 For many critics (e.g., Currie 1990: 36; Lamarque &amp; Olsen 1994, 48; Davies 2001: 264; Stock 2017) these are unwanted consequences for an account of fiction. Excitingly told histories are still histories and so should be classified as non-fiction; and the fact that cracks in a rock might prompt imaginings just shows that the rock could be treated as a work of fiction, not that it could turn out to be a work of fiction. These critics worry that Walton’s conception of fiction is far broader than the traditional one (to mark this point, Friend 2008, 152, distinguishes what she calls “walt-fiction” from fiction in the usual sense), and insist that it is the latter notion that needs analysis or explication. In the case of this traditional notion, they think we should let the author’s intentions determine fictionality, just as Searle proposed, but, unlike Searle, they propose that this be done by focusing on how the author intends an audience to respond to a text rather than on the author’s own attitude to the text. One influential proposal of this type, defended by Greg Currie in The Nature of Fiction (1990), holds that authors engage in a special illocutionary act of fictive utterance, which Currie then proceeds to describe in terms of Gricean reflexive intentions (cf. Grice 1957). In a fictive utterance, the author produces a text with fictive intent, in the sense that he 