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.

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