word gains 4

The reader is fictionalised; an unreliable narrator is built into the narrative; another layer is added to the obfuscation. One might see it as a mutual interpenetration of that which is exterior to the text and that which is interior to it. But there is a distinction to be drawn between actual audience participation and imagined audience participation, although for future purposes either can be seen to function as a driving force where the shape of the narrative is concerned. If no one intervenes and actually interjects with what they perceive the texts to be about will they become an increasingly baroque extended metaphor that grew out of what was initially an exploration of the process of writing, rather than a piece of writing essaying the very essence of what a piece of fiction is in an interactive environment where the writer may be influenced by such things as ‘number of his’ and variously nested comments? Who knows? The author behind the author, who is the author behind the audience? Maybe – it is definitely a variable.
The text conceivably will reach a collapsing point. It is a black hole crushing all light and time within it, for it shall become an extemporaneous example of a spontaneous reaction to both an actual contemporary commentary and a secondary branching from the original narrative intent which runs concurrently alongside. It baffles its readers, baffles itself, becomes so labyrinthine in its plotting that its ultimate pointlessness dooms it to a possible judgment of irrelevancy at any point from the writing of the piece, to the reading of the piece, to the comments upon the piece, and the construction of the subsequent piece, whether said piece be reliant on actual and existing input or not.
How far has the piece strayed from the original intent? It is hard to gauge. For the original intent of the first piece has changed because of the interaction of its observers; has changed in light of the writing of the second instalment; has been re-drafted by the implications of the third piece; and re-shapes itself in the irregular mould of the fourth piece.
What form will the eventual piece of writing take? Will it make sense? Will it cook like souffle for so long in promised perfection only to collapse in the middle? He suspects not, for each element of the larger piece is somewhat self-contained and therefore non-reliant upon earlier instalments, though each instalment talks about the previous parts and intuits the mayhap of future parts. In theory you might put out a part called “word gains 56” and no others and it would intimate things about the rest of an untold story with no need for that actual story to be manifest anywhere other than in the implication that the piece was preceded by 55 other parts. or you might put out part 57 with no intervening parts between that and part 4 and people might start a hunt for the missing segments in their supposedly unfinished story.
part 4, which is this part obviously (though being labelled that doesn’t necessarily mean it is so, though it was indeed written fourth in the series) might suggest to you that there were preceding parts which existed in history which now no longer exist because they were burnt, and part of you would not know whether this was true or not. you might search for the lost chapters and, if those lost chapters turned up later, labelled as such, you would not be surprised. but what if you never knew that were a lie and continued searching, what would you consider the text to have done to you? what would you wish to do to the text?
if i say there are 56 pieces of the story waiting in the future. that there are twenty pieces which were unwritten thoughts intended for this story which are lost to the past. what does this do to you? to the story? what will your reaction do to the story? were you to demand it be so rather than waiting to see where the author leads you, would you uncreate something which, until that moment, because it was an idea cherished, held a high chance of being made?
you scratch you head. the piece does not comment. yet it does. it offers and provokes comment. it waits and does not wait. it is an object infused with a subject trying to be objective about an objective in a subjective way that hopes to trap the readers attention long enough to bleed fuel from them so more attacks may be made upon them and allowed from them.

word gains 3

Reading the second piece he wonders at the wisdom of writing it; wonders at the whole exercise. Then he thinks if I move this to the third person will the exercise begin to take on more reality as a fiction? Strange notion, to be dealing with the truth of an untruth. But the whole point is to build into the forced artificial structure that a piece of fiction colliding with a misperception of it as real has produced. Is it that he has enflamed some existential condition that was heretofore unknown in him? Maybe.
Games. Word games. Could he pull comments into the mix? Make the real people who he reaches to from within the fiction part of him; xerox real world beings and hang them up in the church of his altered textual flesh. But then, would they assume that this is what had occurred, or would they merely see themselves misrepresented instead of fictionalised?
The compartmentalised consciousness of the metafictional author as funhouse mirror version of actual author smiles like the flexing of a reflection on the backside of a spoon which is bending. Except this is the actual author representing his own self exterior to the meat of the story. With the story there is an inside and an outside – at least for the writer, who places himself both interior and exterior to the experience.
The reader, as he reads, shifts from being external to internal as the narrative goes from being purely physical on a screen, to something he is thinking about, a thought he is having. The nature of the experiment changes the more people choose to interact or to not interact. Nothing exists in isolation, even a piece of fiction is not hermetically sealed.
He wants it to leak, to be confusing. And perhaps he will allow some confusion to leak into the narrative, the narrator, the reader – whatever it is that he is in the process of regarding.