In Volume V, Lovelace tries to tie himself into Clarissa and Anna’s narratives, by imitating and editing their correspondence. He begins to make copies of their letters, even going so far as to put in marginalia to remind him of “the places which call for vengeance upon the vixen writer, or which require animadversion.” In response to Letter 229, Tony pointed out that this particular forgery “allows him just to control the narrative of his situation with Clarissa (pure writerly power) and create new, imagined schemes through which to exercise his ‘real-world’ power over her and others.” Lovelace begins to not only control Anna and Clarissa’s narratives but also to exert a real-world control over them. Debra also commented on Letter 211, in regard to Lovelace’s love of plotting and narrating his devious plans, that the “tragedy is that the joy in the narrative is done at the expense of another person’s life (and the story she would tell of herself).” Most of Volume V is dominated by Lovelace’s voice and his plans for Clarissa. In Letter 214, Lovelace narrates his interactions with Capt. Tomlinson as a play and Debra noted that “embedded [in Lovelace’s love of writing] is the pleasure of plotting (a narrative term as well as a word about contriving scenes) as well as the pleasure of of describing it to his best reader, Belford.” Lovelace writes numerous letters to Belford and does not always receive a response. Keri suggested that “because of the frequency with which he writes the letters while receiving very few responses from the addressee, I don’t think Lovelace actually needs/wants a response from Belford. He just needs to write.” Lastly, this volume highlights Lovelace’s need to narrate and confirm all that he plans and experiences.