The best example of this interaction is probably Umberto Eco’s career, which has moved back and forth between metafictional novels like The Name of the Rose and work in narratology like The Role of the Reader.33 As in response criticism, metafictional narratives distinguish between a naïve reader or character and the informed author who has a degree of control over the story. It is not so much that these narratives do away with narrativity, with our desire to understand what happens to the characters, so much as they deploy narrative distention in a new way.