 Here the fictional author is “that fictional character constructed within our make-believe whom we take to be telling us the story as known fact” (Currie 1990: 76), and the “informed reader” is a reader who knows the relevant facts about the community in which the work was written (1990: 97). The view also offers a distinctive way of dealing with the problem of unreliable narrators. When the evidence suggests that a narrator is unreliable, we are supposed to construct a hidden, completely reliable and knowledgeable fictional author who is “speaking with the voice of one of the (unreliable) characters in the story” (1990: 125); the reader figures out what is true in the story by forming an impression of the beliefs of the author, based on the text of the story and facts about its community of origin. While many commentators have lauded the move away from possible worlds, a number have doubted that positing such an author is adequate to the task of explaining truth in fiction (e.g., Byrne 1993; Howard-Snyder 2002; Swirski 2014), even complaining that it seems gratuitous to postulate “some shadowy meta-narrator who has all true beliefs but is choosing not to reveal himself” just to deal with a narrator who is unreliable (Matravers 1995; see Currie 1995a, 1995b for further discussion, and Currie 2010 for a more sceptical perspective on internal narrators). Other philosophers have offered alternative accounts of the (real, hypothetical, …) authors whose beliefs or intentions determine what is true in fiction.  Stock, for example, argues for an extreme intentionalism on which, with some important qualifications aside, what is true in a fiction is what the real author intends her audience to imagine as being true (Stock 2017).  Others prefer more moderate appeals to the real author (e.g., Livingston 2005, for whom fictional truth rests on what it is appropriate to make believe, given a goal of understanding fictive utterances in the author’s artistic context). 