morgandawn: (Good Day)
Update: April 15, 2013: The bulk of the fanzine information has been moved to Fanlore, the fan run wiki. You can access Fanlore's home page here.
If you're looking for a list of fanzines by fandom, this is what I have so far:

Place of Honor:  Starsky & Hutch. Pepper has compiled the most amazing and complete fanzine listing. Mahvelous. Go here

1. Alphabetical listing
A-Team - list here (last updated in 1997) and here
Beauty & the Beast here and here
Buffy and Angel
Blake's 7  - Judith has an extensive list here
Dr Who - partial lists available here and here and here
Due South -Ray Vecchio Fanzines and  Ray Kowalski Fanzines
Inspector Morse here
The Magnificent 7 here
The Man From U.N.C.L.E - slash fanzines here, gen and slash fanzines here
The Professionals -The Hatstand  and Palely Loitering (with their own LJ here)
Quantum Leap - old list, needs updating
Rat Patrol - Excel spreadsheet here
Real Ghostbusters - here (defunct, last updated 2002). A more current list is here
Robin of Sherwood here
Seaquest here and here
The Sentinel - Loft Library -Slash Zines and Gen Zines
Smallville here
Shadow Chasers here (old archive)
Sherlock Holmes here
Stargate SG1 - old list here
Starsky & Hutch - Pepper's Amazing List With Every Possible Combination Except Pepperoni
Star Trek   - K/S Slash Zines and Star Trek Zinedex (gen/het/slash). An index of stories published in fanzines by title and author can be downloaded from the KirkSpockCentral mailing list (membership required).
Star Wars - Star Wars Collector's Bible (older list archived here)
Supernatural - here
Voyage to the Bottom of the Sea here
Xena/Hercules - partial list here

2. Multi-Fandom Lists

Ming's Fanzine Archives (Star Trek, Star Wars & other Fandoms - click on the pdfs for the list)
Fandom Wikis - FanLore and Fan History

3. What To Do With That Aging Fanzine Collection?  If you don't  want to sell your fanzines on eBay or at a convention, the  Fan Culture Preservation Project  will help fans find homes for their fanzine collections - either at the University of Iowa or  via fellow fans.  More here and  here.

What I like about the Fan Culture Project is that the University will pay for shipping and loading of the zines.  I have several friends whose health has declined, don't want to sell their collection, but want to find their fanzines a good home.

Other places to buy/sell your fanzines: the Zinelist Announcements List, its sister discussion mailing list  Zinelist or the SlashSwap mailing list. You can offer your fanzines on LJ at Fandom Swap.     Jim and Melody Rondeau will also agent your fanzines online and at conventions for a small commission. As a last resort head over to eBay but beware you may be charged 2-3x more than you would buying from fannish sources.

For new zines/in print zines only:  The Zine listing communities - one here on Dreamwidth and the mirror here on LJ. Melody Clark has started MediaFen, a fanzine listing blog. The RSS feed for LJ users is here. The direct blog link is here.

If you're trying to track down a fanzine producer whose website has moved or gone away, try using the Wayback Machine.  Ex:  The Zine Zone (last updated in 2003) is archived here.

4. Any other lists? Drop a note. And feel free to link here, as I'll update it.

Looking for Fanzine lists:
Star Trek - gen/het
Buffy/Angel - some zines listed on Fanlore
Highlander - some zines listed on Fanlore
X-Files - some zines listed on Fanlore

5. Wanna Know How Your Ancestors Produced Their Fan Fiction?
Read "Fandom Before Computers"

morgandawn: (Default)
If you want to meet fellow fans who are fighting Trump? Or just want to meet fellow fans to work on self-care and fandom love?  If you want to build up your local personal contacts?  Drop me a PM or leave a comment at my blog.

Feel free to reblog, tweet etc.

edited: In a conservative city/state area? Feeling lonely and isolated and disempowered?  If  you were around for slash fandom in the 1970s-1990s, just remember how hard it was to find a fellow slash fan. But we managed. 

Here is a step by step guide on how to connect with other people - locally - to fight Trump. It only requires

1. 10 people from your local congress district (it can be less)
2. 2-3 hours a month
3. Two organizers
4. Access to an email list/group communication methods and a willingness to tweet/fb/blog about your activities,
5. Remember - you don;t have to fight everything. Just pick 3-4 key issues your group think are important.

The same tools can be used to create a local fan group for self-care and fandom love. Finding local fans will be crucial over the next years because local fans = people who can make a real, practical difference in your daily life (ex: Job networking, housing networking etc)
morgandawn: (Fanlore Our Story)

I volunteer on Fanlore, the fan run wiki that documents our corner of fandom history. But history is not just what happened last decade - it is also happening today in the places we hang out in, the vocabulary we develop, the platforms we use, the fandoms we love and create for and how we interact with one another.  

So what would tip you into writing about your love of fandom life on Fanlore? Would a specific project with targeted goals help? Would having a mentor or editing buddy help? Or would you like to dive in on your own? 

Read more about Fanlore.

Recent news and updates

morgandawn: (Art Noveau Blue)
Posted in full at: at September 18, 2016 at 02:55PM

Beta Testers Needed: We’re exploring ways to expand the Media Fandom Oral History project into a DIY effort along the lines of Story Corps. What we’re looking for:

Two (or more) fandom friends willing (a) to interview one another (aka rambling fandom chats) and (b) to include their recordings into the existing oral history project

We need fans to test these methods

*Fans willing to chat with each another over phones using a conference call system

*Fans willing to chat with each another over Skype in connection with free recording software (we need people willing to test both PC and Mac)

*Fans willing to do chat with each another in person using free iPhone or Android recording software on their smartphones

Once done, you will upload the audio files into a Dropbox account. A permission form will also need to be signed by both parties and uploaded (scanned or photographed copies are fine).  There will also be a set of sample questions you can use.

Original Star Trek art by Caren Parnes, logo design by Morgan Dawn

Tags:fandom history, Oral History, media fandom oral history project, fanlore, DWCrosspost
Tumblr post (this is likely a reblog, and may have more pictures over there)

morgandawn: fandomhistory (cannotburnfanlore)
There is a discussion taking place on Fanlore, the fan run wiki about media  fandom. Please weigh in there (accounts are free) or here.

Ex: Was Weird Al Yankovic a filker? 2) What about the recent  parodies by "The Hillywood Show"? 3. Or the Youtube video Vulcan Face, an audio and visual?

morgandawn: Fandom is my Fandom (Fandom is my Fandom)
 Yahoo was recently purchased by Verizon. Facebook constantly is changing their interface. If you are a list admin or a member of any Yahoo Group or Facebook Group, there is one last remaining tool still operational that will allow you to download and archive your Yahoo mailing lists or your Facebook Groups.

The app is free and it called PG Offline  You may need to contact the owner of the program Wilson for the most recent release for Yahoo Groups. You will need to contact him for info on how to download Facebook Groups. He has asked that we help spread the word about the program to fans interested in preserving their mailing lists.

The PG Offline not only allows you to download messages, but to also download Group Files and Photos. You do not have to be a list admin to download the emails/files - just a member of the mailing list

Export of the messages is limited - the most useful format for fan archiving is html digests.


