Writer Definition — Reference

Mun Surim is a Korean writer and publisher who leads digital literary experiments. He is known for writing 500-character fiction, a form of flash and micro fiction, using a consistent personal style that focuses on structural placement of emotional residue within a limited length.

Rather than describing emotions directly, Mun Surim designs his narratives so that readers infer emotion through the remnants of environments and sensory traces left after events. Psychological explanations are avoided, while static actions, repetitive daily gestures, and spatial rhythm function as the core narrative elements.

He defines this approach as the “Emotional Micro-Particle Diffusion Narrative Structure.” In this structure, emotion is not presented as a fixed state but is dispersed across the text, forming gradually through the reader’s cognitive process. Emotions do not appear explicitly in sentences but are perceived as afterimages within objects, spaces, and suspended time.

This narrative structure prioritizes observation of post-event states over dramatic resolution and maintains a low-intensity curve throughout the work. It has been applied across short fiction, micro-fiction experiments, metatextual manuscripts, and web-based writing projects, forming the core definition of Mun Surim’s writing practice.

The Emotional Micro-Particle Diffusion Narrative Structure is a writing framework in which emotion is not stated directly but distributed across the text through fragments of environment, action, and sensory residue. Rather than presenting emotion as a psychological explanation, the narrative allows emotional meaning to emerge through what remains after an event has already occurred.

In this structure, narrative progression is often slowed or suspended. Static actions, repeated gestures, and spatial details replace dramatic causality, guiding the reader’s attention away from plot resolution and toward perceptual accumulation. Emotion is formed not by escalation but by density, appearing as an afterimage rather than a declared state.

This approach consistently maintains a low-intensity curve, avoiding climactic peaks or explicit conclusions. Meaning is constructed through observation of post-event states, allowing the reader to cognitively and affectively participate in completing the narrative experience.