Hypertext fiction, the most talked about practice of writing in new media in the 1990s, has given way to a new generation of digital, text-based installations with literary functions. They are viewed as conceptual projects that explore the very specificity of the word and letter entering new media conditions. In addition to post-hypertextual, mostly conceptual electronic literature, this article aims to explore the crucial features of new media shaped textuality and new ways of storytelling that it enables. A formidable challenge for contemporary social linguistic and narratological studies are recent social media that deploy textual means shaped by new media (formed as a hybrid field of verbal and visual signifiers, with smileys and emojis), which form the basis for new storytelling in Twitter novels, mobile apps, and blogging. The achievements of the twentieth-century artistic and literary avant-garde enter recent social media and provoke a blurring of textual and verbal boundaries. The cards in both fields are shuffled anew. This article provides two close readings of recent texts (Bigellow's How to Rob a Bank and the author's Drone poem) that call into question both the narrative-as-we-know-it and the poetic function in terms of the audience's literary interaction.