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Coser, Kadushin and Powell describe, and the attempt to use the possibilities of electronic publishing, such as Alternative X, to cut out the later by direct publishing and encourage the first by peer review and instant feedback on text by a close community of fellow writers and readers. In the second part ofthis chapter I will focus on projects which approach the question of collaboration in a very direct and practical way, by setting up facilities for a group of authors to work in parallel on, in principle, an evergrowing and everchanging literary project. These collaborations, not unheard of but rare in print, have developed into an important part of the literary internet scene" and can have different emphases: a small number of authors or large-scale collaborations, crediting the individual contributions of their respective authors or anonYmous, heavily edited or open for changes and additions. Another possible categorisation, one which is proposed by the "Collaboration on the Web" website" and which I like to adopt is a categorisation by structure, and more precisely between a linear and a non-linear structure. Despite the vagueness and inadequacies of the terminology of linear and non-linear when used to distinguish hypertext from print (see chapter 2), it is, in this clearly defined context, a valid and useful distinction. In a linear structure, one initial node (e.g. a paragraph of a short story or a chapter of a novella) is followed by only one other, which in turn is continued by just one; the collaboration is strictly temporal and linearly accumulating. In a non-linear arrangement, often organised in a branching out tree-structure, contributors are free to add to an already existing branch or create a new one, therefore offering a greater flexibility as to where to add a link, but also of developing any branch locally in more unexpected directions. Cross-referencing between nodes is often possible, and contributions are more spatially located since they affect the narrative development only locally. These are the hyperfictions, claim the authors of "Collaboration on the Web", which "take full advantage oftheir hypertext and collaborative styles {...and} are true hypcrfiction'Y . 82 They often use a combination of eMail and the WWW: contributions are mailed to the editor/editorial board/facilitator and then selected, edited and finally uploaded to the project's webpages (the selection and editing powers do vary from project to project). B3 http://www.innotts.co.uk/-leo/collwr.html., 84http://www.innotts.co.uk/-leo/collwr.html. Chapter 4 - page 157
405. 1: Linear Collaboration on the Internet Two examples of linear collaborations are set up as a literary competition. INTERNOVEL 8 5 ,one ofthe older projects around} was set up a few years ago. $ 50 0 are offered for every published chapter, and the now several novel projects range from romance to crime. Probably the so far most spectacular and most widely publicised on-line writing venture was the short story "Murder Makes the Magazine", which was written on-line over 45 days between 1St August and 15th September 1997 and was a project initiated by amazon.com", the largest internet bookseller. What made this project different from others and attracted the attention ofRadio 4 news and The Guardian was the fact that amazon.com had managed to persuade]ohn Updike to, in his own words, stick his "head into the mouth ofthe electronic lion'"" and to write the first as well as the last paragraph ofthe crime novella. His initial contribution, a short joo-word segment of a novel Updike started thirty years ago but never finished, was put on a webpage, together with an invitation to submit each day a continuation of similar length, of which one was chosen and then added to the growing narrative body. $1000 were paid each day for the chosen paragraph. Over16,000 aspiring writers entered according to amazon.com every day, all ofwhich had to be read and from amongst which the most promising was selected and published - a success that stunned both the initiators and Updike himself, who, while not convinced of the overall quality and consistency of the work, comes across as impressed by the overall success of the project: After reading the entrants, Updike admitted there were some glaring inconsistencies in the story but said it had been fun to do. Despite the many authors, he said that it was hard to tell 'where one voice ends and the next begins'" . Another similar project was launched by the Grimsby Evening Telegraph as part ofthe East 85http://wwwl.primenet.com/novel. 86 http://www.amazon.com. 87 Joanna Coles and Giles Foden, "John Updike's Twist in the Tale", The Guardian (September 13, 1997) P·3. ' "Cotes and Foden, ''John Updike's Twist in the Tale". Chapter 4 - page 158
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University of Warwick institutional
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Contents Chapter 1: Introduction 1.
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Chapter 5: Computer-Generated Liter
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Chapter 1: Introduction 1.1: Introd
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though distinctly different from ea
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In the above example of a HyperCard
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chapter 2 and 3 to discuss some oft
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narrative possibilities, whereas th
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establish new connections - to "fil
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of their combination), says Okopenk
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narrative construction, and is not
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uniqueness, they all have in common
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and entertainment use but as a site
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Suter, Beat (ed.) "WWW Hyperfiction
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