2148
Obidala Network is Moving to the AO3
Obidala Network, a Star Wars fanfiction archive, is being imported to AO3! Learn more about the import, including how to claim your works, here
Open-Doors-Committee  Fanfiction 
23 minutes ago
This Week in Fandom, Volume 75
This Week in Fandom: #28DaysOfBlackCosplay empowers black cosplayers; The Crimes of Grindelwald disappoints fans with "not explicitly" gay Dumbledore; women fanfiction writers subvert and reinvent Indian TV
shows; and more!
This_Week_in_Fandom  Cosplay  Fanfiction  Fannish-communities  Gender-and-Sexuality  Movies  Race-Ethnicity-and-Nationality  Television 
yesterday
Thanks for Participating in IFD 2018
International Fanworks Day has ended and prizes have been awarded for #IFDShare and #IFDFest. Here are some stats and fan creations we'd like to share. And remember, we'd love to hear what fan communities have planned for next year's event!
Event 
4 days ago
It’s International Fanworks Day 2018
International Fanworks Day is finally here! Don't forget to join in the #IFD2018 fun by taking part in our short fanwork challenge, by reccing fanworks in #IFDShare or by joining us for discussion and games in our 29 hour chat room party!
Event  Fannish-communities 
6 days ago
Welcome to Feedback Fest 2018
OTW's Feedback Fest begins today as part of #IFD2018! Leave a comment on our post by February 16 with your recs or link your post elsewhere that's tagged #IFDFest. You may also win a prize! Share your love for fanworks & encourage others to leave feedback! https://goo.gl/kTb2Hx
Event  Announcement  Fannish-Practices 
8 days ago
What We're Doing for #IFD2018
What will you be doing on Feb 15th? OTW will be celebrating International Fanworks Day in all timezones with #IFDFest #IFDShare & games. Take part in our activities or tell us about your fandom's plans so we can signal boost them! Spread the word about #IFD2018 https://goo.gl/Qb44j1
Event  Communications-Committee  Announcement 
9 days ago
Fanhackers • Perhaps most notably, by offering works that...
"Perhaps most notably, by offering works that arguably “push the envelope” more than the works of the..." “Perhaps most notably, by offering works that arguably “push the envelope” more than the works of the formal manga industry, dōjinshi may produce examples of innovation that create new opportunities for the entire industry. Indeed, mainstream manga publishing companies have in the past brought the styles and ideas of “hot” subcultures into their own product lines. New genres fostered by the dōjinshi markets– genres that are often quite risqué – have been at times been adopted by mainstream commercial manga publishers.”

- Mehra, Salil. “Copyright and comics in Japan: Does law explain why all the cartoons my kid watches are Japanese imports.” Rutgers L. Rev. 55 (2002): 155.
fanhackers 
9 days ago
January 2018 Newsletter, Volume 120
OTW Legal alerts fans to a phishing scam imitating AO3 plus more news about work they're doing for fans. Did you know in 2017 Tag Wranglers managed 1/4 of ALL tags ever created for AO3? There's also a new AO3 tutorial out & updates and stats for you: https://goo.gl/dEPsmR
Newsletter  OTW-Sections 
10 days ago
The OTW is Recruiting Fanlore Staff, Translators, and Graphic Designers
Do you have graphic design experience? An interest in fannish history? Are you fluent in a language other than English? The OTW is recruiting Fanlore staff, translators, and graphic designers. Learn more and apply here!
Volunteering  Translation-Committee  Development-&-Membership-Committee  Fanlore-Committee 
13 days ago
Open Doors Celebrates the Completion of 11 Archive Imports in 2016!
The OTW's Open Doors project is pleased to announce the completion of eleven fanfiction and fanart archive imports in 2016. That's a total of over 17,000 works now available on AO3! Click here to find out more.
Open-Doors-Committee  Fanfiction  Fanart 
15 days ago
What Fanworks Mean to Me 2018
International Fanworks Day is next week! While you're waiting for February 15th, you can read fan submissions on #WhatFanworksMeantoMe and also take part in a conversation about fanworks in your daily life! https://goo.gl/L9Mcua
Event  Fannish-communities  Fannish-Histories  Fannish-Practices 
17 days ago
Open Doors Celebrates the Completion of 16 Archive Imports in 2017!
OTW's Open Doors is pleased to announce the completion of 16 fanfiction archive import projects in 2017, a total of over 42,000 works now available on AO3! Click here to see if your old favourite is on the list.
Open-Doors-Committee  Fanfiction 
21 days ago
This Week in Fandom, Volume 74
This Week in Fandom: Please Stand By and Star Trek fandom representation; more United States works to enter the public domain; Johnlock shippers around the world; and more!
This_Week_in_Fandom  Fanfiction  Fannish-communities  Gender-and-Sexuality  Intellectual-Property  Movies 
22 days ago
Fanhackers • In the Japanese media system, organized around...
"In the Japanese media system, organized around idols, the consumer is positioned as a fan. For the..." “In the Japanese media system, organized around idols, the consumer is positioned as a fan. For the fan-consumer, the idol as an object of desire is a fantasy or ideal construct, a “mirror” reflection, which resonates with deep affective or emotional meaning.”

- Galbraith and Karlin, Idols and Celebrity in Japanese Media Culture, p2
fanhackers 
22 days ago
Fanhackers • Scholars within fan studies have generally...
"Scholars within fan studies have generally maintained, with varying degrees of insistence, that fan..." “Scholars within fan studies have generally maintained, with varying degrees of insistence, that fan texts are collaborative, but our understanding of the mechanics of fan collaboration, especially in vidding, is still incomplete. An ecological model of composition lets us have it both ways; it encourages us to pay attention to both the individual and social aspects of authorship and, perhaps more importantly, to the interactions between them. Studying the ecology within which vidders produce, including the generic and show-specific interpretive conventions that guide audience perception and thus vidder creation, allows us to think in new ways about vidders’ creative processes and the rhetorical work that goes into vidding.”

