At the forefront of narrative innovation are social media channels—speculative spaces for creating and experiencing stories that are interactive and collaborative. Unlike the print interactive fiction environment in which both authoring and reading are often solitary endeavors—the author creates the linked spaces, the reader works her/his way through them—social media offers a space that encourages collaboration. Unlike digital interactive fiction environments in which readers create their stories within an already structured world, social media offers an open-ended environment in which readers can keystroke plotlines and together with colleagues and friends, as well as with strangers, create stories.


Digital Medium Cave Wall Subscription Service Narrative Experience Interactive Narrative 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. P. Adler, C. Heckscher, L. Prusak, Building a collaborative enterprise. Harv. Bus. Rev. 89(7-8), 94–101, 164 (2011). Accessed 2015Google Scholar
  2. J.L. Borges, Kafka and his precursors, in Labyrinths: Selected Stories and Other Writings, ed. by J.L. Borges (New Directions, New York, 1962), pp. 199–202Google Scholar
  3. Bruner, Jerome. Life as Narrative. Life as Narrative. Vol. 71. Fall 2004. P. 691-710Google Scholar
  4. Barthes, Roland. Death of the Author. Image-Music-Text. New York: Hill and Wang. 1997Google Scholar
  5. F. Cramer, Cominatory Poetry and Literature in the Internet (2000),
  6. Durey, Jill Felicity. The State of Play and Interplay in Intertextuality. Style. 25:4. Winter 1991. P. 616–636Google Scholar
  7. E.H. Gombrich, Moment and Movement in Art. Journal of the Warburg and Caurtauld Institutes. The Warburg Institute. Vol. 27. 1964. p. 293–306Google Scholar
  8. M. Gravelle, A. Mustapha, C. Leroux, Volvelles, in ArchBook: Architectures of the Book, ed by A. Galey (2012), Accessed Dec 2014
  9. J. Helfand, Reinventing the Wheel (Princeton Architectural Press, New York, 2006)Google Scholar
  10. J. Hoskins, Agency, biography, and objects, in Handbook of Material Culture, ed. by C. Tilley et al. (Sage, London, 2006), pp. 74–84CrossRefGoogle Scholar
  11. S. Karr, Constructions both Sacred and Profane: Serpents, Angels, and Pointing Fingers in Renaissance Books with Moving Parts. (Yale University Library Gazette (Yale University), 2004)Google Scholar
  12. C. Knappet, Thinking Through Material Culture: An Interdisciplinary Perspective (University of Pennsylvania Press, Philidelphia, 2005)CrossRefGoogle Scholar
  13. G.S. Morson, C. Emerson, Mikhail Bakhtin: Creation of a Prosaics (Stanford University Press, Stanford, 1990)Google Scholar
  14. C. Russo, The concept of agency in objects, in Material Worlds (Joukowsky Institute Classroom, 2007), Accessed 14 Jan 2015
  15. S. Turkle, How computers change the way we think. Chron. High. Educ. 50, 26 (2004)Google Scholar

Copyright information

© The Author(s) 2016

Authors and Affiliations

  • Krystina Madej
    • 1
  1. 1.School of Literature, Media, and Communication Georgia Institute of TechnologyAtlantaUSA

Personalised recommendations