Owner email: info @
morgandawn: (Default)

TM Alexander is a fan artist, fan writer, a zine publisher. She has contributed to many fandoms ranging from Due South to Sentinel, from Miami Vice to X-Files. Her most recent publication was the Sherlock Holmes fan novel, The Blue Daemon. 

Direct fundraising link: 


Her art from the Due South novella “Northwest Passage”

morgandawn: (Art Noveau Blue)
Posted in full at: at May 05, 2016 at 11:21AM

I consider myself to be a “middle era” slash fan. I entered slash fandom in the early 1990s at a time where queer activism was rising and the Internet was just taking off. By then slash fandom had a good 20 years already under its belt. But even in the 1990s, if you were gay and/or into slash, it was something you kept hidden from other fans until you were sure you’d be welcomed. Many women lived in fear of being outed to their families, children, employers or churches. And some were outed with predictable consequences. A lot of this is detailed on Fanlore:

In my days of new-to-fandom, there was not much online slash fandom and few opportunities to find a slash community. If you posted about slash on Usenet, you were harassed. I was desperate to find slash fans and I located an old school Star Trek fan club in my area. I was welcomed by the group, invited into the club presidents home and offered a place at the table: but only if I could assure them I was not one of those filthy slashers. I said nothing and needless to say I did not return. Thankfully I found a slash mailing list (Virgule-L) and then the Internet happened and things changed.

Years later I ran into an early Star Trek fanzine publisher who told me that when she started publishing her slash zines in the 1980s, members of her local fan group had to swear they would not order the zine or take part in its production. Slash fanzine publishers were forced to stop selling their zines at fan conventions. Fans reported slash zine publishers to customs. Zines were seized by customs and fans had to explain in person why they were importing pornography. A fan in South Africa could not risk buying a slash zine, so the zine publisher and her friends mailed the fan 15 pages at a time, each from a different address. It is not surprising that many of the slash stories written and published in that era were written under a pseudonym. So persistent were the anti-slash fans, that after decades of being confronted with the same objections to slash over and over again, that slash fans wrote The Generic Slash Defense Letter.

The acceptance of slash within fandom has gradually lifted across fandom communities - but not everywhere and not for everyone. And the echoes of these incidents is something that many of us from that time - and the people who came immediately after us - still carry in their individual and collective consciousness. I look back now and shake my head in wonder. I also look to fandom today with gratitude that slash has become more accepted. And I look forward to tomorrow with the hope that we continue accepting it and the fans who read and write it.

Tags:fandom history, slash history, fandom meta, Star Trek history, DWCrosspost
Tumblr post (this is likely a reblog, and may have more pictures over there)
morgandawn: (Zen fen lanning Green)
What we need:

more kindness, more history, more context, more empathy, more listening skills, more good faith
less blame, less assumptions, less zero sum conclusions, less bridge-burning, less finger pointing
morgandawn: base image from annaleeblysse (cookies)
On the need for positive feedback and safe spaces. Things I wish I had understood better in my early years.

"A safe place is fantastic, but my real concern is what happens in real life. Does the butterfly soul understand that fannish validation is bound by fandom and that they may not be able to replicate that kind of feedback in real life......

Real self-esteem doesn't rely on expecting the universe to reflect our desires--that's comfort, perhaps, and at its worst, narcissism. You can tell because people with real self-esteem don't lash out when they're told they're wrong. As I've said, comfort's wonderful and perhaps an integral part of some fans rebuilding their self-esteem, but...

It might come down to hope versus expectation. I think it's great when assumptions are challenged with the hope of change occurring, but expecting fame, wealth, validation, etc., from the universe is bound to land people in trouble. This is especially true of any sort of media, since it is by definition transactional. Every artist has to make the choice whether they want to make what they want to make or receive the type of response they want to receive and often the latter isn't a choice at all. Very few people are lucky and talented enough to be able to express themselves and get the feedback they want. (And frankly, some people are just lucky. Really, sometimes it hurts less to acknowledge that the universe is unfair and do the best you can.)"

morgandawn: (Cat How... Interesting!)
Back in 2010, one fan wrote about her perception of the intersection between fandom, social justice and the rest of the world:

"....I think a lot of people don't notice how broad and long term the effects of fandom's existence.....really are. There is a generation of published authors that have come out of fandom, and right now a new generation is writing their first fanfic and getting their first feedback comment. There are TV writers who didn't know what slash was 5 years ago but now consider slashers an essential part of their audience. Research of online fannish communities is a growing field in Social Sciences departments in universities all over the world. Every day I see more and more awareness and acknowledgment of fandom in the real world, every day it seems like more people are paying attention and more people are taking part in this community. When I was 9 years old, I didn't have a computer; when my sister was 9 years old, she was posting her fanfic on Taking that in mind, I can't think of a fannish community I'm familiar with that hasn't been affected by the "social justice" issues that have recently become more and more mainstream in my corner of fandom. And the communities that haven't been touched by it at all, will likely be touched by it in 5-10 years' time.

-[community profile] scans_daily  started as a place to talk about homoerotic subtext in comics, today they have a How Not to Fail 101 post they make their community members adhere to. The campaign to protest the Avatar: The Last Airbender movie was as successful as it was, had the broad effect that it did partially because of the social justice work that had previously been done in fandom and because more people were receptive to issues like whitewashing in Hollywood ......Around 2006 someone came into a fan community for the US scifi show "Stargate: Atlantis" and expressed the opinion that the show was sexist and treated its female characters poorly. In 2006 that post had several pages of comments flaming that person and reciting various bingo squares on how it's nobody's problem but her own. Today that kind of reaction would be unthinkable in the same corner of fandom..... and many of the people you saw on the flamming side in 2006 are today regularly speaking out about feminism and other issues in media.

-I've seen people say that they don't see the kind of awareness and understanding about social issues in their RL interactions as they do in fandom. And to that, honestly, all I have to say is look around. Again, 5 years ago you wouldn't have been having these conversations in fandom. 10 years from now some kid is going to publish their novel who grew up reading non-faily fic about trans characters...... I see the effects all of this is having on the world; I don't know how you can see them. And I know this is not just a "product of the times," it's the result of a lot of hard work from a lot of dedicated people, and if they - we - weren't doing this, it wouldn't happen by itself (and it won't, in future)."

morgandawn: (Art Noveau Blue)
Posted in full at: at January 08, 2016 at 06:12PM


If you wish to take part in any fandom, you need to accept and respect these three laws.

If you aren’t able to do that, then you need to realise that your actions are making fandom unsafe for creators. That you are stifling creativity.

Like vaccination, fandom only works if everyone respects these rules. Creators need to be free to make their fanart, fanfics and all other content without fear of being harassed or concern-trolled for their creative choices, no matter whether you happen to like that content or not.

The First Law of Fandom

Don’t Like; Don’t Read (DL;DR)

It is up to you what you see online. It is not anyone else’s place to tell you what you should or should not consume in terms of content; it is not up to anyone else to police the internet so that you do not see things you do not like. At the same time, it is not up to YOU to police fandom to protect yourself or anyone else, real or hypothetical.

