The Final Word

FREE FICTION! FREE FICTION! FREE FICTION! Now that I have grabbed your attention in a most indecorous manner, I would actually like to offer you some free fiction.  Mine, as it happens. Some time ago I wrote about a piece of innovative fiction that I submitted to a competition run by Diagram Magazine. Now that the competition has run its course, I’m making my story available here for everyone to download via the link just below.

The Final Word by Andrew Cookson

The story is called The Final Word and could be described as an intellectual, satirical detective story, presented through non-standard narrative means. I would love to hear your feedback, either as a comment below or via email here. To give you a taste, here is the first page.

THE FINAL WORD

You know what advice I’d give to people, if I could, one piece of advice so that they’d never be convicted of a crime? Don’t do anything out of the ordinary. And that’s it. If you have a daily routine, stick to it. Religiously. That way there’s nothing to explain. That’s my advice – never, ever leave yourself with something to explain.

J. Smith, on his release from prison, after spending 40 years inside for a crime he did not commit.

You know what makes an epistolary novel unbelievable? When none of the letters go missing. I wish I lived in a world like that. And why do we only see the relevant letters? If you want to show a person’s life through their letters, why don’t we see them all? The utility bills, the flyers for delivery pizza firms, letters addressed to previous tenants and the rest. Just imagine now, doing the same with the modern day equivalent – a novel told through an exchange of emails. A festival of badly-written notes, carelessly devoid of grammar, baffling and patchy capitalisation, unspellchecked spelling, all bookended by an awkard and often incongruous approach to personal formality. Not to mention the deluge of spam from online casinos and drug vendors. Perhaps it’s not such a good idea after all.

C. Johnson, prominent literary critic and neophyte blogger.

Anyone for some “innovative fiction”?

So far, I’ve posted essays, reviews and poems on my blog. Now it’s time for some fiction! There is one catch. First of all, it’s not quite finished. And secondly – two catches then – I’ll be entering it into a competition, and so I won’t be uploading it here for a few months. However, I will gladly email the story to anyone who wishes to read it. If you would like to take a look, just “like” this post (if you have contact information in your Gravatar profile) or send me an email here, and I’ll send you the pdf just as soon as I finish it (31st March at the very latest).

However, if you wish to know more before deciding, and who could blame you, then read on… The competition in question is run by the American literary magazine Diagram, and this particular brief is for “Innovative Fiction“. Apart from a limit of 10,000 words, that is the only instruction. Hardly much of a constraint. My response has been to write a somewhat intellectual, detective story, containing multiple levels of narration, each of which raises philosophical questions about the effectiveness of those narratives and the limits of language itself.

In an earlier draft of the story I had also included an element which questioned the very possibility of writing innovative fiction (since removed to accommodate other plot developments). The question this previous version raised was this: what is innovation in fiction? More specifically, if one introduced an innovative form in a story, could its reuse ever be considered innovative? Or is the fact that it has been used once before enough to rob it of all claims to innovation, even if it were very far from the literary norms.

In one sense, any good book is innovative, if by that we mean, it contains original characters, plot, ideas etc. Trashy genre fiction aside, all books can be considered to be prototypes that break some sort of new ground. And to what extent is this merely a question of fashion or timing? One very innovative novel, The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne, was published from 1759 onwards, but for a long while after this the form of novels became more conservative. At some point in the past, a return to Sterne’s form and style would have been considered a break with the norm, even innovative, except for the fact that it had already been done. Therefore, for how long does an idea need to remain dormant before its reactivation is considered novel?

Perhaps it’s a fools errand to worry excessively about this. Given the vast quantity of literature – too much for even an army of men to read, and in many languages at that, so too much even for a multi-national peacekeeping force – it might be impossible to make any definitive pronouncements. One culture’s innovation could be another’s standard, if not, cliched form.

An inherent problem with attempting to create these kind of groundbreaking artworks is that they are more difficult to write, principally due to a lack of training data. Conversely, they are also harder to judge for quality. An even greater quantity of good fortune then is required to meet with a positive reception.

And so back to my own innovative fiction; who knows if it is actually, truly innovative. I think many aspects of it are certainly creative and original, but whether overall it is innovative, I’m not sure. Maybe you can tell me? Then again, probably it doesn’t matter; if it’s interesting to read, then maybe that’s enough. Innovation be damned.

So, what do you think makes a book innovative? Have you read any that seemed particularly innovative to you, and did you feel that this helped or hindered the story-telling? And, once again, do let me know if you are interested in reading my story. Thanks!