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AdAptAtion in the Age of MediA ConvergenCe
transformative and derivative writing) that are part of a serialization through
fanfictions with their specific forms of production and reception. These
texts include recreation and often reinterpretation and are read by other
fans as adaptations, something which becomes most prominently visible
through the comments and reviews fans write, and in which they compare
and contrast the fanfiction with the pre-text and discuss information and
backstory which they have inferred from their knowledge of the pre-text.
Discussions and debates among critics and fans about the legitimacy of
specific practices of writing, in the case of Clare’s unannounced adaptation
of Pamela Dean, and claims of authorship, both discussed in reference to
James by journalists that inferred she was infringing on the copyright of
Twilight and fans that argued that she had exploited fan labor, can be read
as negotiations of legitimate forms of (fan) authorship. Both authors do
not represent ideal fan authors, who understand themselves as part of a
community and publish their texts including references to all pre-texts, but
nor do they wholly represent established forms of professional authorship
based on practices of solitary writing and originality. In their own authorship
performance, as professional authors, James and Clare have marginalized
their history in writing fanfiction and foregrounded their experience as
professional writers in other realms. Yet both, as well as increasingly other
authors with no background in fanfiction writing, have adapted practices of
communication in which emotional connections to a narrative are discussed,
imaginary worlds are further explored and the work is critically examined,
as well as utilizing writing strategies that expand the existing narrative
through sprawling extensions and refocalized retellings.
Works Cited
Alter, Alexandra. “‘Fifty Shades’ Fan Fiction Assumes a Life of Its Own.” New York
Times, June 19, 2015. Accessed February 15, 2019, www.nytimes.com/2015/06/20/
books/fifty-shades-fan-fiction-assumes-a-life-of-its-own.html.
Avocado. “The Cassandra Claire Plagiarism Debacle – Part XII.” Journalfen (blog), Aug.
6, 2006. Accessed February 15, 2019. https://web.archive.org/web/20141015235433/
http://www.journalfen.net/community/bad_penny/8985.html.
Barnes, Brooks. “‘Twilight’ to Be Revived in Short Films on Facebook.” New York
Times, Sept. 30, 2014. www.nytimes.com/2014/10/01/business/media/twilightwill-be-revived-via-short-films-on-facebook.html.
Baym, Nancy. Tune in, Log on: Soaps, Fandom, and Online Community. Thousand
Oaks, London, and New Delhi: Sage Publications, 2000.
AdAptAtion in the Age of MediA ConvergenCe
transformative and derivative writing) that are part of a serialization through
fanfictions with their specific forms of production and reception. These
texts include recreation and often reinterpretation and are read by other
fans as adaptations, something which becomes most prominently visible
through the comments and reviews fans write, and in which they compare
and contrast the fanfiction with the pre-text and discuss information and
backstory which they have inferred from their knowledge of the pre-text.
Discussions and debates among critics and fans about the legitimacy of
specific practices of writing, in the case of Clare’s unannounced adaptation
of Pamela Dean, and claims of authorship, both discussed in reference to
James by journalists that inferred she was infringing on the copyright of
Twilight and fans that argued that she had exploited fan labor, can be read
as negotiations of legitimate forms of (fan) authorship. Both authors do
not represent ideal fan authors, who understand themselves as part of a
community and publish their texts including references to all pre-texts, but
nor do they wholly represent established forms of professional authorship
based on practices of solitary writing and originality. In their own authorship
performance, as professional authors, James and Clare have marginalized
their history in writing fanfiction and foregrounded their experience as
professional writers in other realms. Yet both, as well as increasingly other
authors with no background in fanfiction writing, have adapted practices of
communication in which emotional connections to a narrative are discussed,
imaginary worlds are further explored and the work is critically examined,
as well as utilizing writing strategies that expand the existing narrative
through sprawling extensions and refocalized retellings.
Works Cited
Alter, Alexandra. “‘Fifty Shades’ Fan Fiction Assumes a Life of Its Own.” New York
Times, June 19, 2015. Accessed February 15, 2019, www.nytimes.com/2015/06/20/
books/fifty-shades-fan-fiction-assumes-a-life-of-its-own.html.
Avocado. “The Cassandra Claire Plagiarism Debacle – Part XII.” Journalfen (blog), Aug.
6, 2006. Accessed February 15, 2019. https://web.archive.org/web/20141015235433/
http://www.journalfen.net/community/bad_penny/8985.html.
Barnes, Brooks. “‘Twilight’ to Be Revived in Short Films on Facebook.” New York
Times, Sept. 30, 2014. www.nytimes.com/2014/10/01/business/media/twilightwill-be-revived-via-short-films-on-facebook.html.
Baym, Nancy. Tune in, Log on: Soaps, Fandom, and Online Community. Thousand
Oaks, London, and New Delhi: Sage Publications, 2000.