There are tools out there to help protect you if you have triggers or squicks. Learn to use them, and to take care of your own mental health. If you are consuming fan-made content and you find that you are disliking it - STOP.

The Second Law of Fandom

Your Kink Is Not My Kink (YKINMK)

Simply put, this means that everyone likes different things. It’s not up to you to determine what creators are allowed to create. It’s not up to you to police fandom

If you don’t like something, you can post meta about it or create contrarian content yourself, seek to convert other fans to your way of thinking.  

But you have no right to say to any creator “I do not like this, therefore you should not create it. Nobody should like this. It should not exist.”

It’s not up to you to decide what other people are allowed to like or not like, to create or not to create. That’s censorshipDon’t do it.

The Third Law of Fandom

Ship And Let Ship (SALS)

Much (though not all) fandom is about shipping. There are as many possible ships as there are fans, maybe more. You may have an OTP (One True Pairing), you may have a NOTP, that pairing that makes you want to barf at the very thought of its existence.

It’s not up to you to police ships or to determine what other people are allowed to ship. Just because you find that one particular ship problematic or disgusting, does not mean that other people are not allowed to explore its possibilities in their fanworks.

You are free to create contrarian content, to write meta about why a particular ship is repulsive, to discuss it endlessly on your private blog with like-minded persons.

It is not appropriate to harass creators about their ships, it is not appropriate to demand they do not create any more fanworks about those ships, or that they create fanwork only in a manner that you deem appropriate.

These three laws add up to the following:

You are not paying for fanworks content, and you have no rights to it other than to choose to consume it, or not consume it. If you do choose to consume it, do not then attack the creator if it wasn’t to your taste. That’s the height of bad manners.

Be courteous in fandom. It makes the whole experience better for all of us.

These rules seem very simple and straight-forward. But I’ve been reading the follow-up questions/asks and I can see how tricky they are to apply in the real world setting.

Ex: “You are free to create contrarian content, to write meta about why a particular ship is repulsive, to discuss it endlessly on your private blogwith like-minded persons.“

This rule hinges on how we interpret (a) contrarian content, and (b) private blog.

Ex: I see  a hurt/comfort story that I feel perpetuates a dangerous and unhealthy attitude towards hurting and comforting.* So I make a post saying this in:

1. My LJ/DW

2. My tumblr blog

3. My twitter

4. My Facebook

It then gets picked up and rebroadcast everywhere.

A. Is what I wrote contrarian content? Probably so, depending on how much analysis I add. Twitter will offer me less space so my post would probably have less meta and more un-nuanced “ick” (”Perfect example of  the dangers of hurt/comfort trope”) But perhaps not…maybe I am simply writing a dry and boring post about the history of hurt/comfort fan-fiction and how many different ways fans have labeled it “unhealthy” over the years.*

B. Are these all private spaces?  To me, all 4 places are “my” private spaces. But for others, they are less so.  It used to be that fannish discussion took place in public or semi-public spaces (letterzines, Usenet, mailing lists and forums) where everyone was gathered around and no-one “owned” the space.** So you knew going in (or you would soon learn) that there was a bigger sandbox where everyone could and would fling sand about. 

But with the shift towards blogging and then even more diffuse social media communications, the line between private and public blurred. Over time, more and more prescriptions are being added to how we “talk” to fellow fans - there are many examples were fans are being told that tumblr blogs are not private spaces where we can run heedlessly naked, but that we have to put “some clothes on” (aka need to tag our posts the “right way”). But from a historical perspective, this focus on the “right vs wrong” way carries its own subjectivity.  We didn’t have to worry about tagging in our LJ/DWs - there we were told to use “cuts” to hide possibly objectionable text. I don’t know if there are instructions how to do a responsible tweet - but I am certain someone has a strong opinion on the topic that I am expected to know. And on Facebook I am even less clear on how I am supposed to avoid shoving my contrarian content at others.

Tl:dr: These are good rules to follow. Because it is hard to define what is “anti-ship”, where we can post it and how we can post it without creating a negative fan environment, the best we can do is focus on policing our own actions. And assume that not everyone will agree with our choices.

*Of course the definition of “unhealthy” varies widely.  In some corners of fandom, the hurting is more important than the comforting. In others, the comforting is more than the hurting. In yet even further reaches of fandom, the hurting and comforting must be done realistically as possible.  And finally, there is a strong movement that feels that all hurt/comfort is unhealthy because it takes away valuable pron word count.

*”Owned” is a bit misleading as moderators often used a heavy hand and would set rules, but most understood that these places were not their own private sandbox.

Tags:fandom meta, fandom history, fandom etiquette, three rules of fandom, your rules may vary, assume good faith, DWCrosspost
morgandawn: (Default)

The year was 1986, and Star Wars fans were discussing their changing fandom, the impact of commercialization on fandom and the role of fandom in general. The widespread adoption of the Internets was still 10 years in the future. 

[They continued]  the discussion on the sometimes differences between writing-for-pro and writing-for-fun. I think the disdain many have for "amateur" lit can be traced back, at least, to Dr. Samuel Johnson with his "No man but a blockhead ever wrote except for money", from BOSWELL'S LIFE OF DR. JOHNSON. Add that attitude to our culture's use of money to describe a person's worth, and you end up with non-profit writing being considered worthless (even for blockheads!). Or suitable only for women... Poetry, for example, which makes very little money in  our culture, is considered effeminate by many. Sometimes, when I can't reconcile my own feelings on the subject, I think of fannish writing as folklore. Like folk songs and folk tales, fanlit fills a need of our social group, it grows and changes with that need and with time  and the concept of marketing it does not apply. And just as the concept of growing and catching what we eat, weaving and sewing the clothes we wear, providing directly for our survival has given way to working for money so we can buy what we need to physically survive, so, too, food for mental thought has passed out of the hands of those who use it directly into the hands of those who sell it back to us. What we fans provide for ourselves is self-entertainment, a mighty rare beast these days."   Southern Enclave #13 (1986)


morgandawn: (Art Noveau Blue)

post-security: public
Posted in full at: at December 08, 2015 at 07:32PM

To to anon who contacted me about orphaning work at AO3: I am not AO3 Abuse nor do I know much about AO3’s orphaning policies. I only know what I read online and what I’ve had seen in fandom over the years.

Those huge honking caveats aside…..

AO3 is pretty clear that you - and only you -  can orphan your work. No one can write into AO3 and demand that your name be removed. And as long as you claim your work, only you can delete the work from AO3′s servers (assuming the work does not violate AO3 terms and conditions/policies).

Once you orphan your work - and here AO3 is  also very clear - you permanently lose control over that copy on the archive.  This means you cannot come back later and remove the copy stored on the AO3 archive yourself (but note my suggestions below about working with AO3 Abuse).  AO3 does this protect themselves from later claims by other people that they own the work and that the work should be transferred to them or taken down. The copy of the orphaned story is permanently under the “custody and care” of AO3. Just like an orphaned child left on the doorstep.

But you still “own” your work elsewhere. If it is on another archive, you could either continue claiming it or delete it (depending on the archives policies). Youy can post it to your tumblr, or blog or website - or not. You could even submit it for publication.  This post explains  more - basically you will always retain the copyright to your own work.  But when you orphan your work on AO3, you are essentially handing over control over that one hard copy.

