To rehearse: what has been established under the heading of differential narratology is becoming as it pertains to narrative, narrativity in constant variation generating ever new variants of narrative; the virtual dance of narrative differentials producing actual, numerically differentiated narratives; the intensive sensations and forces of transcendental Narrative (affects, percepts, forces) bringing about the extensive states of affairs and networks of empirical narratives (events, existents, plots). In short, becoming, the dynamic and continuous process of selecting and gathering heterogeneous elements to be expressed, has been revealed as the ontologically primary virtual realm of any given actual narrative. But this has been possible only by following the reverse movement of the speculative becoming-virtual of actual narratives as they crack open their representational surface and burrow ever deeper towards their conditioning differentials. For this end, Narrative and Becoming has resorted to four literary narratives as its tutor texts. This does not mean that literature and narrative are synonymous, however. Even though a plethora of related terms have been employed throughout this book, terms such as narrative, literature, fiction, legend, myth, and writing, these concepts, despite considerable overlaps, remain distinct. Already in the Introduction, I noted in passing how I conceive of the distinction between literariness, narrativity, fictionality, and the activity of fiction-making: while fictionality denotes a state of non-existence (or non-actuality), fiction-making emphasises the creative and constructive work of narrative. Literature, in turn, is a designator for the respective quantitative and qualitative use of rhetorical and narratological devices and their effects.