Tag Archives: Mike Meginnis

The Combustible Type

M Kitchell has a new chapbook, a reprint “bootleg”, and a downloadable zine out with Solar▲Luxuriance. Oh, and a pulsating book trailer.

Bad Questions for Good Writers, an audio interview with Marc McKee, author of Fuse.

Joseph Scapellato and Robert Kloss have contributed to the forthcoming UNSAID 6.

Richard Chiem has a collaborative ebook out with Magic Helicopter Press and a piece in the February elimae.

Caroline Crew proudly presents ILK issue 2 (Remember when we did that reading with ILK in London? Yeah, that was cool…). Also find Caroline inSpecter Magazineand elimae.

Pre-order Kat Dixon’s book of poems Temporary Yes as soon as physically possible. Read her in Thrush, too.

In case anyone missed it, Rebecca Elliott has an astounding website, Further Experiments. A laboratory of imagery, sound, and the science of smell.

Erin Fitzgerald is in >kill author 12.

This piece by  Jen Gann in NOÖ Journal is from last year, but it’s still mighty fine. So is this one by Melissa Goodrich.

Jen Besemer has a new e-chapbook out with White Knuckle Press.

ON THE ESCAPE is a new journal of poetry and film edited by Tyler Flynn Dorholt.

There’s a new item on our bookshelf: EXITS ARE, an ongoing e-book published in conjunction with Uncanny Valley, by Mike Meginnis and “many players.”


EXITS ARE / interview with Mike Meginnis

In collaboration with Uncanny Valley, Artifice Books is releasing EXITS ARE, an ongoing collaborative e-book by Mike Meginnis “and many players” (player #1, up now, is Blake Butler, author of the novels Scorch Atlas and There Is No Year, as well the memoir Nothing: A Portrait of Insomnia).

EXITS ARE is updated weekly.

Explain EXITS ARE. What’s the idea here?

Basically, I’m using text adventures as a model for collaborative writing as a mode of play. The way I explain it to the writers I play with is that the only rule is that we take turns — a rule I follow very strictly, even when I realize that I’d like to change or correct something. I tell them that I’ll default to impersonating a text adventure, like Zork, and they can default to interacting with me as a player would. That means that I mostly describe rooms and situations to them, and they mostly say what they want their character to do. They’re free to step out of their role, though, and I’m free to step out of mine. Sometimes they narrate, and sometimes I ask them questions or speak to them directly. When the game is done (usually it takes 2-4 hours) I save the transcript and come back to it weeks later. At this point I gently massage the text, correcting small errors and occasionally making more substantial alterations, in an attempt to make the resulting story a better experience for readers. Continue reading