Caption Stories and Vignettes: 2011

Note: The length of the PDF file is given in brackets (in pages).

Problem ChildProblem Child (12)

Caption story (book-style): teenage, cross-dressing, son-2-mother, TG comics

The Cross-Dresser's WifeThe Cross-Dresser’s Wife (24)

Caption story (book-style): TG captions, thirtyish, M2F, cross-dressing, shemale, tricked, sex

Halloween HousewifeHalloween Housewife (1)
Vignette: thirtyish, M2F, cross-dressing

Time, Considered as a Curl of Soft HairTime, Considered as a Curl of Soft Hair (18)

Caption story (book-style): twenty-something, M2F, magic, salon

PredeterminedPredetermined: A Fable of the Future (1)
Vignette: M2F, SciFi, sex

The MachineThe Machine (10)

Caption story (book-style): thirty-something, M2F, SciFi, the operation, forced

DiagnosisDiagnosis: Female (12)

Caption story (book-style): teenage, M2F, cross-dressing, sex, medical, son-2-mother

The SkinThe Skin (30)

Caption story (book-style): early-twenties, cross-dressing, M2F, bodysuit, sex (non-consensual, but not glorified; a minor part of the story)

The Party TrickThe Party Trick (1)
Vignette: twenty-something, M2F, tricked, sex (warning: a bit raunchier than usual)

StarmanStarman (1)
Vignette: trapped tranny, M2F, SciFi, humor

That '70s DragThat ’70s Drag (1)
Vignette: teenage, cross-dressing, M2F, hypnosis

D.N.A. TestD.N.A. Test (8)

Caption story (book-style): thirty-something, M2F, the operation, coerced, humor

BewitchedBewitched (10)

Caption story (book-style): college age, M2F, magic, tricked

14 thoughts on “Caption Stories and Vignettes: 2011

  1. The following comment was originally posted back in March on another page, due to the fact that comments were disabled on this page (they have now been enabled). The comment was also flagged as spam for some reason. I was not able to simply move it to the correct page, so I’m re-posting the comment below.

    The author of the following text is an anonymous poster calling himself “The Anonymous Analyst”, who has previously posted lengthy (and often insightful) analyses of some of my older stories. I would like to take this opportunity to thank him for his interest in my work, and for his enthusiasm.


    This is probably going to shorter than my usual. 😉

    “The Cross-Dresser’s Wife” chronicles the destruction of Simon’s masculinity and his very identity by his wife. This destruction is ensured before the story even starts. Simon created the captions that Mirandas uses as a basis for her plan, right down to the use of the ‘Love Rider 2000’.

    Throughout their story, Simon gives only token resistance to Miranda’s insistence that he dress up. It helps that she uses sexual contact to break down his resistance. Even when she uses Rohypnol to knock him in order to glue on fake breasts, glue on the wig, glue on fake fingernails, use all-night moisturizer and depilatory cream, glue on a fake vagina, AND (as we learn later from ROGER) to chemically castrate him, Simon (now Sylvia), gives little resistance. It certainly helps that’s after the salon, Sylvia became the hot one and gets preferential treatment.

    But what’s more interesting is that when Syvia talks Simon during his transformation, she makes statements that suggest that she doesn’t look at him as man. Or, at least, looks at him less and less of a man as the story continues. And when they’re pursuing TG captions, she mentions that it’s fitting that the guy in a caption being turned into a maid is appropriate because he was “such a failure.” When she learns that Simon is the captioner known as Sylvia (even if she possibly knew already), Miranda never refers to Simon as Simon again during the course of the story. Simon is her husband who is nowhere to be seen. Only Sylvia remains. Even more interesting is her frank description of Simon’s sexual inadequacies when she’s talking to Sylvia. Of course, she knows Simon’s in there because Sylvia is the one who feminized him, but Sylvia’s existence allows her to spill about that Simon is “just not much of a man.” She even talks tells Sylvia about tricking Simon into dressing up and even implied (somewhat) that if hadn’t agreed to it, it might not have happened. Simon’s brain ALMOST takes a chance and objects, but Sylvia doesn’t know it and says that she’s going to feminize and toasts “to making hubby’s dreams come true.” She clinks her glasses with Sylvia’s glass, sealing Simon’s fate with Roger taking Sylvia’s virginity.

