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This project  concerning  Twitter  being  used  to  actually  publish  fiction  started  

out based  around  the  rudimentary  question  of  “how  does  a  young  writer  get  his   work  out  there?”  “There,”  is  a  bit  of  a  loaded  term.  What  does  “there”  even  mean?   Does  it  mean  getting  written  work  selected  by  some  sort  of  publication,  an  online   journal,  or  just  posted  on  a  blog?  These  questions  were  not  being  sorted  out  well   enough  for  me  to  make  a  clear  answer.      

Ultimately, the  topics  covered  in  this  class  aided  me  in  being  a  suitable  writer  

for this  project,  with  Clay  Shirky  and  Marshal  McLuhan  being  the  guiding  lights    It   wasn’t  until  the  class  read  deeper  into  Clay  Shirky’s  Here  Comes  Everybody  that  I   realized  how  subjective  my  first  question  actually  was.    As  he  states  on  pg.  87,  “Now   that  our  communications  technology,  the  distinction  between  those  patterns  of   communication  are  evaporation;  what  was  once  a  sharp  break  …  is  becoming  a   smooth  transition.”  This  led  me  to  varying  platforms  that  follow  the  “publish  then   filter”  model  proposed  in  that  same  chapter,  which  in  turn,  led  me  to  think  about  on   particular  platform  that  many  within  the  literary/publishing  community  despise:   Twitter.      

Shirky very  much  helped  in  connecting  the  idea  of  the  lines  between  what’s  

published and  what’s  private  slowly  evaporating  with  Marsha  McLuhan’s  quote  “the   medium  is  the  message.”  Twitter  may  be  the  most  immediate  way  to  communicate  a   thought  while  on  the  Internet.    One  is  given  only  140  characters  to  say  anything,   thus,  the  message  one  is  trying  to  communicate  becomes  inevitably  entwined  with   the  Twitter  format.    


The same  happens  with  publishing  fiction  on  Twitter.  In  posting,  the  writer  

will have  to  construct  the  story  within  the  parameters  of  the  Twitter  format.  This   means  the  writer  is  not  afforded  the  luxury  of  detail.  The  message  has  to  come   through.  That  is  exactly  what  the  medium  of  Twitter  does  with  fiction;  it  parses  the   story  down  to  its  message.  Twitter  makes  the  message.      

As it  has  been  said  Twitter  is  extremely  immediate.  Therefore,  I  wanted  to  

create a  site  that  young  writers  could  find  to  see  varying  Twitter  Fiction  in  a  concise   way.  The  argument  and  presentation  of  research  is  concise  with  hyper  linking  to  my   sources  for  further  reading.     Furthermore,  I  wanted  the  rhetoric  of  the  site  to  very   much  follow  an  Ontological  viewpoint  because  without  engaging  in  the  discourse,  I   do  not  believe  I  would  have  been  a  proponent  for  Twitter  Fiction.  As  Brummett   states  in  “Three  Meanings  of  Epistemic  Rhetoric,”  ontological  rhetoric  provides  that   “discourse  creates  realities  rather  than  truth  about  realities.”    Through  using  this   viewpoint  I  was  able  to  engage  in  a  whole  new  mode  of  publishing  that  finds  its   seeds  far  before  the  age  of  the  Internet.      

The ultimate  problem  in  creating  this  project  was  whether  or  not  a  website  

hosting a  singular  twitter  account  re-­‐tweeting  twitter  fiction  with  an  argument  for   the  platform  would  be  useful  at  all.    Young  writers  (and  just  young  people  on  the   whole)  are  generally  tech  savvy  enough  to  begin  with,  without  any  help.  I  tried  to   remedy  this  in  the  most  effective  way  by  providing  the  Issuu  cataloguing  the  various   Twitter  Fictions  from  the  account.    


Furthermore, I  started  research  for  this  project  with  a  bias  against  the  

publishing industry,  and  didn’t  consider  publications  that  actually  specialize  in   publishing  Twitter  fictions.  Researching  fiction  sites  such  as  Nanoism  helped  show   the  error  in  my  researching  this  project  strictly  in  terms  of  self-­‐publishing;  thus,   making  the  ontological  viewpoint  even  more  important  in  my  overall  rhetoric.     Research  focused  more  on  E-­‐readers  such  as  from  the  Wall  Street  Journals  had  its   place  in  showing  the  evolution  in  research,  but  was  in  the  end  not  entirely  useful  in   my  argument  for  Twitter  Fiction  as  a  viable  mode  of  storytelling.      

In terms  of  collaboration,  my  peers’  comments  were  helpful  to  the  extent  that  

it made  me  realize  how  much  of  a  niche  subject  this  was.  Many  people  do  not  know   the  inner-­‐workings  of  the  literary  world  (as  they  have  every  right  not  to)  and  thus   don’t  know  if  this  topic  is  even  important.  This  prompted  me  to  see  just  how  far  this   mode  of  story  telling  is  steeped  in  history,  leading  me  to  apply  Hemmingway’s  Ice   Berg  theory  and  the  serialization  of  Dickens’  novels.      

I believe  my  plan  for  this  project  worked  well  in  terms  of  functionality.  One  of  

the main  luxuries  I  didn’t  have  in  this  particular  course  was  the  luxury  of  a  full   semester  to  help  engrain  the  ideas  of  the  course  more  thoroughly  with  my  project.   Time  was  not  with  me.    Were  I  to  have  another  chance  at  creating  this  project,  I   would  have  tried  to  do  more  of  it  actually  through  Twitter;  making  arguments,   perhaps  creating  my  own  Twitter  Fiction  handle  and  so  forth.    

Project Assessment Memo  

Project Assessment Memo

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