How to Write the New Story

WRITING THE BETTER SHORT STORY

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ONE THING which surprised me after we released to the world the first3-D” multiple viewpoint short story is how not-obvious the technique appears to people. A tribute to how well the tale is put together to maintain momentum and flow, despite there being 82 individual mini-chapters, with continual switching of point-of-view– what had been told to me by esteemed literary writers should never be done by the serious writer.

(When an expert tells you something is impossible, or shouldn’t be done, that’s exactly what you want to work on accomplishing.)

MOST story writers maintain a single viewpoint throughout, whether that of one character, one consciousness, or for the more ambitious, the omniscient narrator, who in a short story still tends to have a narrow focus. Many use first person, which strongly emphasizes the single viewpoint.

A similar narrowing effect is created when writers eliminate quote marks normally used to distinguish when characters are speaking. (See Sally Rooney.) This strengthens the solipsism of the work. Many writers today, focused more on themselves than the reader’s experience, are solipsistic.
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The new 3D fiction writing technique destroys all of this to bring in a multiplicity of viewpoints. Shifting angles, so that characters, events, and the world are viewed multidimensionally. The technique gives a more real depiction of the world, but also makes for a faster-paced story. “Vodka Friday Night” compresses enough plot and number of characters for a short novel into a 7,000-word short story. The overall effect of the piece becomes more concentrated. Intense. Dynamic.

HOW IT WORKS

A few simple tricks are utilized to do this. One is dividing the story into chapters, making sure each one is extremely brief. Separating them in some way, whether by asterisks, titles, or chapter numbers. F. Scott Fitzgerald did this in his long 1920 story “May Day.” Jay McInerney did something like this as well in his 1998 novella, Model Behavior. (I’m sure other authors have done so also.)

How brief of chapters?

I settled on a 240-word limit. Fitzgerald’s “May Day” chapters are way longer– except for the concise conclusion, which comes in at 238 words.

I came to the limit though by having the McInerney book open before me, on a particularly A.D.D.-tired eyes day, and choosing which chapters held my interest at a glance, and which didn’t. The ones at 240 words or less always came out right.

If you notice in the “Vodka” story, I also play with time in it, using a flashback or two, or not putting a few sections in strict chronological order. The idea being that we don’t experience the world in a straight line. Interspersed with the moment may be memories of past happenings, or images of future dreams.

There’s a lot more which can be done in that regard. The idea is to get the short story out of the narrow corridor it’s been trapped in, by playing with both time and space. (Ideally, expanding the number of views, characters, directions, broadens the work.)

THE RESULT

The result is a faster-paced yet more involved story. The reader enters a new world– of hyper-experience.
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I plan on using other tricks in future prototypes. My co-editor Kathleen Marie Crane plans to do so as well. (Her first foray into the idea was when she took the title story from her short story collection, “Aloha from Detroit,” and rewrote the same events from the perspective of another character– which we ran at New Pop Lit as “Aloha from Detroit Revisited.” Reading both stories one after another adds roundedness; depth.)

THERE REMAIN many, many aspects of the short story form which can be played with. It’s time writers began playing with them.

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-Karl Wenclas, New Pop Lit News

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The Future of Fiction Writing?

THE 3D MULTIDIMENSIONAL SHORT STORY

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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.

tesla early view(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.
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-Karl Wenclas, New Pop Lit NEWS

The Tunnel Vision of Contemporary Literature

THE ROAD TO THE 3-D STORY

PostcardDetroitRiverRailroadTunnel(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.
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-Karl Wenclas, New Pop Lit News

Reinventing the Short Story

CAN THE AMERICAN SHORT STORY BE REINVENTED?

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MOST in the established literary scene would say, NO. They scoff at the idea. To them, work from currently approved writers– most if not all of them the product of prestigious writing programs– is the best of all possible worlds.

officer training(Photo public domain.)

The graduates are like soldiers in elite units of the U.S. Armed Forces. Navy Seals, Green Berets, Airborne and the like. Best of the best. HAVE been through rigorous screening and training. ARE the vanguard and face of a gigantic billion-dollar investment in the literary art, via hundreds of university writing programs headed and taught by hundreds of extremely talented writers.

photo by Virin(Photo by Virin.)

HOW COULD THEIR STORIES NOT BE THE BEST?

THE PROBLEM is the consensus itself. Because everyone within the system believes writing produced by the system is the best possible– raved about in articles, reviews, and blurbs– no one questions it. No one looks outside the parameters of the consensus searching for ways to change and rearrange the product.

NO ONE EXCEPT US!

COMING on 3D-Day June 6th, a different model for the short story.

