The project aims to show that the third generation of documentary writers differs from the documentary avantgarde (Tretjakov, Brecht, Kraus) and the politicized documentary literature of the '60s (Enzensberger, Walraff) through specific representational strategies. These strategies are geared at audience participation and immersion rather than critique of ideology. Documentary literature 3.0. nstills the spectator/reader with an unsettling sense of uncertainty concerning the relation between fact and fiction and can thus be studied informs of self-reflexivity and narratorial profiling.