filing off the seriAl nuMbers
63
about the work in progress through the comment and review sections
most sides provide, which fosters communication specifically in between
the publications of individual chapters of a fanfiction. Fan authors often
encourage collaborative engagement by asking for advice or input, but
eventually remain in control of their fanfictions. Because of the importance
of the comment and review practices and its interlinkage with fanfictions,
Hellekson and Busse have introduced the useful term “fantext” which refers
to the network of fanfictions written in a fandom and the accompanying
forms of written communication, which in its entirety results from a collective effort. 15
In this network of texts and inside the fan community, fanfiction readers
approach texts with extensively different genre expectations concerning
the plot and the structure of narratives than recipients of transmedial
storytelling or commercial serializations. Authors and producers of prequels
and sequels in existing media narratives, who often also identify as fans,
must nevertheless adhere to the canon, the rules, and laws of the franchise. 16
Authors of fanfiction are not restricted in the same sense because they do
not need to write fanfiction that is coherent with existing installments, as
fanfictions do not necessarily work as extensions. Following a commercial
impetus, while being connected to the canon, most installments of franchises
can stand and be sold individually. Because digital fanfiction is embedded in
a fantext, it is read as one text of several or many. Many fanfictions explore
the imaginary worlds of pre-texts while others focus on romantic relationships or play with changes and appropriations to settings and characters
established in the media narratives. This means that fanfictions in a fandom
do not necessarily exist in the same imaginary world as the pre-text or each
other, but rather, due to the innumerable changes fan authors can think
of, in parallel universes which fans call AU (alternate universe). Because
of fans’ interest in the investigation and further creation or appropriation
of fantastic worlds, fantasy and science fiction series, like Twilight and
15 Karen Hellekson and Kristina Busse, eds., Fan Fiction and Fan Communities in the Age of the
Internet, (Jefferson: McFarland, 2006), 7.
16 It has been argued that works by professional authors who are fans should be included in
definitions of fanfiction, e.g. Sheenagh Pugh, The Democratic Genre: Fan Fiction in a Literary
Context (Bridgend: Seren, 2005), 25. However, considering fanf iction as a genre of writing
points to the differences between professional serializations and amateur fanfiction writing,
which becomes visible specifically when authors transition between realms. There are means
for authors writing for an established franchise to alter the established canon, e.g. through
retroactive continuity in comics. But the necessity for coherence still differs from the freedom
fanfiction authors have.
63
about the work in progress through the comment and review sections
most sides provide, which fosters communication specifically in between
the publications of individual chapters of a fanfiction. Fan authors often
encourage collaborative engagement by asking for advice or input, but
eventually remain in control of their fanfictions. Because of the importance
of the comment and review practices and its interlinkage with fanfictions,
Hellekson and Busse have introduced the useful term “fantext” which refers
to the network of fanfictions written in a fandom and the accompanying
forms of written communication, which in its entirety results from a collective effort. 15
In this network of texts and inside the fan community, fanfiction readers
approach texts with extensively different genre expectations concerning
the plot and the structure of narratives than recipients of transmedial
storytelling or commercial serializations. Authors and producers of prequels
and sequels in existing media narratives, who often also identify as fans,
must nevertheless adhere to the canon, the rules, and laws of the franchise. 16
Authors of fanfiction are not restricted in the same sense because they do
not need to write fanfiction that is coherent with existing installments, as
fanfictions do not necessarily work as extensions. Following a commercial
impetus, while being connected to the canon, most installments of franchises
can stand and be sold individually. Because digital fanfiction is embedded in
a fantext, it is read as one text of several or many. Many fanfictions explore
the imaginary worlds of pre-texts while others focus on romantic relationships or play with changes and appropriations to settings and characters
established in the media narratives. This means that fanfictions in a fandom
do not necessarily exist in the same imaginary world as the pre-text or each
other, but rather, due to the innumerable changes fan authors can think
of, in parallel universes which fans call AU (alternate universe). Because
of fans’ interest in the investigation and further creation or appropriation
of fantastic worlds, fantasy and science fiction series, like Twilight and
15 Karen Hellekson and Kristina Busse, eds., Fan Fiction and Fan Communities in the Age of the
Internet, (Jefferson: McFarland, 2006), 7.
16 It has been argued that works by professional authors who are fans should be included in
definitions of fanfiction, e.g. Sheenagh Pugh, The Democratic Genre: Fan Fiction in a Literary
Context (Bridgend: Seren, 2005), 25. However, considering fanf iction as a genre of writing
points to the differences between professional serializations and amateur fanfiction writing,
which becomes visible specifically when authors transition between realms. There are means
for authors writing for an established franchise to alter the established canon, e.g. through
retroactive continuity in comics. But the necessity for coherence still differs from the freedom
fanfiction authors have.