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EXCLUSIVELY at NEW POP LIT.
http://www.newpoplit.com 
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What Is the Pre-Breakthrough Moment?

WHAT IS the Pre-Breakthrough Moment?

It’s that period before drastic artistic upheaval when everything seems quiescent on the surface but for the very acute, rumblings of dynamic change can be sensed beneath the surface. A conjunction of forces about to come together to become explosive.

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AN EXAMPLE of this is the moment in the 1960’s– late 1963– when the universe was ready to signal such change. When all in America seemed calm, yet within months a rock and roll band from Liverpool, England, would appear on the scene so different in look and attitude it would overturn the culture and herald the overwhelming changes of the Sixties, spearheaded by the rock revolution. The Beatles appearance on national television on the Ed Sullivan Show the initial step.

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Is such long-overdue change coming to the literary world?

We can hope!

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(3D Day is June 6th, exclusively at New Pop Lit.)
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-Karl Wenclas, New Pop Lit NEWS

The Decline of Literary Criticism?

OR THE DECLINE OF LITERATURE?

ERNEST HEMINGWAY

AN INTERESTING ARTICLE appeared last week at the Time Literary Supplement“Death of the Critic?” by Michael LaPointe. The article addresses the topic of the decline of literary criticism via addressing two recent books on the subject.

LaPointe argues against nostalgia for bygone literary days. He says the importance of literary critics circa 1950 was an aberration. In his eyes the absence of strong figures like Edmund Wilson and Lionel and Diana Trilling today is not to be taken too seriously. He concludes, in fact, by suggesting literature must become more detached from the culture-at-large. From general society. You know, like monks scribbling away in monasteries in bygone medieval days.

The bigger story is right in front of him, but Michael LaPointe waves the story away– the decline of literature in the culture.

CULTURAL FOOTPRINTS

Publishing seems as healthy as it’s ever been. Book readership has kept pace with GDP growth, demographic changes and the like. But that’s the point– it’s only kept pace the last seven decades, maintaining incremental improvement year-by-year, while overall cultural noise has exploded exponentially. While rival claimants for attention– notably sports and music– have increased their cultural profile many times over.

QUICK: Can anyone name an NFL player from 1950? Bob Waterfield maybe? Or a basketball player??

c o ebay(photo c/o ebay.)

In 1950 NFL football was scarcely a blip on the cultural radar screen. It produced zero (0) figures as recognizable and renowned as Ernest Hemingway.

Today the situation is reversed. With the rise of the NFL has come countless commentators and analysts– magazines by the score and entire cable networks– devoted exclusively to picking apart every last personality and encounter involving their favorite game.

Music? The music business began increasing its cultural footprint beginning in 1956– interest generated by energetic new products and wildly charismatic personalities.

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With the rise of rock came the creation of the rock critic, via flagship rock magazines like Creem, Rolling Stone, and many others.

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Meanwhile, the ship of literature floated placidly along. Unconcerned. Unaware. Complacently satisfied that within the stuffy world of letters, all seemed fine.

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Literature’s leading figures became less charismatic, less interesting. Finally– with the likes of Donna Tartt and Jonathan Franzen– either reclusive or irredeemably bland.

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The art’s attempts to reverse this situation– with authors literary or popular from Roxane Gay to George R.R. Martin– are going no place. (Bret Easton Ellis fights heroically to gain cultural attention, but is himself too identified with a moribund and stuffy “Big 5”-backed establishment literary scene to make much headway.)

Without an exciting underlying art to describe, there are unlikely to be exciting critics to describe it.

IS THERE A SOLUTION? 

YES! The solution is the one we prescribe: to mesh both poles of the art, the literary and the popular, creating a new synthesis that’s relevant and meaningful yet connects with a large portion of the populace at the same time. Popular critics would arrive as byproduct.

This starts with a better product. (See recent posts of ours about the 3D Short Story here and here and here.)

Then, more striking personalities to become faces of a renewed art.

Quixotic? Maybe. Art is never transformed by the timid.

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It’s time for literature to walk away from its clubby salons and musty university lounges and step fully back into the game.

THE 3D STORY DEBUTS JUNE 6 AT OUR MAIN SITE.

http://www.newpoplit.com
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-Karl Wenclas, New Pop Lit NEWS

3-D Story Release Date

EIGHT YEARS IN DEVELOPMENT

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WHAT BETTER day to introduce the 3D Short Story than D-Day, June 6th?

“D-Day” in 1944 was the date American, British, and other Allied soldiers under the overall direction of General Dwight Eisenhower invaded the European continent to help rescue it from the Nazi menace. The assault changed the face of the war. Within a year the Nazi regime was over, Adolf Hitler dead from a self-inflicted bullet wound in the mouth.

