When I was first presented with the notion of using Social Media as a literary platform I have to admit that I was very sceptical as I have only ever used Twitter and Facebook for social use and more recently networking. Charlie Brooker recently named Twitter as his No.1 game of 2013 which is an interesting idea and is completely correct in my opinion. People spend a lot of time creating an online persona, trying to say witty things in 140 characters in order to gain as many favourites, retweets and follows. With this in mind I started to see how a literary text could develop over social media as it’s possible to use it to drive stories forward through interaction.
I had a look at Bite-Sized Dracula, which was a Twitter adaptation of Bram Stoker’s Dracula. The most followed character was Mina Harker, her outspoken persona which is a modern interpretative version of her character in the book, managed to create a big following. However, many of her tweets have nothing to do with the story itself, she tweets as if she is a real person and reveals elements of her life outside of the novel. This causes a lot of what she writes to be humorous for example: “Look, I hate the smear campaign more than anyone, but if you’re going to write about my supposed love affair with Dracula, write it well.” It’s really entertaining but quickly becomes distant from the original text and rather becomes something almost separate. Whilst researching this topic I came across Building Storyworlds – the art, craft & biz of storytelling in 21c, which is an ongoing prototype and story R&D project created by Lance Weiler. He describes it as ‘an experiment in scarcity and abundance, each page of the book says “set this book free please retweet.”’ This introduces the idea of the audience being an integral element in the evolution of the story. Unfortunately in the case of Bite-Sized Dracula the audience interaction had positives as it often prompted good responses from the character but also had negatives as it sometimes interrupted the story completely and made it harder to follow what was happening.
I spent an afternoon with a group of 5 people creating our own Social Media adaptation of William Golding’sThe Spire which was initally a daunting task but actually turned out to be a really fun. It was hard to create something serious so we just went for a tongue in cheek modern version which got quite a lot of attention on Twitter. You can follow our progress with the hashtag#BSUSPIRE or take a look at it on Storify. From my experience and research into other literary Twitter adaptations of pre-existing literary texts, it seems that it can only successfully be used to create humourus extensions. However, it seems that if social media is used to create something original that is part of a transmedia story then it can be very successful in using the audience as a tool for extending the story to create something bigger than an existing text.
The increased use of tablets and decline of print sales show that more and more people are reading digital versions of books. This allows the book industry an exciting new opportunity to create digitally enhanced versions of texts which can be educational and entertaining. However, for most publishers and in most cases, enhanced ebooks – with added features like video, audio, interactivity and more – haven’t really taken off and many have already claimed that enhanced ebooks are already dead.