Throughout much of the nineteenth century, publishing fiction in a magazine meant publishing a serial, an association that continues to shape our understanding of the era to this day. However, as the nineteenth century came to an end, a number of new, experimental, magazine modes began to push back against serialisation as the dominant publication model. What were these experimental modes? Why did they emerge at the end of the nineteenth century in particular? At the time, the advertising psychologist Walter Dill Scott analysed the hermeneutic ‘fusion’ at play in magazines. How might these experimental modes have reconfigured the ways in which magazine fiction was written, edited, and read?