hypermedia novel writing

What are we talking about when we say “digital literature” today? If the early works of electronic literature – hypertext fiction, hypermedia literature, generative texts – could be identified by the distinguishing feature of hyperlink or technology in a wider sense, nowadays Twitterature, literary blogs, and Facebook writings challenge more and more the possibility to define this kind of literature under a solely technology-based perspective. The Canada Research Chair on Digital Textualities' project “Répertoire des écrivaines et écrivains numériques,” inspired by the CELL project, is an attempt to mind the existing gap between these new textual objets and literary studies. In this presentation, we will show and discuss the criteria upon which we have defined what is a digital literary object and a digital author, the archiving modalities of those objects, and the epistemological structure of our project in order to think about the impact of the digital turn on literary concepts such as author, authorship, literary work, and genre.

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/619/The+%…

In this article Doménico Chiappe makes a list of suggestions to write hypermedia literature:
-A hypermedia narrative will be a novel if there are more than three plots;
-The structure will be nonlinear;
-The hypermedia writer develops a strategy to hit on the mind of the reader with minimum scenes, full of messages;
-It will be told with fragments that the author composes like a puzzle;
-Each chapter will have a beginning and ending;
-Free from the dictatorship of the paper, the links will drive to different narrative levels, that will tell real stories, textual contents, musical, animation, hemerographics, oral, photographical, audiovisual and plastic;
-Images wil be full of interpretations;
-The reader will be free to choose his/her own navigation;
-The quality of the work will compensate the reader for his/her interaction.