In his essay “On several obsolete notions”, Alain Robbe-Grillet criticizes the stable characters, linear plots and calculated content that make up the conventional novel. He argues that a novelist need not begin a story by thinking about its content, but rather that "the strength of the novelist is precisely that he invents [...] without a model." And that “invention and imagination become, ultimately, the very subject of the book” (Robbe-Grillet 32). Robbe-Grillet's notions about the creative process are true in that a successful novelist may not need a formula to write; instead, he can experiment with language for a chance to reveal new ideas. The Nouveau Roman, or "new novel", is a movement popularized by Robbe-Grillet's critiques of the conventional novel. Since then, the conventional form of narrative has been perfected by writers in such a way that it is easily accessible and appreciated by the mainstream community. Writers were encouraged to push boundaries, formal and stylistic, to create new, innovative ways of telling a story. However, experimental fiction does not necessarily aim to tell a story but uses form, mood and style to create "effect". This effect may be intended to evoke the reader's emotions, or simply to oppose conventional norms of literature. The problem with experimental literature is that it moves away from the act of telling a story itself. So it's the writers' job to find innovative ways to create a story, without pushing the boundaries to shock or play devil's advocate. Unlike the realist and naturalist movements that followed, experimental literature puts forward the idea that content is subordinate to the form of the text. Experimental novelists like Alain Robbe-Grillet, K...... middle of paper ......with Robbe-Grillet assuming that writing is a constantly evolving art form. Writers must adapt their writing style in order to intrigue and inspire their audience. Experimental literature is the answer to writers who want to push the boundaries of conventional text to create an original work of art. However, movements such as Kenneth Goldsmith's complacent idea of ​​conceptual poetics may devalue previous conceptions of originality. As a result, writers will begin to push boundaries for the sake of pushing boundaries. This creates the opposite effect: originality will become unoriginal. Furthermore, literature has always been a means of archiving history: whether the writing is fact or fiction, it tells our story to future generations. If conceptual writing continues to be a form without content, all that will remain is copy, copy, copy..