demonstrated another technique. Instead of grasping the flogger at the balance point, she held onto the “button” – the knob at the rear of the handle – and proceeded to spin the flogger, mostly using her wrist. It was a nice fluid motion, and she seemed to have a lot of control and flexibility without waving her arm all over the place. I’ve been told that the wrist was never meant to be worked that hard, and I’ve noticed my wrist gets sore very quickly when I experiment with this technique. Perhaps Sarah has a special twist that eluded me, or maybe this really is bad for the wrist. But it certainly looked nice, and I still play with it from time to time… you might want to do the same.

Let the Flogging Begin!

In the next installment we’ll take a look at working with a human target… and how to make flogging an enjoyable experience for both of you. Until then, practice, practice, practice!

Article by Missbitch & MissBonnie © collarncuffs.com

Related Articles:

Floggers – How to use a flogger and get it right.
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging


Caning is the SM technique of consensually striking someone (most commonly on the buttocks) with a cane for mutual erotic pleasure. Canes are often used in Femdom play. Care should be taken to observe all appropriate safety precautions. Canes have a deserved reputation as The Victorian Terror Weapon. To most submissives, they mean severe punishment; to sensation-seeking S/M bottoms, overload. If we have care and patience, however, canes can be used in a loving and sensuous way. The very stiffness of a good cane, that makes a hard stroke so intense, allows the lightest taps to be given with perfect control. And a light cane stroke is easy to aim, unlike a flexible whip that sags and flops at low power. In the kind of sensuous play I’m describing here, light strokes are far more prevalent and important than heavy ones.


To keep canes healthy, once a year one should sand the tip, stand the cane in a vase of water overnight, and then revarnish the tip.

SELECTING A CANE (cane making )

  • ·Canes should be able to bend significantly.
  • ·One should be able to bring the cane down in a straight line.
  • ·The cane should have three or more coats of varnish.
  • ·Small diameter = sharp pain. Large diameter = thud.


  • ·The bottom experiences two sensations with every stroke (nerves being compressed and then expanding). Thus, the strokes shouldn’t go too fast.
  • ·Be sure the room isn’t too cold.
  • ·Bottom should relax muscles in butt to avoid later lactic acid buildup causing a deep ache.
  • ·It is difficult if not impossible to kill any Hepatitis pathogens on canes.
  • ·Extra Zinc helps bruises heal.
  • ·Avoid striking the tail bone and the back of the knee.
  • ·Front of thighs can be caned.
  • ·The fold between the buttocks and thighs is termed the “sulcus,” and can be quite painful when struck.
  • ·A circular “fluffing” motion can be effective for rapid “warm-up” strokes.
  • ·Backhanded strokes often land harder.
  • ·Hitting and holding delays the second stage of pain.

The cane is one of the most important-and most intrinsically severe-of all instruments of punishment for punishments.

Canes are made from a variety of materials, with rattan being the most popular, due to its unique combination of light weight and extreme flexibility. They can also be made from malacca and bamboo-both unsuitable materials in my opinion, since malacca is too “knobbly” and bamboo is liable to splinter-and also from whalebone, a very severe form indeed of this instrument. And of course, ad hoc punishment ferrules can be shaped very easily from switches cut from any hedgerow-hazel, willow and young ash-plants all being suitable, though only the last-named will last for more than one punishment.

  • The standard cane is universally manufactured from rattan, and is typically supplied with one end already curled into the traditional handle. Lengths vary from about two feet (these are intended to be used across the knee on but I do not think this “punishment” can ever be effective) to about four feet. Canes longer than this will be difficult to control and aim properly and should be rejected (unless the caning is of the judicial type).
  • The weight of a cane is the important thing and here appearances may be deceptive. Rattan is a very light material and inexperienced governesses not appreciating this are liable to choose their canes on the slender side, reasoning that this will make the strokes more merciful. In fact the reverse is true: a slim, wand-like cane is crueler and more liable to cut. Thicker canes better combine the qualities of penetration and “spread”, and are less liable to break the skin. (I speak in this context of canings inflicted “on the bare”-if a boy retains his trousers you may use what cane you like.)