If you are still worried about someone linking your name down the road to an orphaned work, then delete the work - do not orphan it (but again, see my thoughts below - deleting a story on AO3 is just the first step).  If you have already orphaned it, make certain it is “locked’ so that only AO3  users can read it.   It won’t stop the story from being listed on AO3, but it does limit the number of looky-loos.  

And finally, if you have already orphaned your work, you may get further with AO3 Abuse if you send them the online evidence that would show how someone could link your real identity to the now orphaned story. In the example you gave you wanted to know what an author could do if they wrote an anon kink meme story that they then later posted to AO3 and claimed it as their own, only to then orphan the kink meme story, only to then later decide to delete the orphaned story.  In order to "out” you, someone would have to follow the same jumbled path.  They would need to offer up evidence that you are that writer.   This proof will most likely also exist outside AO3 (blogs, journals, tumblrs, websites, rec lists) so it should be relatively easy to show AO3 Abuse the path that would lead to your door. Once that is done, you will need to start focusing on erasing any other links to you outside of AO3. In other words, AO3 is only the first stop if someone is trying to link your RL and fandom life.   There have been several excellent posts over the years if you find your RL identity being linked to a fanwork (see below)

And a final note: kink meme stories are anonymous for many reasons - one reason is to allow people to explore tricky concepts/tropes without the fear of consequences. If you write a kink meme story, consider not posting it to AO3 under your fan pseud.

How to lower your profile online:

Tags:fandom meta, security through obscurity, ao3, ao3 abuse knows a lot more about this than I do, so please check with them, asking random strangers for advice on the Internets, DWCrosspost
morgandawn: (Default)
Jonah (I met a man with weary eyes..
....Jonah, why did you run?) 
written by April Valentine

T'hy'la ("Reach out to me my brother
call out my name in your mind...
...I thought I could live without you...")

Who wrote: "What Do You Do With A Drunken Vulcan" Twas Roberta Rogow!
morgandawn: (Art Noveau Blue)

post-security: public
Posted in full at: at November 08, 2015 at 01:21PM








Star Wars: Return of the Jedi (deleted scene)

Seriously though, this scene. WHY DID THEY DELETE THIS SCENE?

And as they went away with Luke letting Han’s hand trail out of his, I thought, “…as though millions of Han/Luke shipper voices suddenly cried out and were silenced.”

In all my days I’ve never shipped this till…

Welp, if I didn’t ship it before…

True story from ancient fandom corner: people did ship it, and that shit was stomped on harder than any slash has ever been stomped on. There were lawsuits. SW slash went WAY underground–even in the days when all slash was underground. There were ‘zines, but they were precious as carbuncles and basically if you had one or wrote in one you were like a fucking badass slash bandit.

As far as we know, no one was sued  for publishing a Star wars slash zine or fiction. The reason that Star Wars slash zine fandom went dark, had to do with two het stories published in 1981: the Swedish zine The Dark Lord and then later Slow Boat To Bespin. This led to Lucasfilm issuing a series of protocols requiring the publication of family friendly material.  These protocols  put a damper on Star Wars zine publishing overall because they were subjective and arbitrary.

Of course given the homophobia of the times that classified any gay material, even G rated, as adult, this meant that published slash in Star Wars fandom pretty much dried up until the late 1990s, when brave slash fans resumed publishing Han/Luke slashInterestingly, even at the height of the Lucas anti-sexuality crusade, two slash writers were able to obtain permission to publish a slash story using original characters.  It took some effort to get permission, including a letter of protest written directly to Lucasfilm.

One good thing that came out of the Star Wars fanzine crackdown - before the crackdown, Lucas had demanded that fans submit a copy of their zines to his offices. Eventually he grew tired of them and the collection was given to Ming Wathne, who added thousands of other fanzines from other fandoms and ran the Fanzine Archives, a fanzine lending library. In 2008, she donated the collection to the University of Iowa and is open to the public.

You can still read some of the late 1990s Han/Luke fic online. 

(cover of Elusive Lover 1, artwork by Zyene)

Tags:fandom history, fandom meta, star wars, slash history, han/luke, DWCrosspost, fanzine archives, fanzine history, university of iowa

Tumblr post (this is likely a reblog, and may have more pictures over there)
morgandawn: (Art Noveau Blue)

post-security: public
Posted in full at: at November 07, 2015 at 11:42AM

Transformative Works and Cultures -Symposium Section: Fandom Meta and History By Fans For Fans:

Symposium broke new ground in terms of making the area of fan studies something that fans themselves could have an ongoing voice in. To quote:

“TWC’s Symposium section was designed as a fluid category for fannish meta and personal essays. We want many voices to be heard, including nonacademic ones. Fan communities have been producing complex and insightful discussion for years. However, their publication in specialized zines, mailing lists, and blogs has meant that the content has too often been inaccessible and unknown to outsiders, meaning that academic study of fan texts and cultures has failed to take into account communities’ discussion of their own activities.”

Deadline for the next Symposium is March 1, 2016.

Tags:fandom meta, fandom history, Transformative Works and Cultures, otw, DWCrosspost

Tumblr post (this is likely a reblog, and may have more pictures over there)
morgandawn: (Art Noveau Blue)

post-security: public
Posted in full at: at November 06, 2015 at 06:00PM

Well not exactly. What Lucas first said was: “You are prohibited from creating any fanworks”. But if you do create, we own it. So there.”

More about the Star Wars Fan Homepages Protest can be found on Fanlore, the fan run wiki about media fandom.

An excerpt from the Protest:

“What’s the big deal?

On March 8, 2000, the Official Star Wars Website began hosting fans’ homepages, offering attractive features like 16 megabytes of web space, dynamic content, an official URL (, and a sweepstakes.  They cite a desire to encourage fan creativity.  But in their Terms of Service, which all users must agree to, they expressly forbid derivative creative works and take ownership of fans’ intellectual property, particularly “derivative works,” despite the fact that any Star Wars-related fan creativity is inherently a “derivative work.”….

The Terms of Service (section 8.4) states, “The creation of derivative works based on or derived from the Star Wars Properties, including, but not limited to, products, services, fonts, icons, link buttons, wallpaper, desktop themes, on-line postcards and greeting cards and unlicensed merchandise (whether sold, bartered or given away) is expressly prohibited. If despite these Terms of Service you do create any derivative works based on or derived from the Star Wars Properties, such derivative works shall be deemed and shall remain the property of Lucasfilm Ltd. in perpetuity (note: that means forever). 

It is my, and many other fans’, strong belief that offering fans homepages and then claiming anything posted on that web space as the intellectual property of Lucasfilm, Ltd. "in perpetuity” amounts to a tactic being used by Lucasfilm to fight their ongoing trademark and copyright war against fans by luring fans into their territory and taking over explicit legal ownership of anything they display there.  It is also my belief that this is a grave and devious disservice to fans.”

