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Each chapter is less than 200 words and averages around 50-100. The concept triggers the combination of poetry and narration, forming short bite sized chapters utilizing white space, line breaks, fragments, poetic devices and concentrated sensory, emotional or dialogue content, many cliffhangers, that capitalizes on actual real life rapid fire happenings and lack of ability to process information in perfect clarity. Some famous examples are: “ Koizora” (Love Sky), “ Akai Ito” (Red String of Fate), “ Kimi No Sei” (It’s Your Fault), “Moshimo Kimi Ga” (If You) and more: Anime and manga often mention cell phone novels or cell phone novelists, most clearly in Watashi Ni XX Shinasai where the main character is a cell phone novelist hiding under a secret identity.Ĭell phone novels are designed to be written or read on cell phone screens and screensizes, regardless whether a writer chooses to write on a computer or a mobile device. The top five bestselling books each year in Japan are often cell phone novels.
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These books have then accumulated millions of reads and readership, published into print form and made into films, TV drama, anime and manga and so on.
It is simply the down to earth, casual, “vulgar”, realistic spoken language of pop culture which we may see used in young adult novels these days)
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Since Yoshi’s “Deep Love”, which he financed and made a website for, and birthed a TV series, movies, manga comics and more, publishers have picked up on this trend and created websites and apps where Japanese users can read and post these stories online under pen names and secret identities, inspiring a culture of serial spontaneity and improvisation, a new generation of aspiring and amateur writers – a majority composed of high school students expressing very personal, emotional, existential and controversial topics that are considered taboo to mention openly in Japanese culture, such as identity, subcultures, relationships, rape, bullying, abortion, friendships and betrayals using sparse colloquial conversational language (while in Japanese it isn’t considered to be literature material, it would be however starkly different from “text message lingo” with short forms and abbreviations. With the style and tradition of Japanese blogging which captures the essence of the sparse and ambiguous, context-based casual and personal Japanese language, the story started the style we see in English cell phone novels today. The OriginĬell phone novels originate from Japan almost fifteen years ago, where a young man by the name of Yoshi started writing a novel on his cell phone consisting of short chapters that fits in a multimedia email message, sent to friends and then forwarded and spread through word of mouth and other makeshift promotional strategies.Ĭell phones in Japan were much more advanced than the Western counterparts back then and were capable of 3G internet networks and email messaging and did not have SMS text limitations. As it is about the literary culture, form and style, there is no restriction of genres or content.
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Each chapter or page is at most 200 words, but usually averaging around 50-100 words, using white space, line breaks, fragments, free flow poetry, deeply personal thoughts, emotions, and onwards. The cell phone novel is a remarkably unique new form of writing, fusing serialized online storytelling with simple haiku-like poetic technique and with prose narrative. Japanese cell phone novel (keitai shousetsu, ケータイ小説, literally keitai = cell phone, shousetsu = novel) phenomenon began almost fifteen years ago and landed in the English-language world in 2008, beginning a new literary movement among thousands of young writers and readers globally first on. Cell Phone Novel Documentary and Interview
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