It is, as I have said, a severe instrument, and though versatile-it can be used to punish the hands and the clothed or unclothed bottom-the cane should be used with respect for its considerable powers of penetration. Wrongly used, it can be a vicious implement.

Applying the cane across the bare bottom is one way of observing the progress and effect of the punishment, and of checking one’s aim. Some males have tougher hides than others, but even a light caning of a few strokes will leave, in addition to the usual blush across the nether regions, intermittent evidence of the rod in the form of visible weals. If the strokes are administered at a slow pace-say, one every ten seconds-the caner has time to observe these marks begin to develop, and like a rifleman can correct her aim accordingly. All strokes should be delivered into as narrow a band as possible, and that area should correspond with the plumpest and best-padded part of the posterior.

Administering any sort of caning is a matter of some precision, the attainment of which is generally a matter of practice. In order to be effective at all, it must be administered with a minimum of real force.


I have spoken much already about this excellent implement so here I shall confine myself to observations concerning its use. The cane is a highly penetrating instrument of great potential severity, and care must be taken when administering it-so much is obvious. It is also lighter than it looks. But the important point is its extreme flexibility. During the quarter-second or so of flight, the instrument achieves a near semi circularity in shape. Although it may appears straight and even stiff (till it is moved), in practice it is more whip like. The arm and wrist motion is therefore a complex one. At the beginning of the stroke, the hand leads the tip of the cane; it continues to lead throughout the descent; only at the last moment, after the shortest of follow-throughs, does the wrist halt and reverse direction slightly so that the business end of the cane “catches up” at exactly the right angle to the posterior. The achievement of a good caning action is therefore a matter of some diligence and constant practice

Another precaution is to take one’s stance slightly to the left of the target-perhaps as much as a half-pace. This ensures that the tip of the cane, which travels faster than the rest of the instrument during the latter part of the flight, strikes the far buttock at precisely the same instant, and with the same force, as the rest of the cane makes contact with the near buttock. The result should be a perfect stripe across the broadest part of the bottom. This mark will immediately appear in white as you finish the stroke; then it will fade; to reappear (if it has been a severe stroke) within less than a minute as a thin welt.

I have spoken earlier about limits on the use of the cane. Feeble strokes merely tap the skin. Savage blows can cut it. Both are to be deplored. The result of a sound caning should be a welted bottom, certainly-if the behind is not vividly marked the punishment has been too mild and will be too rapidly forgotten-but not a scarified one. That is simple brutality.

The cane should hum or whistle in the stroke and fall across the target with a sharp snap, like a toy pistol. There should be a pause between strokes-say, a minimum of ten seconds.

Beware of canes that are too long. While a long cane whips-in satisfactorily, it is harder to control, and the stray six inches at the end may cause the further buttock to be punished more severely than the nearer. Standing well to the left of the target is one cure, but on the whole it is best to use a slightly shorter weapon, and to strike slightly harder.

When a culprit is bending over in the conventional position, do not make the mistake of shaping your stroke with too great a downwards component. The chances are you may hit the base of the spine, or the cane will fall at an awkward, grazing angle, or you may punish the upper half of the buttocks and leave the lower, more sensitive portion, unscathed. Take a horizontal or even slightly upwards aim, draw the cane back slowly within the same are, then whip the forearm and wrist smartly through from one side to the other, keeping your eyes on the exact spot you are aiming for. Do not look up from this spot until you have completed the stroke. If the buttocks have been bared beforehand, observe the mark and compare it to your point of aim; adjust the next stroke accordingly.

A traditional way of limiting the amount of force that may be applied is to tuck a large book-say, the Bible-under your punishing arm and retain it there throughout the caning. A little experimentation will shew that it is impossible to use the shoulder and upper arm muscles without letting the book fall. You are constrained to wrist and forearm, which is exactly as it should be. An even greater error is to be over-harsh. The difference between the lightest cut that may reasonably be given, and the severest, is not large; and if greater severity is required it is safer to increase the number of strokes, or to apply some additional measure, such as baring the bottom.

