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“We are of o different kinds,” the
older waiter said. He was now dressed
to go home. “It is not only a question of
youth and confidence although those
things are very beautiful. Each night I
am reluctant to close up because there
may be some one who n ds the cafe.”

“Hombre, there are bodegas open all
night long.”

“You do not understand. is is a clean
and pleasant cafe. It is well lighted. e
light is very good and also, now, there                Ernest Hemingway
                                            ”A Clean, Well-Lighted Place”
are shadows of the leaves.”
On Hypertext
Narrative
Mark Bernstein
www.eastgate.com markBernstein.org
a link and a narrative walk into a bar:
from telling stories to technical documentation
Eastgate
serious hypertext
fiction nonfiction poetry
       since 1989
The Paper
45 References &
21 Footnotes
why links destabilize the story
how stretchtext tried to fix this
why it failed
how to fix it
How did this                             Reading
paper happen?                            Hypertext
I reread lots of terrific papers in the
course of compiling a new
anthology about Reading
Hypertext.

                                             Mark Bernstein
(Want a set of bound galleys? Ask
                                              Diane Greco
me)
Reading Hypertext
                                      1. Into The Weeds                                    1
                                              Mark Bernstein




Reading
                                      2. Why are we still talking like this?               15
                                              Diane Greco
                                      3. La Maison Hypertext                               19
                                              Charles A. Perfetti
                                      4. Piecing together and tearing apart:
                                      finding the story in a ernoon                         21
                                              Jill Walker




Hypertext
                                      5. A Cognitive Model                                 35
                                              N. J. Lowe
                                      6. “How Do I Stop this Thing?”
                                      Closure and Indeterminacy in
                                      Interactive Narratives                               59
                                              J. Yellowlees Douglas
                                      7. Reconfiguring Writing                              89
                                              George P. Landow
                                      8. The Lyrical Quality of Links                      99
                                              Susana Pajares Tosca
                                      9. A Pragmatics of Links                             103
                                      Susana Pajares Tosca
                                      10. Stitching Together Narrative, Sexuality, Self:
                                      Shelley Jackson’s Patchwork Girl                     119
Much of this work is insufficiently             George P. Landow
                                      11. These Waves Of Bugs                              129

known.                                        Anja Rau
                                      12. Cinematic paradigms for hypertext
                                              Adrian Miles
                                                                                           137

                                      13. Nonce Upon Some Times:
                                      Rereading Hypertext Fiction                          149
                                              Michael Joyce
                                      14. Returning In Twilight: J
                                      oyce’s Twilight, a Symphony                          165
In particular, the apparent quarrel           Dave Ciccoricco
                                      15. Hypertext Structure Under Pressure               193

between narrative and the link has
                                              David Kolb
                                      16. Reading Spatial Hypertext                        213
                                              Catherine C. Marshall
                                      17. Hypertext Teaching                               223
generated terrific confusion.                  Adrian Miles
                                      18. Hypertext with Consequences:
                                      Recovering a Politics of Hypertext                   239
                                              Diane Greco
                                      19. What the Geeks Know:
                                      Hypertext and the Problem of Literacy                251
                                              Stuart Moulthrop
If you are a ACM Hypertext Conference regular,
          it might surprise you that…



          is is the
      System Trac
Information Structure and Presentation
ere will be a
  esult…
… and there will be
   a formalism
   (though not a very good one)
but, first, we n d
a detour through
      theory
Three Layers
Story
 “what happened”
Plot
 the sequence in which we explain what happened
Presentation
 what we see on the page or the screen
Hypertext & Consequences
we want hypertext to do what we can’t do in print

  The fraudulent hypertext
    lots of links
    but whatever link you choose, you go to the same place


  How can we know?
    only through rereading                     propo tion 1:
                                               hypertextuali is perceived
                                               through rereading and
                                               refle ion.
If our choice of links is to prove
more than superficially
consequential, links must either
affect the story or the plot.
Story
  choose your own adventure
  Hamlet on the Holodeck
Plot
  afternoon, a story
It’s That Kind Of Movie
the problem with changing the story

Historians can’t change the story.