- Turk, Tisha and Joshua Johnson. 2012. “Toward an Ecology of Vidding.” In “Fan/Remix Video,” edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9.
fanhackers 
28 days ago
This Week in Fandom, Volume 73
This Week in Fandom: Voltron fandom Lance Is Bi theory and queer media representation; controversial cartoons teach UK kids about intellectual property and piracy; first-fandom memories from the late '90s; and more!
This_Week_in_Fandom  Anime-and-Manga  Fannish-communities  Fannish-Histories  Gender-and-Sexuality  Intellectual-Property  Television 
29 days ago
Fanhackers • Fan groups that translate anime and manga have had...
"Fan groups that translate anime and manga have had a strong influence on the evolution of commercial..." “Fan groups that translate anime and manga have had a strong influence on the evolution of commercial translation strategies for the medium, and anime clubs and conventions often develop symbiotic ties with industry retailers. As inferred by the terms “group” and “club,” manga and anime consumption is often viewed as a social activity. “Scanlations” (fan-made translations of manga) and “fansubs” (fan-made subtitled anime), which are produced for and distributed among fans, also often entail group effort. This direct involvement by fans in the introduction of the source material into the target culture allows them to be not only consumers but also distributors and producers. Furthermore, commercially translated manga tend to be consumed as overtly foreignized texts, with their readers well aware that they are reading translations, and this encourages the fanbase to appropriate the texts as more than foreign import products, establishing them as cultural possessions in the minds of the fanbase at large.”

- Manga Translation and Interculture | Cathy Sell
fanhackers 
29 days ago
OTW Guest Post: Josh Lamel
As Copyright Week ends, this month's guest, Josh Lamel of @recreateco , talks to us about how the coalition got started, how fans can get involved, and what the OTW's role has been. Plus, if you'd like to be one of their fan creator profiles, let us know! https://goo.gl/KBTmQa
Guest-Post  Legal-Advocacy  Intellectual-Property 
4 weeks ago
Five Things Betsy Rosenblatt Said
As part of our participation in Copyright Week, this month's Five Things post with OTW Legal Chair Betsy Rosenblatt discusses whether or not a fair use utopia could exist and how her entire life has become a little bit fannish: https://goo.gl/twTxho
Five-Things  Legal-Advocacy  Legal-Committee  Volunteering 
4 weeks ago
Artifact Storage Room 3 is Moving to the AO3
Artifact Storage Room 3, a Sentinel fanfiction and fanart archive, is being imported to AO3. Learn more about the import, including how to claim your works, here
Open-Doors-Committee  Fanfiction  Fan-art  Television 
4 weeks ago
Fanhackers • The history of the Star Trek fandom has been...
"The history of the Star Trek fandom has been largely defined by its instances of fan mobilization...." “The history of the Star Trek fandom has been largely defined by its instances of fan mobilization. While the fandom can be said to have come into existence in 1966 with the premier of the first episode of Star Trek, the fandom arguably only truly came into its own when the series was cancelled. As previously discussed, when the original Star Trek series was cancelled in 1968, fans of the series mobilized around a letter writing campaign and “pressure[d] NBC to keep and later return their show to the airways” (Jenkins, as cited by Scardaville, 2005, p.882). Although the show‟s revival lasted only one season, the event marked a turning point for both the Star Trek fandom and for fandoms in general: the success of the letter writing campaign showed that fans can and do have an influence over the decisions producers make – that the power relations between fans and producers are not entirely unilateral. If not the first instance, the letter writing campaign has certainly been the most well documented instance of successful fan mobilization in the history of modern fandoms, and has been the standard for many subsequent fan mobilizations.”

- Devin Beauregard, Cultural Policy in the Digital Age: The Emergence of Fans as Political Agents in Copyright Discourse, p91
fanhackers 
5 weeks ago
This Week in Fandom, Volume 72
This Week in Fandom: AU text fic BTSoutcast goes viral on Twitter; fans criticize NBC’s Rise for straightwashing its main character; Counterfind bot continues to block Outlander fan pages on social media; the historical origins of shipping; and more!
This_Week_in_Fandom  Entertainment-Industries  Fanfiction  Fannish-communities  Fannish-Histories  Gender-and-Sexuality  Intellectual-Property  Music  Television 
5 weeks ago
International Fanworks Day 2018 Is Coming
Are you excited about next month’s International Fanworks Day? Share your thoughts about your love for fanworks between now and January 31 with #WhatFanworksMeantoMe and we may signal boost you! For more info on how to take part, check this out: https://goo.gl/hMcr3M
Communications-Committee  Event  Announcement  Fannish-Practices 
5 weeks ago
Fanhackers • The task of archiving was once entrusted only to...
"The task of archiving was once entrusted only to museums, libraries, and other institutions that..." “

The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists—fans, pirates, hackers—have become practitioners of cultural preservation on the Internet. These nonprofessional archivists have democratized cultural memory, building freely accessible online archives of whatever content they consider suitable for digital preservation. In Rogue Archives, Abigail De Kosnik examines the practice of archiving in the transition from print to digital media, looking in particular at Internet fan fiction archives. 

De Kosnik explains that media users today regard all of mass culture as an archive, from which they can redeploy content for their own creations. Hence, “remix culture” and fan fiction are core genres of digital cultural production.



