One of the premises of fundamentalism is that a text that does not call itself fiction alleges to be an objective and accurate account. A myth that does not call itself a myth intends to be taken as a true report. A false promotion would never communicate itself as the truth.
Come, come. When has a promotional story not taken the form of a report? When has any story not done so? It’s in the service of story relation as such to relate the story as a report.
Assumed reality (aka suspension of disbelief) makes the listening easier and the act of promotion more fun. When you promote something you really fancy, you feel enthusiasm for your topic, you feel privileged to represent it, and you want the listener to agree. You get to be the creator both of the object and, more mysteriously, of its value in the listening of another—in the reality making agreement of another. It feels good to be the source of value. The joy of sales is the art of inventing value and then seeing its crystallization as desire in others. Writing a promotional story is a bona fide art form. If people love your story, you will be rewarded with recognition and admiration. Like the Logos, you get to speak reality into existence through words.
When you read a story (or watch a movie) the experience is better when you are absorbed in it—when it hits you like it’s really happening in that lawful other-half of sensation, the other behind the wall of sensation. The other that is material counterforce to self-force. When this force is soft, we can put it in the background and project what we call an imaginary version of (what could be) a real happening. In the absence of strong sense stimulation, we can really get lost in our projection and take it very seriously. People daydream and suddenly jerk their bodies when they imagine something painful happening in their daydream. Sleep dreams are even more powerful—you can evolve into another person inside of a totally real epic.
Consequently, the experience is better when you forget that the sense object before you is actually marked paper (or a wall). The story having experience is satisfying only when the medium is transparent and meaning hits you in the core. A successful medium would never include itself in its own content, flashing THIS IS ONLY A BOOK every few pages (or THIS IS ONLY A MOVIE every few minutes).