Tags:fandom history, fanlore, star wars, transformative works, copyright, yet another reason to own the goddamn servers, DWCrosspost

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morgandawn: (Art Noveau Blue)
Posted in full at: at November 05, 2015 at 10:07PM
Do fans have a phrase or word that describes these clueless press articles meant to amaze the clueless, the “oh my goodness, can you believe there is such a thing as fan fiction out there?” sort of thing journalists have been writing for decades? It seems like these articles get a little more sophisticated centimeter by centimeter (and there are a handful of good ones out there), but they mainly are hammered out via template. There must be a fannish word for these wide-eyed, look-it things.

Tags:fandom meta, fandom history, DWCrosspost
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morgandawn: (Art Noveau Blue)

From Fanlore, the fan run wiki about media fandom:

Fannish crochet, like fannish knitting, is a type of fan craft. A popular type of fannish crochet is creating amigurumi (Japanese crocheted stuffed toy) versions of fandom characters.

Many fannish crochet patterns can be found on Ravelry. Some examples of patterns include:

10th Doctor Big & Cuddly

Crochet Ron Weasley Animal Crackers Hat

Avatar: the Four Elements blanket

Crochet Star Trek Badge – A Coffee Cup Cozy”

This page brought to you by Fanlore’s random page generator.

*Daleks crocheted by X-parrot. Image used with creator permission.

Tags:FANCRAFTS, fannish crochet, genesis of the daleks, fanlore, DWCrosspost

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morgandawn: (Art Noveau Blue)

post-security: public
Posted in full at: at November 04, 2015 at 11:47AM


…And then came “Creating a Safe and Friendly Fandom.“  We’re all part of fandom, we know it can be the most wonderful thing in the world - and the most awful (though apparently we’re not as bad as the fandom for the original "Beauty and the Beast” - I really need to find the stories on this)  The panelists offered advice on how to handle hate (ignore it, don’t go looking for it, for the love of God don’t feed the trolls) …..

I feel like I am channeling a fandom encyclopedia today, but that’s OK.

Some of the divisive Beauty and the Beast fandom history has been written up on Fanlore. The short version: After Season 2, the show killed off the main romantic female lead and brought in a new female character. This caused the “Classic vs Season 3 Split” where Classic fans of seasons 1 and 2 would shut their eyes and plug their ears when anything from season 3 would appear.

From Fanlore: "I was at Tunnelcon 2 and went to a video showing for diehard fans of classic BATB (first and second season). While it was wonderful to see interviews of Linda and Ron which I had never seen, it was disconcerting to hear that people would refuse to watch even music videos with third-season shots in them. I kept thinking "they missed the kiss in the cave, they missed Vincent kissing Catherine as he left her” but they saw this as a terrible betrayal of what the show was about and I have to respect the fact that these people had a fairy tale shattered to bits by the killing of Catherine.“

Tags:fandom history, ship wars, fanlore, DWCrosspost

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morgandawn: (Star Trek My Fandom Invented Slash)

post-security: public
Posted in full at: at November 03, 2015 at 10:38PM


…..Then I went to “The Evolution of Fanfic,” which interested me since I caught the end of the era where fan fic was something found in fanzines and sharing them was a very private, under the table thing.  I remember that I didn’t get into fandom until college, when I finally had internet access.  This panel felt very academic, and was interesting.  The very first slash story, for example, was a Kirk/Spock story that started as a writing exercise in which the writer didn’t identify the characters or their sexes, though the author said in her notes that’s who she was writing about.  Apparently, it’s online somewhere, and now I have to find it….  Anyway, the gist of this panel is that we all have it easy these days…

The Star Trek story is called “A Fragment Out of Time”. You can read more about its history at Fanlore, the fan run wiki about media fandom.

Tags:fandom history, star trek history, slash history, destielcon, fanlore, DWCrosspost

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morgandawn: (Art Noveau Blue)

post-security: public
Posted in full at: at November 03, 2015 at 08:54PM 



I finally get it.  I finally understand what bugs the haters so much about DestielCon.  This is gold.

They keep making the argument “Why can’t you just do that in your pjs over Tumblr?  Why can’t you just go out to eat and hang out?  Or Skype?  You’re paying to see your friends that’s so obsessive and weird.”

They honestly have no earthly idea how many Destiel shippers there actually are.  They’re either completely ignorant of it or are choosing to not look into it.  Because those suggestions are all fine and dandy when there’s like, fifteen of you or something.  Hell even like twenty.

But there’s WAY more than that.  There was over a hundred people that came to the con last year, THE FIRST ONE EVER, which is entirely UNHEARD OF when it comes to fan made cons to have those kind of numbers on its first run-through.  I don’t know the count from this year’s con, but it’s likely more than last year.

You can’t fucking Skype with over a hundred people at a time.  You can’t just go out to eat with a hundred people, especially since they’re scattered everywhere across the country.  Those suggestions are absolutely ludicrous to consider when you have THAT MANY people that want to convene and have fun together.

I can’t stop laughing I mean, this is hilarious.  They’ve been telling themselves Destiel fans are so small and only 1% etc etc for so long that they literally cannot wrap their head around the fact that our numbers REQUIRE a convention environment if we want to all convene and celebrate with each other at the same time.  Like come on.  That’s fucking brilliantly ignorant.


140 this year. And yes, that’s a very, very tiny fraction of the destiel fandom. I’d guess the bulk of the destiel fandom still doesn’t know about the con, and of those that do, even more can’t make it to due to schedule conflicts, traveling expenses, or just being way too far away to be able to consider it. There a plethora of reasons someone might not be able to make it. Then there are some aren’t in to the idea, and that’s fine too.

140 sounds small but in context to other fan conventions, that it only just finished its second year, and other outside factors, that’s huge.

And yeah, I’d like to see a Skype call with 140 people. Epic.

As someone who started participating in fandom both online and going to in person events, it seems odd to favor only one way of interacting with fellow fans. I love both types.

Tags:fan run conventions, conventions, destielcon, DWCrosspost

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morgandawn: Fandom is my Fandom (Fandom is my Fandom)


How Archive of Our Own Revolutionized Fandom #AO3  #History  #FanLore

A brief snapshot of fandom in early 2007: The first Naruto series had wrapped, and Naruto Shippuden had just started airing. Supernatural was wrapping up its second season with a shocking finale in “All Hell Breaks Loose.” Kingdom Hearts II and Final Fantasy XII came out only the year before, and Final Fantasy 7 fandom was back with a vengeance with the release of Advent Children. The world  The world waited breathlessly for the release of Harry Potter and the Deathly Hallows.And fandom on LiveJournal was on fire.

View On WordPress

The article is definitely worth the read.  I loved this last bit:

“It’s a place by fans, for fans, where fans can gather and archive their work without concern for legality or censorship. It was born from a desire not to be beholden to original content creators or advertisers, and it has always been true to that goal, staying afloat primarily through charitable donations from users. Fandom has fragmented across social media—some users remained on LiveJournal, while others migrated to Dreamwidth or Tumblr or JournalFen.

For many though, AO3 was the advent of fandom coming together to defend their hobby and preserve their history, a place where the principles of fannish creativity would outweigh watchdog and advertiser concerns about controversial content. Six years and over a million fan works later, they’re still going strong.”

morgandawn: (Art Noveau Blue)
Posted in full at tumblr at October 01, 2015 at 11:11AM



Since some people apparently misunderstood what I was trying to discuss - well it started as a rant, but turned into a discussion somewhere along the way - in this post, I shall try to make my point clearer and tag everyone who participated. Whether they want to continue the discussion then I leave up to them.

