Metafiction, also known as romantic irony in the context of Romantic works of literature, uses self-reference to draw attention to itself as a work of art, while exposing the "truth" of a story. "Metafiction" is the literary term describing fictional writing that self-consciously and systematically draws attention to its status as an artifact in posing questions about the relationship between fiction and reality, usually using irony and self-reflection. It can be compared to presentational theatre, which does not let the audience forget it is viewing a play; metafiction does not let the reader forget he or she is reading a fictional work.

Metafiction is primarily associated with Modernist literature and Postmodernist literature, but is found at least as early as Homer's Odyssey and Chaucer's 14th century Canterbury Tales. Cervantes' Don Quixote, published in the 17th century, is a metafictional novel and so is James Hogg's The Private Memoirs and Confessions of a Justified Sinner published in 1824. The novels of Brian O'Nolan, written under the nom de plume Flann O'Brien, are considered to be examples of metafiction. In the 1950s several French novelists published works whose styles were collectively dubbed "nouveau roman". These "new novels" were characterized by the bending of genre and style and often included elements of metafiction. It became prominent in the 1960s, with authors and works such as John Barth's Lost in the Funhouse, Robert Coover's "The Babysitter" and "The Magic Poker", Kurt Vonnegut's Slaughterhouse Five, Thomas Pynchon's The Crying of Lot 49 and William H. Gass's Willie Master's Lonesome Wife. William H. Gass coined the term “metafiction” in a 1970 essay entitled “Philosophy and the Form of Fiction”. Unlike the antinovel, or anti-fiction, metafiction is specifically fiction about fiction, i.e. fiction which self-consciously reflects upon itself.