- Rogue Archives: Digital Cultural Memory and Media Fandom | Abigail de Kosnik
fanhackers 
5 weeks ago
The OTW is Recruiting Tag Wranglers, Plus Communications and Translation Staff
Do you like organizing and working in teams? Or do you have an interest in new media and networking? The Organization for Transformative Works is recruiting for Tag Wranglers, Volunteer Managers and Media Outreach personnel! Learn more and apply here.
Volunteering  Communications-Committee  Translation-Committee  Tag-Wrangling-Committee 
5 weeks ago
This Week in Fandom, Volume 71
This Week in Fandom: Restrictive content guidelines for Marvel's Create Your Own; USS Callister and fan culture; fans grieve the death of K-Pop star Jonghyun; Neil Gaiman on fanfiction filling in the gaps of canon; and more!
Books  Comics  Commercialization-of-Fans  Fandoms  Fanfiction  Fannish-communities  Intellectual-Property  Music 
6 weeks ago
Fanhackers • Lecture 3: Early Fan Studies | Lori Morimoto on...
Lecture 3: Early Fan Studies | Lori Morimoto on Patreon Lecture 3: Early Fan Studies | Lori Morimoto on Patreon:

Check out this free Fan Studies lecture on early fan studies by Lori Morimoto! It’s a great overview of some of the works that started fan studies as a discipline. It also puts them in a contemporary context, sketching out how fandom and approaches to studying it have changed since.
fanhackers 
6 weeks ago
Fanhackers • Unlike larger [K-pop] groups with official...
"Unlike larger [K-pop] groups with official Japanese fan clubs, Shin-Okubo idol groups usually..." “Unlike larger [K-pop] groups with official Japanese fan clubs, Shin-Okubo idol groups usually operate on a point card system. Attending each concert usually equals one point (though there are double point days), and purchasing certain merchandise (such as towels or penlights/fanlights) earns extra points. Bringing along a friend for their first concert also earns an extra point, which cultivates fan labor. As the points accumulate various benefits are awarded, often culminating with a rare option like the 5 minute date [with an idol] (say, after 50 points).”

-

‘Benefits’ and Labor – K-pop Fandom in Tokyo Beyond the Major Groups | Miranda Larsen

Part of a longer series about K-pop fandom that’s very much worth checking out.
fanhackers 
6 weeks ago
Changes to the Star Wars Fandom Tags on AO3
In order to keep the servers from crying, we’re going to be streamlining some of this tree so the fandom tags for individual pieces of series will be merged with the other parts of their storyline, as other fandoms on the archive do. The first step in this process is going to be folding the individual saga movie tags into their respective trilogy meta tags (i.e., Star Wars Prequel Trilogy, Star Wars Original Trilogy, Star Wars Sequel Trilogy).

You can also use the Additional Tags field if you want to highlight an individual film in your work. We have canonicals for all eight already (for example, Movie: Star Wars: Attack of the Clones.)
Archive-of-Our-Own  Tag-Wrangling-Committee  Movies 
6 weeks ago
TER/MA is Moving to the AO3
TER/MA, an archive for X-Files slash fanfiction focused on Mulder/Krycek, is being imported to AO3! Find out more about the import--including how to claim your works--here.
Open-Doors-Committee  Fanfiction 
7 weeks ago
Fanhackers • Serialized stories encourage discussion and...
"Serialized stories encourage discussion and analysis. There is plenty of evidence of Victorian..." “Serialized stories encourage discussion and analysis. There is plenty of evidence of Victorian “reading groups,” where friends and families would come together to read aloud the latest installments of a favorite tale, and of book exchanges, where a single pamphlet would make it round an entire community. This impulse to share and discuss parallels the way a new chapter of a popular fic will be consumed and dissected by its readers on platforms like Tumblr.”

- @carolinecrampton on the history of serialized fiction and today’s fic WIPs (via fansplaining)
fanhackers 
7 weeks ago
The OTW’s 2016 Annual Report is Now Available
The OTW's 2016 Annual Report is now publicly available. It contains information on our activities & finances during the previous fiscal and calendar year. Read it here!
Report  OTW-Sections 
7 weeks ago
Fanhackers • While they received a lot of hostility and hate...
"While they received a lot of hostility and hate posts, the Brony audience did not respond to the..." “While they received a lot of hostility and hate posts, the Brony audience did not respond to the trolls in kind.  As with many internet groups, the Brony audience used catchphrases and memes such as “welcome to the herd” or “confound those ponies” to express their adherence to the audience and develop its culture. And during the ‘pony wars’ one meme in particular exploded in popularity and usage: “love and tolerate” (Fig 3.). Memes are an important part of an internet group as “they come to us framed by specific histories of use and meaning, and are products of specific ideological struggles,” [17] so the use of this particular meme as the Bronies’ main weapon and response to their ‘haters’ reveals how this audience was developing and creating its own identity during this time of tension and conflict.”

- A brief history of the 4chan ‘pony wars’, Claire Burdfield
fanhackers 
8 weeks ago
Fanhackers • While role-play does offer therapeutic benefits,...
"While role-play does offer therapeutic benefits, the recent actions of Tumblr users show fans of..." “While role-play does offer therapeutic benefits, the recent actions of Tumblr users show fans of certain narratives moving beyond the need to improve one’s own relation to the world. Rather than the world serving the individual, the individual in these cases serves the world by allowing her– or himself to be swept up in play. A major part of this transindividual work is the acknowledgment that world building and narrative is an unpredictable activity: role players do not control their muses or seek to do so. In celebrating this loss of control, the player also opens him– or herself up to other players’ needs and strengths while navigating a scene.”

