So there’s this Twitter Fiction Festival thing happening over in the US (so to speak) this week, where a bunch of authors are mucking about with the form in various ways, all under the aegis of #TwitterFiction.
It looks like there’s going to be some interesting things happening as part of the festival, though I’m curious to see how anyone following that hashtag will be able to make sense of all of the competing narrative streams, especially the ones that will be coming from multiple accounts. Can you say “narrative overload”, kids?
Not that concerns about chaos will be stopping yours truly from crashing the party – for the next week Aramis Fox will be hashtagging it up like a boss in the hope that such egregious online networking will garner additional audience members for me (and of course an agent and a publishing deal too, yeah?).
(To accommodate the North American focus of the Festival, updates will be shifted from their usual slot between 5 and 6pm Australian Eastern Standard Time to around 9am Australian Eastern Standard Time (aka 5pm US Eastern Daylight Time). So don’t freak out if it looks like Aramis has disappeared from your feed – he’s just switched time zones for a bit.)
Until now I’ve avoided using @ and # in Aramis Fox, preferring to tell it straight and without any overt “hey look this story’s being told on twitter wow!” acoutrements, but inveigling myself into an international event sponsored by Penguin Random House seemed like as good an opportunity as any to eschew my own aversions, at least for a short time.
In the spirit of pennies and pounds, I’ve also added my very first @ to the story, with a gratuitous shout-out to both Craig Ferguson and Geoff the Robot Skeleton. I’ll probably take the @s out of the prose version of the story when it goes up on the archives, but in the meantime a boy can dream about having his twitter novel name-checked or RTed by sexy charming Dr-Who-loving Scottish talk show hosts and their animatonic bemohawked sidekicks, can’t he?