透過晚清小說家孫玉聲的連載小說《續海上繁華夢》與其所刊登的《圖畫日報》，我將從過去討論連載小說的焦點――小說家如何被動因應連載機制來調整自己的小說結構――轉移到小說家如何主動「挑戰」連載機制，來設計自己的小說。我首先指出晚清小說家如何以讀者的報刊閱讀經驗作為考量，試圖融合調動小說情節和刊登報刊的各種媒介，以挑戰連載機制所施加的物質性限制，如短小的篇幅、快速的出版節奏。我也將討論小說由此而形成的新的時間結構，是如何前所未有地不同於傳統小說僅以情節本身為考量的封閉書寫方式所賦予的時間結構。二十世紀初的上海是一個建構中的城市，與有深厚文本累積的經典地景不同，我將說明小說家如何具創造性地利用報刊的連載機制，準確地模擬上海城市持續發展的進行式狀態。

By examining the late Qing novelist Sun Yusheng’s installment novel, Illustrated sequel to the dreams of Shanghai splendor, and the Pictorial daily in which the novel was serialized, I demonstrate how the novelists of the 1910s challenged the mechanics of serialization. Previous research discussed the ways in which these novelists passively adapted the structure of their work to the restrictions of serialization (e.g. limited length and publishing time); however, I argue that there were also novelists who revealed agency and creativity by breaking through the limitations of the installment novel medium. Sun Yusheng is an ideal example, as he incorporated pictorial-style news, advertisements, and even introductions to Shanghai’s new architecture and celebrities, in the plot of his novel. His design opened up a new way of imagining serialization, and created a unique narrative structure for serialized novels. Early 20th-century Shanghai was a city in progress, distinct from the depictions of well-known urban centers in classic texts, which could only be fully captured in an unprecedented type of literary genre. Sun Yusheng and his novel demonstrate how the mechanics of serialization can be manipulated as a means of simulating the present-progressive tense of the city of Shanghai.