Definitions and Challenges to Hybrid Forms: The Oxford Dictionary explains hybrid in terms of mating: “The offspring of a mating in which the parents differ in at least one characteristic.” The concept of mating applies well to what we do as hybrid writers. A hybrid project must have time to inseminate, incubate, grow and flourish. The project will go through many revisions and make many mistakes. You as the creator will make mistakes, too. As with any good parent, you must remember that every mistake is an opportunity to learn something more about your creation and self as the creator.
The term hybrid usually describes offspring of “widely different parents, e.g. different varieties or species.” In literature and the arts, “hybrid” is the term applied to a blending of forms, creating a single form with attributes of two or more original forms.
Hybrid forms in literature will combine two traditional forms into a single or blended form, such as prose poetry, lyric essays, intermedia and so on.
In Tresspass Journal, Martina Allen discusses some of the issues in using the term “hybrid” to denote this blending of literary and artistic forms: “Against ‘Hybridity’ in Genre Studies: Blending as an Alternative Approach to Generic Experimentation.” One interesting argument against the term hybrid is that “hybrid” suggests an amalgamated form which is no longer a sum of its parts but rather an entirely new entity. Allen suggests that “blended” more pointedly describes the practice of merging two or more forms together. “Blended” suggests that a work retains its original attributes as well as the merged attributes. Regardless of where you land in this argument, the contemporary literary markets, both indie and NY publishing regard “hybrid” as the term accepted and most often used.
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