So in no particular order of appearance: meeedeeeageorwizardry,doomhamsterbert-and-ernie-are-gaycentrumlumina,impostoradultflourish

My rant was born of a frustration that every time anyone tries to discuss why F/F fics and female centred fic in general are ignored to the extent that they are, a common argument to shut it down is ‘well, fandom is dominated by straight women so what do you expect?’.

But there’s no evidence to support this claim and a good deal of circumstantial evidence that indicates the opposite might be true. Hence my rant about a reference for the straightness claim.

My interest is not and never was about women who read fanfic as a source of porn, there are problems in this kind of borderline fetishisation but it is not for this post nor did I intend the other post to go in the direction of discussing porn preferences. (Kindly don’t go there with this post. I know it’ll be difficult but please make another post and tag me in it. I’m sick of this discussion getting derailed into smut land). My focus was on all the rest of the fics, the relationship ones, the romantics, the angsty, the plot based action fics and so on, they too get ignored in a way they never would if it was an M/M or even just M/F fic, even when they’re not about people’s OTP.

But for some reason fandom is so obsessed with two white boys bonking that they’re incapable of seeing beyond the porn in fanfic, which raises the question why a space that is supposedly welcome to LGBTQIA people perpetuates the homophobic hypersexualisation of same gender pairing that the rest of society is so eager to do.

My interest in the sexuality of fandom is actually marginal. It could be an interesting thing to examine, but it is in no way high on my list. My one and only interest in it is insofar at this enforced heteronormativity of fandom is used as an argument to shut down discussion. And being of a particularly non-straight sexuality does not exempt a person from perpetuating this mindset - most whom I have seen use it have been identifying as bi or pan, but this is anecdotal evidence - 

The reasons for reading and writing slash (and no, I don’t fucking mean smut I mean fics with same gender pairings that’s what the term slash means, it does in no way exclusively cover smut fics no matter how much homophobes would claim that jeeze) are multiple and varied and no single study could ever remotely cover everything and anyone who claims otherwise is either ignorant of how academic research works or lying. But saying that there should be no protest, no questioning, no examination of why F/F fics are ignored, of why the supposed heteronormativity of fandom is used as an argument to shut a mere attempt at debate down, is further alienating and shoving under the bus those (female) fans who are uncomfortable with these mechanisms, because in doing so they’re being told, once again, that they’re unwelcome in fandom.

As usual, the topic threads are so complex that it is hard to track what is being said. I often feel like we are talking past one another (which, when you read the diverging threads you will understand that we often aretalking past one another)

Several questions have been posted and they don’t always intersect
1. Where did the myth start that fandom was comprised of straight women? (history question and answer)
2. Why does the myth still persist? Why are people relying on outdated research?  (history and current research question)
3. Is there new research going on that will give us better data about the makeup of fans (current research question)
4. Are there methodological limits on what kinds of data  we can obtain? (current research question)
5. Does the discussion of why women write slash run the risk of over emphasizing some aspects of our culture (gender politics) and de-emphasizing  other aspects (female sexuality) (sociological /gender politics question)
6  Even assuming fandom is mainly queer/bi why does femmeslash constantly get sidelined in favor of male/male slash ?(sociological /gender politics question)
7. Does the continued  discussion of fandom’s gender makeup or motivations for writing  slash marginalize those who want to discuss why femmeslash is being ignored? (sociological)

I am certain there are some that I missed or that I oversimplified or linked to the wrong posts. But it may help further the discussion if we indicate what aspect that we’re focusing on.

To answer #6 (so sorry about the numbering):
 Even if fandom was predominantly heterosexual, I don’t see how fans can rationally use this fact to shut down discussions about why there is a lack of femmeslash* 

Just because one is heterosexual does not mean one would not be interested in femmeslash.  Just as not all heterosexual women are interested in m/m slash.   So to use the presence of heterosexuality to shut down discussions of femmeslash makes about as much sense (to me) as using Chinese grammar rules to shut down discussions  of English grammar rules.   

Keep in mind that I come from a  slash (M/M) perspective and from a time where enjoyment of male/male slash placed you - whether you were heterosexual or gay - outside any norm. We might as well have been speaking Martian back then. (”So…you’re straight but you like to read about men bonking? Wait, you’re gay and you like to read about men boking? No, wait, you’re bi and you like to read about men bonking? Stop it!  Just. Stop it!! What’s wrong with the lot of you!!!?”)

Back in 2013, when the AO3 census survey results were posted, there were similar discussions. And I found this one quote that pretty much summed it up for me:

“There are so many things that set us on our course of sexuality, and only a few of them are the things people mean when they talk in labels.” 

*This is not to say fans are not shutting down discussions. 

More thoughts on #1:

other commentators have pointed out that  historical data about the sexual preferences of slash readers has been incomplete. Not only were there no surveys, even if there had been, many of the participants who might have identified as gay or bi would not have answered truthfully. This has everything to do with the lack of acceptance and self awareness of being bi or gay in the US in the 1960s-1990s.  

Anecdotally, some of the “formerly heterosexual fan pairs” that I met in slash fandom in the 1990s have now gone on to marry or become partners.  So the outward expression of their sexual preferences  has changed over time as our society has grown more accepting of the expression. This would skew any survey and statistical results - if there had been any. So the "slash readers are primarily  heterosexual" statement is neither 100% correct nor 100% false - from a historical point of view.  We can try to extrapolate backwards from today's data*, but we cannot know for sure.

*those who gathered the more recent data would also be the first to point out how limited their surveys were - both in terms of scope and methodology.

Tags:slash history, fandom history, fandom meta, femmeslash, DWCrosspost
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morgandawn: (Art Noveau Blue)
Posted in full at: at September 15, 2015 at 10:17AM




There are 8 candidates running in this year’s OTW Board elections. Meet them and read their manifestos!

I couldn’t get the link to work. this is the otw election page

It would be good to know which two seats are being filled (are these open seats or seats open due to people timing out/leaving)

Current board is here:

A few important things

1. Now is the time to become a member in order to vote. $10 is the min donation required.

2. If you want to ask questions, now is the time to submit them - you have until Sept 21.

3. The election will be a ranking process - you rank your candidates from top to bottom. I think (and I need someone to verify this), if there is someone you don’t want to see on the board, don’t rank them at all?? If you don’t have a particular preference, then just make certain you put your two candidates in the top two spots.

Tags:otw, Organization for Transformative Works, DWCrosspost

morgandawn: (Art Noveau Blue)
Posted in full at: at September 09, 2015 at 05:35PM


These notes go along with this episode (transcript on its way)!

