 A crucial claim of the ensuing genre theory of fiction/non-fiction is that having contra-standard features for a genre does not simply exclude a work from that genre. Capote’s In Cold Blood, for example, is a striking piece of non-fiction precisely because it possesses certain features that were, at the time of its writing, contra-standard for non-fiction. What explains the fact that we nonetheless class it as non-fiction has much to do with other features of the work, including the reliance we place on authorial intention: Capote took himself to be writing a kind of literary journalism (Friend 2012: 194), just as Tacitus took himself to be writing history after the fashion of his time. (Friend is somewhat unclear about the content of such intentions, however. Presumably they can’t be understood as intentions to write a certain kind of fiction or non-fiction, on pain of circularity, although it is hard to see how else to construe them.)