Jean-Paul Sartre, in “Existentialism is a Humanism,” explored the possibility of existential philosophy as a way of genuinely living life, not just succumbing to the meaninglessness of that life. He explores the nature of making decisions not based on their morality, but rather on their authenticity. That is, whether the decision was born out of a genuine expression of self, or whether it was an action committed in bad faith, which is a betrayal to the self. Sartre tells his readers, “You are free, therefore choose, that is to say, invent. No rule of general morality can show you what you ought to do: no signs are vouchsafed in this world. The Catholics will reply, “Oh, but they are!” Very well; still, it is I myself, in every case, who have to interpret the signs” (9). In Stranger than Fiction, we encounter Harold Crick, who is able to hear signs more easily than most. When he finds himself the subject of a narrative that only he can hear, he discovers that this narrator knows intimate details about him. Sometimes she describes what is happening, but often she alludes to what will happen. Harold begins quite literally to attempt to read the signs that the narrator is delivering to him. On the advice of Jules Hilbert, a sometimes-helpful English professor Harold has sought out, he attempts to piece together whether his life fits better into a comedy or a tragedy, at one point announcing dejectedly, “This may sound like gibberish to you, but I think I’m in a tragedy.” Harold has to decide for himself whether he wants to follow the story being narrated for him or if he wants to try to fight against this voice that appears to be controlling his life. At times he seems willing to go along with the narrator, indeed, most of his interactions with Ana Pascal, his love interest in the film, are prompted by narration. However, we can also acknowledge that Harold’s decision to pursue Ana seems to come as a result of a growing commitment to authenticity. When, at the narrator’s request, he goes to her, all he is able to express is “I want you.” This is a reflection of Harold having at last deeply connected with what he wants, beyond what his job or any other external actor (including, even, the narrator) demands of him. He is, for the first time, acting decidedly in good faith. He knows what he genuinely wants, and he won’t let anything prevent him from expressing this simple, honest, vulnerable truth. Ultimately, Harold interprets the signs of his own life by following along with a narration that seems to lead him down the path of the tragic. Although Harold’s life seems at times to be completely controlled by the narrations, it is clear that, in the end, he does have the power to choose for himself the kind of life he wants to live and, in doing so, makes the decision that no one else is able to make.