Intertextuality

Or when something is related to something that is already written.

The concept of intertextuality suggests that all works of literature are a derivation of an existing work of literature which in turns suggests that nothing is really new.

The original definition of intertextuality was coined by a French semiotician Julia Kristeva in the 1960s. From the Latin word intertexto, which means “to intermingle while weaving” , it is itself an example of intertextuality. Kristeva posited that all works of contemporary literature are intertextual with the works that came before it. (Literary Devices : Intertextuality)

You see it a lot in films where they use the iconography or images from something familiar within something new as a nod to all those things you already know. All of the Star Wars spin offs are intertextual (Baby Yoda only works because you know what he was before).

We also see it a lot in fiction. There would be no Good Omens without the Bible, no 50 Shades of Grey without Twilight, which perhaps stands in the shadows of Pride and Prejudice. No Lion King storyboard without Hamlet, none of the multitude of Wonderland retellings without the original Alice, no Matrix script, to some extent without, Neuromancer. All of these reference something that is already known thus leveraging your relationship with the existing text to either extend, subvert or transform our understanding of the original and the new.

Intertextuality includes repeated dialogue, parody, pastiche, retellings and allegories. Its uses can be deliberate, such as Briget Jones’ Mr Darcy or incidental when there is only a fleeting reference but we still don’t talk about Fight Club. Other types include allusion where there is a fleeting and subtle reference or citation, where there is a direct quote.

So how to you know if your story is intertextual?

Again : not a definitive or academic list.

1. You’re writing in the current century so trust me – some of it most probably is.
2. You follow the story-frame work of the seven basic plots on which all other stories are based.
3. There is some level of borrowed imagery/iconography (tell me you are didn’t think about The Matrix when you saw the image above).
4. One of your characters is a supernatural.
5. There is a reference to a legend, myth or religious text.
6. Every time you write a scene where Death speaks – you want to write it in CAPITALS (or is that just me?)

Within the theory of writing, I feel this is an important concept to understand. The challenge for new authors is to filter out the noise and recognise where our stories will benefit from certain types of intertextuality; to recognise that not everything has to be new in order for it to be fresh. Finding the links between what you are writing and what has gone before speaks to a deeper awareness of your story and characters. And while so many of our influences are inherent and implicit, taking time to consider the origin of your ideas could give you space to question and reframe existing narratives giving old stories a new lease of life.

If the plot and the characters are your connection to your reader, intertextuality is your connection to other authors.

References – because this it’s all a bit complicated

1. Literary Devices : Intertextuality
2. Literary Terms: Intertextuality
3. Basic Knowledge 101: Intertextuality
4. What Is Intertextuality? How to Apply Literary Inspiration to Your Writing