The scene begins with someone setting the tone before anything else happens.

A) You want them to set the tone and you settle into it.

B) You want to set the tone and feel them settle into it.

C) I can enjoy either lane—depending on partner/mood.

None

A clear “container” is established: what matters, what’s allowed, what’s off-limits.

A) You want the container set for you so you can relax inside it.

B) You want to set the container so everything stays clean and intentional.

C) I can enjoy either lane—depending on partner/mood.

None

The pace is being shaped—slower, steadier, or more decisive.

A) You want someone else to control the pace and you follow it.

B) You want to control the pace and decide when it shifts.

C) I can enjoy either lane—depending on partner/mood.

None

A standard is introduced: “Do it like this.”

A) You want to be held to the standard and feel yourself meet it.

B) You want to set the standard and watch it be met.

C) I can enjoy either lane—depending on partner/mood.

None

A “permission” moment appears (a yes/no, a now/not yet, a go/hold).

A) You want permission to come from them; it changes you when it’s given. .

B) You want to be the one who gives permission; it changes the room when you do.

C) I can enjoy either lane—depending on partner/mood.

None

A correction happens—posture, attention, stillness, precision, or intensity.

A) You want to be corrected in the moment without needing to steer it.

B) You want to do the correcting and feel the other person respond.

C) I can enjoy either lane—depending on partner/mood.

None

Someone initiates escalation—more intensity, more control, more heat.

A) You want escalation initiated by them, and you surrender to the shift.

B) You want to initiate escalation, tracking their response as you go.

C) I can enjoy either lane—depending on partner/mood.

None

At the end, the closing is handled with intention (release, reset, aftercare).

A) You want them to guide the close and bring you back.

B) You want to guide the close and bring them back.

C) I can enjoy either lane—depending on partner/mood.

None

An instruction is given that expects commitment (not discussion).

A) You want to receive the instruction and let your body answer it.

B) You want to give the instruction and feel it land immediately.

C) I can enjoy either lane—depending on partner/mood.

None

10.

A moment arrives where one person is clearly “center.”

A) You want the other person to be center; your job is to respond.

B) You want to be center; their job is to respond.

C) I can enjoy either lane—depending on partner/mood.

None

11.

Choices are reduced so the scene can deepen.

A) You want fewer choices—direction feels like relief.

B) You want to be responsible for the choices—direction feels like focus.

C) I can enjoy either lane—depending on partner/mood.

None

12.

The scene requires holding steady when things get charged.

A) You want to be held steady—contained by their composure.

B) You want to be the steady one—your composure contains the scene.

C) I can enjoy either lane—depending on partner/mood.

None

13.

The scene has a defining rhythm that makes it feel most alive.

A) Time slows down—pauses and restraint stretch the moment.

B) There’s a back-and-forth—push, resist, overtake.

C) It’s a wave—strong entry, steady build, clean finish.

None

14.

Permission is handled in a way that defines the charge.

A) Permission is delayed and teased.

B) Permission is earned through effort or testing.

C) Permission is implied through decisive direction.

None

15.

The turn-on is in how control is applied over time.

A) Being brought close, then intentionally held back.

B) The line between “try” and “you’re not getting away with that,” inside consent.

C) Clarity and momentum—things move forward decisively.

None

16.

A rule is introduced mid-scene that changes the energy immediately.

A) “Not yet” becomes the rule—waiting intensifies everything.

B) “Try” becomes the rule—testing is permitted and contained.

C) “Now” becomes the rule—action begins and builds without delay.

None

17.

What makes the scene feel most charged is the way it begins.

A) A deliberate delay before anything happens.

B) Immediate testing within agreed limits.

C) A decisive start that commits fully.

None

18.

Restraint is introduced as part of how the scene unfolds.

A) Restraint is used to slow time and heighten wanting.

B) Restraint is used to create leverage and negotiated struggle.

C) Restraint is used to remove choice and sharpen focus.

None

19.

The scene builds through a sequence of actions that shapes the charge.

A) A slow rule-stack: instruction, pause, eye contact, next instruction.

B) A game-stack: challenge, consequence, reward.

C) A ramp-stack: start strong, escalate steadily, land clean.

None

20.

Instructions are delivered in a way that defines the scene’s momentum.

A) Instructions come with pauses, waiting, and deliberate pacing.

