Chapter 150: Author

Author's Note on Official Release

First point—official release means explosive updates, dumping all my drafts, let's go wild!

Official release at 0:00 on February 1st, with four chapters totaling 17,000 words upfront.

Besides regular updates, one chapter is thanks for everyone's monthly votes, one is thanks to the ten patrons and all the benefactors who tipped, one is thanks for every word of encouragement in the comments.

After that, return to the normal pace of four to five thousand words per day, with extra updates for special circumstances.

I'd love to bang out ten thousand words a day, but I'm just too weak to do it.

TT

Now let's talk about why I chose to write entertainment fiction.

The fundamental reason is that I have no accumulated expertise in other areas; in the urban category, entertainment fiction is the only one left where I can still offer something.

Honestly, I rarely read Chinese entertainment fiction, because years ago the entertainment industry was entirely subservient to capital, and later it grew even closer to finance—many things, when examined closely, became utterly boring.

But after I truly studied the entertainment industry in detail, I realized that China's entertainment circle is utterly unique worldwide—personal freedom, status, market dynamics, north-south conflicts, new-old transitions—all are profoundly different.

I'm not saying the domestic entertainment industry is good, but it truly has far more material to write about than Hong Kong, Taiwan, Japan, Korea, Europe, or America.

From my personal perspective, aside from those idiots with problematic stances, I hardly dislike any domestic entertainers; minor flaws I simply laugh off—how bad could the entertainment industry really be? It's just basic human nature.

On the contrary, I hold a certain admiration for every star who managed to make it, trying to understand the logic behind their success and what qualities in them are worth learning.

From Hong Kong stars all the way to the post-2000s newcomers, I've kept pace with the times and roughly mapped out a clear thread.

Ultimately, it sparked the idea of playing with traffic around the year 2000.

So this book will inevitably contain some personal biases, some deeper logical layers, which will inevitably increase textual resistance and lower the reading experience for some readers—but I believe this is a necessary foundation for reaching a higher level of emotional resonance.

I state this in advance; please understand.

Then I noticed another special trait of Qidian's Chinese entertainment fiction—I haven't even introduced the female lead yet, and some readers are already fighting among themselves.

Some demand I not write a female lead, some demand I bulldoze through, others demand I not write about Fei Xian, not write about Yang Mi, not write about Mao Xiaotong…

I'm writing this era, and you won't let me write about them? Excuse me?

From my own perspective, longtime readers know I don't fangirl anyone—I'm just a long-term physical fan of Na Zha, and recently I've added a new crush: Xiao Tian, Tian Xiwēi.

Why am I so obsessed with that little brat? Let me be honest today—she's the most beautiful female star I've ever met in person; with light makeup, petite frame, slim but not frail, tall, fair, and beautiful, with exquisite bone structure and flawless skin.

So from my personal preferences, I actually have a stronger desire to write about the 2010–2020 period—that's also the era I paid the most attention to in the entertainment industry.

I ultimately chose to start in 1998 simply because that era was the wildest.

I am me, Xiao Fang is Xiao Fang, story is story.

I admire every star who works hard and doesn't cause trouble, but Xiao Fang might dislike everyone—he's not my projection; he represents the mainstream values of Generation Z.

I don't know if certain stars' obsessive fans or haters can understand—any star appearing in this book has two sides; I won't write baseless rumors, but I also won't blindly praise or lick boots. This is Xiao Fang's story alone, and everyone else must play supporting roles.

If this approach offends both sides, then let it offend both sides.

…

Finally, let me introduce myself to all new readers.

I was born in 2005, and have now spent twenty years aimlessly trudging along.

As a child, I was quick-witted and eager to learn, but in junior high I became addicted to the internet, in high school I began writing, often reversing day and night, until I fell ill and could no longer regret it.

Today, Bread no longer dreams of being crispy—so long as I can limp along a little longer, finish this Generation Z novel in good health, that will be my greatest fulfillment.

I don't demand votes or tips; I occasionally shamelessly ask, but whether you give or not doesn't affect my age of twenty-one in lunar years—I'm young and handsome.

But I do need subscriptions; the most important reason is that the higher the retention rate, the greater my creative freedom.

As everyone saw in the public version, chapters were occasionally modified or locked in the penalty box, forcing me to bother editors for communication.

But such communication only works if the performance is good—this is a very real fact, I have nothing to complain about, I can only rely on your support.

That's all—may we see this through to the end, worthy of our meeting.