Tags:Fansplaining, podcast, otw, fanlore, fandom meta, legal advocacy, DWCrosspost

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morgandawn: (Art Noveau Blue)
Posted in full at: at September 09, 2015 at 01:48PM



I was thinking about the post where I mentioned that people tend to relate very differently to fanfiction than rational argument in metas (which they do, of course), and then I realized that… wow, I really argue with fics all the time, in my head. It’s not that I accept them more, really. It’s really a major mark of a fic I’m loving if I just accept it and go with it. Sometimes I’ll just glance at a fic and then hours (and days) later I’ll be like, ‘and another thing….’ Oh man. It’s funny because I’m never like that with metas. Like,  yes, I get serious about my disagreements sometimes, but ultimately I don’t bother about the specifics later even if I remember them. It’s not that hard to be dismissive when the actual argument is as badly constructed as it often is (after one gets over one’s huffiness). With fics, even (or perhaps especially) what I feel are bad fics (whether or not they are), I’ll resentfully argue in my head about how this is wrong and that is wrong, and no nononononono. Like that’s a kind of weird power fiction has, isn’t it? Even if I strenuously and completely reject it, it really has me, somehow. This is especially true with fanfic, of course. I just don’t care about OCs in original fiction until they make me care (I mean, I also don’t care about most OCs in BBC Sherlock, but I think it’s pretty amazing how easily many people do).

Keep reading

We talk and read a lot about the work of creating fanfics, but we often forget that reading a fanfic places the author in partnership with the reader. This is a thoughtful essay about that relationship. I particularly like this point, which is of course generalizable to any fandom and its fics:

For me, anyway, the reason I think I bother reading fanfic, especially about Sherlock Holmes, is because it’s like it’s seeing a shadow play with these action figures I’ve had since childhood. It’s someone playing with toys that feel like my own. I’m not just passively seeing someone else’s character muppets interact on my inner TV: I feel that I myself am playing with the fanfic writer and with the BBC creators collaboratively in a kind of long-distance alchemy, using these ‘toys’ that have meaning both for me and for them, but are viscerally a part of me. A writer (and a vidder, and a fanartist) can make them even more real, make them really move, make them do amazing feats– or make them betray each other or their own natures, which is unforgivable.

Tags:fanfiction, fandom meta, DWCrosspost

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morgandawn: (Default)
Posted in full at: at September 09, 2015 at 08:03AM







Note: I wrote this right around the time dashakay wrote her version, and am posting it with her blessing. I’m sorry if they overlap. I swear it’s entirely coincidental.

I don’t want to get involved in the whole drama, but I feel like maybe the OP should learn a little X-Files fandom history. And since my master’s happens to be in broadcasting and X-Files has been my fandom for 21 years, I can help you out.

Keep reading

No idea what this is in response to, but just want to affirm its truth. I was in my early 30s when XF started. I hung around on a lot through the mid- to late-90s, pre-Haven. I communicated with a lot of other fans during those years. I don’t recall ever being aware that any were teenagers. Given that online access was still limited to early adopters, many of whom gained access through their jobs, that’s no surprise. We were absolutely operating under the assumption that the fandom consisted primarily of adults – I remember discussions about rating fics to protect ourselves from liability should minors stumble across our work (not to mention the disclaimers we included because of our worries that Fox would crack down on copyright violation). 

And at the risk of stirring controversy, I have to say, older fandom was, on the whole, nicer fandom. While there was certainly some conflict (remember shippers vs. noromos?), much of it was pretty civil, and the worst of it was nothing compared to what came later. I returned to online fandom a couple of years after the relaunch of Doctor Who, and I was pretty shocked at the flame wars, sporking, anon hate, etc. And it only got worse as time went on.

So if anyone is saying us old folks should GTFO, that’s just…amusing. I’ll be over here, enjoying the company of some of the lovely XF fandom friends I’ve had for a couple of decades now, and hoping to make some news ones, young and old. 

Interesting perspective from another OG Phile…


I was 13 when I started watching XF, and 14 when my family got our first computer: in the living room, on a 56k modem that could only be used after 10:30 because we had one phone line and my parents have a family business (they do not save people nor hunt things).  I was one of only five, perhaps six fans I knew who (after a fair amount of time) admitted to being under 21, and I was publicly “around eighteen” for a good, long while.

I’m rather finished finding kind ways to say this: fandom is not a youth space.  It is a subculture, a rich one with a very long history, pre-dating your parents, mine, and arguably even theirs (fun fact: the term “fan” was first used derisively to refer to largely female-identifying theater-goers at the turn of the 20th century, in reference to the belief they were ‘taking up seats’ by going to shoes they were not appreciating, only to ogle the actors.  Gee, sound familiar?).  Youth-oriented spaces within fandom are a fairly new construction, enabled by the rise of the internet and the ability of fans to connect with other fans, and share their enthusiasm for the texts they love, at lower and lower entry cost.  It’s a wonderful addition to fan culture but it is a ripple in the pool of fan history.  Fan space is not “youth space.”  There is a good deal of overlap, and it is very possible to make your space consist of only your peer group – regardless of your age.   But it is not a default and Tumblr’s insistence otherwise is absurd, particularly as it continues to utilize the aspects of fan-culture that are, let’s be honest, very clearly the work of older fans, from the OTW and AO3 to the changes in copyright law that allow for the sharing of high-quality gifsetst and fanvids, to a good portion of the fanfic and fanart you consume.

This isn’t to say we shouldn’t be aware of age differences online; we should be conscious of how we handle ourselves in all public spaces, particularly those of us on the adult end of the scale.  But that is exactly what fandom is: a public space.  And one that was built by, and for everyone.  There are other replies to this post that have backed this up with tumblr user-statistics and facts, and I’m not going to do that because frankly, I’m tired of chasing my tail over the absolute obvious:  fandom is not an age-related hobby.  Your younger sibling might be reading that Sherlock story you wrote, but it’s just as likely (if not more) that the last Destiel fic you read was written by your intro to American Literature instructor.  Because you might grow out of wearing that Cosplay Tardis dress in public on a day-to-day basis, but you no more grow out of having a Mulder funko pop on your office desk, or the “Star Spangled Man With A Plan” as your ringtone, than you will your love of listening to glam rock, or buying anything  with subtle rivets, or incorporating doc marten boots into reasonable day wear.  Because, say it with me now: fandom is a subculture.  You don’t “grow out of it.”  It incorporates.

Tumblr will just have to incorporate, too.

Is this sort of like ‘damn grannies, get off my lawn’? Because I’m pretty sure Granny planted the lawn upon which the children frolic.

Tags:fandom history, xfiles, DWCrosspost

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morgandawn: (Default)
Posted in full at: at September 08, 2015 at 07:43AM




a moment of silence for all the fanfiction lost to the ravages of time, unsalvageable even by the wayback machine, condemned to its final resting place in the deactivated archives of fansites for now-syndicated television shows

#in the name of geocities angelfire and freewebs amen

If you know what that hashtag means, you’re old as balls.  

blessings unto all the fandom archivists and their children.

Tags:fandom history, digital preservation, DWCrosspost

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morgandawn: (Zen fen lanning Green)
I've blogged before about how fandom keeps trying to police one another by invoking etiquette when too often that etiquette is shaped over time by ever changing technology and cultures.herehere and hereThe short version: We do not use technology, technology uses us.) 

I came across today a  comment that spoke to my earlier points. It was responding to the ongoing discussion as to why fans today feel they can blog/reblog content without permission or context.

