Author Rob Classact has been actively producing size-fetish content for several years on sites such as DeviantArt and the Giantess City forums. He is also a co-founder and curator of the MiniGTS & Slow Growth Story Wiki. He has produced an impressive number of serialized stories such as “Growing Into Herself” and “There’s an App for That.” Furthermore, Rob has participated in several of Aborigen’s quarterly Size Riot contests, including his NSFW entry “Lynnae’s Journey” in the most recent GentleApril19.
#1) Can you tell the readers a little about yourself?
I am a late-30s Latinx/Black male living in the Northwest United States. I work in higher education (staff, not faculty) and I am a part-time musician (bassist). I earned my Master’s in History, and while I thankfully ultimately decided against a professional career as an academic, the rigor of the process did wonders for my writing confidence and ability.
In the little time I have left after work, music, and writing I like to indulge in anime and comics which represent the vast majority of my media consumption (not huge into tv or movies). I also dabble in cosplay, and I regularly attend comic and anime conventions. My favorite recent comics include Saga, Sunstone, Mockingbird, Monstress, and Eternity Girl. Favorite anime include Revolutionary Girl: Utena, Your Name, Fullmetal Alchemist (either version), Darker Than Black, and anything by Shinichiro Watanabe. My favorite writers include Douglas Coupland, Ernest Hemingway, Chelsea Cain, Stieg Larsson, and Alex Ross.
#2) How did you first become interested in size-fetish media?
I vaguely recall having a giant-lady-related dream sometime in my adolescence, which created an itch I couldn’t really scratch until years later. I recall regularly browsing the weekly tv/movie listings for size-related films such as Attack of the 50 Foot Woman (definitely had bootleg recordings of both versions). I was super into big boobs too, but that was hardly unusual among teenage boys.
Sometime in the late-90s, home internet (dial-up AOL), and the AltaVista search engine led me to the early size-fetish sites like Nadie8, Inflate123, Diana the Valkyrie (still there!), Giantess Zone, and eventually forums like BEarchive and GiantessCity. While pictures and videos were great, stories always interested me more. After years of consumer-only interaction, I posted my very first story, Growing Into Herself, to the GiantessCity forum in 2008.
#3) Are any of your everyday acquaintances aware of your interest?
Only my wife who, while super-supportive of my writing, does not share my interests. For that reason, she continually reminds me to keep my schedule open for SizeCon which will, fingers crossed, be my first opportunity to meet someone in person who has read my work. Other than her, no one else I can think of. If my Mom knows, it wouldn’t surprise me.
#4) What are a few of your favorite size-fetish works from other creators?
Mutation is an early (2006) BE Story Club illustrated story about a young man who gains the ability to give women orgasms and make their breasts grow. With such a premise, this could SO easily have been utterly mindless smut. Instead, Sobek exercises remarkable restraint, producing a funny and sexy tale that is more than happy to engage the utter absurdity of the premise, often with a straight face. Still one of my all-time favorites.
I rarely write mega-giantess fiction or even giantess fiction for that matter. While part of it is that I prefer mini-giantess, the more significant reason is that I have a hard time coming up with a premise I can run with. Incredible Growing Zoey by RustyRusty is a story I wish I’d thought of and wish I could have written. It has drama, humor, strong characters, and loads of original ideas in its execution. RustyRusty knocks it out of the park and hits all the right notes on the way (sorry for mixing metaphors).
I was exclusively interested in size fiction only until Morpheus’ works expanded both my horizons and my palette. Morpheus’ stories typically feature body- and attribute-swapping hijinks that, more often than not, end with a tall, muscular, powerful woman. I admire the way the stories have a simple, distinct formula while still taking enough unexpected turns to feel fresh and fun. I re-visit Morpheus’ work when I feel like I’m overthinking the plot of a story.
Building Brand is, as Lingster says, a ‘good-natured story about some college kids who mess around with some magical muscle cream.’ It’s sexy, it’s fun, the dialogue is superb, and it doesn’t take itself too seriously. I’m looking forward to the sequel, apparently coming Christmas this year.
Lastly, I hold a special place in my heart for Growth Serum by Dimbulb, largely because ‘a young woman injecting herself with an experimental growth serum, growing into a giantess by drinking her own breast milk, then getting off by stuffing her boyfriend into her vagina as she bursts out of her house’ reminds me of how I met my wife.
