Three prominent writers gathered at the Seoul International Writers' Festival to discuss how smartphones are fundamentally changing the way literature is created and consumed in the digital age. The September 14 event, titled "Writers in Conversation: Thumb-Typed Literature," took place at Ground Seoul, a cultural space in Jongno-gu District, and featured Korean authors Woo Dayoung and Sung Haena alongside Japanese poet Yumi Fuzuki.
The discussion centered around a provocative question that challenges traditional notions of literary creation: "How would literature be different if people had to write only on smartphones?" This inquiry reflects the growing reality that more writers are turning to mobile devices for composition, moving away from the conventional image of authors working exclusively with pen and paper or desktop computers.
Woo Dayoung, who has been writing novels on her smartphone for nine years, shared her unique perspective on mobile writing technology. Initially using her phone as merely a supplementary tool, she gradually embraced it as her primary writing device due to its unmatched convenience and accessibility. "A smartphone is a dangerous tool. One wrong step can suck you into an algorithm, but the things you encounter there can also serve as the subject of a novel," Woo explained during the panel.
Woo described smartphones as "contradictory contraptions" that simultaneously demand both focused writing and engagement with various digital distractions. However, she views this tension as a source of creative potential rather than a hindrance. Drawing parallels to experimental literature that deliberately limits the use of certain letters or words, she argued that "blocking something actually pushes the button of creativity." For Woo, the smartphone represents not just a writing tool but a space for constraint, inspiration, and innovative literary experimentation.
In stark contrast, Sung Haena advocates for what she calls the "aesthetics of slowness" in literary creation. She maintains traditional writing methods, preferring to handwrite her initial ideas, compose on a laptop, and read physical books rather than digital texts. Her notebooks, filled with densely scribbled inspirations, form the foundation of her artistic world and creative process.
"Literature is slow enjoyment. I want to write each line by hand. Typing on a smartphone is even more inconvenient, but humans are creatures of adaptation, so I think I can enjoy it someday," Sung remarked. She emphasized that for her, writing is not merely about producing a final product but about embracing the deliberate pace of creation itself. "The act of writing slowly is part of literature," she added, arguing that the true romance of literature lies in its inherent "slowness."
Japanese poet Yumi Fuzuki offered a third perspective, viewing writing instruments not simply as tools but as trusted "companions" in the creative process. She described her deep connection to traditional writing methods, explaining, "I slowly get immersed in pen and paper. My hand movements sometimes give me unexpected answers. It's as if the tool writes poems for me." This intimate relationship between writer and instrument, she suggested, cannot be easily replicated with digital devices.
Fuzuki also raised concerns about the broader implications of algorithmic influence on contemporary literature. "These days, algorithms dictate a writer's perspective. If you can't keep your own perspective, your writing will soon be quickly consumed," she warned. Her comments highlighted the potential dangers of allowing technological systems to shape literary voice and vision.
The conversation revealed that the debate over smartphone writing extends far beyond simple questions of tool preference. Instead, it touches on fundamental issues about how literature evolves with technological advancement, the relationship between speed and creativity, and the ways digital platforms influence both writing and reading experiences. The three authors' diverse approaches demonstrate that modern literature is being shaped by writers who are consciously choosing different relationships with technology.
The panel discussion was moderated by Kim Yeondeok and represents part of the Seoul International Writers' Festival's ongoing exploration of how digital technology is transforming literary culture. The event highlighted the tension between traditional literary practices and emerging digital possibilities, suggesting that the future of literature may well accommodate multiple approaches to creation rather than favoring a single technological solution.
