Author has written 24 stories for Dragon Ball Z.
3/11/12: So I have really been trying to crack out ABI, Disaster, and a few other updates for a while now. And there's no way to continue Disaster without doing it the way that I've done it, so it may be a little short, and I know I haven't edited any of the work that definitely dates back from years and years ago, but I just haven't go the time right now to meticulously go back and edit my previous works. I really hope it's not too horrible, but the good news is that as I go on to finish the story up there should be some more recent reworkings of the fic coming up.
That said, we're on to ABI and the closing chapters of a few of my other works. Happy reading.
1/6/2012: Hey you guys! I'm so very excited at all of the sweet feedback I've been getting. Thank you so much for sticking with me, either over a course of several years or if you're just looking for something fun to read while you're on break. I will hopefully return to writing soon. The best way to get your favorite story to be updated is to communicate with me, so please don't be shy. Have a good one!
The trouble is that I can't see the things I'm writing anymore. If you read the sort-of update to Something Wicked you may get the sense of what I'm saying. It feels in a way very half-hearted.
So I never wrote odd couples for any of the shows that I wrote fanfiction for because I supported them. I mostly wrote odd couples because I was frankly horrified at how formulaic all of the other stories that supported the canon couples were. And then there are the Bra stories. Or the angry Gohan stories. Both are probably masturbatory at best.
And then it occurs to me that I no longer write fanfiction because I'm invested in the show, or the characters, or the fans even. I'm mostly writing because I enjoy writing, because it's my way to vent, and get feedback and become better. But then I grow bored and discontent when the feedback I get typically amounts to nothing, or some arbitrary comment, so that essential communication that at heart is about writing itself which I am vying for when I post is mostly either not beneficial, or perhaps it was never really the sort of discussion I wanted to have. Don't complain to me that I'm showing you a Gohan/Bra story, I don't care about whether or not this would happen or that would happen or so-and-so is supposed to love so-and-so for life. Fuck that. Adamantly, I say fuck that. Emphatically, I say fuck that. When I write these things the questions over and over and over that I ask you amount to 'are you invested in this?' and 'do you believe this, do you believe in this universe that these characters could act and emote in such a way?'
Particularly Gokou, Vegeta, and Gohan. You will find that often my focus is on one or all three of those characters.
To bring legitimacy to the 'warped stories' that I typically enjoy to present to you, I often try to cite both DB and DBZ. I want to look between the lines at certain scenes and ask you if you can see where some of these ideas are coming from, not so much maybe for the Bra stories which are typically more about exploring the sexuality of both the Briefs and Son families, but Gohan/Vegeta, G/CC, and B/V stories (and so on and so forth) are mostly going to ask you to look at the show itself a different way. I urge you to do this, I encourage you to see things in a different light.
In addition to maybe the choice of storyline, tone, and couplings I use people often argue that it detracts from the story to write the names of characters in different ways. This is absolutely, entirely, utterly, completely nonsensical in nature. We all have nicknames, we use different names in different settings and even different spellings of names that are pronounced the same or similarly. Rather than thinking about how distracted you are by the names, how it's not right according to you, try to think about why the name usage changes. Does it not become more organic? Does it not flow in a different way? There is meaning here.
Finally, I would like to talk about how, in terms of my narrative, I choose often to skip around both time and space without very much warning. The only thing I can say to the people that complain that my work is confusing is that in nature I want to make myself think. I want to make you think, not even necessarily about gender roles or DBZ or even writing itself, but about how depth is added by nonlinear storylines. When you tell a story to your friend sometimes you forget some little part that suddenly becomes very important to some other subsequent part of the story. Sometimes I'm setting up for the state of mind of the main characters. In many of the Gohan stories, he speaks to himself, his father, Vegeta, Bulma, and his mother all at once. And you ask me to tell you who he is asking to, and I say it is a collective 'you' that Gohan uses. The character is so torn up that he does not know who he is talking to. Why should you? I acknowledge the audience. Maybe in those stories at some parts, Gohan's not talking to anyone in the DBZ world and he's instead talking to the people in our world, expressing the pain and confusion that he's experienced but was, at least in the show, unable to express. Similarly, the story becomes jumbled because the sequence of action occurs quickly. You're supposed to be disoriented. Don't be upset by this, own it. Be certain of the fact that you're supposed to be confused, if not confused then at least to experience alongside another some degree of discomfort or disorientation, and that the tension will probably be settled next time we speak. If that happens, of course.
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