The novel by tweet
By Matthew Shaer
Monitor Staff Writer, New York
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Nick Belardes believes in brevity. He hews close to that hallowed maxim, beloved by middle school English teachers and old-fashioned newsmen alike: Keep it simple, stupid.
“People need to be educated to be more concise,” says Mr. Belardes, a journalist and novelist based in Bakersfield, Calif. “Every day, we get these super-long-winded e-mails. You can communicate more if you say a little less.”
Earlier this year, Belardes was cleaning out his desk drawer when he came across an unfinished manuscript for a workplace novel called “Small Places.”
He briefly considered shipping the thing off to publishers for consideration. Instead, he decided to serialize “Small Places” on Twitter, a popular microblogging site.
“It was a natural fit,” he remembers. “So many people are sitting in their gray cubicles, reading Twitter. They’re looking for something easy to digest. I thought I could put a smile on their face.”
Twitter was launched in 2006, as an alternative to long-form blogging platforms such as TypePad and Movable Type. The site allows posts – or “tweets” as they are commonly known – of only 140 characters or less, and users typically fall back on Internet slang to get their point across.
Most use the site to broadcast personal errata, from sock color to recreational softball scores to notes on the weather (“Sure is cold over here in New York,” one might point out.)
But Belardes found Twitter equally effective for fiction. Slowly, in fits and starts, he adapted the manuscript to terse, comedic tweets, frequently digressing into colorful observations.
“I’ve grown to like small places,” runs the first post. “I like bugs, bug homes, walking stick bugs, blades of grass, ladybug Ferris wheels made out of dandelions.”
As the narrative spooled out over some 400-plus tweets, “Small Places” (twitter.com/smallplaces) began to attract a sizable audience.
Approximately 4,700 readers now follow the novel, and it has quickly climbed the Twitter charts, eventually landing among the Top 100 profiles.
Belardes has become a figurehead of sorts for a decidedly micromedia movement: the novel by tweet. Although exact numbers are hard to come by – many projects have been abandoned and more crop up every week – the idea appears to have real ballast among the millions of Twitter fanatics, who crave rapid bursts of overshare.
“I think social media is all about stories,” says Tabitha Grace Smith, a media strategist and a contributor to the site socialmediaworld.com. “We tell stories, we participate in each other’s life story – so ‘Small Places’ and other novels on Twitter are a logical progression from our desire to interact, share, and grow together.”
For Belardes, the Twitter novel simply represents a natural progression of prose form. “Everything in the information age works at an incredible rate of speed,” he says. “I don’t think people like to admit it, but our attention spans have shortened. I see it happening to myself. And Twitter is an important tool for being concise.”
In this way, “Small Places” isn’t so different from the serialized comic strips published in the Sunday funnies – every episode ends in a cliffhanger or an open-ended question.
Other authors see the medium as a way to snare audiences traditionally adverse to classic fiction. Screenwriter Jay Bushman, for instance, has adapted the Herman Melville novella “Benito Cereno” into a Twitter science-fiction piece titled “The Good Captain.”