-

Howard, K. Shannon. 2017. “Surrendering Authorial Agency and Practicing Transindividualism in Tumblr’s Role-play Communities.” Transformative Works and Cultures, no. 25.

In this paper, Shannon Howard examines role-play on Tumblr as a hybrid between fan fiction and gaming. She compares it to other kinds of role-play, for instance tabletop and live action gaming, video games, or even online role-play on platforms like LiveJournal. She argues that Tumblr role-play is different, in part because of the technical features Tumblr offers as a platform. On LiveJournal, for instance, a user is in complete control of the interactions that happen on their account: they make posts, they pick or design the journal style, they may choose to engage with comments, but equally they may also delete comments. Tumblr’s features allow for a more porous relationship between accounts, players, and characters as interactions may be reblogged and added to, and no single individual is in complete control of the process. Howeard uses the framework of transindividualism to argue that Tumblr role-play is significantly different to other kinds of role-play as it is much less focused on the individual and more focused on the collaborative creatiion of a narrative.
fanhackers 
8 weeks ago
Fanhackers • Currently, the structure of fansubbing...
"Currently, the structure of fansubbing distribution is highly decentralized and  difficult  to..." “Currently, the structure of fansubbing distribution is highly decentralized and  difficult  to  coordinate.  In  peer-to-peer  file  sharing,  there  are  no  central organizations  but  rather  multiple  –  very  transient  –  global  networks  among individual file sharers. With such a structure, it might be hard for fansubbers and their users to reach a new consensus on their ethics: many fansubbers even feel that the field is too decentralized and globalized to be called a ‘commu-
nity’.”

-  Lee, Hye-Kyung. 2011. “Cultural Consumer and Copyright: A Case Study of Anime Fansubbing.” Creative Industries Journal 3 (3):237–252.  
fanhackers 
9 weeks ago
This Week in Fandom, Volume 70
This Week in Fandom: Artificial intelligence generates a Harry Potter fanfic; what the Disney-Fox deal might mean for fandom; fanfiction, stigma, and female fans; and more!
This_Week_in_Fandom  Entertainment-Industries  Fanfiction  Fannish-communities  Gender-and-Sexuality  Movies 
9 weeks ago
All Things Rat is Moving to the AO3
All Things Rat, a fanfiction archive for works about X-Files character Alex Krycek, is being imported to AO3! Learn more about the import--including how to claim your works--here
Open-Doors-Committee  Fanfiction 
9 weeks ago
OTW Guest Post: TyphoidMeri
December's OTW Guest Post author, fan artist/crafter TyphoidMeri, talks about developing a belief in herself & how fandom has helped her.
Guest-Post  Fannish-Practices  Fanfiction  Fanart  Fan-Crafts 
9 weeks ago
Five Things Mandy Gooch Said
In Five Things, Mandy Gooch shares how volunteering for the OTW has helped her open up in groups & why January's exciting https://goo.gl/qjgvUE
Five-Things  Strategic-Planning 
9 weeks ago
This Week in Fandom, Volume 69
This Week in Fandom: Fans are upset by a statement from J.K. Rowling; fans are happy about a new development on Brooklyn Nine-Nine; fanfiction as a supplement to sex ed; 2017 year in review roundups; and more!
This_Week_in_Fandom  Books  Movies  Television  Gender-and-Sexuality  Entertainment-Industries 
9 weeks ago
Fanhackers • The provision of “official” GIFs also demonstrates...
"The provision of “official” GIFs also demonstrates that controlling what is provided and how it is..." “

The provision of “official” GIFs also demonstrates that controlling what is provided and how it is accessed is a key concern for many media rights holders. This control extends to developing specific settings for GIF engagement. Content providers like Disney and Viacom have launched their own branded keyboards in addition to hosting their own GIF channels on Giphy. Smartphone apps like the RuPaul’s Drag Race Keyboard App offer GIFs (and custom emoji) specific to a particular show. Snaps, the developer of the Drag Race app, has also produced similar commercial keyboards for shows including Mr. Robot, Portlandia, and Broad City. According to Snaps executive Austin Bone, these keyboards are a way for media properties to “empower” their fans (…).

Such “empowerment” is a lucrative endeavor. On top of inserting branded content into private conversations—an arguable advertising success in its own right—a keyboard app provides brands with valuable metrics, including realtime tracking of how many conversations are happening using the app, what content is being used the most frequently within those conversations, and by whom. These keyboards help brands achieve the holy grail of branded advertising: a multi-layered commodification of affect on the most intimate level.



- Miltner, K. M., & Highfield, T. (2017). Never Gonna GIF You Up: Analyzing the Cultural Significance of the Animated GIF. Social Media Society, 3(3), 1-11.
fanhackers 
10 weeks ago
November 2017 Newsletter, Volume 119
Check out the OTW's November newsletter for updates on #AO3's spam issue, our legal advocacy work, a new way to support the OTW via Humble Bundles, and more! Read it here.
Newsletter  OTW-Sections 
10 weeks ago
Fanhackers • Fan Studies Network Australasia Inaugural...
Fan Studies Network Australasia Inaugural Conference 2017 (with images, tweets) · bertha_c Fan Studies Network Australasia Inaugural Conference 2017 (with images, tweets) · bertha_c:

Check out this great storify of tweets from the first Fan Studies Network conference in Australia. The full program of fan studies goodness is here.
fanhackers 
11 weeks ago
International Volunteer Day 2017
Join OTW in celebrating International Volunteer Day by thanking those who have made us possible, and finding out more about them: https://goo.gl/f8mJgP
Event  Volunteering  Volunteers-&-Recruiting 
11 weeks ago
InDeath.net Fan Fiction is Moving to the AO3
InDeath.net Fanfiction, an In Death fanfiction archive, is being imported to AO3. Learn more about the import--including how to claim your works--here.
Open-Doors-Committee  Fanfiction 
11 weeks ago
Fanhackers • Freedom is a slippery concept, especially when it...
"Freedom is a slippery concept, especially when it comes to digital media. When we think about..." “Freedom is a slippery concept, especially when it comes to digital media. When we think about questions of copyright and digital ownership through cultural theft, freedom from domination lines up with freedom from having to pay—at least on the surface. Theft, piracy, and the commons are all concerned with getting things for free, and current configurations of online media and culture are hospitable to their insurrectionary modes of ownership.”

