Story Explanations.

Realization Without Absolution was meant to tell a story without telling a story. It was written in three moments to specifically tell a story without telling one. I wanted to show three snapshots instead of a collage. I wanted the reader to have to find the story within the moments.

For The Looking Glass was written for a few reasons. One of them was the song and music video for Halo by Beyonce. Another was because the ending was inspired by one of my favorite movies, M. Butterfly. Another reason was Molly's want for an angel to sort of be looking over a loved one.

But it is not an angel. It's his delusions. It's my second attempt at Twincest, and as usual, it gravitated towards depression, unrequited love, loneliness and need, and suicide. I wanted a crazy character, someone traumatized by an event. I never wanted the italicized introduction to start with, but it had to be done to explain the circumstances. I don't like it very much.

Bitterbitter was my first attempt at Twincest, which I figured that I would have to learn to write before I start an upcoming KC fic. It's one of my very few fluffy-ending fics, but it's still plagued by a sort of nervous, frightened, character. I hate the ending and I hate a few other scenes in it. I did it in a stream of consciousness style, well a lot of parts of it, just because I needed the reader to understand and to feel. But I don't think that it was translated well enough, that his love for his brother comes too soon and such.

I like the idea of the two sides of Tom's mind trying to tell him what to do though. Sort of the angel and devil on his shoulders. Throughout the story, it's more like his thoughts racing around and it doesn't become evident that there are two voices until around halfway though. I hadn't even meant for it to be in Tom's POV. It just came out that way. I started writing and it turned out to be him, and that's how it HAD to be.

The Bitch And The Narcissist was an attempt at a stream-of-consciousness style. In other words, it was total mind-puke.

5th Period Massacre, Laughing, and Breakable are all [very horrible] fantasies of mine.

Oh, god. I just made a vlog essentially doing this with Roll Call/Yellow Bird, and then came on here and found this thread :tehe:

I'll edit this with the video once I have it on Youtube.

edit:


I'm such a loser :XD

I didn't know what the importance/plot of We're Just Two Boys (and there's nothing boring about the ordinary) was that it's simplicity told the story. I didn't know that until I had already named it "We're Just Two Boys" and decided to add something more to the title. Then I realized what the plot was.

My Life As A Party (un-posted) was originally a one-shot based around the music video Kick The Bass by Julien K

As I finished the one-shot, I started to get indulged with the main character Scott Belsky, and I started to write the scenes before the one-shot, (which is now the last chapter)

And the rest of the story is based around more of Julien K's songs, which all have the same principals: Sex, drugs, and parties.

Billie Always Says was written because I read somewhere about people gouging wounds in their skin to hide things - knives, diamonds, valuables - and I couldn't get the idea of that out of my head. I then got a mental picture of someone laying in the dark, their fingers ripping a wound holding a switchblade.
I sat down and it just sort of came out.

Tattoos of Memories was a story I wrote in response to the many unrealistic fanfics about Simple Plan in the future. So many fics where the band members have children are so...improbable. For example there are fics out there with the daughter of one member falling in love with another member...that's almost...jailbait/pedo territory...and it just does not make sense unless the guys had children in their late teens to early twenties...

So this story was my response to it.

Drink of the River was not originally planned to have god and goddess names separating the sections. But I kept reading about them in between writing sections and I really liked that I could use them in some aspect in the story.

I came about the plot from reading that drinking from the River Styx causes you to lose your voice for a year. I didn't know that before and I found it extremely interesting.

Sensitivity was written while I was watching my new Negative DVD. The camera stopped after they showed Christus was alright, so I decided to put in the part they missed.

There's another oneshot I'm in the process of writing which came to me again during the Negative DVD. They were 'performing a ritual' to 'christen' the new tourbus, and I got the idea to write what goes on when Jonne leaves afterwards.

Get Your Gun was written in about twenty minutes during English class; we had to write a piece including certain ways of doing dialogue. It had twelve different titles and six different plots before I got into this one.

In With A Bullet it was a word spill. Even though I never specify it, it's supposed to be a femmeslash and one of the characters was killed for being gay...

