Fan Fiction Genres

What if James T. Kirk and Spock had a baby, left the Enterprise and moved to New Vulcan to live happily ever after? Fan fiction plots like this are a strong testament of fans' endless creativity. Not only do the authors invent their own storylines but they have developed a generic definition of content across fandoms according to the relationship present in the text. Classification is therefore profoundly related to gender and sexuality. Julia Elena Goldmann examines these generic structures and formulaic patterns comparatively in Star Trek and Supernatural fan fiction. She also focuses on the interplay of the concepts of gender, sexuality, relationships and depictions of family in these texts.

Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside three popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field?the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates?and show how these interact with older practices, from fan conventions to writers? groups. Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction?s most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.

Twilight, True Blood and The Vampire Diaries have sparked intense fan activity and generated a large quantity of fan fiction: stories which test the limits of an already existing fictional work and explore gaps and discrepancies within it. Working from the idea that texts constitute archives, expanded and altered by each addition, close readings of a selection of fanfics illustrate particular transformative practices in the online environment. The central figure of the vampire is read through the lens of fanfic authors' contributions to the archives, particularly regarding how figuratively or literally refanged versions of the trope are used to subvert norms established in the source texts concerning depictions of sexuality, sexual practices, and monstrosity. Complex relationships between authorial power and subversion, between mainstream messages and individual interpretations, are examined through fanfic analyses, the findings contributing to discussions about contemporary literary creativity.

Panta rhei. The world is in motion. So is literary production. New literary genres like digi fiction, text-talk novels, fan fiction or illustrated novels, to name a few, have developed over the last 20 years. And TEFL has to reflect these new trends in literature production. These are some of the reasons why this book is dedicated to the use of post-millennial literary genres in English Language Teaching. As all edited volumes in the SELT (Studies in English Language Teaching) series, it follows a triple aim: 1. Linking TEFL with related academic disciplines, 2. Balancing TEFL research and classroom practice, 3. Combining theory, methodology and exemplary lessons. This triple aim is reflected in the three-part structure of this volume: Part A (Theory), Part B (Methodology), Part C (Classroom) with several concrete lesson plans.

Fans have been responding to literary works since the days of Homer's Odyssey and Euripedes' Medea. More recently, a number of science fiction, fantasy, media, and game works have found devoted fan followings. The advent of the Internet has brought these groups from relatively limited, face-to-face enterprises to easily accessible global communities, within which fan texts proliferate and are widely read and even more widely commented upon. New interactions between readers and writers of fan texts are possible in these new virtual communities. From Star Trek to Harry Potter, the essays in this volume explore the world of fan fiction--its purposes, how it is created, how the fan experiences it. Grouped by subject matter, essays cover topics such as genre intersection, sexual relationships between characters, character construction through narrative, and the role of the beta reader in online communities. The work also discusses the terminology used by creators of fan artifacts and comments on the effects of technological advancements on fan communities. Instructors considering this book for use in a course may request an examination copy here.

This book explores English as a Lingua Franca (ELF) use in online interaction within virtual communities constituted by fans of popular culture texts who engage in creative writing inspired by such texts. Emerging from globalization processes, ELF, computer-mediated-communication, and fandom are here conceptualized as postmodern phenomena, characterized by fluidity, hybridity, and translocal practices, which include the exploitation of plurilingual resources on the part of non-native users communicating in English. This study adopts and applies the notions of linguistic heteroglossia and super-diversity to the qualitative analysis of a fan fiction corpus constituted of online-published stories inspired by Japanese media texts, in which fan writers bring their sociocultural and linguistic repertoires to bear on their stories, interspersing narration and dialogue with non-English language elements to fulfil social, narrative, and pragmatic functions.

Taking up where the author's book Of Modern Dragons (2007) left off, these essays continue Lennard's investigation of the praxis of serial reading and the best genre fiction of recent decades, including work by Bill James, Walter Mosley, Lois Mcmaster Bujold, and Ursula K. Le Guin. There are groundbreaking studies of contemporary paranormal romance, and of Hornblower's transition to space, while the final essay deals with the phenomenon and explosive growth of fanfiction, and with the increasingly empowered status of the reader in a digital world. There is an extensive bibliography of genre and critical work, with eight illustrations and many hyperlinks.