- Lothian, Alexis. Living in a Den of Thieves: Fan Video and Digital Challenges to Ownership. Cinema Journal 48.4, Summer 2009. 130-136.
fanhackers 
11 weeks ago
Are You Concerned About Net Neutrality?
Are you concerned about net neutrality? OTW Legal explains the issue, what it could mean for fans, and how you can get involved. Take action this December 2017 while the issue is still being debated!
Legal-Advocacy  Technology  Activism 
11 weeks ago
Fanhackers • fffinnagain: Lost Works and Posting Rates on...
fffinnagain:
Lost Works and Posting Rates on fanfiction.net and...
fffinnagain:

Lost Works and Posting Rates on fanfiction.net and Archive of Our Own

Recently, I posted an analysis of these two large fanfiction archives using work numbers (nodes) to get a sense of how active they have been over the years. Investigations since I’ve discovered how different these node counts are from the works CURRENTLY available in these archives.

In Red and Green above are the number of nodes assigned per month in each archive, going back to 2001 for Fanfiction.net and to AO3’s beginning in 2009. These nodes are assigned to each new work, or (on AO3) each new saved draft on the archive. The Blue and Yellow are estimates of the works currently in each archive from these past times, hence, works surviving.

Not only is the gap between Nodes and Surviving Works very big, it is shaped totally different for these two archives. To see this directly, here is the percentage of nodes with works currently in the archives, by month.

If we are going to compare fan activity on these archives from these data, Nodes and Current works, we need to get a better sense of what is going on. Below I get into the details of where these numbers come from, their historical context, and justify my interpretations, but here are the main points fanfiction readers might want to know:

Fanfiction.net has lost a lot of posted works over the years, up to 70% of those posted before 2003.

The proportion of works removed from fanfiction.net has gone down to ~20% since 2016

While some loss of works is to be expected, this amount of works removed over time suggests active curation by the FFN community and staff.

On AO3, the proportion works removed, or drafted but never posted is probably around 20%.

AO3 has a spam problem, with non-fan agents flooding the archives with fake works.

AO3 outpaced FFN in terms of works being posted to these archives in 2015 (as suggested in previous analysis) in the middle of messy part of the plot at the top.

In 2019, AO3 could reach FFN’s past peak posting rate of ~3500 fanworks per day.

So where are all the fanworks? 

Did they disapeare or did they never exist in the first place?

Find out under the read more, where I also explain these numbers, how I reached these conclusions, and some historical explanations for the changes over time.

I’ll also try to add corrections there, if new information comes to light.

Keep reading
fanhackers 
11 weeks ago
This Week in Fandom, Volume 68
This week in fandom: Vanity Fair photographs Marvel superheroes, how a DMCA takedown request affected a Canadian mashup website, fans visit their favourite fictional world in an upcoming book, and more.
Books  Comics  DMCA  Intellectual-Property  Music  Remix  This_Week_in_Fandom 
12 weeks ago
Fanhackers • These questions give us the opportunity to rethink...
"These questions give us the opportunity to rethink how we understand the emergence and spread of..." “These questions give us the opportunity to rethink how we understand the emergence and spread of distinctive cultural forms as something other than a game of “follow the money.” Instead, we need to follow the activity, the energy, the commitment of those who care, starting with what is most meaningful to them. Anime is instructive because it reveals the centrality of a kind of social energy that emerges in the space between people and media. For me, the soul of anime does not point to some ultimate, internal essence of the media as an object. Rather, the soul of anime points to this social energy that arises from our collective engagements through media, and as such, it gives us an alternative way to think about what is of value in media.”
- Condry, Ian. The soul of anime: collaborative creativity and Japan’s media success story. Durham, N.C.: Duke Univ. Press, 2013.
fanhackers 
12 weeks ago
Fanhackers • The rise of the Internet also meant that Comike...
"The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and..." “The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it. Firms had been interested in Comic Market for decades as a never-ending pool of promising new talent and as a place to exploit them commercially, and they were willing to pay much money for direct access to these masses of otaku. Starting with NEC in the summer of 1995, companies were granted exhibition space to market or to sell their newest products. This was the birth of the dealer booth at Comike, and, as with dōjinshi circles, the number of applicant companies was much higher than that of available spaces: a self-sustaining event with such high attendance was too important for any related company to ignore. Companies accepted the existence of unlicensed parody dōjinshi using copyrighted material (albeit in a transformative and thus arguably fair-use manner) since they could now sell exclusive goods at Comike or use it as a marketing place, attracting to the convention people who were not interested indōjinshi.”
- Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p240
fanhackers 
12 weeks ago
The OTW is Now a Humble Store Charity
Besides direct donations to OTW we have several other ways you can support our projects. As of November 2017 you can also choose us as a charity when making purchases at the Humble Store! Find out more & remember us if you're making purchases on Cyber Monday https://goo.gl/Ywu5Xz
Development-&-Membership-Committee  Financial-support  Announcement 
12 weeks ago
Call for Stories: Help the OTW Fight for Fair Use!
Are you a fanworks creator? Do you use screencaps or video clips in your fanfiction? If yes, help the OTW fight for fair use by telling us your story and signal boosting this message!
Legal-Advocacy  DMCA  Intellectual-Property 
12 weeks ago
This Week in Fandom, Volume 67
This Week in Fandom: @dril is human, Gal Gadot is against sexual misconduct, The Washington Post thinks fans are the most privileged, and NPR is doing a series on how fandom has enriched people's lives.
This_Week_in_Fandom  Fannish-Practices  Movies  Gender-and-Sexuality 
november 2017
Fanhackers • Imaginactivism is—perhaps self-evidently—a...
"Imaginactivism is—perhaps self-evidently—a compound word made up of Imagine and Activism, but..." “Imaginactivism is—perhaps self-evidently—a compound word made up of Imagine and Activism, but intended to connote the process relationship between imagining and acting to make change in the world. The coinage is intended to signal a positive and effective relationship between creating and sharing visions of a better world that is possible and being moved by those visions to take practical action. It also suggests that we value imagining and imagination as an active process of crafting a vision that is a necessary precursor to worldly action, and sharing it with and in a community of ideas. The temporality of that relationship might work differently; our shared visions might emerge from the actions we take, or they might co-emerge or be co-created, but the important point is that we don’t regard the practice of imagining as simply escape or retreat from the world.”
- Joan Haran (2017): Instantiating Imaginactivism: Le Guin’s The Dispossessed as Inspiration. Ada: A Journal of Gender, New Media, and Technology, No. 12. http://ift.tt/2z8ivsl
fanhackers 
november 2017
Fanhackers • As demonstrated above, the norms of print...
"As demonstrated above, the norms of print publishing above all else value public access: public..." “As demonstrated above, the norms of print publishing above all else value public access: public publishing, public circulation, public market through public buying and public selling, public reading, public engagement. The average fan text flouts these norms, whether because print zines are sold literally “under the table” at conventions or because fan works are posted to member-only online communities. The meaning of the word publish, “to issue text for sale or distribution to the public,” derives from its etymological root, which means “people.” This raises a deceptively simple question that has long dogged historians of women’s writing: What does it mean to be “published”? Historically, the difference between manuscript publishing and print publishing has rested on the insularity of the intended audience in the private sphere and the public acts associated with the public sphere.”
-