    The existence of Roger is even more interesting. Roger is, of course, Miranda dressed up. Roger is everything Simon isn’t. He’s dominate and manly. He is DEFINITELY an Alpha Male. Simon is a Beta (maybe less?). He handcuffs Sylvia knowing she likes feeling helpless. He doesn’t need to ask. He KNOWS what she likes. And the name isn’t a derivation of Miranda, so she probably picked it to envoke a certain masculine quality. The name ‘Roger’ just SOUNDS more masculine than ‘Simon’. Of course, there’s also the slang term ‘roger’ which means to have sexual intercourse which penetrates the other individual. Which is what Roger/Rhoda/Miranda does to Sylvia/Simon. And this is one of the secrets to Simon’s destruction. While it is Miranda dressed up, in a way it is Roger and isn’t just as mask. Roger seems to have more pointed fun in mocking Simon’s chemical castration than Miranda does talking to Sylvia about Simon’s sexual inadequacies. It’s almost as if Roger as man wants to dominate Simon, who’s dressed up as Sylvia. But then Roger dresses as Rhoda to trick Simon into relaxing into his role as Sylvia.

    It’s never explicitly stated, but it is likely that Miranda knew in advance that Simon was the captioner. Her whole plan seemed to illustrate his lack of masculinity and she does indicate that there’s something familiar about the face in caption. At one point, Simon tells her that he is Sylvia, the captioned, and apologizes for not telling her. But it’s her reaction:

    “I know. You didn’t know how I’d react.” She grinned. “Now you know.”

    This retraction can be read as Miranda saying it’s alright that he was scared to tell her because he didn’t know if she’d reject him. However, it could also be foreshadowing Simon’s destruction and the ascendance of Sylvia.

    —The Anonymous Analyst

    • Thank you for the kind words! And I have a three addendums to to my earlier post.

      I looked at the scene with the toast that seals Simon’s fate again. It’s possible that Miranda might have noticed Sylvia’s slight hesitation as Simon tries to assert some control over the situation. So she might have known Simon was going to try to do so and was not going to allow that to happen. This shows that Miranda’s earlier asessment that Simon is “just not much of a man” is completely accurate. But it’s also accurate in two different ways: one for the present and one for the future. The first is that Simon can’t even muster token resistance to Miranda making the toast. The second is that Simon will cease to exist. In the next scene, SYLVIA’s thought processes are front and center while Simon’s…are ceasing to exist quite quickly.

      Miranda’s choice of two alternate identities for Miranda is interesting when Simon only has another. Why is this? Well, based on the planning Miranda put into the endeavor, it’s likely that the choice of two was deliberate. Based on some of Roger/Rhoda/Miranda statements to Sylvia/Simon in the scene before the scene where Sylvia loses her virginity, Miranda needs Sylvia/Simon to be confused about identity and comfortable with a new identity being created. If someone has two more than Sylvia/Simon has, it’s more likely that Sylvia will show herself.

      It’s interesting just how Miranda took Simon’s fantasies and twisted them to her own ends. The last caption image in the story has Simon dressed up as Sylvia while also gagged and tied up. Miranda’s (though not explicitly named) thought processes show the anal penetration she’s going to make him endure will be rather FORCEFUL and not exactly a pleasant experience as her outward speech indicated. It’s this where reality and Miranda’s plan really diverge. Earlier in the story, it’s learned that he was given a fake vagina with superglue being involved. While Sylvia/Simon is in a bent over position, the penetration from Roger/Rhoda/Miranda isn’t anal. It’s vaginal. And Sylvia/Simon loses HER virginity to Rhoda and has a woman’s orgasm (with some help from some chemical castration), which Simon ceases to exist.

      —The Anonymous Analyst

      • Terrific analysis! Probably more than the story deserves. I’m sure the Anonymous Analyst is better acquainted with this story than I am, given that it was written some eight years ago and that I’ve written a whole lot more words since then. I find that once I finish a story and put it out there, it doesn’t take long for me to (almost) forget about it—in spite of how fully I lived the story during the writing of it. I continue to marvel at that fact.

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    • Thanks. I had to re-read it just now to remind me what it was about. I totally forgot about what happens at the end! Really hits you between the eyes, doesn’t it?

      As for continuing the story, that’s not possible. It’s complete as it is. To extend the character’s life story, you’d need some narrative reason to do so. What would be the plot? Where would the story go? Way too much TG fiction demonstrates that the author doesn’t know how to properly open and close a story. Whatever faults this story might have, at least it has a well-defined narrative arc with an ending that properly answers the question(s) raised at the beginning (i.e., who is Lonnie and where is his cross-dressing headed?).

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