The Loud Boys

Magic Bullet Theory Applied to Literature

AN EXPERIMENT IN APPLIED IDEAS

THE ODDS against easily solving the dilemmas the literary art finds itself in may well be astronomical. The question is: what are the alternatives? Continued artistic stagnation– writers recycling in tired variations the already been done? Domination of book markets by floods of AI literary slop care of hustlers producing hundreds of bot books, saturating Amazon and other outlets with their crap then bragging about it? A Big Five publishing establishment as devoid of ideas as the movie business, pushing out millions of copies of variations of generic fantasy, covering everything from medieval knights to space sorcerers, to unreal romances relying on caricatured situations and plots?

The solution is Breakout. Shock of the New. Creating a story or novel so different, accessible or exciting it will overturn the status quo literary world. But: how to do that?

FOUR TACTICS

1.) CLARITY. In this hectic age the writer no longer has the luxury of self-indulgence via endless sentences and paragraphs. The reader needs to be grabbed as quickly as possible through a sense of–

2.) IMMEDIACY. Stunning action or emotion from the first page. With an overarching sense of–

3.) RELEVANCE. Call it ideas, call it politics or polemics, the new story and novel need to be part of the culture’s greater conversation. Literature needs to matter. Recognition of reality– of social happenings which affect every one of us. This is no time to remain locked within aesthetic bubbles, a coterie of the insulated and protected, not recipients of economic body blows inflicted on the bulk of the public. NOT witnesses up-close-and-personal to class war including attacks on immigrants, the poor, the disabled and the homeless.

In 2012 I wrote an ambitious novel, The Tower, which sought to portray the beginnings of American disorder and collapse, depicting a variety of social and economic classes; influenced by the Occupy protests of 2011, as well as several previous experiences. A narrative of impending chaos.

4.) MULTIPLE VIEWPOINTS. The advantage of multiple viewpoints, whether used casually as in The Tower, or at a quick switching pace as in my political novella The Loud Boys, is to present a rounded view of a society or situation. To break out of the narrow linear “autofiction” perspective of so much of today’s literary writing. Removing tunnel vision in order to showcase an entire world.

Every one of these four components needs to work together, maximized, to create a breathtaking reading experience.

A path forward. Opportunity awaits! For the aggressive and the ambitious.

-Karl Wenclas

Human Innovation

Our assistant editor and style consultant, Kathleen M. Crane, to me as we watched the original 1968 Steve McQueen-Faye Dunaway version of “The Thomas Crown Affair”:

“This reminds me of The Loud Boys.”

Near the beginning of the film, plot events happen simultaneously. The movie uses extreme split-screen techniques of the kind first shown at the 1967 Montreal Worlds Fair. No doubt it works best on giant movie screens. The film– influenced by the French New Wave and by neo-noir films like “Point Blank”– was trying to be the epitome of editing, design, and style. A worthy objective.

IS THAT our objective at New Pop Lit?

WHY INNOVATE?

In this mad accelerated world with everything in a state of flux, literature has no choice but to innovate, or become little more than a handful of arrogant monks in a remote monastery on the edge of civilization– a few last holdouts– while what remains of the publishing world is a trash mountain of generic, AI-generated bot books pushed out by the mirror-imaged “Big Five,” which based on how closely they resemble one another in structure, mentality, staffs and output is really a Big One.

(image c/o The New Yorker.)

Never have more choices been offered, with every choice exactly the same.

The only real choice in 2025?

To stand out!

Which we’ve begun doing using multidimensional writing combined with a hyper-pop vibe, as demonstrated in the novella, The Loud Boys. Available here.

-Karl Wenclas

About Graphic Novels

–and their potential influence on literature.

Graphic novels and comic books aren’t taken seriously by literary people, even though they’re an offshoot of the novel (19th century melodrama; early 20th century pulp fiction), and are a gateway for many readers to the novel.

The basic building block for the narrative comic book is the panel. Mini-paintings or portraits, usually with words added. When they’re not, the stand-alone illustration is meant to make a point– to emphasize a key plot moment, even depict the story’s climax. The result: interconnected micro-chapters. Dialogue is used sparingly but well. The graphic novel embodies the principle of “less is more.” A single sentence or lone illustration carries meaning beyond itself. The technique works on not spelling everything out. On not having to spell everything out, a principle used first by impressionist painters, impressionist music composers like Debussy, and by 20th century modernist writers Georges Simenon and Ernest Hemingway.

“It wasn’t by accident that the Gettysburg Address was so short. The laws of prose writing are as immutable as those of flight, of mathematics, of physics.” -Ernest Hemingway

Ernest Hemingway was heavily influenced by Impressionist painter Paul Cezanne. Like Stephen Crane, Hemingway saw literature as a visual art.

USING THE TECHNIQUE

JUST AS the comic book/graphic novel was an outgrowth of popular novels, there’s no reason why serious fiction writers can’t in turn be influenced by the graphic novel. “The graphic novel without graphics.”

Ways to do this:

1.) More striking, over-the-top characters.

2.) More dramatic plots.

3.) Short mini-or-micro chapters, to emphasize each plot moment– and to keep the narrative moving at a faster pace than traditional literature. All part of what I call multidimensional writing.

ADVANTAGES OVER GRAPHICS

What graphic novels can’t do is get inside the heads of their characters. This can be used in multidimensional writing, as in traditional fiction, without going full Henry James-Virginia Woolf “stream of consciousness.” One of the failings of contemporary writing is the trend toward alt-lit/autofiction-style solipsism, which often as not cuts out the actual world: the tragedies and happenings of now. Which is a shame, given today’s contentious chaotic happenings begging to be intelligently addressed with understanding, compassion and outrage.

One of the strengths of multidimensional fiction is the ability to present a variety of viewpoints, quickly switching between them for a rounded, three-dimensional effect.

As we’ve begun doing with some (not all) of our writing. Including the just-released novella, The Loud Boys— now available in ebook form at Amazon. Print version coming soon.

-Karl Wenclas