Some stories don’t change.

It’s not all about you.



                                     Elna Borch
                          Death and the Maiden
                          Ny Carlsberg Glypotek
Max Klinger


My Friend Hamlet
                                                          Dramas
                                                      A Mother 1-2


more problems with changing the story

Many stories interest us because events happen as they did
      Hamlet could have gone back to school
      Juliet should have had a long talk with her mother
      Winston Churchill might have been killed by a taxi in 1931


    e world full of unhappy sons, preco ous
  daughters, and wayward tax .


  s    “Card Shark and              espis”, HT01
Changing the Plot
Bolter and Joyce, HT87
Changing tone, pacing, point of view
Starting and ending at different points
Embedding in new frames
   • e Longest Day
   • e Big ed One
   • Saving Private Ryan
   • Band Of Brothers
John Collier
                                Dante Gabriel Rossetti (detail)
                                         Henry Osawa Tanner




Changing the Plot
Three annunciations: all different.

Plot is not a surface detail.

Allusion has always worked through
hypertextual, nonsequential linkage.
Little Red Riding Hood
(Arne-Thomson 303)

A wolf deceives a girl into climbing into bed
with him. (Early lessons re social software)


When do we tell the reader that
the wolf has run ahead and
eaten grandma?
Little Red Riding Hood
When do we tell the reader that the wolf has run
ahead and eaten grandma?

 early             tragedy

 in the woods      horror movie, melodrama

 at the last
                   comedy, romance
 moment
                   Rashomon, “The Babysitter”,
 afterwards
                   Portrait of a Lady
a crucial paper
Nonce Upon Some Times                                    the most accessible
Joyce (a writing exercise)                               version had a critical
                                                                 typo

  Describe four things that happen, forming a sequence




  Next, we link back to a previously-visited node
  Where can we go now?
for example…
Preston Sturges, The Lady Eve


A guy and a gal
walk into a bar.
He is wealthy, and is
returning from a
long stint of postdoc
field work.
She is beautiful, and
is a con artist.
for example…
Preston Sturges, The Lady Eve


As is his nature, he
falls in love.
As is hers, she
swindles him out of
a large sum of
money.
Nonce Upon Some Times
Joyce

 A wealthy and handsome boy, returning from an isolated outpost, embarks
 on a ship and encounters a beautiful girl who, it happens, is a con artist.
 They meet. As is his nature, he falls in love. As is hers, she swindles him out
 of a large sum of money.
 He discovers that he was been swindled; the lovers quarrel. She discovers
 that she has fallen in love with him. They part, and do not see each other for a
 long time.
 The estranged lovers meet again, It is like they had never parted.


 Where do we go from here?
What Happens Now?
four link primitives

  A wealthy and handsome boy, returning from            ecursus We follow the cycle
  an isolated outpost, embarks on a ship and          again (literally, or with variations,
  encounters a beautiful girl who, it happens, is     or metaphorically, or …)
  a con artist.
                                                      Time i We proc d to a new
  They meet. As is his nature, he falls in love. As   node that follows naturally om
  is hers, she swindles him out of a large sum of     what has gone before (they get
  money.                                              married; and then…)
  He discovers that he was been swindled; the           enewal We proc d to a new
  lovers quarrel. She discovers that she has          node that takes off in a new
  fallen in love with him. They part, and do not      direction (a German submarine
  see each other for a long time.                     appears off the port bow…)
  The estranged lovers meet again. And then: ...      Annotation
so…
      We want to vary plot
Our tools are the 4 lin primitives
recursus ❧ time i ❧ renewal ❧
           annotation

    We now s m to understand
       hypertext narrative
Four Kinds of
Links

propo tion 2: the four fundamental
lin s in narrative are recursus,
time i , renewal, and annotation.
But there was one thing
they had forgotten

