I recently took some of my writing time to create a makefile (Novel
Makefile) to
manage work I hope to be doing on a new novel project. I’ve started
outlining and researching the story in earnest after having spent the
past few couple of years talking about it, and I think writing will
commence soon. In another post I’d like to write up some thoughts on
the tooling and technology of writing non-technical/non-manual
long-form.
This post, drawing from the spending some time buried deep in
production is about the state of (conceptually) longer form work in
digital mediums. Or, at least a brief commentary on same.
The tools that I use to write technical materials do all sorts of cool
things, like:
- provide instant cross referencing,
- generate great indexes, and
- automatically generate and link glossaries.
This is not particularly unusual, and in fact
Sphinx is somewhat under-featured relative
to other documentation generation systems like
DocBook.
And yet people publish ebooks that virtually identical to paper books.
Ebooks seem to say “*this electronic book is the best facsimile of a
paper book that we can imagine right now,*” while totally ignoring
anything more that a *hyper*text rightfully might be.
I enjoy reading ebooks, just as I have enjoyed reading paperbooks, but
mostly because ebooks basically are paperbooks. I’ve written posts in
the past challenging myself,and fiction writers in general, to actually
do hypertext rather than recapitulating prior modalities in digital
form.
At various points I’ve thought that wikis might be a good model of how
to do hypertext, because the form is structurally novel. Any more, I
don’t think that this is the case: wikis are unstructured and chaotic,
and I’ve come to believe that the secret to hypertext is structure.
There are so many possibilities in hypertext, and I think much
experimentation in hypertext has attempted to address the chaos of this
experience. This does serve to highlight the extent to which “the
future is here,” but it obscures the fact that structure makes
narratives understandable. Think about how much great, new, innovative
(and successful!) fiction in the past decade (or so) is not structurally
experimental or chaotic. (Answer: there’s a lot of it.)
The not-so-secret of hypertext, is (I suspect,) tooling: without really
good tools the mechanics of producing a complex, interactive textual
experience is difficult for a single writer, or even a small group
of writers. Most tools that manage the publication and writing of text
are not suited to helping the production of large-multi-page and
mutli-component texts. One potential glimmer of hope is that tools for
developing programs (IDEs, build systems, compilers, templating systems,
introspection tools, pattern matching, etc.) are well developed and
could modified for use in text production.
The second non-so-secret of hypertext is probably that hypertext is an
evolution of text production and consumption, not a revolution. Which
only seems reasonable. We have the technology now to produce really cool
text product. While tooling needs to get better, the literature needs to
do some catching up.
Lets start making things!