A single cane can deliver an entire symphony of sensation. A snappy blow that is pulled back a bit just before impact will emphasize surface sting. The same sort of blow carried past the moment of impact, with follow-through, will have much more thud and penetration.

The greatest intensity is delivered by the outer third or so of the cane’s length. This is the portion that leaves marks, in a hard blow. In a light blow, this part of the cane will have a relatively stingy feel. Closer to the top’s hand, the cane moves much more slowly, and the sensation will be more thuddy or even massage-like. This allows a good way of maintaining rhythm and atmosphere while giving some relief to a bottom who is showing signs of overload.

The very tip of a cane can be used on many targets that a full-length blow might harm, or be unable to even reach. Tip shots can work the inside of the sweet spot, the bottoms of the feet, the muscles between the spine and the shoulder blades. A traditional cane stroke in any of these areas would cross bony areas, causing bone bruises and pain that is not at all erotic; a hard one might chip bones or crush nerves, and cause truly harmful damage. DON’T try for these with any force until you are utterly sure of your aim! Lighter tip shots are much safer, and feel much like percussion massage.


I prefer to have the bottom lying flat. When a person goes as deeply into bottom space as I hope to send them, the mere act of keeping their balance will be a distraction. Having them lie on a table is easiest on the top’s back in these long scenes; massage tables are ideal, and cafeteria-type tables are sturdy and about the right height. Arrange padding if the table doesn’t already have it; I usually bring a single-bed sheet and a roll of foam to parties and demos.

Second choice is ground level; on a mattress or futon, or the foam pad. Here the bottom will be laying prone and the top will sit or kneel beside them. On table or floor, it’s nice to have three or four feet clear on either side of the bottom, so that you can switch sides. Since the tip of the cane always hits the hardest, switching sides will help to keep the caning symmetrical. Also, it allows the top’s other hand to rove over a different part of the bottom’s body. From one side, you can stroke, massage, caress, and collect feedback from feet, legs, and buttocks, and play with their crotch if it’s that kind of scene. From the other, you caress their face, massage their back, grab hair or the back of their neck, play trust games with your finger between their teeth as you cane them…

A caning can be an awkward thing to deliver when the bottom is standing, especially if the top is taller. There is a strong tendency for strokes to land too high, on the bony upper half of the butt, when the bottom is standing up. Also, the sweet spot is hard to reach from this position. Going to one knee may help. Occasionally a play space may have a stage or platform of some kind, with bondage facilities near the edge of it. If you have the gear and knowhow to do it safely, suspension may also offer a way to get the bottom a foot or two higher.

I try to avoid the traditional bent positions for caning, where the recipient crouches or bends over a chair. For one thing, this stretched skin is much more sensitive. Victorian punishers wanted overload; for a sensuous caning we want to avoid it. For another, the tailbone comes up into harm’s way when one bends over, and a hard canestroke is quite capable of chipping it and inflicting a painful lifetime disability. Damaged tailbones don’t heal! There is a lot of perfectly good buttock area that is hard to work safely from these positions; when the bottom’s body is straight, much more of the tailbone is protected.

When in doubt, run your finger down the spine, all the way into the crack of their ass; you can feel how far the tailbone goes. Check this each time; the length varies surprisingly among different people.


The best precondition for a trip to Endorphin Heaven is for the bottom to be deeply relaxed, trusting, not anticipating the next stroke but rather accepting. Going too hard or too fast will drop them out of their bottom space (that warm, accepting state of trust) at just the time when you should be building it up. Their hindbrain will take charge, and its ancient survival reflexes will start screaming “We’re taking damage! Get us the hell out of here!” A good bottom wants the scene to go well, and will be working to control panic and nervousness. For this particular style of scene, the top must build the intensity so smoothly that the bottom is supported rather than challenged in their efforts to stay centered and accepting.

Of course, some people warm up much faster than others. “Smooth” is one thing; boring is quite another. In initial negotiations, I mention this, and if we are using the “traffic light” safewords I point out that “green” is also a color, and that they can always call for a speedup if they want one.

As we begin, I like to promise that I will escalate the intensity very gradually – something like “no stroke will be more than a third harder than I’ve already given you”. This helps them relax. You need to keep this promise, too; surprises will tense them up for a long while afterwards. Resist the temptation to tease them or fake them out, for the same reason.

