Thomas' writing

If there was nothing new under the sun then there would only ever be the sun.

By Simon Collington, Panda Books Australia.

Thomas Corfield is a Australian author, renowned for his captivating series, The Velvet Paw of Asquith Novels and The Wrong Books. The Velvet Paw of Asquith series is an amalgamation of adventure, mystery and humour, featuring anthropomorphic cat and dog characters who possess human-like qualities. The series has garnered a dedicated following and acclaim for its imaginative storytelling, witty dialogue and memorable characters. Notably, the protagonist Oscar Teabag-Dooven, a cat embroiled in intrigue and danger as he unravels secrets and navigates absurd plots.

In addition to The Velvet Paw of Asquith Novels, Thomas has also received praise for his satirical Sortabiography series, The Wrong Books. This collection showcases his versatility across genres while retaining his distinctive voice and sharp wit. Departing from the whimsical feline detective tales, The Wrong Books series maintains a unique blend of dark humour and social commentary, and takes aim at various aspects of society, including bureaucracy, mental health and relationships. Through his storytelling, Thomas exposes flaws and inconsistencies in these systems, often utilising satire to spotlight the overlooked absurdities in our daily lives.

Both series underscore Thomas' versatility as a writer and his skill in engaging readers with his unique sense of humour and clever wordplay. His contributions to literature have garnered numerous awards and accolades, including the Kudos Best New Fiction Award and the 2017 Opening Line eZine Award. His writing style is described as whimsical, infused with satire, wit and observational humour, all of which contribute to character development and world-building. He is also a staunch advocate for independent publishing and supports indie authors and their works, particularly within the context of what he terms polyauthorism. This involves collaborating with artists from various disciplines, such as illustrators, graphic designers and musicians, to enhance his stories visually and aurally. The aim is to enrich the reading experience and expand the boundaries of storytelling. Through polyauthorism, Thomas challenges the notion of the solitary writer and explores the potential for collective creativity within the global digital landscape. This approach not only enhances his own works but also fosters a strong sense of community and collaboration in the creative process, benefiting fellow creators by exposing their work and his to wider audiences.

In 2023, the Velvet Paw of Asquith Novels achieved 10,000 sales of their Cinematic Audiobook editions, elevating the series to Cult Status, according to Scribl.com. This achievement solidifies his position as a New Fablist and a respected and beloved author within the literary realm. Thomas' novels continue to captivate readers worldwide, and his unique voice and storytelling style have earned him the title of The Father of New Fable.

Below are a summary of his literary innovations.

1. Polyauthorism

Polyauthorism, as championed by Thomas, redefines traditional authorship by extending it beyond the written word. It's a response to this digital era's blend of various media formats and aims to engage readers across diverse platforms. New Fablists, including Thomas, embrace polyauthorism by incorporating complementary media such as music, artwork and videos into their storytelling. This not only enhances the story world but also cultivates a broader readership by appealing to modern audiences accustomed to multimedia experiences. Collaboration with other media producers further enhances this approach, leading to mutual benefits in audience exposure and creative exploration.

2. Extractionist Art

Thomas introduces the concept of Extractionist Art, a form of visual art that captures the emotional essence of scenes in his mind's eye while writing. The aim is to stimulate readers' mind's eye by conveying emotions and atmospheres that enhance the immersive reading experience. Similar to the impressionist movement in visual art, Extractionism utilises bold colours and shapes to depict landscapes and scenes from the fictional story world. This approach aligns with Thomas' polyauthoric philosophy, as it combines writing and visual art to convey the story's essence in a multi-dimensional manner.

3. Libratum Sentensia and Literary Device

The term libratum Sentensia has been coined by Thomas to describe a particular form of balanced sentence. This literary rhetoric device contains parallel sentence structures that present opposing or contrasting ideas, resulting in a harmonious balance to emphasise a particular concept. While this device has been used throughout history, Thomas' recognition of it highlights its presence in literature, especially dialogue and memorable quotes. By identifying and explaining Libratum Sentensia, Thomas adds to the arsenal of literary techniques and devices that authors can employ to enhance their writing's impact.

4. Agona

In New Fable, the use of agona, plural protagonists and antagonists, adds depth and complexity to character relationships. This approach avoids clichéd animal symbolism and introduces an additional layer of relationship tension to facilitate a multi-dimensional narrative. Agona provides additional perspectives beyond those of scene characters and the narrator, offering alternative viewpoints that contribute to the genre's absurdism and sophisticated slapstick humour. This device allows for innovative linguistic conventions, expanding the language repertoire to enhance his storytelling.

5. Absurdim

Thomas' interpretation of Absurdim encapsulates New Fable's approach to storytelling. While cats and dogs in New Fable symbolise human traits, their behaviours aren't constrained by human judgment. This allows for alternative societal rules and the creation of absurd scenarios and ludicrous plots that foster innovative and unpredictable storytelling. The juxtaposition of animal behaviour with human-like traits creates a thought-provoking atmosphere that is at the heart of the genre's impact.

Thomas' writing style, genre innovation, polyauthorism, unique artistic expressions and literary devices culminate in a creative philosophy that fosters a reader experience that is both deep and broad. His ability to blend satire, wit and observational humour within the framework of the emerging New Fable genre showcases his distinct voice and contributes markedly to the literary landscape.

Despite all these literary mechanisms, he is still considered a literary farce by his peers, though that’s only because no one likes him. Tiffany Brae, who interviewed Thomas in Joomag’s Git Monthly, perhaps summed him up best when she said: 'Imaginative Realism may well require imagination from the writer, but it requires far more from the reader.' And I think Thomas summed things up further when saying, 'There’s nothing wrong with bad writing, besides the fact that no one reads it. Those who dare are the new adventurers.' Nevertheless, Thomas' work represents a shift in the modern literary landscape, where the boundaries between author, artist and audience begin to blur. His move away from traditional constraints of prose to embrace a multimedia, collaborative spirit, has resulted in a body of work that is both intellectually stimulating and whimsically entertaining. He has, in effect, allowed readers to not just consume his stories, but inhabit a meticulously constructed, multi-sensory universe.

As the Father of New Fable, Thomas is a vital voice for the independent creator. His commitment to polyauthorism and stylistic innovation has ensured that his influence will extend far beyond penned page and inspire a new generation to embrace the absurd and reinvent what it means to tell stories in the digital age. Through his eyes, the world, and the animals within it, becomes a mirror for our own delightful and often overlooked inconsistencies. It's just a pity he's such a wanker.