The Macedonian Расказ за шоа како се иишуваат раскази (Story about How Stories Are Written) by Vlada Urošević should be listed in the world stream of autothematic and autocreative literature. The story, essentially, meets the principles of this writing strategy, and not just from that point of view but also from other aspects such as, for example: intertextual building and polyphonic narrative in all its narrative varieties and types of foreign speech. It should be stressed that it is very difficult to find so typical (for the abovementioned stream) work in Polish, and even in European literature. But some of the texts by K. Izhikovski, S. Vitkjevich, W. Gombrowicz, L. Buchkovski, K. Brandis and L. Gomulicki are highly representative of this narrative strategy.

Autothematism is a narrative strategy characteristic for the author of a literary work and consists of the fact that the text contains statements of the author, the narrator, the character (the description and other linguistic resources such as verbs of speaking – verba dicendi – can also fulfill this function), hence autocreativity becomes clearly visible in the structure of the text and has appropriate language indicators. There is no need of a particular analytic procedure for this to be revealed. A. Gide is considered to be a constructor and a representative of that stream and his works include: The Counterfeiters (Smiths of Fake Money) and Swamp. А. Gide attempted to fix similarities and analogies between the literary idea of the character and the work in which she // he has a part to play. The protagonist of Swamp writes a book involving problematic that, essentially, approaches the problematic of the work.

Considered from the aspect of narrative structures description, this issue can be treated within the literary metatext. Antecedents of methodology for writing novels thus used should be sought in the new French novel and in the American metafictional novel, but terms such as autothematism as well as autothematic works, at the end of the XIX and the beginning of the XX century, were introduced in the literary practice by the Polish researcher and critic Artur Sandauer with his three works: