I wrote an essay about Masha Tupitsyn's Love Dog entirely in tweets.
I wrote here about why it seemed appropriate to do this. It wasn't meant to be a gimmick but it was an experiment - in finding out whether I could write something with structure and direction, and also use the strengths of such a fragmented and aphoristic medium.
One of the most interesting things that happened over the few days I tweeted the piece was that I lost, as well as gained, Twitter followers, including a few with whom I'd had conversations, or who had followed (mutually) for a while. It felt oddly personal.
It's difficult to define the range of things Twitter is for, and to intuit when testing the boundaries of what can be done with it can look, for some, like overstepping a mark. Like most tweeters, my Twitter account is 'personal', held together by an avatar pic of me which implies some kind of relatively traditional idea of identity contiguous with what you'd experience if you met me IRL. @kthrdgwy wrote an excellent blogpost about how personal Tweets are personal, but function as public 'asides' born of a peculiar compulsion to tell a large audience things you'd never consider saying out loud. I'd link to the post - only I think he's taken his blog down.
I use Twitter for a combination of the personal and the professional (I find I can rarely make an entirely clear division) and the accounts I like to follow combine curatorial tweets, a degree self-promotion (yes, I do want to know when you've published something, and I'm delighted you're proud enough to say so) with info on what you've had for breakfast or whatever.
Many Twitter accounts are set up to publish a work, and are accepted as such. I don't mean the accounts of journals or organisations, but accounts clearly run by one person where the persona is dominantly that of the work. @lifeinauthoring and @999rooms do this in different ways, though both are showing signs of sliding into the interesting category of accounts where this is still largely, but no longer exclusively, the case - eg @richard_littler and @AnatomyNorbiton. Twitter is mission creep: as you gain followers, some of whom might be friends IRL, the temptation to interact 'personally' grows.
However, amongst the fair number of people I follow, I can't think of anyone who regularly uses a personal Twitter account to publish work. @Egangoonsquad used @nyerfiction to write Black Box. @george_szirtes is a rare writer who uses his personal account to, also, tweet work, as is @lifeasweshowit herself, who tweeted Laconia before I followed her.
The uncomfortable feeling that I'd done something not quite proper in tweeting my essay led me to more than one apologetic tweet, and this sensation became - for me - an important part of the experiment. I feel slightly uncomfortable writing about this effect here too. If there seem to be a number of unwritten rules about how Twitter is, and should be, used, there seem to be more about how, and whether, this can be discussed. It's something Kate Zambreneo writes about often on her blog which, like her twitter account, she periodically retires - an entirely rational response to the nervous fan-dance of making Internet identity.
If you'd like to read my Berfrois tweet-essay, you can find the whole thing here.
(My drawing of @lifeasweshowit is from another piece I wrote for Berfrois earlier this year.)