ANOTHER SAMPLE 3-D STORY
THOUGH we have several “3-D” multidimensional stories completed or near completion, we decided to release only one other of them, “The Perfect Candidate,” due to its topical nature, this being political caucus and primary season. The story was in fact written and rearranged in a matter of days– a test of speed in creating them.
Our thinking being– once the literary world does catch on to their advantages, and reader demand is created, we’ll need to be able to produce them at a fast rate.
(At some point we’ll commit fully and will run at our main site multidimensional fiction only.)
Speed is everything.
WHY THE 3-D STORY?
Writers write the short story one way– and have for decades if not centuries. Writers automatically fall into the familiar one point-of-view linear story, because that’s how we’ve been trained.
Exceptions to this have always existed– experimenters testing the artistic bounds of the story. Two of them caused me to think about the technique. One: F. Scott Fitzgerald‘s long story “May Day.” Another: Kenneth Fearing‘s classic noir novel The Big Clock.
We’re taking the technique a few steps beyond, switching viewpoints at a much faster rate. This may at first be unfamiliar to the reader– then the mind makes an adjustment and reading becomes as natural as the old way. Too natural perhaps, as it doesn’t stand out as much as it could, as we hoped, its effects subtle.
Our focus with the technique is making the narrative faster; expanding the reader’s view of the presented world. Multidimensional writing allows more ways to play with space and time. The goal: improving the reader’s aesthetic experience.
Emphasis on structure, as 3-D writing demands, means bringing more analytical “left brain” thinking into the equation without overintellectualizing things. The narrative becomes fragmented– but they’re fragments which fit.
CHANGING THE GOLF SWING
As with a revamped golf swing, the first attempts at writing the multidimensional story can look awkward. But if it’s truly a better technique, a better way of writing the story– albeit difficult to master– once the technique is mastered the result should be a spectacular improvement.
It’s to our advantage that no one right now understands what we’re doing– doesn’t see what a breakthrough the technique is. This enables us to further practice and develop its possibilities– and we will.
-Karl Wenclas, New Pop Lit NEWS