filing off the seriAl nuMbers
79
larger network of agents that post The Mortal Instruments-related content.
Therefore, the exchanges between Clare and her readers function in some
sense in a similar manner to those that are posted by fans in reaction to
fanfiction in public spaces online. Michael Saler has observed of these public
spaces where imaginary worlds are discussed that they allow audiences to
engage with the texts with a “double-minded consciousness,” immersing
themselves in the imaginary world, yet also critically reflecting upon its
creation, laws, and logic. 57 The detailed discussion with the author about
the construction of the text and possible continuations of it that are so
specific to the digital context of fandom are partially replicated here and
integrated with the commercial drive of the series.
The usefulness of social media for the commercial success and endurance
of serial fiction has been discovered by copyright holders, publishing houses,
and film production companies. The communication between authors and
readers is probably one of the reasons why fanfiction authors, who have
practiced similar exchanges with their audiences in the context of fanfiction
writing, have become so attractive for publishers. Other authors, without a
history in fanfiction, of course also employ social media. After Stephenie
Meyer, who has a long history of engaging with fans online, had repeatedly
explained that she did not want to return to the Twilight universe, 58 she
did get involved in a project that supported female filmmakers by providing them with the means to produce short spin-off films of the Twilight
movies that have exclusively been shown on Facebook. The Lionsgate vice
chairperson Michael Burns is quoted in a New York Times article, expressing
the commercial impetus of the project: “We think Facebook is a great way
for us to introduce the world of ‘Twilight’ to a whole new audience while
re-energizing existing fans.” 59 Brooks Barnes explains that interaction
with the audience is part of keeping the value of series at a high level in
between prequels and sequels, instead of “forcing marketing teams to
constantly reactivate cold fan bases. Now the savviest studio marketers
are using Facebook, Tumblr, YouTube, and other online platforms to keep
fans on a constant low boil.” 60 Authors and producers of series are therefore
developing strategies to make use of the social networks that fan authors
have been familiar with for a long time. More than that, former fan authors
57 Saler, 30.
58 Dave McNary, “Q&A Stephenie Meyer: ‘Twilight’ Author Trades Undead for Well-Bred in
‘Austenland’,” Variety. Aug. 13, 2013.
59 Brooks Barnes, “‘Twilight’ to Be Revived in Short Films on Facebook,” New York Times, Sept.
30, 2014.
60 Ibid.
79
larger network of agents that post The Mortal Instruments-related content.
Therefore, the exchanges between Clare and her readers function in some
sense in a similar manner to those that are posted by fans in reaction to
fanfiction in public spaces online. Michael Saler has observed of these public
spaces where imaginary worlds are discussed that they allow audiences to
engage with the texts with a “double-minded consciousness,” immersing
themselves in the imaginary world, yet also critically reflecting upon its
creation, laws, and logic. 57 The detailed discussion with the author about
the construction of the text and possible continuations of it that are so
specific to the digital context of fandom are partially replicated here and
integrated with the commercial drive of the series.
The usefulness of social media for the commercial success and endurance
of serial fiction has been discovered by copyright holders, publishing houses,
and film production companies. The communication between authors and
readers is probably one of the reasons why fanfiction authors, who have
practiced similar exchanges with their audiences in the context of fanfiction
writing, have become so attractive for publishers. Other authors, without a
history in fanfiction, of course also employ social media. After Stephenie
Meyer, who has a long history of engaging with fans online, had repeatedly
explained that she did not want to return to the Twilight universe, 58 she
did get involved in a project that supported female filmmakers by providing them with the means to produce short spin-off films of the Twilight
movies that have exclusively been shown on Facebook. The Lionsgate vice
chairperson Michael Burns is quoted in a New York Times article, expressing
the commercial impetus of the project: “We think Facebook is a great way
for us to introduce the world of ‘Twilight’ to a whole new audience while
re-energizing existing fans.” 59 Brooks Barnes explains that interaction
with the audience is part of keeping the value of series at a high level in
between prequels and sequels, instead of “forcing marketing teams to
constantly reactivate cold fan bases. Now the savviest studio marketers
are using Facebook, Tumblr, YouTube, and other online platforms to keep
fans on a constant low boil.” 60 Authors and producers of series are therefore
developing strategies to make use of the social networks that fan authors
have been familiar with for a long time. More than that, former fan authors
57 Saler, 30.
58 Dave McNary, “Q&A Stephenie Meyer: ‘Twilight’ Author Trades Undead for Well-Bred in
‘Austenland’,” Variety. Aug. 13, 2013.
59 Brooks Barnes, “‘Twilight’ to Be Revived in Short Films on Facebook,” New York Times, Sept.
30, 2014.
60 Ibid.