Coker, Catherine. 2017. “The Margins of Print? Fan Fiction as Book History.” Transformative Works and Cultures, no. 25.

In case you missed it, Cait Coker discusses fan fiction, the OTW, and this paper in a recent guest post for the OTW.
fanhackers 
november 2017
The Boy / Michael Shanks Archive is Moving to the AO3
The Boy / Michael Shanks, a fanfiction archive for all characters played by actor Michael Shanks, is being imported to AO3! Learn more about the import–including how to claim your works–here: https://goo.gl/Xpzkom
Open-Doors-Committee  Fanfiction  Fannish-Histories 
november 2017
OTW Guest Post: Catherine Coker
This month’s guest Cait Coker talks about women’s writing, book history & finding an entry to fandom at WalMart
Academia  Books  Fannish-Histories  Fanfiction  Guest-Post 
november 2017
Fanhackers • In this sense, therefore, the informal practices...
"In this sense, therefore, the informal practices of fan culture appear uniquely compatible with a..." “

In this sense, therefore, the informal practices of fan culture appear uniquely compatible with a free and open culture in which participation in the processes of creation is unhindered by institutional or legal means.

More recent research into fan practice—particularly in relation to gaming—has nevertheless complicated the strict boundaries this “folk” imagery implies between fan and corporate production in a digital age. (…) Fans have thus been repeatedly conceptualized as the vanguard of new economies based in open, participatory cultural production.

But the fan-programmers behind Dominion War—just like those behind Gundam Century, Open Rebellion, and others—embraced hierarchy, closure, and proprietary creativity at the same time as they experimented with production logics outside of copyright control. As a case study, Dominion War complicates this equation of fan practice with free culture by pointing to negotiated transitions between closed commodity culture and open, peer-to-peer collaboration. While this TC did bear potential for ongoing, collectively intelligent cultural production, it also operated by upholding corporate hierarchies, privatized ownership, and monopolies of culture that thwarted the processual realization of that potential.