I often begin with an ordinary massage. I explore the muscles of the back, buttocks, and legs, checking for tense spots and taking whatever time is needed to relax them and establish an expectation of pleasure from my touch. Massage is itself an endorphin releaser, and very non-threatening. When a bottom is new to this technique, their delighted surprise can relax them, build a lot of trust early on, and give them confidence that there are rewards to be had in exploring with you.

After achieving relaxation of any tense spots, do a little fingertip percussion on the muscled areas of the bottom’s body. (Fingertip percussion is what a pianist does to strike several close keys all at once.) The fingers of one or both hands are crooked, and struck down in to the target area. Work the upper back, to either side of the spine, this way for a while. Do the same to the lower part of the buttocks, and down the backs of the legs. This sort of sensation is a perfect bridge between massage and flagellation; it’s especially good for introducing beginners.

Now begin with the cane, tapping very lightly over the areas that had the percussion warmup. Don’t tap any bony areas; this is a good time to develop the habit of avoiding them. Use the cane tip to reach areas that have bone close alongside. The blows should have less force than your fingertips did; the cane is hard and stingy, and the idea is to introduce the cane without breaking the relaxed and trusting glow of your warmup. Along with ordinary light taps, mix in a few that are feather-light; with practice you can deliver a flutter as light as the landing of a flock of butterflies. This is a wonderful contrast to harder strokes; as endorphins build up such a light flutter will often bring on a fit of giggles.

As you work, do single taps, double taps, quick flutters of various intensities. Your goal here is twofold. You are trying to teach the bottom that they cannot predict your strokes, but that it doesn’t matter because they won’t be harmed. It is a non-verbal trust-building exercise.. Done with care, you can give the bottom that wonderful open acceptance of whatever happens, the key to the very best bottom space.

Another key to good bottom space is breathing. Deep, careful breathing controls panic, and this is vital as intensity builds. Panic is really the unpleasant portion of pain; take panic away and what’s left is just strong sensations. All kinds of wonderful things can be done with strong sensations…

If your bottom has ever done yoga, meditation, natural childbirth training, or anything like that, remind them that deep, slow breathing is important here, too. If they have never had such training, coach them as you go. If their breathing becomes short and choppy, ease up and remind them to relax and breathe deeply (unless they’re coming, of course; that’s to be encouraged, not interrupted with good advice!)

If your other hand keeps up a steady contact with caresses and massage, not only will it relax and comfort the bottom but you will be able to detect twitches, tension, or relaxation. Especially with bottoms who aren’t very verbal or vocal, this is the best feedback you can have.

If they are vocalizing, watch out for a sharp edge to their tone. It warns of gradually building tension – if you continue to hear it, something isn’t working, the bottom space is eroding. The muscles under your other hand should be more and more relaxed as the caning proceeds; if not, it’s also a sign that your buildup is not succeeding. This sign is apparent even in a silent bottom.

As you gradually build the intensity, one useful trick is to follow a harder blow with a quick light rain of flutter strokes, right into the same area. These will distract the bottom from any overload (within reason) and take them back to the bottom space that has just been successfully processing light stuff. However, the harder blow will have done its work of moving the whole scene to a slightly higher level.


If your warm up has opened the way for more powerful strokes, care must be taken. Canes may seem stiff, but a hard stroke can bend them ninety degrees and more, and a wraparound with a cane can be downright dangerous. Wraps are most common when a top goes to full power, after a well-aimed series of warmup or measuring strokes. The problem is in the top’s body dynamics: the momentum of the arm goes up exponentially with increased speed, so the whole body is pulled forward as a heavier stroke is delivered. The full-power stroke automatically reaches several inches further than the lighter stroke that was supposed to “gauge the distance”. It’s physics; you can’t keep it from happening, any more than you can walk on the ceiling. What you can do is allow for it, and train yourself to compensate. You can ease your feet back a bit, or pull your elbow or shoulder back as part of the swing. Or you can do as Mistress Nan Burrows recommends, and take your aiming stroke so that the cane tip lands in the middle of the far cheek, no further. This aiming point will land a full-power stroke that safely spans the full width of the buttocks and no further.

