A Format For Online Fiction, Part 2

novelr.com/2009/11/03/a-format-for-online-fiction-part-2

It’s been some time since I last wrote on a format for online fiction. In that time, however, several members of the
web fiction community have already started work on their respective visions for this format. Some of them have
chosen to develop an alternative system, coded from scratch; others have started work from the outside-in,
choosing instead to build on a solid WordPress theme system. Diverse as these approaches are, all of the work
being done at the moment are possible routes to a standard web fiction format, and for that I am thankful. This
post is intended to be a follow-up to my original article on the format. I intend to discuss how such a format may
look like, and then possibly convince you to adopt some of these elements into your own work today.

A Recap
Novelr’s been around for some time now, and in that time we’ve learnt quite a few things together. Let’s start off
with a couple of things that we do know about presenting online fiction. Peel off that scalp and think back: what
have we learnt together, exactly?

One of the first things we’ve got to remember is that reading online is crucially divided into two distinct stages.
These stages exist in the offline, paper-book world as well, but they’re not as critical for the writer as they are on
the Internet. The first stage is called the browsing stage. During this stage a potential reader skims content to
determine if the work is worth reading or no. It isn’t just the opening text that the reader takes into account – in
the browsing stage, it is everything from the subject matter to the included pictures to the size of the font to the
weight of the book in the hands that goes into a reader’s evaluation. If the reader thinks the text is promising, he or
she then moves into the second stage, the reading stage. You and I should know this – if you are a book lover, like
I am, then you will recognize this stage as the one where you forget about the sun and the ocean and so get
sunburnt with a shadow-image of a book burnt into your chest. The reading stage calls for complete attention on
the text. Everything else – links, ads, sidebar text – are superfluous to the reading experience, and they fall to the
periphery of a reader’s vision.

The second thing on presenting online fiction that we must remember is what I call the Picture Book Effect:
credibility and perception of online content is shaped by the design/format in which that content is presented. In
simpler terms: your readers judge your work by the visual cues you have on your site. There are deliberate
differences between the New York Times and a celebrity gossip blog. Both appeal to different demographics, and
so both have different visual cues. One is designed to be credible, the other is designed to be kinky. One is black
and white, the other shocking pink. How readers view your site depends as much on the design of said site as it
does on the text you have provided them with.

The third thing that we must recall are the basic principles of readable design. Large fonts, good contrast, clear
colours. An intuitive site structure. What exactly these elements are and how you apply them is beyond the scope
of this article – go read some of the previous Novelr posts on the topic, or pay a visit to the pros.

So what have we learnt? We have learnt that an ideal fiction format is designed around a browsing stage and a
reading stage. We have learnt that the site must have a coherent visual identity, one that should – ideally, at least
– complement the fiction. And thirdly, lastly, we have learnt that the site must be readable.

The Online Fiction Format

So what should an online fiction format look like? What elements should we include with it? In this we are faced
with a complex task, and so it would be helpful to begin first by talking about what we wouldn’t need to include
with the online fiction format.

The first thing we have no need to include is forcefully-readable text. This is simply pragmatic: it makes no sense
to limit authors to one font over another, or to ban them from using font sizes below a certain cutoff-point. Neither
can we stop writers from using electric pink or neon green in their prose. Most of us already know how to display
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our fiction in a readable manner. The ones who don’t will quickly learn from the lack of happy readers.

We don’t have to create distinct visual identities for each work. We also don’t have to adjust for all possible forms
of presentation. Some writers will want innovative, highly experimental forms in which to present their fiction; this
format does not serve them. It simple cannot: no format will attract or hold the interest of such mavericks for very
long. This particular format will be for the majority of authors out there: the ones who want to write and who do
not wish to worry too much about the underlying mechanics of code and presentation.

And so what should this format be like? At its most basic level, it should have two things:

It should be built to accommodate the two states: browsing and reading

It should be easy to customize, both visually and practically

We shall deal with these two elements in order.