WILL the 3D Short Story change the literary scene that swiftly? To that extent?

One can hope.

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Critics and New Art

THOUGHTS ON THE 3D SHORT STORY

impression sunrise claude monet(“Impression Sunrise” by Claude Monet.)

THE TEST of an artistic critic is how swiftly the person adapts to artistic change. The ability to embrace the NEW and not be left behind.

EXAMPLES from the past include the rise of modernist art, beginning with the 19th century Impressionists. As Robert Hughes and others noted, the inability of art critics to keep up with change became a cliche, until anything new was automatically accepted in fear of being wrong again.

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ANOTHER example is the transition in the late 1920’s from silent cinema to sound. Or, in the 50’s and 60’s, from “silver screen” movies to Technicolor and Cinemascope, which even as astute a film critic as Pauline Kael found difficulty dealing with, so enamored was she with smaller films of the 1930’s. Kael’s antipathy to wide screen movies was such that director David Lean once exclaimed to her, “You won’t be happy with any movie I make unless it’s shot on 16 mm in black and white!”

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HOW will literary critics react to the emergence of a new style of short story? One faster, more designed, more exciting than any short story offered now? A story, moreover, which fuses literary and pop elements to create a visibly different work?

Questions, questions. . . .
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Karl Wenclas, New Pop Lit NEWS

Literature of Limits

THOUGHTS ON SALLY ROONEY’S NOVEL NORMAL PEOPLE

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ONE CAN’T HELP but notice, with the massive hype accompanying the U.S. release of the Sally Rooney novel Normal People, how willing literary people today are to settle for limited accomplishment from limited talents. To accept the achievement of small effects, delicately arrived at.

I read the novel before most because a friend of ours in the U.K. gave it to us. It’s not a bad novel. Not at all. But the final emotion given this reader upon finishing it was, “So what?” Is this really the best Big Five London-New York publishing can come up with? Careful language, careful plotting, careful characters, careful themes and ideas– as if today’s world of political correctness has put today’s writer into a cage.

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Maybe it’s not politics (though there are signs that it is). Possibly it’s the temperament of this age, to see the world in muted tones. Melodrama? Heavens no. The reverse. By and large no drama– other than a couple brief appearances of a mostly offstage male villain in the form of an angry brother– whose rage is never explained or understood. Or the drama of deciding which MFA writing program to enroll in. (I kid you not.)

For temperament and limits, this novel can be compared to the delicate poems of recently deceased award-winning poet Mary Oliver, which aim for modest achievement, limited effects. Worthy, if that’s all you want– but a distinct dropping off from the exuberance of a Walt Whitman or Allen Ginsberg. Or the craft and passion of a Sylvia Plath.

Today’s literature exists inside the constraints of a cage or a box. It’s time to crash out.

(As we’ll attempt to do with our 3D Story project.)

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-Karl Wenclas, New Pop Lit News

Pop Lit as Art

BASICS OF 3D STORY THEORY

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WHAT Ernest Hemingway was working toward in his early short stories– before he adopted the persona of Papa Hemingway– was writing as art object. Whole and complete. As finished project.

MANY books and articles, too many to list, document the influence of modernist painters such as Joan Miro and Paul Cezanne on Hemingway’s writing. Though his quoted remarks are vague on the specifics of that influence, we can look at his works themselves to see. Not simply the marvelous descriptions (the opening to A Farewell to Arms for instance), but the sense of form and conciseness in his best stories. “A Clean, Well-Lighted Place” to name one.

HEMINGWAY was working toward something which could metaphorically be put on a wall and looked at– meaning, seeing the entirety of the work. Moving away from linearity.

This is a starting place for Pop Lit. Emphasis on clarity and transparency. The essence of “Pop.” Pop as in an Andy Warhol painting, or in a classic two-minute pop-rock song. Or a two-minute punk rock song which gives the listener two minutes of concentrated energy, then abruptly ends.

This is what I was striving for in my experimental work Ten Pop Stories. (An ebook written under the pen name King Wenclas.) Ten pop songs– or ten pop paintings.

THE MAIN IDEA is giving the reader a sense of the American experience– as Andy Warhol in his depictions of Coca-Cola bottles and of Marilyn Monroe so brilliantly conveyed the fast-paced madness of American experience. The American civilization, which for a hundred years has been the world’s dominant civilization.

THE 3D STORY

Speed and immediacy– what this aspect of Pop-Lit theory is about. What the upcoming 3D Story form will be about, in multiples. If our experiments work, things in the literary realm are about to become very exciting.

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-Karl Wenclas, New Pop Lit News