B) Instructions come as challenges with clear consequences.

C) Instructions are direct, with immediate follow-through.

None

21.

The rules of the scene are delivered in a way that sets the emotional tone.

A) The rules come with a knowing look or a hint of mischief.

B) The rules are delivered calmly, with steady attention and care.

C) The rules are delivered strictly, with clear permission and prohibition.

None

22.

The scene feels most satisfying when it carries a specific kind of meaning.

A) It feels like a shared game you’re both fully in on.

B) It feels like a deliberate ritual with a clear opening and closing.

C) It feels transgressive in a way that’s clearly negotiated and contained.

None

23.

Consequences in the scene are framed in a way that defines the vibe.

A) Consequences feel playful and teasing.

B) Consequences feel intentional and meaningful.

C) Consequences feel strict and charged.

None

24.

The atmosphere of the scene feels most alive when it is…

A) Mischievous and lightly irreverent.

B) Focused, intimate, and deliberate.

C) Edgy and safely transgressive.

None

25.

If “punishment” appears in the scene, you prefer it to feel…

A) Like a playful game with a wink.

B) Like a serious ritual with care and intention.

C) Like a taboo charge within strict limits.

None

26.

The scene goes quiet. The next line is the part you replay later.

A) “Good. Stay right there.”

B) “Say it—out loud. What you are.”

C) “Look at me. You’re mine tonight.”

D) “Ask properly. Then you may.”

None

27.

Before anything starts, one object comes out—and the room shifts.

A) Blindfold + cuffs that make you still.

B) A small list: what to do, how to do it, in what order.

C) A collar/leash that changes how you move.

D) A position chosen where you could be noticed.

None

28.

A consequence is introduced that keeps the scene on track.

A) Approval (or a reward) for doing it exactly right.

B) A clean, precise sting delivered on purpose.

C) A line that makes you flush, on purpose.

D) Being held in place while time stretches.

None

29.

The dynamic turns into a game. The version that hooks you is…

A) You test the rule and get calmly put back in place.

B) A countdown where you don’t know what comes at “one.”

C) A task that has to be done properly before anything else.

D) Guidance into a moment that feels a little too public.

None

30.

The scene “works” when the point is unmistakable.

A) Being claimed with a simple phrase or gesture.

B) Being used for a purpose, with no extra explanation.

C) Being shaped through approval—small corrections, then “good.”

D) Being pushed into “dirty, wrong, or over the top” inside consent.

None

31.

Zing Mid-scene, control tightens. The version that lands is…

A) A steady build of sensation that keeps climbing.

B) A deliberate sense of “you don’t know what’s next.”

C) Immobilized, held, and made to wait.

D) A voice close in, naming what’s working.

None

32.

A new rule drops in and changes everything.

A) Titles, posture, and small protocols that matter.

B) “You’re mine until I say otherwise.”

C) “Keep your voice down—someone might hear.”

D) “Go ahead—try it.”

None

33.

The risk dial turns up when…

A) You’re brought right to the edge of fear, then steadied.

B) Taboo words are used on purpose, inside the container.

C) The intensity is physical and unmistakable—no guessing.

D) You’re positioned to be seen, even if no one is watching.

None

34.

The detail that makes it feel real is…

A) Being kept busy: hands, breath, posture—always something to do.

B) Being rewarded with approval exactly when you earn it.

C) A clear symbol that says “claimed.”

D) Being held down so choosing isn’t part of it.

None

35.

A correction happens. The version that turns you on is…

A) You push back, and the response is firm—almost amused.

B) The correction is delivered as sensation—clean and escalating.

C) The correction is delivered as protocol: “Again. Properly.”

D) The correction is delivered as a humiliating line, on purpose.

None

36.

The scene peaks at the moment when…

A) You’re made to hold a pose while someone looks you over.

B) Suspense stretches: pause, breath, then the next move.

C) One sentence of praise lands like a stamp.

D) A final task is given—and you’re watched as you complete it.

None

37.

If the scene ends with one last move, you want it to be…

A) A calm “try again,” and you know you’ve been caught.

B) A strict closing ritual: position, words, release, done.

C) A final burst of intensity that lands clean.

D) Being left restrained for a beat longer than you expected.

None

BDSM Blueprint Quiz