The Novel of the Future

I’ve tried to imagine what the novel of the future would be like. “Novel” means “new” and the form has been evolving since its invention. In fact, I am still trying to figure out who invented the novel; was it the Greeks, the Icelanders, the English, or the Japanese? Depending on which source you read, all of the above nations make that claim, due in part to the novel’s amorphous and ever-evolving form that fits any work having some kind of a narrative. But the future novel? A daunting task to conceive, yet one that every novelist tries to invent, if he is to gain immortality.

I looked at trend lines. Readers are consuming the following in plenty these days: feel-good stories, short works, long works, fantasy, crime (the puzzle), female themes, teen romances, and series (the latter, thanks to Netflix, I think). Weighty literary tomes, where the accent is on lyricism not brevity, character not plot, are attracting shrinking audiences, despite best efforts by arts organizations to elevate literary fiction with prizes, grants, and snob value. How do readers want novels to be presented; i.e. in prose, pictures, video, on paper, or electronically? Even though e-books were once touted as the emerging standard, their first iteration has not gained much ground, for three reasons: (a) their audience has come from a paper background and is required to change, (b) the devices and content are still pretty “old world”—our first generation of e-book is just another mousetrap, not necessarily better (c) publishers and e-tailers have gotten greedy and are pricing e-books closer to that of paper books to subsidize the paper that they are dumping at fire sales.

From the above I concluded that the novel of the future (and I’m talking 10-plus years from now, when the first kids to get an iPad on their fifth birthday become serious book buyers) would have to be story-driven, fast-paced, eventful, continuous, loaded with pictures and interactive video—and delivered electronically, of course.

And what would happen to the current crop of writers? Would they phase out like silent movie stars after sound entered the film industry? Or would they collaborate with illustrators, videographers, and techies to produce composite works, like the movies? Would the cost of a book therefore increase? After all, illustrations, video and sound must cost money. And these new collaborators will want a slice of the creator’s royalty pie as well, wouldn’t they ? Would we therefore have to be selective in the production and consumption of new literature due to its high cost of creation? Would advertizing become a standard appearance in novels to defray expenses? Would sponsorships be de-rigueur? And wouldn’t the older reader (i.e. my demographic) also gravitate to this new novel out of necessity as eyesight deteriorates, and a manipulatable book with the assistance of pictures, audio and video become more accessible? Too many questions…

There are more: Would I still play in this new environment? Me, who came of age reading words and conjuring up the rest (pictures, video and sound) in my imagination? Would I be happy being just a scriptwriter, for that’s what I would be reduced to (movie script-writers, please do not be offended, but novelists are the masters of their universe, editors notwithstanding)? Or would I continue writing my novels in the traditional manner and morph into an epicurean artist, like a calligrapher or a hypnotist?

Or could I depend on teachers and parents to continue reading to their children before these future readers are bestowed with iPads on their fifth birthday, thus ensuring that the tactile connection with books is still paper for generations to come? There are more questions than answers at this time when it comes to envisioning the novel of the future. And there is hope too, I think. In the meantime, we continue to write…

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