THE 3–D MULTIDIMENSIONAL SHORT STORY
NOW that it’s been introduced, the multidimensional story technique won’t be stopped. All attempts to shut out new ideas in art inevitably fail.
What makes 3-D Story technique unique is that it pushes against the bounds of time and space– short story limitations– in so doing working against the standard linear, one-viewpoint model which has sustained the short story form for decades.
A BETTER MODEL
The idea behind the 3-D “pop lit” short story– modernist pop– is that it’s faster-paced therefore more exciting than an old-fashioned story. Especially a finely drawn literary story. Taking advantage of rapid cognition. More complex yet still readable. A fuller look at the world but also entertaining, even thrilling.
SO FAR we’ve released for public viewing a single modest prototype.
(Early Tesla Motors vehicle.)
Like all prototypes, it’s practice. Testing. Experiment. Example. Learning. Many more examples of the format, from both of us at New Pop Lit, will be forthcoming. We hope other writers talented and daring– early adopters– will try the technique, and go far beyond our own forays. A door has been opened. A glimpse of innovation. Once artists move past boundaries, possibilities multiply.
There’s no bandwagon for the technique, yet. There will be.
-Karl Wenclas, New Pop Lit NEWS
THE ROAD TO THE 3-D STORY
(c/o Wikimedia Commons/T.C. Photochrom.)
THE RISK for any arts critic is to embrace the consensus of the presumed greatness of their art.
They’re almost forced to believe in it, surrounded as they are by the promotional noise of giant media conglomerates– including “Big Five” publishing– and other arms of an enormous status quo literary scene. That for all its enormity, whose many appendages carry the same premises and think the same way.
On some level the careers of the inhabitants of the established literary hive are dependent upon that belief in their art’s greatness. Their very number and the very size of the hive reinforces the belief. Which prevents them from looking outside the art, away from the current system.
The latest well-hyped release appears on their desk, and everyone is praising it. Can they fail to do likewise?
This limits their imaginations. They don’t search for those who don’t-play-the-game-the right-way. They don’t look for ways their art could be changed– or seek out those who are changing it. They fail to glance outside the tunnel– for instance, at other possible ways of writing the short story. At alternate modes of literary creation.
Many of them dismiss the idea.
Which reinforces cultural stagnation.
The mundane, the predictable, the dreary.
The authentic artist destroys the predictable. The cautious. The same.
It’s the only way to operate.
-Karl Wenclas, New Pop Lit News