If you do wish to play with harder strokes, practice! Learn to pay close attention to where your cane is landing; this is how you learn to correct your aim. Mistress Nan advises a lot of practice on a cushion. There is a certain kind of upholstery that shows the stroke, but each blow shakes the surface and erases the trace of the preceding blow. Perfect feedback! The upholstery looks to be a kind of heavy-duty velvet; check thrift stores.

When you are ready to try powerful strokes on a human partner, try putting a cushion or blanket roll on the far side of them. This will catch a wraparound harmlessly. Be sure to confine hard strokes to the buttocks below the tailbone and the upper half of the thighs.


Sexual connections: perhaps a quarter of women, and a very few men, can actually get orgasms from the cane. I think this is incredibly hot, and it makes me very jealous! There will be others who may not actually climax, but get extremely turned on, which can offer a pleasant answer to the question of “what do we do next?”

The shock waves made by a cane are directional – they tend to continue through the target in the general direction the cane was moving when it hit. In fact, if you slide a hand under your partner’s thigh or belly, you can feel the shock of a medium cane stroke go right through them. The “sweet spot” in the lower butt, to either side of the crack, is sweet for this reason; blows here can send waves up into a whole complex of muscles, nerves, and engorged tissue that is directly involved with sexual excitement. Many bottoms will enjoy a steady rhythm of light or medium blows on the sweet spot – especially if they are angled to send their shock waves up and forward. At least one lady I know has called the effect a “rattan vibrator”.

One good sign of this sexual connection is a face-down bottom whose hips begin to rise and fall in a steady rhythm. You might try matching that rhythm, with light or medium strokes. Or use your other hand to massage the nerve points around the pelvic dimples and to either side of the last few inches of the spine.


Often when I do this, the scene is “pure S/M”, sensation for sensation’s sake. No roleplay, and no more power exchange than a massage. The concern for smoothness, the bottom’s comfort and welfare, and cooperation is difficult to reconcile with many of the traditional roles and scenarios, where the top and bottom play as adversaries. However, there are a few roles possible wherein the person who hits you is not an enemy!

Mentor/Ritualist: The top is a trainer, preparing and coaching the bottom for some ritual ordeal. Or passing on the secrets of mind control, wherein pain becomes ecstasy. Or trying to send the bottom on an astral observation of whatever, or a spirit journey, etc. Comrade: Who is preparing an agent, or coaching a fellow prisoner, to resist/survive an interrogation. (Of course, the interrogation can follow later, with the top moving into a new role, or new tops coming in for that part.) Science Fiction: The aliens whose ship crashed think they can recharge the damaged drive crystals, but only by tapping the energy mobilized in what turns out to be this scene. Some of these may sound hokey, but roleplay always sounds hokey to anyone who is not motivated toward that particular scenario. Find a script that works for you, and suspension of disbelief will come much more easily. Also, endorphins can lead many bottoms into a profound submissive space. If you enjoy serious D/S or role play, you may find this endorphin-oriented warmup offers a startlingly good beginning to a more psychological sort of scene.

Article Miss Bitch & MissBonnie © collarncuffs.com

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Bull whip safety – A general guide.
Melanoma & SM play – know the dangers.
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

Bull Whip Safety


Pick the right bullwhip for your Femdom play. Don’t buy an 18-plait, 14-foot kangaroo whip if you want something to play with in an apartment. Don’t expect people to happily jump in front of your 10-foot bullwhip so you can learn how to play with someone.

You do not need an expensive bullwhip; you do need a well-made one. Many beautifully braided bullwhips are mere costume pieces better left hanging on the wall, just because they do not function the way bullwhips are supposed to. The braiding should be tight enough to communicate the energy of the throw undissipated all the way from the handle to the cracker . While kangaroo is twice as strong and lighter than leather, it is twice as expensive. Which way you go is your choice. The price of a bullwhip is no indication of its quality.


Like all leather, keep your bullwhips dry. Condition it with tallow, a lanolin-beeswax based mixture.

