On "Scorekeeping in a Language Game" (1979) and "Truth in Fiction" (1978).
Lewis's account of possible worlds can be applied to conversation: As we speak, each sentence adds to the "conversational score" (the set of assumptions that enable us to understand each other) while reducing the field of possible worlds that the picture we're painting together could potentially represent. What are the gravitational forces within this kind of scorekeeping? Also, when an author creates a fictive "world," how do facts about that world logically relate to those of the actual world? With guest Matt Teichman.
End song: "Real Life" by Matt Wilson, as interviewed for Nakedly Examined Music #118.