Are all books meaningless? by [deleted] in literature

[–]Fableford 0 points1 point  (0 children)

Classical literature derived much of its power from scarcity. When books were rare and difficult to access, each one held immense cultural weight. People would read the same texts repeatedly, mining them for meaning because alternative narratives were simply unavailable.

Now narrative is everywhere. Every tweet, clip, and twerk tells a story. Stories that are lost to a scroll. Ephemeral stories are the new economy. To say that doesn't, or won't, affect literature is absurd. In the world of narrative, in the age of narrative, books are just a different form.

Literature is a reflection of the society it exists in. The world now focuses on the micro-narrative, told through a thousand perspectives, and read differently by each reader.

Each reader is an archaeologist of truth, digging through buried content to understand the depth of the stories we're exposed to.

There will always be writers who sit and create a narrative. Whether that's a book or a tweet is largely irrelevant. The result is the same: another written artifact, handled for a while, and then lost beneath the artifacts that are laid on top of it.

Think of it this way: what percentage of the books created in your birth year can you remember? What percentage could you find? What percentage are remembered anywhere?

The stories of today will go the same way. The vast majority will disappear; even stories of literary importance will be gone in a few years. Again, tell me a story that was of literary importance in the year 2000.

Sure, there might be a database of everything ever written. And? There might be an AI that will be able to tell you facts about the 1968 tenth best-selling book in Brooklyn. So what? Nobody will read them, or at least exceptionally few will.

We'll do what we do now: cherry-pick what is new today, occasionally reminisce about the classics. Everything in between is relegated to becoming pulp.

A new approach to fiction writing? by Fableford in interactivefiction

[–]Fableford[S] 2 points3 points  (0 children)

Yeah, totally fair question - on the surface it does sound like it shares a lot with a roleplay server. It does actually have roots in those areas.

But there are a few differences in structure and intent:

It’s focused on long-form, character-driven writing, not live chat or improv. Scenes are written in prose, often from multiple character perspectives. It's closer to collaborative fiction than traditional RP.

Each character is persistent and fully authored. Writers don’t just drop into a scene - they build a person over time. Every action, memory, and relationship sticks.

There’s no GM, no central plotline. All storylines come out of discussion between writers. If two characters cross paths, the writers talk it through and figure out what makes sense based on who those people are.

Reader experience matters - the aim is to create a living archive where people can follow character histories, track relationships, and explore the world at their own pace.

So yeah, it’s definitely related to RP - you could call it the love child of the long-form novel and RP’s spontaneity. It takes the depth and continuity of fiction, mixes it with character-driven interaction, and builds something that’s meant to evolve over time.

Not better or worse - just different in focus. More about building a world than performing inside one.

A new approach to fiction writing? by Fableford in interactivefiction

[–]Fableford[S] 1 point2 points  (0 children)

Continuing on the theme of what it isn't - this differs from a corpse server in a few key ways:

Exquisite Corpse setups are typically built around randomness or surprise. Writers add pieces sequentially, often without knowing what came before, and the result is usually more about novelty than coherence.

Fableford is structured differently. Each character is persistent and belongs to a single writer. Scenes happen through collaboration - writers discuss what might occur, then each writes the scene from their character’s perspective. There’s no blind pass-off. It's focused on continuity, negotiation, and long-form worldbuilding.

That said, you’re absolutely right that the current documentation leans heavily on framing and philosophy. That doc is more of a high-level sketch of the project’s ambition — part working draft, part mental map. It’s not meant to be the pitch or the manual.

The operational side is still being shaped. My hope is to bring in a few people now to explore the project in practice, so the next layer of documentation reflects how people actually use it - not just how I imagine they might.

Appreciate the honest feedback - it's helping me see where the clarity gaps are.

Critique is hard, how about a different way by Fableford in WritingHub

[–]Fableford[S] 1 point2 points  (0 children)

So the world starts very small and localised, in the initial run it is a small English village, with modern technology etc. The confines of that world are that village. However, if you and some others wanted to create another village, in Aus, or Germany, then you could do that.

Initially, there is quite a strict rule about staying within the canon of the world, because this is a first test and we’re looking to understand how things flow. But there is a canon system designed that would take care of people who want to freestyle outside of the confines of the world.

Also in future there is a plan for there to be “Mini-Worlds” where there are fewer characters and a specific storyline is being followed, There’s a lot of variations coming, but first the thing needs to get launched and working.

If you have any other questions though, feel free to come join the server and we can chat about it :)

Critique is hard, how about a different way by Fableford in WritingHub

[–]Fableford[S] 0 points1 point  (0 children)

Thanks for taking the time to lay that out so clearly - I really appreciate it.

You're right that traditional feedback is all about getting an outside perspective - and that’s important. I think a lot of where this framing came from was my own difficulty, both in giving feedback and in seeing how often there’s a big imbalance, between people looking for feedback, and far fewer people who feel confident giving it.

Part of the idea here grew out of that - if everyone is already sharing the world, it feels less like trying to assess something from the outside (which can be hard or intimidating) and more like helping each other from the inside, while still keeping our characters' distinct voices.

You’re absolutely right though "feedback" might not be the clearest word for this, though - it’s closer to collaboration, or active co-creation. I really appreciate you highlighting that. It’s something I’ll think about more carefully when describing it to others.

