 The fiction view is not without critics. Giere (2009), Magnani (2012), Pincock (2012), Portides (2014), and Teller (2009) reject the fiction approach and argue, in different ways, that models should not be regarded as fictions. Weisberg (2013) argues for a middle position which sees fictions as playing a heuristic role but denies that they should be regarded as forming part of a scientific model. The common core of these criticisms is that the fiction view misconstrues the epistemic standing of models. To call something a fiction, so the charge goes, is tantamount to saying that it is false, and it is unjustified to call an entire model a fiction—and thereby claim that it fails to capture how the world is—just because the model involves certain false assumptions or fictional elements. In other words, a representation isn’t automatically counted as fiction just because it has some inaccuracies. Proponents of the fiction view agree with this point but deny that the notion of fiction should be analyzed in terms of falsity. What makes a work a fiction is not its falsity (or some ratio of false to true claims): neither is everything that is said in a novel untrue (Tolstoy’s War and Peace contains many true statements about Napoleon’s Franco-Russian War), nor does every text containing false claims qualify as fiction (false news reports are just that, they are not fictions). The defining feature of a fiction is that readers are supposed to imagine the events and characters described, not that they are false (Frigg 2010a; Salis forthcoming).