Print stays itself; ele ronic
text replaces itself. (Joyce)
what the doctor
      feared

arrival and departure
         cycles
   postmodernism

                        afternoon, a story
what the doctor
      feared

arrival and departure
         cycles
   postmodernism

                        afternoon, a story
Parable: The 4th Century Codex
4th century
        software
        engineering




Chopping continuous scrolls
Experts Might Have Predicted
What the doctor
                  • disorientation
feared
                  • cognitive overhead

                  What Happened
                  • much longer works
                  • silent reading
PJ Brown
  GUIDE

   Gould,
  Zellweger,
   Mangen
   FLUID



Ted Nelson has
seen stretchtext
   as a (the?)
 natural form of
hypertext since
 the beginning.    The Cure for Navigation: stretchtext
PJ Brown
  GUIDE

   Gould,
  Zellweger,
   Mangen
   FLUID



Ted Nelson has
seen stretchtext
   as a (the?)
 natural form of
hypertext since
 the beginning.    The Cure for Navigation: stretchtext
But there was one thing they had forgotten...

The Cure
Zellweger, Gould, Mangen

Print stays itself; electronic text replaces itself.
Stret text
    no navigation (or at least no departure)
    context remains present
    no slippery cycles

( e real obje ion might have b n recursus, and the
real target either modernism or postmodernism)
Why The Cure Didn’t Cure
GUIDE replacement button

          ABC                    ADEFC
           If Y follows X in some reading, then Y will
           follow X in every reading in which they both
           appear. us not only must we forego cycles,
           we must always adhere to the same narrative
           sequence.
Stretchtext Constrains Plot as
well as Story
GUIDE replacement button

          ABC                    ADEFC
                   propo tion 3: conventional
                   stret text greatly restri s
                   plot variation
More Notation
Conventional stretchtext (GUIDE, outliners)

                              A              AB
Chunks/lexia/scoping

               AB CD                         ABX CD
Open a new window or text stream (Trellis)

                             A               A+B
Generalized Stretchtext

ABC [DEF] ADEC [BF]
    A pool of hidden nodes
    Links may promote hidden nodes, and demote visible nodes
        ❧ expander ❧ replacer ❧ choice ❧ jump ❧

    Add predicates, and we have a stretchtext system that is
    formally equivalent to Storyspace while retaining the textual
    stability of stretchtext.
generalized
   stret text
Implemented as a javascript library.
generalized
        stret text
           Write with Tinderbox
(nice ont end while you’re building your own)
phew!
our bu ness is
varying plot, not
      story
text stays itself;
 ele ronic text
 replaces itself
stret text   ps
us om varying
     plot
Generalized
stret text lets us
vary plot without
   arrivals and
   departures.

