This study is an investigation about the so called "author inside the story", that is to say, it deals with the very postmodern question of unity (the author) and pluralism (the figures of the plot). Uhly's idea is to prove the existence of a "fractural author" visible only through his figures, but consciously put on the scene by the author. In fact, Umberto Eco, the brazilian writer and member of the national Academia de Letras Joao Ubaldo Ribeiro, and José Saramago use similar strategies in order to subvert the classical distincion between the writer - a biographical entity only existing in the real world -, the author - a bibliographical entity only existing as a link between the fiction and the real world and fulfilling mainly the requirements of the law as described by Foucault -, the narrator - a fictional entity, which acts as a link between the figures and the reader, and who, in a classical sense, is either to be identical with the author or strictly different from him, as well as he can be either identical with one of the figures or strictly different from them -, and, figures of the plot - merely fictional entities with no link to the outer world, unless the fiction states an identity between one of the figures and the narrator or the whole chain (protagonist - narrator - author - writer), and, finally, the reader. The three authors do not use classical strategies as the soliloquio of the narrator, but, instead, try to give their hints about possible identities only through the figures. Of course, there is no way back from the figures to the writer or even the author, but there is a fractural image of the author, which is uncertain an ironical.