Conventional writing borrows its format from oral storytelling—one word after another in linear order. But reading is a visual medium, not an auditory one. Following this unnecessary linear constraint is a straitjacket on the possibilities available to writing and reading as a visual medium.
Consider modernist authors like James Joyce, who weave together dialogue, narration, and internal thoughts in complex passages. These writers demonstrated expression that was forced into a constrained, linear format. In linear text, their multi-layered elements become jumbled and difficult to follow, forcing readers to untangle what's happening.
Chora recognizes that reading works like viewing a painting or hearing music—you can process multiple elements simultaneously. Just as a fugue weaves multiple melodic voices together to create harmony, Chora separates different narrative elements into distinct parallel voices.
By placing dialogue, narration, internal thoughts, and sensations in separate voices, what appears jumbled in linear text becomes a beautiful, clear composition. Voice placement makes attribution obvious, eliminating the need for excessive narrative signposts like "he said," "she said," and "he thought to himself."
Readers can follow a single voice or read across multiple voices to experience simultaneity—understanding exactly what happens at the same time. The visual layout takes advantage of your parafoveal vision, allowing you to comprehend multiple text streams at once.
This creates higher information density per page while maintaining clarity. The aesthetic arrangement of text chunks supports both function and beauty, making complex narratives more accessible and elegant.
Here are some examples of how Chora can be used to write a story.
Created by Nick Ryan