#5) How would you describe your stories?
M favorite subjects, obviously, are mini-giantess and gradual growth. I’ve ventured into other size-related topics such as body expansion, muscle growth, breast expansion, and vore. I’ve also explored outer-orbit topics like futa, gender-swapping, and body modification. While I’ve written a couple of novellas, my stories are generally on the shorter side (2,000-15,000 words). I also release ‘word sketches‘ directly inspired by images. These brief vignettes allow me to exorcise ideas that I will likely never have time to realize fully.
In terms of my personal style, I like to play with reader expectations. That often takes the form of ‘twist’ endings, pitting tone and subject matter against each other, misdirection, and taking old tropes in new directions. I am also a fan of humor, and while I have the utmost respect for sexuality and individual kinks, I find the act of sex to be objectively funny. That sentiment, combined with the inherent absurdity of size fiction is responsible for my drifts into satire (literary for ‘smartass’) and parody with works like Meet the Eastings, Lynnae’s Journey, and Revenge Body.
#6) Now, I want to dig into your series #OrdinaryGirls—can you describe the series?
#OrdinaryGirls chronicles the ongoing adventures of three dissimilar roommates struggling to balance their analog, online, public, and personal lives. In this case, ‘dissimilar’ means a 7’2″ former volleyball standout, a bodybuilding cosplay star, and a super-busty-super-brainy pinup model. While initially text-only, the series has grown to include multimedia snippets of the characters’ lives including social media screenshots, message board posts, text messages, comics, and transcribed interviews.
Content-wise, the series is rated R for strong language, sex talk, and the occasional bare breast or two. It is also more based in reality than most of my other works. You might think of it as a size-themed HBO dramedy with no murder and slightly less sex. If you’d like to get a taste of the series, I’d recommend reading the pilot, the flashback to Whitley’s high school tv interview, the time Alicia leaned against the fourth wall, the one that’s all transcribed phone conversations with family members, the one where Krysta gets drunk at a comic con, and the one comprised entirely of text messages.
#7) Can you provide some more details about those characters? What challenges will Alicia, Krysta, and Whitley face in the future?
In the midst of finishing There’s an App for That, I realized how much I enjoyed writing for a trio of characters. I crafted Whitley, Alicia, and Krysta over a month-long period by completing a written version of the 30-day artist challenge, and the characters’ interplay came naturally. For that reason, I had (and still have) no shortage of ideas for places to go with the concept. I enjoy it because it’s a project that keeps me regularly writing and provides plenty of opportunities for play and experimentation.
Collaboration with artists plays a prominent role in the series. For every commission, I specify the essential elements, but try to leave as much interpretation to the artist as possible so they can play to their strengths. I also like to be surprised, and several major plot points within the story have been inadvertently spurred by artist decisions. It’s fun because it gives the characters an extra dose of autonomy they would not otherwise have if I were to micro-manage every detail.
In regards to where #OrdinaryGirls is going, I’m always writing as if the series will end at the end of the story arc. In the meantime, I’ll keep it going as long as the characters have room to grow (pun intended). I do have a pretty significant plot milepost on the horizon that could serve at least as a temporary ‘end’ of sorts to the series. As far as specific plot details are concerned, I’ll say that the ladies will face increasing difficulties keeping their personal and professional lives separate.
#8) Do you have any upcoming projects that you’d like to announce?
Why, yes! I would like to play a game of ‘cryptically describe my current works-in-progress.’
- #GiantJuly19 #hesabigmanthatsforsure
- I always have a word sketch in progress. When I don’t, it’s because said word sketch has transformed into a full-on story that keeps getting longer and more unwieldy.
- I’ve heard rumors of size disturbances, but I can’t recall any myself.
- I have a sequel I’m working on to an existing story that I intend to release before the end of the year.
- I’m in the early phases of an illustrated story collaboration. Too soon to tell if it will be an illustrated version of one of my existing stories or a new story entirely.
- I’m in the planning/outline stages of another novella set in the same ‘universe’ as #OrdinaryGirls.
- I intend to finish at least one of the aforementioned projects. Hopefully two.
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