It is possible that the traditional linear format of the novel is no longer sufficient to tell more-than-human stories about global energy use and Anthropogenic thinking. How can academic and research findings be brought into public consciousness to challenge damaging fossil fuel ideologies? These notions reference deep-time: the fossil part of fuel. Telling stories, suggests Anthony Nanson, possesses an important “consciousness-enhancing function…and has a part to play in public debates on the environment and energy.” Erin James asks whether the Anthropocene calls for new narratives that “can help bridge imaginative gaps” and consequently “have important real-world consequences.” What if the written text were fragmentary or digital or accessed randomly; if words ran a different way on the page; if fiction were mixed with fact, or illustration with poetry? I examine the approach of a graphic novel (Here, McGuire 2014), film-poem (The Green Hollow, Sheers 2018) and eco-biographical memoir (The Outrun, Liptrot 2016) in referencing more-than-human timescales. I consider whether a geological imaginary provokes reading and writing of fossils, landforms, literary forms, structures, traces, and futures in a manner that, Marco Caracciolo suggests, ruptures the linearity of protagonists’ experience of reality and their sense of demarcation between human and nonhuman.