nothing else but what happens to me, such as speaking (Beckett, The Unnamable, 360) In the contemporary field of narrative theory, which combines literary and socialscience approaches, the socio-cultural aspects of social-media storytelling have been widely discussed. However, the literary potential of social-media storytelling has gone almost unnoticed. We need research on the literary craft in social media and on its interpretation, as platforms such as Facebook or Twitter are gradually transforming our understanding of what is meant by narrative and what narrative is considered compelling (Georgakopoulou 2013: 220-21 and 2017: 36-38). From the perspective of literary narratology, the two-way traffic between conventions of literary fiction and conventions of social-media storytelling should be of key interest, but little research exists on the topic thus far. Narratologists have, for example, considered the insertion of web-based material within novels (e.g. Hallett 2014) and the borrowing of literary techniques and attempts at literary creativity in Twitterfiction (Thomas 2013 and 2016). Yet more traditionally "narratological" text-oriented questions such as the parallels between simultaneous narration in the novel and on-line social media experientiality, have received scant attention. Transmedial narratology is more interested in how storyworld franchises travel