- Derek Johnson, StarCraft Fan Craft: Game Mods, Ownership, and Totally Incomplete Conversions, p53
fanhackers 
november 2017
This Week in Fandom, Volume 66
This Week in Fandom: A new Harry Potter augmented reality game is on the way, Doctor Who reveals 13's costume, what the heck is Fandom 250, and more!
This_Week_in_Fandom  Sports  Television  Gaming 
november 2017
Fanhackers • In discussing the idol system in Japan, we tend to...
"In discussing the idol system in Japan, we tend to think of the idol as a performer who is produced..." “In discussing the idol system in Japan, we tend to think of the idol as a performer who is produced by a talent agency and lends his/her image to the promotion of goods and services. However, as Bruno Latour (2005) argues, a better approach perhaps is to consider agency as distributed across a network of actors that all contribute to how interactions take place. That is, idols not only promote the sale of goods and services, but actually are produced by the goods and services that they sell. Rather than idols selling products, we have a system of commodities that is selling idols. By focusing on the idol alone, one loses sight of the network of relations that go into producing the idol. We falsely assume that agencies produce idols to perform on television or some other media stage, but the capitalist system too needs idols to advertise the products that it produces. The idol, then, is but a node in the network of the capitalist system of commodities that links producers to consumers.”
- Galbraith and Karlin, Idols and Celebrity in Japanese Media Culture, p8
fanhackers 
november 2017
Five Things Raquel E. Said
In Five Things, translation volunteer Raquel shares their favorite thing in the world & how they see their work for the OTW https://goo.gl/NmkEJZ
Five-Things  Translation-Committee 
november 2017
October 2017 Newsletter, Volume 118
Our journal is looking for fan contributions, AO3 has advice for those with multimedia embeds & the AO3 Docs team has a new FAQ out on skins for the site! https://goo.gl/7oahio
Newsletter  OTW-Sections 
november 2017
This Week in Fandom, Volume 65
This Week in Fandom: Stranger Things, an FAQ for Article 13, an AI writes an X-Files script, and did we mention Stranger Things?
This_Week_in_Fandom  Television  Technology  Intellectual-Property 
november 2017
Fanhackers • The New York Times validates the literary merit of...
"The New York Times validates the literary merit of fanfiction writing. Articles assure parents that..." “The New York Times validates the literary merit of fanfiction writing. Articles assure parents that their children’s dwindling literacies are simply being replaced by equally viable alternatives: their children are not reading and writing less, they are simply reading and writing differently. Fanfiction is framed as a healthy literacy practice, employed by local kids in public libraries (Aspan 2007; Warren 2011).”
- Drew Emanuel Berkowitz, Framing the Future of Fanfiction: How The New York Times’ Portrayal of a Youth Media Subculture Influences Beliefs about Media Literacy Education, p204
fanhackers 
november 2017
Fanhackers • This very brief analysis of the history of German...
"This very brief analysis of the history of German fan fiction, as well as the results of our cursory..." “This very brief analysis of the history of German fan fiction, as well as the results of our cursory comparison of the exclusively German-language archive FanFiktion.de and the international Archive of Our Own, suggest that fandoms, fan practices, and fannish affections are complex and heterogeneous. Generalizing assumptions about an (imagined) unity in a specific fan fiction community are highly questionable. There is not, for example, a single Harry Potter fan fiction community but rather numerous ones that differ in their sets of rules, the socialization and education of their members, and the popularity of certain characters, pairings, tropes, or genres. In addition, political, historical, economic, and legal factors influence a national fan fiction history.”
- Cuntz-Leng, Vera, and Jacqueline Meintzinger. 2015. “A Brief History of Fan Fiction in Germany.” In “European Fans and European Fan Objects: Localization and Translation,” edited by Anne Kustritz, special issue, Transformative Works and Cultures, no. 19.
fanhackers 
november 2017
Glass Onion is Moving to the AO3
Glass Onion, a multi-fandom fanfiction archive, is coming to AO3! Learn more here.
Open-Doors-Committee  Fanfiction 
november 2017
International Volunteer Managers Day 2017
On International Volunteer Managers Day OTW celebrates our Volunteers and Recruiting Committee staff & their service.
Volunteers-&-Recruiting 
november 2017
Fanhackers • By revising contemporary narratives of both book...
"By revising contemporary narratives of both book history and fan history, we can reread..." “By revising contemporary narratives of both book history and fan history, we can reread women’s work in the literary and book trades from the seventeenth and the twenty-first centuries as a function of operating with and subverting patriarchal norms of literary production. In other words, the more things change, the more they stay the same.”
- Coker, Catherine. 2017. “The Margins of Print? Fan Fiction as Book History.” Transformative Works and Cultures, no. 25.
fanhackers 
october 2017
This Week in Fandom, Volume 64
This Week in Fandom: a call for papers from the Fan Studies Network, Malaysia blocks fanfiction.net, and The Szechuan Incident.
This_Week_in_Fandom  Fanfiction  Call-for-Papers  Conferences  Academia  Fannish-communities  Technology 
october 2017
Fanhackers • If Whedon received scrutiny due to his feminist...
"If Whedon received scrutiny due to his feminist stance, and was limited by a studio system..." “If Whedon received scrutiny due to his feminist stance, and was limited by a studio system apparently reluctant to engage with gender representation, George Miller was comparatively unconstrained. One may expect a film concerned with male control and female autonomy would be scrutinised for having an all-male writing team, however Fury Road avoided this. (…) Issues of franchise and audience expectation are also relevant: both films were anticipated returns of popular franchises, but arguably Fury Road did not have the ‘baggage’ of incredibly high audience expectation, and the pressure of contributing to an expansive ‘super franchise’. Moreover, the Mad Max franchise is typically considered ‘masculinist’ escapist fantasy, leading to the presumption of a smaller female audience, as well as lowering expectations of female representation, thus creating favourable conditions for a ‘surprise’ feminist film. Seemingly, Whedon’s activism and feminist concerns added to the aforementioned ‘baggage’ making outright critical and fan praise potentially unachievable. Hence, if Whedon’s feminism clashed with Marvel’s sexism, creating ambiguity which invites criticism, Miller’s high-octane tale of emancipation paired with its legitimising feminist consultancy, suffered no such issues.”
-

ROWSON, Emily. 2017. ‘We Are Not Things’: Infertility, Reproduction, and Rhetoric of Control in Avengers: Age of Ultron and Mad Max: Fury Road. Networking Knowledge: Journal of the MeCCSA Postgraduate Network, 10(3) pp. 57-70.

