Story authors

Hi, I'm new here and this is my first time posting, so this is also a "Hello, everybody" I guess.

So I have a few ideas, the others I think are ready to be stories, but then there's the big one. This one isn't quite ready and is my craziest idea but I think it can really work, just I'm stuck given the concept itself.

Basically it's a musical, yes a fat fetish musical. A love story between two women, but I don't want to reveal too much given it all centers around a plot twist.

The plot twist is one part I'm having trouble with. Otherwise, I'm fairly okay. The issue is that I want it to be ambiguous and debatable and not clear cut, and I'm not sure how to do that.

I'm a little hesitant to admit all I have for inspiration on the idea as they might give the wrong idea but I'll try my best to explain what's going on in this plot twist.

Towards the end, we reveal that no one else even noticed the events that transpired in the story, or even claim facts that can't be true given what we saw through the lead's perspective. Also, the lead meets a friend who is also implied to be all in her head, an alternate personality that she meets, this friend is the one who finally convinces the lead to gain weight in the first place.

I feel that I might be making it too much in favor of the idea that the lead's friend isn't real but I would like to imply that she could be. Same with the events that supposedly didn't happen, I would like to imply that they might have happened but the characters that surround the lead are too wrapped up in their own affairs to even notice and thus don't know.

Luckily, I've made the lead's friend a vampire and thus somethings could be explained by vampire powers (like the lead's sudden weight loss at the end, which is somewhat implied to have been her faking it due to fat suits in the closet). Still it doesn't cover everything, like where her friend goes in that final scene.

So yes, the vague story is that the lead gets to become a vampire after meeting one and then the two go on an adventure gaining weight. Once getting to a massive size though, the lead finds herself back to being skinny again and her friend has disappeared and we imply she's back at the beginning of the story again as her life exists in a loop due to being a fictional character in a story, thus she just starts back at the beginning.

The story focuses mainly on her character development, as she goes from being the same uncaring person the world trained her to be, to finding some joy in life and how to use her wealth in a better way than buying useless furniture and designer suits. To indulge in hedonism of a better variety than what she was going to do.

She learns to be herself, even if herself doesn't fit in, and to just be proud to be who she really is on the inside and to not be ashamed of it and embrace it. This awakening however may have all been in her head, and thus now it's time for her to actually do it for real (if that's possible).

Even describing it, I feel like I'm implying that it has to be all in her head even when I want it to be possible it isn't. So I''l reduce to these possibilities I'd want the reader to have once it's done:

-The lead's friend is real, the events they went on are real (The story should be taken at face value and everything that is said is what really happened in the story)

-The lead's friend is real, the events they went on are not (The vampire friend helped her live a life where her fantasies came true by making it all up for her, or she let the lead's imagination run wild and helped her keep it going)

-The lead's friend isn't real, the events really did happen though (she's been a vampire taking on multiple names since she became one a long time ago)

-The lead's friend isn't real, and neither are the events (she takes on a fat vampire alter ego to get away from her life, using fat suits to embody it and her unnatural metabolism to eat to her hearts content)

-The story is fiction, it exist in a loop, she is aware of this (It starts her day over again at the end, but it's possible that it's just because each day is "just like any other day" and by the end perhaps she has encountered the intro realizing what must happen is her doing it again)

Hopefully this will be helpful to both me and you to figure it all out but I'm okay with saying more if it will help anyone understand what I'm even talking about.

I guess my question is, how do I imply this without confirming it? I'm new to really writing stories and publish them and I'm going to do some others before this one to make sure this one is good based on the criticisms I get from the others.

The music will be electronic (80s-ish, not exactly), and while at one point in time I was going to do this as a stage play or even a movie, I'm going to just do an audio drama for now with a published script. I've apparently went on too long for the character limit

All I had left to say before being cut off was to thank you for hearing me out and helping me and that I hope you enjoy the story when it's done.


EDIT: If I figure this out on my own I might delete this so as to not spoil my story, I feel I've said too much already.

Greetings lydsville; Welcome to Fantasy Feeder!



It reads here like a great idea. I hope it works out for you.



I wrote a whole story (as yet unpublished) that revolves around this sort of ambiguity. It was indeed challenging to write enough so readers would be able to follow the plot and put things together, and at the same time not share too much. It took some time and i had to set it aside now and then and live life and go write other stories to improve my craft as a writer before returning to it and editing/adjusting it.

This came up in a smaller way in my just-published novel Unforgettable Cruise. I needed ambiguity regarding what happened between Clark and Rebecca: were they still romantically involved? If not, what happened?

The way i handled it was getting them into sex and then dropping that plot line and moving on to the next chapter, instead of having the usual resolution (e.g. they went to sleep together, he went back to his stateroom, etc.—none of this). This left plenty of ambiguity, as the story moved on with other activity/character threads.

In later chapters, brief tantalizing hints were presented as back story: sufficient to move the plot forward and suggest ideas to the reader without outright indicating yes this happened/no it didn’t etc. It narrowed down the infinite options of ambiguity to a contained set, still ambiguous.

It seems like a bit of a “less is more” thing: write less to make it ambiguous, and just enough to guide the reader/narrow down the reader’s range of possible conclusions to the ones you want. Challenging and worth pursuing!



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Happy story writing!

Hello, thank you for responding.

I'm glad you seem to be enjoying what I've revealed so far.

Now if I'm reading this correctly I seem to be on the right path thankfully. Firstly, I'm writing in first person and thus only write what the lead/narrator sees, which allows me to only write down enough details to move the story forward an then in one moment call everything they've said into question.

For example, they will say that the friend did something but when their existence is called into question in the reveal you begin to start to wonder how the friend said those things, through the lead or in their own body.

It is the reveal scene I'm mainly worried about, as I had it in my head that the lead finds evidence to indicate she just assumed the role of her friend (a fat suit in the closet, the landlord claims she's the only owner of the location, their names being similar). One scene (taken directly from one inspiration) has the lead confessing being a blood-thirsty vampire and having consumed blood of a coworker, only later they meet the person they confessed to and they don't believe a word of the story because the coworker is still alive.

Though how I get around that was the thing, in the inspiration they have it so that everyone gets each other's names wrong all the time and thus coworker x could be confused with coworker y easily so if she did as she said maybe she has their identity confused with someone else or maybe the person she confessed to has it all wrong.

It was my fear that given the inspiration people would really not like this story, but it was really the only way I could get this story to work after various false starts and plot ideas that went nowhere.

I'm still afraid to admit where it's from, let's just say two films, both adapted from books, one with Christian Bale, one with Brad Pitt. That's all I'm comfortable to admit to.

I too am going to try other stories with some of the elements first before I get to this one but no I'm more comfortable knowing I'm actually doing okay with the ambiguity.

The character limit was only annoying as I said somethings I have now forgotten, hopefully they weren't important.

Thank you, and good luck to you too.

EDIT: Well, I may have changed the idea a bit ( a lot actually) but still the advice is helpful, but hey now this post is also ambiguous as to what the story will even be now so ha!