The New Fablist

By Thomas Corfield, excert from his upcoming book,  Beyond Aesop: The New Fablists.

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The challenge for writers seeking recognition as New Fablists is that the genre is new, innovative and written almost exclusively by me. I may well be the father of New Fable genre fiction, but I didn't have to engage in intimate relations with anyone or anything to attain this role, which is fortunate given that I suffer from a rare form of genital deformity called deformis genitalia exiguus. My exceptional narrow-mindedness, combined with having crafted the quintessential examples of the genre, means that certain characteristics have already come to define it. Any writer aspiring to contribute to New Fable's "alphabet cesspit" [1] is welcome to aid its evolution, provided they possess a basic understanding of punctuation and a solid grasp of the genre's polyauthoric prerequisites. While writers of all ages and beliefs are encouraged to participate, the journey to becoming a New Fablist is no easy feat. I possess a rare and remarkable form of creative brilliance that is unconcerned with contemporary definitions of art, despite the irony that this book is centered around a specific fiction genre [2]. This makes me somewhat of a "literal god," whose talent radiates like the distorted and convoluted magnetic field disturbances of pulasric stella ejecta, which is, incidently, not unlike the medical definition of deformis genitalia exiguus. My focus as a New Fablist is solely on creativity and not on convention. Although few writers have a chance of approaching my sophistication, talent and subtlety, I can understand their desire to attempt it. Jesus had something similar and, ironically, we both occasionally wear sandals [3].

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The primary criteria that delineate a story as New Fable are that all its characters are either cats or dogs that behave like people. In other words, there are no human characters, and they must be of novel length. While other animals can be used, the strength of using cats and dogs is that readers can easily connect with them through their pets. This aids immersion, as will be explained later.

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The aspiring New Fablist must embrace a polyauthoric approach to writing, which entails engaging readers through more than just the written word. Music, artwork, videos and other media must be produced, either by the author or in collaboration with other artists, to complement the story world. For instance, in addition to my longstanding collaboration with Jesus Christ My Penis [4] to create music for the books as Dooven Muzak and Fable Pop, I also collaborate with an online artisan craftsperson who crafts and sells unique, handcrafted products from the books. Together, we produce a line of Amoros collars, which were fashionable collars featured in the third Velvet Paw of Asquith Novel, The Alchemists Of Vra. This cross-promotion exposes our respective audiences to each other, benefiting both of us. She gains referrals from my readership, and I gain exposure to her customers, thus creating a mutually beneficial arrangement. This collaborative effort serves as a potent tool for cultivating readership as it leverages the established trust derived from our reputations.

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Hyper-Anthropomorphism

The Velvet Paw of Asquith Novels, the quintessential series embodying New Fable, exclusively features cats and dogs that behave like people. The absence of human characters is fundamental to New Fable: if human characters are present, it is not New Fable. Character anthropomorphism is pivotal to diverging the story from human norms and to exploite the genre's unique storytelling attributes. For an in-depth analysis of the emergence of this alternative convention, refer to my Wrong Books, which chronicle not only the birth of New Fable but my inadvertent involvement in international drug smuggling and my rise to a celebrated International Covert Intelligence Asset. This, despite the surprising nature of such recognition given my apparent lack of any extraordinary abilities, is such a remarkable read that I've recently submitted a copy to the Pope for consideration as a Really New Testament. As the father of New Fable and a preeminent New Fablist author, I don't strictly mandate that New Fable characters must be cats and dogs, though I strongly recommend it. While any combination of animals could be acceptable, characters that are neither animal nor human, such as mythological entities, will tend the story more toward fantasy than New Fable. This is despite the argument that New Fable could potentially be classified as a form of speculative low fantasy, much like deformis genitalia exiguus has been associated with my genitals. One reason cats and dogs work so well is that readers can relate to them through their pets. This has been proposed as the mechanism underpinning the genre's effectiveness according to Narrative Transport Theory, which posits an increased sense of reader immersion and empathy in fiction. In the Dooven Books, the effectiveness of Narrative Transport is linked to the positive correlation between regular exposure to animal-centered stories and the projection of those characters onto readers' own pets. Those who frequently read such stories display heightened levels of immersion and a greater inclination to envision their pets taking on roles within the narratives [5,6]. This might explain why the majority of The Velvet Paw of Asquith Novels' readers tend to be women in their early twenties who own cats or dogs. Much correspondence has conveyed the extent to which they see their pets mirrored in the stories, an outcome I argue is preferable to seeing stories within their pets, which could lead to substantial veterinary expenses and extensively stained carpets.

