 The intuition that story-tellers have some kind of creative role to play is accounted for by so called artifactualist, or creationist, accounts of fictional entities (see Searle 1979, Salmon 1998, Thomasson 1999, Voltolini 2006; the position was also defended in Kripke 2013, and elements of the position are found in van Inwagen’s (1977) theory of fictional objects as posits of literary criticism; Ingarden 1931 is a significant historical forerunner). According to such accounts, fictional objects are artifacts since they come into being once they are conceived by their authors; to that extent, they are authorial creations. Moreover, they are abstract entities, just as unorthodox neo-Meinongians believe. Unlike Platonic abstracta, however, they not only have a beginning in time, but they are also dependent entities since they depend on other entities for their existence. (Roughly speaking, an entity O existentially depends on another entity O′ just if O couldn’t exist without O′ existing (cf. Thomasson 1999). For a more discriminating account, one that avoids the consequence that everything existentially depends on necessary existents like natural numbers, see Fine 1994.) More specifically, fictional objects depend historically rigidly on the authors who create them (necessarily, if O comes into being at t, then the author(s) who creates O exists at some time t′ before t) and constantly generically on the literary works that feature them (necessarily, if O goes on existing, then some literary work W or other featuring O exists during O’s time of existence) (see Thomasson 1999 for an extended discussion of such dependencies). While historical rigid dependence accounts for a fictional object’s coming into being, constant generic dependence accounts for its continued existence or persistence. Such an account of the persistence of fictional objects seems as intuitive as the account of their generation. Not only do we say that some given fictional object was created at a certain point of time, but we might also describe it as having a certain age (Hamlet, we might point out, is now over 400 years old).