One Thousand Quicksilver Smiles I wrote while fretting over dropping out and jobs and that kinda thing. It's not romance; it's not anything, really. I just wanted to express an opinion, or two conflicting opinions, but not in a journal. I separated it in 10 parts of 100 words each so it was 1000 words exactly.

In Pillages, a boy rapes a girl after they'd already broke up. She says "I don't wanna lose you", meaning if he continued with what he was gonna do, they can't even be friends anymore. One of my stranger formats.

Ageless, Ageless is about a couple who breaks up at the start because they just can't seem to work out together. Fifteen years pass before they meet again, in which time one of them goes from being a high school teacher to a news reporter and the other gets a kid he shares custody with the girl he got pregnant. Then they try again because somehow their feelings, though dormant, were still there. The concept was to begin with an ending, and end with a beginning. The narration switches POV every paragraph break - the italics are thoughts or dialogue directed at each other - and I had to indicate it by changing the font color coz I couldn't find any other way.

Our Endless Numbered Days are just a number of musings from an angel millenniums after the end of the world. The first entry had romantic inclinations, but a lot of his other narratives (which I only post on a private journal) are about humans, earth, life, God, and existence in general.

You Don't Mean Anything - Acquisition, The Master Vocalist and The Aviators were all written about a topic that intrigues me in a way I'm not sure how to explain. The notion of a woman being owned by a man, and dominance and submission. Often in a sexual context. Someone called this a risky subject to write about, and it is, but the settings of my stories tend to be recognisable but in another universe almost, where slavery of this form is allowed.

The No Evil collection is something I really love. It's three stories inspired by the the Three Wise Monkeys (the Hear No Evil, See No Evil, Speak No Evil thing). I've taken the three verbs and decided to use them literally, but twisting them. None of the stories are exactly, completely, literally that.

In Bilateral, he's not blind. He sees. But not normally. In Cochlea, he's deaf, yes, but he learns to speak and he can later hear. The third one, Idioglossia, that's the speaking one and it's a pair of selective mutes who only speak to each other.

I wanted to involve not only the three problems, but also make them all about brothers. That true, unconditional love that exists between twin brothers and how that won't fade for anything. They're really the only stories I have with the twins that aren't twincest, and I really like them better than the rest.

Starling and Harlow Summerford are both written as my dealing with cynicism and depression, only the two take a different approach. Harlow is essentially me ranting and getting things off my chest, while Starling is me wanting a distraction and just wanting a hug, no questions asked.

^ That's my hug to you, except 10x more epic xD

Music Girl is almost my rant at the world, but it's mostly what I think could happen if all the hate in the world just keeps happening and getting worse.

ATSOHP is based of the characters my best friend and I used to "play Harry Potter" with. Obviously they've changed a bit, but at the core... they're the same characters as they were ten years ago. I just needed to DO something with them xD

Their clothes seemed to fall off like petals from flowers in autumn until they were both completely naked, nothing but skin to separate them. (Not even socks.)
(from A Year and an Ocean of Distance.)

The last three words in parentheses actually mean a lot. I have this thing in my fics where my characters tend to keep their socks on when they fuck, almost like their last layer of defense before all their vulnerability is laid on the line and they don't have anywhere left to hide.

This fic (which was written after Ryan and Brendon's first sighting together since the split) has them without socks. It has them without any barriers to mask their vulnerability, just them completely naked (figuratively and literally) in front of the other. To me, it was like Ryden became an entirely new chapter.

In Les Bohèmes, my intention was only to capture the essence of the characters in what I wrote and the way I wrote it. For some of the characters who get little canon explanation, I wanted to develop how and why they got into the situations they are in. For example, I wrote Maureen/The Performance Artist in a very broken up, choppy style to give a sense of her frenetic energy and how she jumps from one idea to another, trying to find the best way to present her message.