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On Hypertext Narrative

  • 1. “We are of o different kinds,” the older waiter said. He was now dressed to go home. “It is not only a question of youth and confidence although those things are very beautiful. Each night I am reluctant to close up because there may be some one who n ds the cafe.” “Hombre, there are bodegas open all night long.” “You do not understand. is is a clean and pleasant cafe. It is well lighted. e light is very good and also, now, there Ernest Hemingway ”A Clean, Well-Lighted Place” are shadows of the leaves.”
  • 3. a link and a narrative walk into a bar: from telling stories to technical documentation
  • 5. The Paper 45 References & 21 Footnotes why links destabilize the story how stretchtext tried to fix this why it failed how to fix it
  • 6. How did this Reading paper happen? Hypertext I reread lots of terrific papers in the course of compiling a new anthology about Reading Hypertext. Mark Bernstein (Want a set of bound galleys? Ask Diane Greco me)
  • 7. Reading Hypertext 1. Into The Weeds 1 Mark Bernstein Reading 2. Why are we still talking like this? 15 Diane Greco 3. La Maison Hypertext 19 Charles A. Perfetti 4. Piecing together and tearing apart: finding the story in a ernoon 21 Jill Walker Hypertext 5. A Cognitive Model 35 N. J. Lowe 6. “How Do I Stop this Thing?” Closure and Indeterminacy in Interactive Narratives 59 J. Yellowlees Douglas 7. Reconfiguring Writing 89 George P. Landow 8. The Lyrical Quality of Links 99 Susana Pajares Tosca 9. A Pragmatics of Links 103 Susana Pajares Tosca 10. Stitching Together Narrative, Sexuality, Self: Shelley Jackson’s Patchwork Girl 119 Much of this work is insufficiently George P. Landow 11. These Waves Of Bugs 129 known. Anja Rau 12. Cinematic paradigms for hypertext Adrian Miles 137 13. Nonce Upon Some Times: Rereading Hypertext Fiction 149 Michael Joyce 14. Returning In Twilight: J oyce’s Twilight, a Symphony 165 In particular, the apparent quarrel Dave Ciccoricco 15. Hypertext Structure Under Pressure 193 between narrative and the link has David Kolb 16. Reading Spatial Hypertext 213 Catherine C. Marshall 17. Hypertext Teaching 223 generated terrific confusion. Adrian Miles 18. Hypertext with Consequences: Recovering a Politics of Hypertext 239 Diane Greco 19. What the Geeks Know: Hypertext and the Problem of Literacy 251 Stuart Moulthrop
  • 8. If you are a ACM Hypertext Conference regular, it might surprise you that… is is the System Trac Information Structure and Presentation
  • 9. ere will be a esult…
  • 10. … and there will be a formalism (though not a very good one)
  • 11. but, first, we n d a detour through theory
  • 12. Three Layers Story “what happened” Plot the sequence in which we explain what happened Presentation what we see on the page or the screen
  • 13. Hypertext & Consequences we want hypertext to do what we can’t do in print The fraudulent hypertext lots of links but whatever link you choose, you go to the same place How can we know? only through rereading propo tion 1: hypertextuali is perceived through rereading and refle ion.
  • 14. If our choice of links is to prove more than superficially consequential, links must either affect the story or the plot. Story choose your own adventure Hamlet on the Holodeck Plot afternoon, a story
  • 15. It’s That Kind Of Movie the problem with changing the story Historians can’t change the story. Some stories don’t change. It’s not all about you. Elna Borch Death and the Maiden Ny Carlsberg Glypotek
  • 16. Max Klinger My Friend Hamlet Dramas A Mother 1-2 more problems with changing the story Many stories interest us because events happen as they did Hamlet could have gone back to school Juliet should have had a long talk with her mother Winston Churchill might have been killed by a taxi in 1931 e world full of unhappy sons, preco ous daughters, and wayward tax . s “Card Shark and espis”, HT01
  • 17. Changing the Plot Bolter and Joyce, HT87 Changing tone, pacing, point of view Starting and ending at different points Embedding in new frames • e Longest Day • e Big ed One • Saving Private Ryan • Band Of Brothers
  • 18. John Collier Dante Gabriel Rossetti (detail) Henry Osawa Tanner Changing the Plot Three annunciations: all different. Plot is not a surface detail. Allusion has always worked through hypertextual, nonsequential linkage.
  • 19. Little Red Riding Hood (Arne-Thomson 303) A wolf deceives a girl into climbing into bed with him. (Early lessons re social software) When do we tell the reader that the wolf has run ahead and eaten grandma?
  • 20. Little Red Riding Hood When do we tell the reader that the wolf has run ahead and eaten grandma? early tragedy in the woods horror movie, melodrama at the last comedy, romance moment Rashomon, “The Babysitter”, afterwards Portrait of a Lady
