If, Literature

Emily Short, interactive fiction, and If (a novel)

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When I finished writing If, a novel of ideas with a choice at the end of each chapter, I knew almost nothing about interactive fiction, other than that it existed and made a nice acronym. For anyone who shares my ignorance, “interactive fiction” does not refer to Choose Your Own Adventure-style novels with a choice at the end of every chapter. It refers to a thriving genre of often online text-based games where the player makes frequent choices by clicking on hyperlinks in the text. The hyperlinked choices may arrive every few sentences, or even every few words. After clicking on a link, new text appears based on the reader’s choices, leading to new choices, etc.

If you felt like it, you could go and write your own work of interactive fiction using Twine right now.

By contrast, novels with choices at the end of each section — like If, Kim Newman’s Life’s Lottery, and the Choose Your Own Adventure series — apparently aren’t usually called “interactive fiction” at all. As discussed in my interview with Joe Rositano, there’s no commonly accepted general term for this kind of work. Most people say “Choose Your Own Adventure novels,” even though that’s a trademarked term for a specific series of books. Rositano favors “choicefic.” Wikipedia uses the term “gamebook.”

So: I’ve never written a work of interactive fiction — and, to be honest, I still haven’t had a chance to finish reading one, either. But working on the publicity for If has made me increasingly aware of interactive fiction, which appears to be going through a kind of golden age right now. One of the leading writers (and organizers) responsible for that golden age is Emily Short, so I was delighted that she recently took the time to write a lengthy blog post on If.

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If, Literature

An interview about If at SeattleWrote

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The intrepid Norelle Done at SeattleWrote recently posted our interview about If. I feel like I’m finally getting a little better at describing what kind of book If tries to be — in a way that neither sets readers up for disappointment by making it sound more lighthearted-and-easy than it turns out to be, nor alienates readers by making it sound more experimental and challenging than it actually is. For example:

Q: In any case: why write a literary choose-your-own-path (or “choicefic,” or “gamebook”) novel?

A: Partly because it had never been done before. People have come close, but I wanted to write a piece of literature that’s as serious and literary as my favorite novels, while still using this format associated with children’s books. I’ve always been attracted to works of art that bring together the difficult and experimental with the simple and playful. Like the Velvet Underground and Sonic Youth, Andy Warhol, Laura Riding Jackson, Borges. There are all sorts of strange ways that punk and surrealism and the avant-garde intersect with children’s literature and music. If tries to belong to that tradition. Continue reading

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