I have very strong doubts that stories count as possible worlds.
I don't see how to avoid semantic issues: the truth conditions of "Frodo carried the ring to Mordor" look nothing like the truth conditions for "Washington crossed the Delaware." That ought to be obvious.
But the problem with my position is apparently that 'within the story', or from an 'in-world perspective', Frodo going to Mordor has exactly the same sort of truth conditions as Washington crossing the Delaware has (in our world, if that needs to be said). We can carry out such an analysis by pretending that Frodo is a person, Mordor is a place, the one ring is a thing, and so on.
But we are also aware of the book as a textual artifact and must analyze it as such. Whatever happens in the story happens because the author says it did. So one way to frame the issue here is to ask how these two frames of analysis are related. Is one dependent on the other? Are they dependent on each other? Independent of each other?
(Incidentally, I wanted to refresh my memory so I checked the wiki for "willing suspension of disbelief" — it's nearly Coleridge's phrase, as I thought, but he didn't mean what I learned in school.
The wiki article is interesting and notes a sort of
response from one J. R. R. Tolkien!)
I'm initially inclined to think that the 'in-world' analysis is parasitic on the textual analysis, precisely because whether something counts, within the story, as having happened, depends entirely on whether the storyteller says it did. Arguments about what did or didn't happen in Tolkien's story are settled — or at least, attempted to be settled — by reference to the text. Thus to ask whether Pippin accompanied Frodo and Sam to Mount Doom is elliptical for asking what it says in the book.
But now 'what it says in the book' is going to be from the in-world perspective, so indeed we have to understand the sentences in the story by taking them as pretend. If we could not carry out such an in-world analysis much as we would analyze sentences like "Washington crossed the Delaware," then we could not answer any question of the form, "What does the book say?"
So it appears the two sorts of analysis are interdependent. There is an extensional layer, what the book does or doesn't say; and an intensional layer, what what it says means within the story.
Having at least scratched the surface of the sort of work I imagine is necessary, has it become any clearer whether Frodo is real? If by Frodo we mean a hobbit person, then in-world, of course he is; in our world certainly not. In our world, Frodo is a fictional character, which is a real thing just as stories are a real thing. We seem to need a definition for "fictional character" and the obvious one is that a character is whatever counts as a person within the story, from that in-world perspective. Especially in fantasy literature, this may present some problems, because the characters in the story may not all share a perspective on what is a person, and the storyteller has a perspective on this too, again perhaps shared and perhaps not. Ghost stories are the obvious example.
But in our example it's clear enough that within
The Lord of the Rings Frodo is a real person and a hobbit, and so for us he would count as a fictional character.
Can we spell this out as truth conditions for "X is a fictional character"? Can we just say "X is a fictional character if and only if there is a fictional story within which X is considered a person"? What sort of X do imagine filling in here? I mean, there's a temptation just to plug in a name there and call it a day. But it's the semantic value of that name that is exactly our problem.
On the right-hand side, we want to take the in-world perspective, and leverage that to define a term in our world, on the left-hand side. In Middle Earth, we want to say, Frodo is a person; in our world, he's a fictional character. Is this the same 'entity' we're talking about? Has it a dual existence, in one 'world' as one sort of thing and in ours as another? Is this no different from saying that chocolate can exist as something yummy for one person and something repulsive for another?
The pretending that matters here is done in our world, and I think this might provide a start on a solution. I don't think we really want to say that Tolkien pretends — and we pretend with him as readers — Frodo is real and a hobbit. That sounds right, but there is no Frodo for him to pretend is real, as there
is real chocolate for one person to like and another dislike. (It's no good to say that Tolkien pretends his fictional character is a real person because (a) there is no such character until he does the pretending, and (b) we were trying to rely on the pretended reality in order to define the character, not the other way around.) Instead, I think we say that Tolkien pretends to be telling a true story — at least in some sense. (We still don't have an account of pretending to hand.) Among other things, Tolkien pretends to be telling a story about Frodo. He isn't actually, because there is no Frodo, but he can tell a story about the Frodo who doesn't exist as if he did. But he's never actually talking about Frodo, only pretending to.
You can tell a story about a real person, and within that story the semantic value of that person's name is the person. You can also pretend to tell a story about a person who doesn't exist, and the name of the person you pretend to be talking about has no semantic value, but you pretend it does. (Deja vu. I think I've written that on this forum before, but I had forgotten until just now.) The important thing is to see that the pretending is precisely that the story is
about someone; it's not.
That's still not quite right because I think we need to make an even stronger claim to make sense of this. What is telling a story, telling a story about something that really happened, the sorts of stories we tell all the time? It's a recounting of events you know to have happened.
Fictional storytelling is pretending you're doing that, when you're not, and your audience knows you're not. It's next-door to lying but without the intent to deceive. When you lie, you maintain a pretense that you're telling the truth, but when telling a fictional story that's not it exactly. You pretend to be recounting. In the course of recounting, you pretend to narrate events that happened, as you would real events; you pretend to talk about people and places, as you would talk about people and places when recounting. But you're not doing any of those things, you're pretending to. The pretense sweeps in everything, beginning with the idea that you're in a position to tell the story because you know what happened, when and where and who did it and to whom. You don't. You don't know any of those things, but you pretend you do. (It is not true, for instance, that you're the only person who knows, since you're the storyteller; you don't know things you're making up.) You might even pretend you translated the story you're telling from an old manuscript bound in red leather. But that's not true either.
I think that does still leave 'fictional character' as someone you pretended to be talking about but weren't really — it's just that we want to read that holistically. It's the whole story that carries the pretense of being a recounting of events, not atomistically a matter of an entity in the story not being real. If I thought it would fly, I'd just say that fictional storytelling is pretending to tell a story, that it's a flow of speech meant to sound like a story but isn't really. But I doubt anyone will plump for that.
That's the best I can do tonight. Some of the analysis near the beginning of this post might still be okay, but the whole in-world/our-world analysis might be kind of a blind alley. Worth exploring though, and maybe it's salvageable. But it does seem to me now that the right starting point is where I've ended up: fictional storytelling is parasitic on the sort of true narratives we trade in all the time, and the primary pretense is that it is this sort of speech one is engaged in. (Not for nothing, but early novels overwhelmingly presented themselves as diaries or letters to establish this pretense of being a recounting of actual events, a tradition Tolkien keeps to.)