The refusal to site fiction within the epistemological and ontological biases of Hollywood-derived narratology & MBA structural definitions–
Avoid formalist demonstrations of non-formalist propositions.
Obstruct Pavlovian reading: if you give one reward for Pavlovian reading, deny the others. Reject editorially driven overcueing/explication: however it looks at the outset, to enter the story should require a one-shot paradigm or episteme to be constructed by the reader.
What you see is what you get: what the character does is the character of the character, character is not a blueprint out of which the characters’ acts inevitably arise. The story is nothing more than what happens in front of the reader: the story is not a blueprint of motives & causalities out of which its events arise with a satisfying inevitability.
Never use the word “trope”, even pejoratively. In anti-formalist fiction there is no such thing as a trope & everything happens as if it has never happened before.
Favour: one-sided analogies, incomplete & false correlatives, oblique & false or undecodable epihanies. Symbols should represent emotional states only partially disclosed. Favour intense “worldbuilding” in incomplete, mismatched or out-of-focus contexts. Incomplete or broken structures & forms offer the story as a failed or abandoned archeological excavation of itself. Apply tonal variation at will; shift between registers at will. Irony saturated to the degree that it becomes difficult to tell if irony is present. Miss all beats.
No “subversion”, only vandalism.