Pick the right bullwhip for your purpose. A shorter bullwhip will force you into a stricter form, because it is faster than a longer bullwhip. Because it’s shorter, it’s also lighter, so you can practice longer with it before you tire yourself out. Working a long bullwhip is like doing bench presses with one arm. It’s easier to go from a shorter bullwhip to a longer one as your ability increases. A four-foot bullwhip can be used in a variety of situations, while a bullwhip up to 14 feet long will be accurate enough to play contact games with someone . Beyond that length, don’t try anything more elaborate than simple wraps around extended limbs.


Once you’ve got your bullwhip, practice, practice, practice. Make sure the floor is clear of objects that might fly off like bullets if you strike them. Outside, rocks or pebbles can be launched like missiles if your bullwhip hits them. Since a bullwhip is a three-dimensional experience, make sure you have clearance in front, behind and above you.

Expect to smack yourself. Wear glasses, a hat, long sleeves. If you put your eye out, you won’t grow a new one, so protect what you have. Keep the bullwhip moving away from you; never crack it with a downward snap so the bullwhip flies toward your face. develop a repertoire of strokes: there are basically three: the overhead shot straight forward, the circus crack (an S-shape) and the helicopter spin over your head with a sudden reverse. Everything else is a variation on these strokes.

Concentrate on your form. It doesn’t take strength or power or speed to crack a whip: if your form is correct, the whip will crack. It wants to crack – it was made that way. Let it do its job.

Remember that using a bullwhip is a whole-body activity, not just a wrist-snap. Use a passive wrist, not an active wrist. Use your whole arm. Later, you can add a little wrist action to give an extra grace-note, but the foundation of the stroke will originate with your whole arm. Get that elbow away from your side, unless you like the idea of carpal tunnel surgery in your future.

Learn to weave your own crackers; it’s less expensive than buying them.

Play games to sharpen your skills: cut newspapers, crack between boxes on chairs without touching the boxes, wrap brooksticks and chair legs.


Never crack directly onto the skin at the point where the sound detonates, unless you want to risk cutting. When a Top wraps an arm, the bullwhip cracks above and behind the skin: once the bullwhip has cracked, the energy is expended and the momentum of the throw makes the bullwhip wrap like a snake around the arm. Good Tops can make the crack and wrap occur almost simultaneously. It’s scary, but it’s non-injurious.

You can play so the cracker hits the skin, if you use this same principle and make the crack occur before you hit flesh. The cracker brushes the skin on its way back – if you make the crack occur fairly close the the strike, the bottom believes it was simultaneous. Yes, you can use a whip to lay in a stroke for real, understanding that it will raise a welt or a blood blister. Use a thicker string for the cracker – a sharper one like silk is more likely to actually cut.

Even with bullwhip play, follow the precepts for other whip play: always warm the bottom up first, and stay away from kidneys and thin tissue areas, like joints. DON’T PLAY AROUND THE FACE. Understand that a bullwhip has a range of expressions available, not just a single speed and force. Make it a dance.

A shorter whip will be more precise for edge play like this. Keep the area clean; even if skin is not broken, you are still driving dirt into the skin. Keep the whip off the floor. Clean your whips between sessions.

The same safety rules for yourself apply to your bottom. Keep the whip moving away from his face. NO NECK WRAPS (leave this for the movies). Stay away from the eyes. Play as though this is the time you will screw up royally – that way you’ll play with the thought in the back of your mind that you will try to minimize the damage that will happen.

There it is. This is not the final word, or perhaps the best one, on the topic of single-tail whips. But what is here is true. At least you’ve now been told.

Article by Robert Dante All permissions granted.

Related Articles:

Floggers – How to use a flogger and get it right.
Different strokes – Different strokes, for different folks
A tale to tell – Flogger designs and materials
Whip Breaking – Whip care & breaking in a new whip.
Spanking – Spanking know how.
Whipping guide – A general guide to whip play.
Melanoma & SM play – know the dangers.
Canes – How to use a cane the right way
Florentine flogging – Florentine flogging is a two-handed style of flagellation.
Synchronized flogging – (Video tutorial) instruction to Synchronized flogging

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