Where does one start the quest to create newly invented fictional digital/new media characters and stories that will attract a viable public? Established fiction has seen the depths and lows of humanity pass by and today’s writers find it mighty difficult to compete in terms of originality. But for a new media story or a character to be successful, the writer needs to meet another challenge; he has to think up truly adaptable story structures, taking into account not only his own perception of an evolving real world, but also rapidly changing technological parameters. Storylines that shine with meaning that is as interesting as it is intended ought to be a sought after commodity, because they are a scarce commodity. But they are not.

Today, fiction and human consciousness are colliding with settings that the Surrealists could only dream about when they designated the real as ‘absurdly real’. Fiction that is emerging now, in spite of all the technical possibilities however, doesn’t meet a world that is necessarily all that accommodating.

Andre Breton wrote in the Surrealist Manifesto that he ‘believed in the future transmutation of those two seemingly contradictory states, dream and reality, into a sort of absolute reality, of surreality, so to speak. I am looking forward to its consummation, certain that I shall never share in it, but death would matter little to me could I but taste the joy it will yield ultimately.’ We live the Surrealist dream, but private thoughts are still measured in terms of highly rational parameters. And even though the structures in which we establish hypotheses for collective consciousness as a means of expressing ourselves, either meaningful or less meaningful, tend to be built on logical assumptions Whether we grasp these is often the question. But humanity is hell bent on simply furthering its progress all the time, and some people believe that this very drive is something that indicates meaning.

Interest in human affairs is closely linked to human consciousness. However broad the term ‘human consciousness’ might come across as, it’s also the very mechanism that manifests itself in incredibly narrow minded thoughts. Think of our obsession with celebrities, with finding out the latest gossip about the boss. Our interest with our own consciousness is sourced by similar curiosity. Take for instance your interest in stories surrounding the actual circumstances during which the idea for a famous story was conceived. ‘Mary Shelley thought up Frankenstein when she was in a house with a group of people in the middle of nowhere Scotland’, is bound to make ears prick up. We all like finding out intimate details about famous subjects. Incidentally, Shelley wrote her story after thinking it up in elementary form when one winter she found herself indeed stuck in a house with a few friends in the middle of nowhere Scotland. They decided to have a competition making up the scariest story ever. Guess who won. Doesn’t that sidestory make your reading the book next all the more exciting?InventHelp

There’s is nothing wrong with this obsession. We feel that it is even imperative to test to the limit what processes are involved in writing. Not so much because the writing is going to be all that more interesting (that too) but mainly to explore what the outside triggers really are that influenced the fiction in the first place. When the Surrealists were conducting their automatic writing experiments, they found out that by simply tapping into an outside realm, they connected with each other. Their writings appeared to convey messages that were largely the same!

To have a hint of what’s cooking is way more appetizing than the meal that ultimately hits the table. A miracle happened when these painters were conducting their experiments; this was a bunch of painters revealing to the world writers’ secrets! The subject of writerly inspiration is hugely interesting, especially because it deals with consciousness and outside influence in a unique sense. Something writers often don’t generally own up to. Perhaps this is why it took painters to do the trick. It made us wonder about the impact that real events have on fiction in general.

What are the influences that govern a writer’s ideas, and how do these ideas ultimately take shape on paper? Does it mean anything that a book was written in a particular season? InventHelp Does the writer’s appetite for a particular type of food have an influence on his writings, even if he never writes about food? The questions sound naive, but that’s not the reason so little research has taken place in this field. Consciousness is something that lends itself way more to the present than to the past, and literary research generally doesn’t focus on real time events. Modern technology has advanced so much that perhaps the study of actual writing might reveal what’s going on in this process.

Even though today’s changes have been foreseen since decades -the Surrealists were predicting the emergence of virtual worlds with eery precision- nothing less than the actual practical emergence of technologies and new media formats apparently only spurs people’s efforts to theorize. The phrase ‘narrative portability’ is among the first workable new terms of indicating a general definition and practical applications (written literature, oral conversation, drama, film, painting, dance and mime, etc). It is employed by Marie Laure Ryan, an independent scholar specializing in narrative theory and new media etc.



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