I don't know where I got the idea for the sequel, La Fin Des Bohèmes. I suppose I was fascinated by how I could develop and extend on what was already in canon, and I felt that thinking about how each character would die would be an interesting way to do it. Again, I just wanted to give a little flash of what led to each demise. It was also just fun to think of how I could kill off each one of them

The reasoning behind me writing the Renny Boy series was because I'd never read a simple story about kids wanting to make a band. So I kinda took matters into my own hands. It's definitely character-driven (I guess most of my stories are), and each novella is kind of like each member of the band having their own story. Too many stories I'd read featured unrealistic junior high kids, and since when I started it, I was starting junior high, so I wrote what I knew. And the characters, to me, are special. I feel as if I've grown up with them, due to the series progressing from seventh grade to mid-ninth grade.

The Mighty Mosh was definitely character-driven, no doubt about it. I'd had the main characters - Riley and Chuck - swimming around in my head for ages, doing their own things in little plot bunnies that I never ended up finishing, and I thought the two would really work well off of each other without it ending up as just another generic slash. (For the record, it's not slash - at all) I think it turned out rather simple, but I wouldn't change any of it. (I think I may add stuff to it in the future, though)

The Say it Like You Mean It! little series-type thing started out as an idea I got when I woke up one Saturday morning. I jotted it down and then later added little quirks to it, and I forced myself to outline the confusing plotline. It was the first story I wrote on Mibba that actually became rather successful, and I liked it too. Before then I wrote stuff that only I liked and nobody else did, but due to the encouragement I wrote A Little Bit Louder Now!, its sequel. SILYMI! isn't my favorite story I've written (I think the characters could have used more depth and it progresses too fast) but if I ever hit it big in the cartooning industry, I'd totally make a movie out of it.

I Can't Hang stemmed from a plot bunny I had in 9th grade and ended up dead shortly after I started it. I've always been fascinated by faith and angels and the spiritual aspects of religion, and the characters sort of made themselves; as I wrote more of it, they became deeper and more well-rounded. Because it's not finished, I can't say where it's headed or if I'll end up liking it, but I think it could become something special.

I really like learning about 1999 and Y2K (actually, the 90s in general), and I had an idea so simple that, when I did more research on it, I couldn't believe that nobody else had done. And You're a Star was started in 8th grade after I drew a picture of a blissfully happy-looking guy who looked like he'd fit right in to a 90s sitcom. Thus, I jotted down the idea next to the picture and immediately started thinking of things for this kid - Kevin, I named him - to do before he thought the world would end. I wrote AYAS because sometimes I'll just be in a hella nostalgic mood and want to relive my childhood and all the culture that went along with it. If I could, I'd want to live back then - and I guess that AYAS is kind of my way of doing that.

Spin is my oldest story. Well...it's not really a story. Each chapter is a story in itself. When I got the idea back in 5th grade, I imagined it being like a cartoon, and to this day it's no different. It's been heavily influenced by Maxwell Atoms's cartoons (The Grim Adventures of Billy And Mandy; Evil Con Carne) with the dark underworld aspects and caricatured characters. Every time I tell the backstory, it turns out different, so I'm always changing that, though. But Spin, no question about it, is totally character-driven. I like to think that the characters are interesting (to me, at least) and that someday I'll be able to go somewhere with it. It's my oldest idea, as I said before, and it's not popular, but I'm writing it because it holds some kind of significance to me and how all my influences in cartooning and writing come together.

Bus, my most recent story idea, was first played with when I was in 8th grade. I don't think bus drivers get the kind of recognition they deserve (lord knows that if I had to deal with screaming kids all day, I'd pull a gun on them), and what if some of them had amazing backstories that nobody got to hear? Doug Tater is this kind of "I hate my life" guy who brings everyone around him down and just needs some love. He dislikes kids and people in general and regrets his decision to become a bus driver, and the more I draw him in my sketchbook and write his character, the more I feel for him. Bus was originally gonna just be a oneshot, but I've made about fifteen or twenty little character sketches of students riding the bus inspired by peers that I've grown up with. It might be aimless and have no plot; it might end up like Spin and read like a TV series; all I know is that I'm gonna end up continuing it. (I've got another story I have to finish, though, before I work on Bus anymore.)

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