ARTE : la révolution Web documentaire et Web Fiction
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jeudi 18 février 2010 – 11:12
Posts Tagged ‘ Twitter ’
Voici un autre auteur, qui fut l’un des premiers à essayer la plateforme Twitter pour y développer un roman. Il est un journaliste du NY Time et son twiller Hooked a été publié et très bien accueilli par la critique.
Vous pouvez consulter son site ICI
Et vous pouvez le suivre sur Twitter ICI
ME
Twitter Novels are one use of Twitter that many of us would never consider – but there’s a growing number of Twitter Novelists exploring the medium. Today Brandon J. Mendelson, author of The Falcon Can Hear The Falconer (a Twitter Novel) gives some tips for writing Twitter Novels.
A word of caution: As far as English language Twitter novels go, this is new territory. Based on early results, as compiled by ReadWriteWeb, there have not been any success stories. RWW never spelled out what would be defined as a success, but I took their comments to assume no Twitter novelists have crossed into the mainstream or made money. It may be only a matter of time before this changes.
What I’m presenting here are suggestions on how to write and operate your new Twitter novel based on my experience writing “The Falcon Can Hear The Falconerâ€. I hope what I’m proposing will provide a blueprint for interested writers to create successful Twitter novels.
1. Throw Out The Manuscript
Twitter is instantaneous. Serializing a manuscript may be easy, but trying to contract and make logical sense of it in 140 character bursts is not. By doing this, you limit the flexibility that Twitter grants in presenting your fiction. Start fresh.
2. Have A Plan
Although there’s no need for a manuscript, you should know where the story is going. I found writing a scene for a play to be more helpful than translating a manuscript for Twitter. The formatting for a scene provides more freedom to work within the spaces you’ve created and allow the story to grow organically. Don’t hesitate to explore.
3. Manage The Clock
What’s great about a Twitter novel is that your content is no longer static. Depending on how committed you are, you could have events happen in real time using services like Tweetlater.
4. Not Just Story. Events
If a character is mugged at 6am, you could post a police announcement on the Twitter novel looking for the perpetrator. What are the characters listening to on the radio? Is someone calling them that’s important to the story? Use Twitpic to show a photo of one of your friends or an actor to show the reader who is calling or what the mugger looks like.
The post doesn’t have to be from your outline, it could be something within the environment that adds to the story.
5. Don’t Bury The Lead
More than five Twitter posts on any given day can be dangerous. You’ll induce reader fatigue, and new readers will get lost quickly.
There’s an assumption that many of your Twitter followers will enjoy your work while on the go, so their time to take in a novel may be limited to short bursts. Focus on each post’s quality and …
6. Move It Forward
Simply put: Each tweet should move the story forward in some way. If it doesn’t, cut it.
7. Newbies And Greenhorns
Finally, you may have readers follow you after the novel has started. I recommend setting up a simple website that contains the story’s updates from where it began. Include this link on your Twitter page. Occasionally remind readers on days that you do not update that they can catch up at this website.
The format is still new, but it won’t be long until we start to read about successful Twitter novelists getting publishing deals. Why? A large following equates to a large potential customer base. If you can show you have a customer base, you are better positioned to land a book deal.
Best of luck to you on your literary journey.
«For reporting Berlin, the group received tips via Twitter from members of the Reuters team in London, who acted like a ‘mini-editor,’ Wood said. The biggest success story, Wood added, was the length of time people spent on the site – probably due to the way it was designed, with related content easily accessible. In Germany, the average time spent on the site was 9.5 minutes. Globally, the average stay time was 5 minutes.»
«A free digital storytelling event, in conjunction with the UK Future of News group, is planned for March or April 2010. More details about Not on the Wires can be found by registering on the site, and the team can be found on Twitter here: @notonthewires.»
James Brindle a en effet compulsé trois années de twitterisation en un ouvrage qu’il aura finalement lui-même autopublié, sous le titre My life in tweets. Il s’agit par ailleurs d’un volume 1, allant de février 2007 à 2009. La suite pourrait donc ne pas tarder.
S’il n’est pas certain d’avoir la rpimeur de cette initiative, et tout particulièrement en passant par l’autoédition, il affirme avoir avant tout voulu tester les capacités d’impression de la société Lulu, et semble plutôt satisfait de l’expérience.
Toujours dans le phénomène de création littéraire sur Internet et viaTwitter, il faut rappeler l’initiative de Thierry Crouzet, qui s’est lancé dans un Twiller avec Croisade, c’est-à-dire la rédaction d’un thriller dans le format Twitter.
Les Shorty Awards honorent les gens et organisations influentes sur la communauté de Twitter. Les utilisateurs sont invités à voter pour les nominés dans plusieurs dizaines de catégories. La littérature n’y fait pas exception.
http://shortyawards.com/category/literature
Le mode de sélection est très démocratique, en ce sens où les utilisateurs de Twitter peuvent nominer quelqu’un ou votre pour quelqu’un en «twittant» la formule suivante:
I recommend @TwitterUser in the Shorty Award category #literature because…
Les votes sont présentement terminés. Nous aurons les résultats le 3 mars prochain lors du Shorty Awards Ceremony à New York. À suivre!