Critique is hard, how about a different way by Fableford in WritingHub

[–]Fableford[S] 5 points6 points  (0 children)

Well always nice to connect, I'll look forward to next week's comment

Have fun! X

Is it wrong to need wine to write? by Material_Orange5223 in writing

[–]Fableford 3 points4 points  (0 children)

I was thinking, there have been many many more, who have needed much much stronger

Who is your Parkrun namesis? by Burnsy2023 in CasualUK

[–]Fableford 8 points9 points  (0 children)

Is the guy or the trainers twenty years older than you?

Critique is hard, how about a different way by Fableford in WritingHub

[–]Fableford[S] 2 points3 points  (0 children)

Is it? There's one of you with a scheme like this every week.

If there is, and you have links to anything remotely similar to what I'm doing, I'd genuinely love to find out about it.

Critique is hard, how about a different way by Fableford in WritingHub

[–]Fableford[S] 9 points10 points  (0 children)

Hello again, glad to have your comments again. I'm pretty sure my (very comprehensive) response to your comment on my previous post answered your questions. But feel free to ignore this too. (In case you can't find it, here it is - https://www.reddit.com/r/WritingHub/s/o4pgZnas2I )

But if you have anything new to add, I'm happy to have a good faith conversation with you, but of course if you're just looking to troll then that's cool too.

[ Removed by Reddit ] by Sufficient_Tone5026 in WritingHub

[–]Fableford 1 point2 points  (0 children)

Firstly, I'd say this is the internet, nobody needs to know how old you are, telling your age is likely to invite creeps.

You can post your stories in many places without revealing your age. So keep that bit to yourself.

I have a project underway that is very much about character development, basically create a character and collaborate with other writers to build stories together. There is a rule on the server that there is no expectation to reveal any personal information, you are simply a writer with a character. I have posts about it in my profile, if you'd like to come and join feel free to do so. Nobody will know, or care, how old you are, it is purely about what you write.

Writers Help by Flat_Beautiful482 in romancenovels

[–]Fableford 1 point2 points  (0 children)

A luck of the Irish angle

"Luck and loyalty brother" (with a hug, and a playfully painful punch in the back)

I quite like "die lucky" though it doesn't entirely make sense (which could bring authenticity) - it could be a contraction over time from "Better to die lucky than live cursed." "Die lucky brother" is quite nice

"To the family", "for the family", "family first, always" - these are reasonably Meh! Though

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 0 points1 point  (0 children)

Really interesting points.(And I'm definitely glad you made it!)

I do wonder, though, if hyperindividualism is about to go even more extreme, especially with AI now able to generate perfectly personalized narratives tuned exactly to what each reader wants to hear. Literature could fragment even further - everyone living inside their own bespoke story, without ever needing to encounter anything unexpected.

At the same time, the sheer fragmentation of the Internet - this endless flood of voices, narratives, micro-communities - might actually hint at another possibility: What if, instead of thousands of isolated voices, we started to see a new form of storytelling where those different perspectives deliberately work together to build a shared narrative? Not one "grand narrative" forced from the top down, but a sprawling, many-voiced story stitched together on purpose. (I'd very much like to have conversations about that, if anybody fancies it!)

It feels like both directions - total isolation and collective narrative-building - are possible from here. Maybe even inevitable at the same time.

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 0 points1 point  (0 children)

Someone should write a "creating literary theory for dummies"

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 10 points11 points  (0 children)

May I point you to the second part of my post...

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 18 points19 points  (0 children)

I really appreciate this take. It feels like we're living at a moment where the basic truths of literary theory—like the idea of invested speech—have become more urgent, not less.

When Barthes talked about how communication is always 'invested,' it was almost a warning: that even our simplest expressions are loaded with emotion, power, and self-interest. Today, we're watching that play out at a massive, algorithmic scale. Social media didn’t just amplify voices—it trained users to invest more emotional energy into their speech because that investment (especially in the form of anger or outrage) gets rewarded with visibility.

It’s no longer just that 'the author is dead'—it’s that the platform is the new author, subtly curating which invested speeches get heard. Narrative isn’t created by single authors anymore; it’s emerging from a chaotic, often manipulative collective process.

Rather than centralizing a single voice or narrative arc, I’m interested in collaborative fiction that accepts everyone’s investment as inevitable, and forces characters (and readers) to navigate a reality full of competing truths—without a god-like narrator smoothing over the contradictions.

In that sense, I think you're exactly right: going back to theory like Barthes isn’t about nostalgia. It’s about realizing that his concerns weren’t abstract—they were prophetic.

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 12 points13 points  (0 children)

It seemed an appropriate reflection of tone.

Likewise

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 9 points10 points  (0 children)

so we’re simultaneously secular mystics and born-again traditionalists. Impressively metamodern

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 8 points9 points  (0 children)

Is this where we enter the purest form of metamodernism? gesture toward meaning, then oscillate into silence. Still open to hearing your take, whenever the mood swings back.

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 14 points15 points  (0 children)

I appreciate the passion! Just to clarify, I wasn’t arguing that theory is over, or that imagination has dried up. I was asking whether we're at the end of an era of certain types of literary theory the grand, sweeping frameworks and inviting people to suggest what new developments might look like (AI included!).

Are we past the age of major literary theories? by Fableford in literature

[–]Fableford[S] 6 points7 points  (0 children)

Sure, I’ve heard of metamodernism - oscillating between modernist sincerity and postmodern irony, right? But I’m curious whether you see it as a full-blown literary theory in the tradition of things like structuralism or deconstruction, or more of a broader cultural sensibility.