Cheng Ying-shu, a female writer of the new generation, has always deliberately adopted a detached style of storytelling to create a black humor atmosphere in her works. Her books like Princess Up All Night and Good Girls don't Do, with a cool, detached tone, ridiculed women's absurd circumstance caused by the traditional gender system. Cheng published a series of 35 flash fictions, with 1,500 words each, in China Times from June 2001 to May 2002 and later assembled them into a book named Horror Idol Drama. Her writing strategy was to rewrite several renowned Japanese idol dramas which were broadcast by TV channels in Taiwan from 1995 to 2001. The title of this book suggests that it is a continuation of Cheng's adept sarcastic writing style and she did transform the romantic and dreamy elements of the idol dramas into a surreal terror with black humor. This article discusses how Cheng Ying-shu created a new literary text by selecting and rewriting some of the most familiar and popular Japanese television idol dramas. These adaptations are basically black comedies which transform the structurally well designed original stories into contemporary horrific phantoms. They represent the deconstructive nature of postmodernity and sacrifice no pleasant experience of reading. By consciously adopting parody and collage in her writing, Cheng used these selected classic dramas to summon readers' memories to them, but at the same time to deconstruct the whole plots. Through the analysis of Horror Idol Drama and the writing strategies of Taiwanese fictions, the researcher explores the intertextual issues of cross-media text differentiation, and then explores the cultural exchanges between Taiwan and Japan, and the intertextuality of Taiwan's contemporary popular culture and post-modern theories.