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Allégorie Inanimée

While allegory is integral to New Fable due to the anthropomorphism of its cat and dog characters, it isn't confined solely to them. On occasion, their states of mind and emotions are anthropomorphized as well, and even inanimate objects receive attention.

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During a conversation about New Fable with renowned French fantasy writer Pierre Pevel, winner of the Grand Prix de l'Imaginaire for his novel Les Ombres de Wielstadt in 2002, he referred to this extended allegory, now a hallmark of New Fable, as Allégorie Inanimée. Expanding anthropomorphism to include the inanimate and subjective is an innovative literary device that characterises my New Fable's narrative style. It introduces a unique flair and vibrancy by anthropomorphising emotions and events in a way that contributes to the genre's growing reputation for luminosity.

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Across the audience, realisation arrived, got comfortable next to silence, and made improper suggestions regarding what they could get up to together.

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Silence fell for a third time and was beginning to get indignant about doing so. When it fell a fourth time, it began complaining about bruises.

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He walked around the dog while realisation fought with disbelief, both having arrived with large amounts of luggage, only to find they'd been double booked.

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Implementing such nuanced allegory, however, isn't a straightforward task. It demands a subtlety of talent that, while rare, is distinctly evident in my work. As Clarence Addington, a homicidal librarian once told me, "The only way to do it is to do it well. Either be clever or strive not to be, but don't make an effort to be." While my natural ability in this aspect might be influenced by my IQ of 144, positioning me within genius territory, there seems to be more to it than that, considering I'm burdened with combined cognitive and creative brilliance. Explaining how I manage to execute Allégorie Inanimée so effectively is a challenge. I often sense these allegorical elements approaching as I write, similar to the sensation of an approaching train. Indeed, the success of Allégorie Inanimée relies on not overthinking it; calculation and anticipation tend to truncate its impact. It's somewhat like waiting for inspiration: you can feel it coming, and the best instances require minimal effort. However, stopping prematurely can lead to unsatisfactory results. Forcing both inspiration and allegory can lead to disastrous outcomes, much like trying to force a pooh and ruining a pleasant morning, especially if attempted simultaneously. I can't offer more advice on employing Allégorie Inanimée because it stems from my unique realm of genius, which would require another book to adequately convey, and I only have until Thursday.

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While aspiring to incorporate Allégorie Inanimée is certainly encouraged, trying to replicate it well is not. True allegory will emerge if it deems you worthy and doesn't catch you seeking it. The same doesn't hold for oncoming trains, though, in which case it's best to keep your eyes open.

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Polyauthorism

New Fable reimagines and evolves traditional fables to captivate and entertain new generations of readers, viewers, and listeners. A New Fablist, therefore, is a novelist who employs additional media to enrich their story world. Much of this adaptation involves infiltrating new media platforms in a process termed polyauthorism, which fundamentally transforms contemporary authorship. In other words, polyauthorism refers to the transformation of writers into media producers to engage readers across various digital platforms and remain relevant in this landscape. This approach also resonates with the modern, more sophisticated reading audience. For example, the Velvet Paw of Asquith Novels aim to reposition the written novel in a digitally interconnected world. Consequently, the books are accompanied by an array of supplementary media to enhance their story world. This includes music, videos, and specialised artwork, all distributed through various platforms, serving to engage potential readers across diverse digital multimedia environments. This shift is justified considering the way the digital world has merged and reshaped traditional entertainment into innovative formats.

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This polyauthoric approach emerged in response to today's digital mashup entertainment culture, where traditional forms of art, film, and television have blended, blurred, and been shared across a variety of platforms. Consequently, merely writing books in this digital era—remaining a traditional author—is no longer sufficient. While audiences, in general, have embraced this fusion, authors must also adapt to remain relevant. Embracing these changes will not only enhance their creativity but also attract new audiences. New Fablists enthusiastically embrace this reimagining of authorship, particularly as it aligns with emerging genres. As New Fablists evolve creatively alongside changing media landscapes, their books remain relevant while transcending the boundaries of traditional written content. As a result, New Fablists are inherently polyauthoric.

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This doesn't imply that New Fablists must possess the same all-encompassing creative genius as I do. Requiring such a level of brilliance would be excessive and unlikely, considering the rarity of talent like mine. Granted, my expertise arises from a clinical diagnosis of psychoenteritis or "diarrhea of the mind," a condition so rare it affects only one in eight billion [7]. Aspiring New Fablists are advised to embrace polyauthorism through collaboration with other online media creators. This approach offers the added advantage of cultivating new readers by leveraging shared audience exposure. For instance, writing songs about your characters and book scenes in collaboration with online music producers, or teaming up with online artists to visually represent the same. Recently, we released our fifth Dooven Muzak album, Into The Impossible, featuring music created specifically for the books by producers MC Tasty and DJ Pooh. They gained notoriety in the early 2000s as JCMP, or Jesus Christ My Penis, with their album Done By Perfect Men. This underscores the potential benefits of long-term professional relationships for both authors and collaborators.