  • 21. a crucial paper Nonce Upon Some Times the most accessible Joyce (a writing exercise) version had a critical typo Describe four things that happen, forming a sequence Next, we link back to a previously-visited node Where can we go now?
  • 22. for example… Preston Sturges, The Lady Eve A guy and a gal walk into a bar. He is wealthy, and is returning from a long stint of postdoc field work. She is beautiful, and is a con artist.
  • 23. for example… Preston Sturges, The Lady Eve As is his nature, he falls in love. As is hers, she swindles him out of a large sum of money.
  • 24. Nonce Upon Some Times Joyce A wealthy and handsome boy, returning from an isolated outpost, embarks on a ship and encounters a beautiful girl who, it happens, is a con artist. They meet. As is his nature, he falls in love. As is hers, she swindles him out of a large sum of money. He discovers that he was been swindled; the lovers quarrel. She discovers that she has fallen in love with him. They part, and do not see each other for a long time. The estranged lovers meet again, It is like they had never parted. Where do we go from here?
  • 25. What Happens Now? four link primitives A wealthy and handsome boy, returning from ecursus We follow the cycle an isolated outpost, embarks on a ship and again (literally, or with variations, encounters a beautiful girl who, it happens, is or metaphorically, or …) a con artist. Time i We proc d to a new They meet. As is his nature, he falls in love. As node that follows naturally om is hers, she swindles him out of a large sum of what has gone before (they get money. married; and then…) He discovers that he was been swindled; the enewal We proc d to a new lovers quarrel. She discovers that she has node that takes off in a new fallen in love with him. They part, and do not direction (a German submarine see each other for a long time. appears off the port bow…) The estranged lovers meet again. And then: ... Annotation
  • 26. so… We want to vary plot Our tools are the 4 lin primitives recursus ❧ time i ❧ renewal ❧ annotation We now s m to understand hypertext narrative
  • 27. Four Kinds of Links propo tion 2: the four fundamental lin s in narrative are recursus, time i , renewal, and annotation.
  • 28. But there was one thing they had forgotten Print stays itself; ele ronic text replaces itself. (Joyce)
  • 29. what the doctor feared arrival and departure cycles postmodernism afternoon, a story
  • 30. what the doctor feared arrival and departure cycles postmodernism afternoon, a story
  • 31. Parable: The 4th Century Codex
  • 32. 4th century software engineering Chopping continuous scrolls
  • 33. Experts Might Have Predicted What the doctor • disorientation feared • cognitive overhead What Happened • much longer works • silent reading
  • 34. PJ Brown GUIDE Gould, Zellweger, Mangen FLUID Ted Nelson has seen stretchtext as a (the?) natural form of hypertext since the beginning. The Cure for Navigation: stretchtext
  • 35. PJ Brown GUIDE Gould, Zellweger, Mangen FLUID Ted Nelson has seen stretchtext as a (the?) natural form of hypertext since the beginning. The Cure for Navigation: stretchtext
  • 36. But there was one thing they had forgotten... The Cure Zellweger, Gould, Mangen Print stays itself; electronic text replaces itself. Stret text no navigation (or at least no departure) context remains present no slippery cycles ( e real obje ion might have b n recursus, and the real target either modernism or postmodernism)
  • 37. Why The Cure Didn’t Cure GUIDE replacement button ABC ADEFC If Y follows X in some reading, then Y will follow X in every reading in which they both appear. us not only must we forego cycles, we must always adhere to the same narrative sequence.
  • 38. Stretchtext Constrains Plot as well as Story GUIDE replacement button ABC ADEFC propo tion 3: conventional stret text greatly restri s plot variation
  • 39. More Notation Conventional stretchtext (GUIDE, outliners) A AB Chunks/lexia/scoping AB CD ABX CD Open a new window or text stream (Trellis) A A+B
  • 40. Generalized Stretchtext ABC [DEF] ADEC [BF] A pool of hidden nodes Links may promote hidden nodes, and demote visible nodes ❧ expander ❧ replacer ❧ choice ❧ jump ❧ Add predicates, and we have a stretchtext system that is formally equivalent to Storyspace while retaining the textual stability of stretchtext.
  • 41. generalized stret text Implemented as a javascript library.
  • 42. generalized stret text Write with Tinderbox (nice ont end while you’re building your own)
  • 43. phew!
  • 44. our bu ness is varying plot, not story
  • 45. text stays itself; ele ronic text replaces itself
  • 46. stret text ps us om varying plot
  • 47. Generalized stret text lets us vary plot without arrivals and departures.