ABSTRACT Contemporary risk society has caused many creative practitioners to question the role, effect, and potential of their practice. In seeking to find a means by which creative writing can do something in the real world, this article examines the use of directive speech acts – such as commands, requests, and invitations – in print and digital branching narratives and choose-your-own-adventure texts. I focus on The Throne of Zeus, Depression Quest, and Queers in Love at the End of the World, investigating both standard directives and what I classify as ‘latent’ directives: commands ‘hidden’ within the text, taking forms such as styled hyperlinks and typographical notes and citations. Deploying Aarseth’s definitions of ergodic literature, DelConte’s concept of partially-coincident narration, and Juul’s ludological theory of the half-real, I find that the directives featured in these texts step beyond their fictional context, operating as true speech acts within our stretched-out present and collapsed temporal horizon, thereby strengthening the texts’ overall illocutionary goal. These texts speak to and of the precarity of our present time, embodying – and allowing a reader to embody – lived experiences of extended nows, and allowing us to take control in acting towards a present-to-be.

中文翻译：

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不稳定的写作：风险社会中的分支叙事、命令和虚构机构

摘要 当代风险社会让许多创意从业者质疑其实践的作用、效果和潜力。为了寻找创意写作可以在现实世界中做某事的方法，本文研究了指令性言语行为（例如命令、请求和邀请）在印刷和数字分支叙事中的使用，并选择了你自己的——冒险文本。我专注于宙斯王座、抑郁探索和世界尽头恋爱中的酷儿，研究标准指令和我归类为“潜在”指令的内容：文本中“隐藏”的命令，采用样式化超链接等形式以及印刷注释和引文。运用 Aarseth 对遍历文学的定义、DelConte 的部分重合叙述的概念以及 Juul 的半真实语言学理论，我发现这些文本中的指令超越了它们的虚构语境，在我们延伸的现在和崩溃的时间视野中作为真实的言语行为运作，从而加强了文本的整体语意目标。这些文本讲述并讲述了我们当前时代的不稳定，体现——并允许读者体现——延伸现在的生活经验，并允许我们控制对未来的行动。