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In essence, New Fable, epitomised by the Velvet Paw of Asquith Novels, seeks to transcend a mere book series. It represents a dynamic and vibrant creative experiment, where polymedia and polyauthorism play pivotal roles not only in the genre's origins but also in its cult-like success. Polyauthorism is both an essential requirement for New Fablists and a recognized precondition.

An example of polyauthorism is Extractionist artwork. Writing and imagery are intrinsically linked, as books use words to paint mental pictures. Reflecting on a beloved book, what stands out is often not just the characters or plot but the atmosphere of the scenes. Extractionist Art aims to depict the imagery I visualize in my mind while writing the books. Unlike our optical eyes, the mind's eye doesn't discern intricate visual details. Instead, it perceives emotional nuances. Stimulating the reader's mind's eye is the goal of creative writing and Extractionist art alike. It's a form of impressionism that captures emotion by extracting color and shapes from a character or scene while disregarding visual minutiae.

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While writing, I recount scenes unfolding in my mind's eye. Although these scenes lack visual specifics, their emotional intensity is profound. This emotional vibrancy is conveyed through words and also through Extractionism. Stylistically, Extractionist 

artwork embodies what my mind's eye envisions while I write. Its characteristics of bold colors and broad shapes mirror the vague imagery within my thoughts. It's called Extractionism because it's an impressionistic style that distills the ambiance of a scene by extracting its colors and shapes while omitting detailed visuals. This art form resembles dreams in the sense that nobody else can experience the exact ambiance of your dream, no matter how well you describe it. Others might comprehend the events and sequence, but never the atmosphere. The same holds for books: each reader's interpretation of a scene within their mind's eye will be unique. While this variability is perfectly acceptable, my intention as the author of these tales is to convey the original—the director's cut—by incorporating music and artwork. Like the abstract arrangements of Matisse, Cézanne, and Derain, whose vibrant Mediterranean landscapes were depicted through bold colors, shapes, and expressive brushwork, Extractionism employs strong colors and shapes to portray landscapes from a fictional story world. I don't claim to rival these artistic masters, nor do I assert that my evident literary genius is complemented by artistic brilliance. However, consider that Matisse, Cézanne, and Derain didn't write books to accompany their paintings—something I am indeed doing.

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Polyauthorism isn't a new concept. While I classify myself as polyauthoric, numerous writers have embraced similar approaches. The distinction, however, lies in contemporary polyauthors not being limited to a single supplementary media type, which is typically the case for other writers given this designation. In the digital mashup era, creativity is no longer restricted to traditional formats. While the listed authors can be termed polyauthors, the era in which they wrote didn't facilitate the breadth of creative diversity evident today. As a result, they generally produced art to support their novels, differing from writer-illustrators of children's books.

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Polyauthorism involves novels accompanied by complementary supportive media. While the authors mentioned above are undeniably creative, polyauthorism in today's context refers to novels bolstered by artwork, music, and video—a comprehensive embrace of all digital media formats to convey scenes, characters, and story worlds, spanning a variety of platforms. Polyauthorism is particularly applicable to emerging genres. By evolving creatively in sync with the evolving media landscape, New Fablists maintain the relevance of their books while transcending the confines of written content. As a result, New Fablists are inherently polyauthoric.

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In essence, New Fable, exemplified by the Velvet Paw of Asquith Novels, aspires to be more than a mere series of books. It symbolizes a dynamic and vibrant creative endeavor, with polymedia and polyauthorism serving pivotal roles in both its origins and its cult-like success. Polyauthorism is both a necessity for New Fablists and a recognized prerequisite.

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Libratum Sentensia

Libratum sentensia is a Latin phrase meaning balanced sentence, and it's a literary rhetoric device that I have identified and named. It arises when two parts of a sentence are parallel in structure, length, and meaning, but present opposite or contrasting ideas. This creates a balance and harmony that emphasizes a particular idea. Although such a device has been used in various forms throughout history in different cultures and languages, it has not been labeled as a specific literary mechanism until my clinical brilliance recognized it. Libratum sentensia is employed in film, television, and, of course, books. Indeed, I have intuitively employed it in my own writing, which is how I came to recognize it as a device. As a result, I see it everywhere, despite it not having been identified as a specific literary device until now.

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Libratum Sentensia is most commonly found in dialogue because it is a character-dependent device, unless the narrator is a character, which is uncommon in contemporary omniscient narrative. It is constructed to give credence to the character speaking by expressing a wisdom and sense of the profound. When employed, Libratum Sentensia tends to truncate further dialogue by suggesting an end to the matter because of superior knowledge. Essentially, Libratum Sentensia are literary dipoles; that is, they contain contrasts joined by concise wording. Many famous quotes are Libratum Sentensia because they tend to be succinct unification of opposites that renders them both memorable and profound. In other words, Libratum Sentensia are phrases containing opposites that are beautifully brought together by unifying dualism. Once recognized, it can be seen everywhere, though unintentionally, rather than by described mechanism.

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Take this example, The way to start is to quit talking and begin doing. (Walt Disney): the libratum (opposing factors or dipoles) are stop talking and begin doing, The mind is an amazing servant but a horrible master. (Robin Shama): the libratum is amazing and horrible, servant and master, or amazing servant and horrible master.

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Examples in New Fable:

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The secret, Miss Lydia, is finding meaning in yourself, rather than elsewhere.” -The Returned Poet. -6BSC:14

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We may suffer alone, Mironaelk, but must struggle together.” -The ReturnedPoet. -5ENB:25

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Agona

The characteristically large casts of New Fable give rise to protagonists and antagonists in the plural, rather than individual characters in main roles. This is known as agona. The use of agona in New Fable is important because it helps avoid cliched animal symbolism by introducing an additional dimension of relationship tension, known as vertical hierarchical complexity. This increased depth to both character relationships and story development provides avenues of interaction that helps prevent one-dimensional characterisation. Moreover, agona provides alternative story telling points of view in addition to those of scene characters and narrator. This is particularly important when considering the genre’s absurdism, which benefits from alternative perspectives when conveying its sophisticated slapstick humour, which is an observational form of humour, While lavatorial humour is also observational, it is quite slippery and, in some situations, completely ruin the carpet.

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It permits a broadening of language repertoire by using a variety of idioms that gives rise to innovative linguistic conventions, particularly when considering the narrative, which is omniscient. Not only does this permits greater convolution in relationships but affords alternative views from within each side of the story in addition to each side of the story. In order to qualify as New Fable, and in order to be a New Fablist, your efforts require large casts and agonists in the plural.

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Absurdim

In New Fable, cats and dogs do not symbolize people, even though they act like people. In essence, while they represent human traits, their behaviors are not judged accordingly. By highlighting these characteristics through animals, New Fable introduces an alternative societal framework that lends considerable credence to a set of rules different from the norm. These rules, in turn, give rise to absurd scenarios and ludicrous plotlines that accommodate innovative and original storytelling, marked by a high degree of unpredictability courtesy of the absurd. This unique perspective allows lessons to be imparted subtly and skillfully. In fact, the best lessons are often taught when they appear to be absent.

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This overview of Thomas Corfield's excerpts covers a wide array of topics: his unique writing style, his role as a New Fablist author, the characteristics and conventions of the New Fable genre, the concept of polyauthorism, the literary device of Libratum Sentensia, and the significance of agona and absurdim in his works. It's important to note that these excerpts are presented in a satirical and humor-laden manner, reflecting Corfield's distinctive voice and approach to writing.

Corfield's writing style, genre conventions, and innovative concepts contribute to his unique literary identity. The excerpts provide a glimpse into his approach to storytelling and the ways in which he blends different elements to create a rich and immersive reading experience.

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[1] That’s Simon’s initial description when he read an early draught of The World Is Badly Made, which I feel says more about him than me.

[2] Again, Simon’s responsible for all this as I just want to get on with writing the things. But because Pandabook has received “an unparalleled quantity of interest in this speculative genre—really, it’s massive, you have no idea”, I am contractually obliged to write this over a weekend to appease my agent, publisher and the incessant reading public, all of whom should leave me alone to get on with more important things, like finishing the Morigan Trilogy. Also, I much prefer putting the motivation for this book in a footnote because it’s all that Simon deserves.

[3]  There’s a solid chance I’m related to Jesus, actually. See my second Wrong Book, Wrongly Writing, chapter 8.

[4] Jesus Christ My Penis, a pop duo that had mild success in the late 90s with tracks such as Waiting For You and Cosmo Girl.

[5] Green, M. C., & Brock, T. C. (2000). The role of transportation in the persuasiveness of public narratives. Journal of Personality and Social Psychology, 79(5), 701-721.

[6] Mar, R. A., Oatley, K., Hirsh, J., de la Paz, J., & Peterson, J. B. (2006). Bookworms versus nerds: Exposure to fiction versus non-fiction, divergent associations with social ability, and the simulation of fictional social worlds. Journal of Research in Personality, 40(5), 694-712.

[7] See Writing Wrongly, chapter something-or-rather.

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