The Reader Conversion

We have learnt earlier that there are two states for the online reader: the browsing stage and the reading stage.
How can a presentation style be built around these two reading patterns? The answer is simple, but consists of
two parts: we would need, first of all, to build two distinct screens for the prospective reader, that is consistent
throughout the entire work/format. Secondly, those two screens would need to fulfill all that the reader would
want in both stages of the reading process. I’m not going to say that this is dead easy (the second part, in
particular, isn’t), but the base idea isn’t particularly complicated: at the browsing stage, give the reader a splash
page. At the reading stage, give the reader text. Got that? Good. Now a little more detail:

The Browsing Stage

At the browsing stage, give the reader enough scannable information to make the decision to leave or to read.
This sounds simple, but it isn’t: what you’re really trying to do is to convince the reader to choose the latter and
not the former. There is a limit to this, of course – if your fiction is about vampire rabbits, and I am not interested in
vampire rabbits, then there is very little you can do to make me choose to read your work. The trick is to get the
readers that are open to vampire rabbit stories to make the conversion from browse to read.

I have no time to analyse the elements of a good, compelling splash page here in this article. I suspect that it
would involve a fair deal of experimentation on my part, and a fair bit of patience on yours. But my case is that an
online fiction format should provide writers with the tools to make a splashpage (and not just an about page) and
that the splashpage should allow easy placement of a blurb, some links (latest chapter/first chapter etc), and
some choice words from a selection of positive-ish reviews. For your perusal, some of the best I have seen so far:

Winter Rain, by Chris Poirier (yes, that same god behind Web Fiction Guide)

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A Timely Raven by Amber Simmons

Beasts of New York by Jon Evans

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… and Speak Human by Eric Karjaluoto.

This last one isn’t actually a splashpage for an existing book, but a promo site for a pre-release non-fiction title. I’m
including it to make a point that the online fiction format should be able to have writers adapt their splashpage
from site-intro to preview, and that this may work, too, regardless of whether it is fiction or non-fiction the format
needs to handle.

The Reading Stage

And so that covers the browse stage. For the read stage, however, the online fiction format should be crafted so as
to limit distractions from the reading experience. This is a complete opposite to the browse stage’s objective of
providing as much scannable information as possible. In the read stage, you want to remove as many scannable
elements as you can, for this detracts from the readers’ concentration on the prose. What this means, practically,
is a limitation on the number of sidebars possible. No sidebar is good, one sidebar is the maximum allowed. (I’m
tempted to make exceptions for thrillers and David Wellington, but then again this is a fiction format and it has to
be general and simple all through. Sigh.) MCM’s novels have the read stage screens perfected (image below), and
so have 37signals with their book Getting Real (here’s an example of a chapter).

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The basic rules for a good read stage screen is this: navigation before the text, stuff after the text, no distractions
in-between. Things like exhortations to donate or to buy the book may be included after the end of the chapter, at
the bottom of the page, or you may choose to place those pages on a separate screen at the very end of the
novel. That’s up to you. A basic fiction format should, at least – I believe, have this underlying structure.

Flexibility And The Fiction Format

Now that we’ve dealt with the browse/read design philosophy, let us turn to the idea that the online fiction format
should be easy to customize, both visually and practically.

When I say visually, I mean that the design must be simple enough to allow all kinds of writers to use it and adapt
it for their own, distinct, purposes. This is not easy to achieve, for it takes a certain amount of ability as a designer
to create themes that are universally applicable. The only example I can think of, at the moment, is the Minima
theme of the Blogger platform, originally designed by Douglas Bowman in 2004. It is used by hundreds of blogs
worldwide: all similar, yet never the same.

When I say that the format should be easy to customize practically, I mean that whatever format it is should be
easy for any writer to turn into their own. Minima’s beauty is that it can be completely changed by just adding an
image header and a background image to whatever blog it is that you have. The online fiction format should have
this ability, too. I am not yet a good programmer, but I believe that it is possible to integrate this functionality to
the backend of the fiction format theme/system: optional fields to upload and modify the header/background
image of the site you’re using it on.

Conclusion

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If you’ve been following closely, you’ll realize that any and all of these elements can be applied to the existing
content platforms of the web. It is true that the suggestions I have offered here can simply be implemented with a
theme; in fact, if I felt like it I really could go out right now to whip one up for the Blogger platform. But this is
merely one aspect of the online fiction format, and there have been countless other suggestions besides. MCM
has already suggested e-commerce integration, Jim Zoetewey suggests built-in ebook conversion ability (such as
a one-click conversion of chapters into PDFs or ePub files). There’s no reason all these and more can’t be
integrated into the online fiction format; in fact, some of us have already taken the first few steps in these
particular directions. These are my suggestions, I’m sure you have many more. Over to you.

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