Mad Max: Fury Road and Avengers: Age of Ultron were both released in 2015. MMFR was lauded by feminists (while upsetting “Men’s Rights Activists”) for its exploration of issues of bodily autonomy, while Ultron faced a much colder reception and was critised in particular for its treatment of Black Widow’s infertility. In this paper, Emily Rowson looks beyond the fan and audience reaction to these movies. She combines three different kinds of analysis. She takes into account the audience reception of the films. She also performs a close reading of the feminist themes in both movies. Finally, she looks at the role of the director (and particularly the director as auteur) in shaping both the film and the audience’s expectations of it. Ultimately she argues that MMFR perhaps wasn’t as feminist as we would like to think, while Ultron was somewhat hard done by. This paper may be a good opportunity to revisit both films to see what you think. (Or to watch cars explode in the desert. That’s good too.)
fanhackers 
october 2017
Fanhackers • One of the most important goals that Fan Studies...
"One of the most important goals that Fan Studies can achieve as a discipline is to record watershed..." “One of the most important goals that Fan Studies can achieve as a discipline is to record watershed moments in online cultural history that often pass under the notice of more mainstream analysis.”
- Hemmann, Kathryn. 2017. Anime Fan Communities: Transcultural Flows and Frictions, by Sandra Annett [book review]. Transformative Works and Cultures, no. 25.
fanhackers 
october 2017
Firefly’s Glow is Moving to the AO3
Hey Browncoats! Firefly’s Glow, a Firefly fanfiction archive, is being imported to #AO3. Learn more here
Open-Doors-Committee  Fanfiction 
october 2017
Fanhackers • I was once told that book history is not...
"I was once told that book history is not applicable to the study of fan fiction as, “by..." “I was once told that book history is not applicable to the study of fan fiction as, “by definition,” such writing is not disseminated in book form—that is, as a printed codex.”
- Coker, Catherine. 2017. “The Margins of Print? Fan Fiction as Book History.” Transformative Works and Cultures, no. 25.
fanhackers 
october 2017
Thank You!
However you took part in #otwdonate, thank you for getting us started on our next 10 years! We've got some numbers for you about how this membership drive turned out: https://goo.gl/SMZamk
Financial-support  Development-&-Membership-Committee  Event 
october 2017
Fanhackers • Although Disney has yet to feature a queer female...
"Although Disney has yet to feature a queer female heroine in its fairy tale canon, that does not..." “Although Disney has yet to feature a queer female heroine in its fairy tale canon, that does not deter queer Disney femslash fans from poaching Disney texts in order to create fairy tales that legitimise their place in society. Through poaching, cutting, and splicing female characters from Disney’s animated canon, these Sapphic fans are re-joining Disney’s conservative silence with boundless creativity. In these new Disney fairy tales queer identities are no longer monstrous but commonplace, normal, and utterly human. So long as Walt Disney Studios remains silent on queer female representation in their animated films, the femslash fandom will continue to camp outside the Magic Kingdom’s gates.”
- Maier, Kodi (2017) Camping Outside the Magic Kingdom’s Gates: The Power of Femslash in the Disney Fandom. Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10(3), p. 27-43.
fanhackers 
october 2017
Fanhackers • Issues of class, combined with issues of academic...
"Issues of class, combined with issues of academic disciplines, create a scholarly void where no one..." “Issues of class, combined with issues of academic disciplines, create a scholarly void where no one asks what fan fictions do that distinguishes them from other genres (Gray 2003). Instead, scholarship fixates on the acts of writers and the responding acts of readers, deftly avoiding horrifying h/c [hurt/comfort]’s unsavory content. In doing so, unique and inventive attributes of the genre are overlooked.”
- Linn, Rachel. 2017. “Bodies in Horrifying Hurt/Comfort Fan Fiction.” Transformative Works and Cultures, no. 25.
fanhackers 
october 2017
Looking Forward
Donors in the last 10 years have allowed the OTW to offer what it does today. Will you help us achieve more over the next 10? http://goo.gl/uF2LiA
Financial-support  Event  Development-&-Membership-Committee 
october 2017
Fanhackers • DIYHistory | Transcribe | Hevelin Fanzines
DIYHistory | Transcribe | Hevelin Fanzines DIYHistory | Transcribe | Hevelin Fanzines:

What an awesome opportunity for fans to get involved with the preservation of fannish materials and with fan studies research!
fanhackers 
october 2017
Fanhackers • Fanfiction is acting on media in at least two...
"Fanfiction is acting on media in at least two ways. By infrastructuring communities and publics,..." “Fanfiction is acting on media in at least two ways. By
infrastructuring communities and publics, authors, read-
ers and platform runners build up (own) communicative
and (quasi-)material spaces for circulating, sharing and
archiving the stories they want to write and read, for
the stories they cannot find in official canon productions.
By doing fanfiction, whether it is their intention or not,
they also question the existing political-juridical condi-
tions which frame transformative working and publish-
ing of derivative material. Fanfiction challenges preva-
lent concepts of individual authorship and proprietary of
cultural goods.”
-

Reißmann, W., Stock, M., Kaiser, S., Isenberg, V., & Nieland, J. U. (2017). Fan (fiction) acting on media and the politics of appropriation. Media and Communication, 5(3), 15-27.

This article uses the concept of “acting on media” to look at fannish activities. Acting on media is the idea that some media consumers (for instance activists, special interest groups, etc.) not only consume media or even contribute to things like social media sites - they actively shape media infrastructures and environments. Reißmann et al. find that fans do this in two ways: we actively build our own infrastructures (like the AO3) or appropriate and shape existing infrastructures for our own ends. Remeber what Maciej Cegłowski (the Pinboard Guy) said about the fannish migration from del.icio.us to Pinboard? That’s acting on media. Equally, through our sheer stubbornness and insistance in being allowed to create and share transformative works, we also ask all sorts of uncomfortable questions about who owns culture, who gets to be an author, and why.
fanhackers 
october 2017
OTW: A Decade of Serving Fans
The history of the OTW spans a full decade. To keep our work going, we need your support. Learn more and donate today
Event  Financial-support  Development-&-Membership-Committee 
october 2017
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