"I think generations and etiquette have much less to do with it than the technology itself. Tumblr, just like DW or any other social media platform, actively shapes what kind of activity they want to occur by the features they offer and those they neglect.

DW, or LJ before it, presents you first and foremost with a large text box. If you were to find a zine picture you really loved, even if it did not occur to you to ask for permission to post it first, you would probably talk about how you found it, wonder who the author was and if they had a local internet presence, etc. Probably you would put the picture behind a cut (also a habit shaped by technology - slow connections and breaking layouts). Conversation would then proceed within the comments of that entry, and the whole thing would stay relatively secluded - this, IMO, naturally feels much more respectful of the artist, no matter whether the person posting thought anything through beforehand.

On Tumblr, you have a photo post, which will always always show the picture first, and any explanation of what this is and why you are talking about it second. This picture will then be shown to wild strangers via the tagging system, and they can appropriate it, and even remove the last shreds of context by removing the "caption" (just note the name of what all that fannish interaction has now become!), with a single click of the reblog button. Any kind of discussion also necessitates appropriation: you cannot comment on anything without first copying it to your own post! With this kind of architecture, even the same person, with the same original intention, produces wildly different results..."
morgandawn: (Default)
Posted in full at: at September 04, 2015 at 08:10PM

Cushing Library Releases Digitized Media Fanzine Collection:



Cushing Memorial Library and Archives is pleased to announce that it is now able to offer free, limited online public access to select titles in the Sandy Hereld Memorial Digitized Media Fanzine Collection. Since the collection was first initiated in 2013, access to its materials was previously restricted to only those with a Texas A&M-approved ID until additional permissions could be obtained from the fanzine creators who contributed to the collection.

As the collection becomes more of an important resource for understanding the development of fandom, Cushing Library sought the approval from writers and editors of the Hereld Collection to make their contributions publicly accessible. The collection, which is an unparalleled assembly of media fanworks that document generations of fans’ continued creative engagement with media productions, consists of thousands of digitized images of media fanzines, letterzines, and club newsletters — dating from the late 1960s through materials published online or in print in 2015.

Among the creators who have given their permission are Morgan Dawn, Janet Quarton, Sheila Clark, Devra Michele Langsam, Jacqueline Lichtenberg, and M. Fae Glasgow. Cushing Library anticipates that public access will continue to grow as more authorization is granted.

A few of the impressive productions chronicled particularly well in the Hereld Collection are: Beauty and the Beast (1987-1990), Blake’s 7, Doctor Who, The Professionals, Star Trek, Star Wars, and Starsky & Hutch. Additions to the collection continue steadily, with fanzines relating to numerous other productions, such as the Harry Potter book/movie series, Due South, Miami Vice, Simon & Simon, and many others, including a bevy of stories from multiple fandoms.

Sandy Hereld, for which the collection is named after, is a living, digital tribute to a popular and prolific fan writer in the 1990s and early 2000s — who was also one of slash fandom’s most visible fans. Hereld lost her battle with cancer in 2011, but her legacy of work continues to touch lives and inspire fans. She was the founder of Virgule-L, the first Internet slash mailing list, began hosting numerous other mailing lists and fan sites, and helped create the annual “Vid Review” panel at the Escapade convention, which is the longest-running slash fan convention and became the model for serious conversations about vidding as an art form.

The Sandy Hereld Memorial Digitized Media Fanzine Collection can be accessed at:

Wow, Sandy would be so happy to see this. This is fantastic.

(whistles innocently)

This is the correct URL:

Sandy’s paper collection is at the University of Iowa (along without thousands and thousands of zines.) Although the paper zines cannot be checked out or loaned through the inter-library system, the Iowa Fanzine Archives special collection is open to the public. If you or a friend wants to donate zines from their collections, contact the OTW’s Open Doors team.

Texas A&M University has a smaller paper collection (but growing and still accepting donations). They have also launched this digital collection which has been named after Sandy Hereld.  Only a teeny fraction of the digitized fanzines in the collection can be made available to the public for now.

TAMU also has started collecting filk in case anyone is looking for a home for their collection.

Tags:university of iowa, texas a&m university, fanzine archives, fanzines, Sandy Hereld Memorial Digitized Media Fanzine Collection, to infinity and beyond, fandom history, DWCrosspost

Tumblr post (this is likely a reblog, and may have more pictures over there)
morgandawn: (Default)
Posted in full at: at September 04, 2015 at 11:44AM



Fanfic, and slash fiction in particular, is a huge part of SF fandom history – and its overlapping communities have mostly been built and shared by women.

Diane Marchant is generally regarded as the writer of the first published fic featuring Kirk/Spock – the ship which popularised slashfic as a fan phenonenon. And she was Australian, to boot!

You’re welcome, rest of the world.

The story, “A Fragment Out of Time,” published in Grup #3 in 1974, contained a steamy sex scene but named no names (and played the pronoun game, so it wasn’t even clearly marked out as a m/m relationship).

Still, the piece was illustrated with a Kirk & Spock picture drawn by Diane, making her intentions fairly obvious, and a cartoon underneath the final page of the story shows Bones saying to Kirk: “Impossible….. No, Jim. I warned you about messing with aliens…….. especially Vulcans.” (The look on Kirk’s face in the cartoon implies he has just been told about the existence of slash fiction. Oh, sweetie.)

Keep reading

Slash fans have been vocal in their support of LGBTQ+ civil rights and representation in media, causes which have seen significant advancement in recent years.  And Kirk/Spock was one of the first modern slash pairings.  Read more about slash on fanlore!

I remember when I finally got a copy of the 2 page story and realized that the art added an additional layer of meaning to the story.  Up to that point, none of articles about the story had ever mentioned the art and the clear signal is was sending [SLASH!!!]  which is why I added the info to Fanlore. One of the many reasons to include as much as we can about the original source text. 

Tags:fandom history, star trek history, slash history, DWCrosspost, fanlore, kirk/spock

Tumblr post (this is likely a reblog, and may have more pictures over there)
morgandawn: (Default)
Posted in full at: at September 02, 2015 at 11:03AM

“The ongoing debate about Tumblr vs Livejournal is like a fan with a hammer arguing with a fan with screwdriver over who is better at building a waterbed.”
~xlorp (via meeedeee)

subtleaccordions said: and it also repeats every single argument raised in platform vs platform for the last twenty years… *groans*

Nods in agreement. Of course that it is like every other previous platform debate sometimes obscures the fact that we should be debating how the technology platforms work, which are better suited for X purpose, why we might want to invest in something different, and the ways that the platforms are changing how we interact with one another. Are these changes something we want to embrace? Resist? Ignore and get back to writing more MPREG RPS?   Or how about discussing who owns the platforms that we’ve adopted and whether their interests are aligned with ours? 

The fact is,  we often cannot even get to these issues because we keep getting stuck in that binary: X Good. Y Bad. 

Well I am here to tell you: no one is sleeping in that waterbed until we put the damn tools down and start thinking.

Tags:fandom meta, livejournal, tumblr, how does one respond to a comment on tumblr, I had to reblog my own post to add a response to subtleaccordions, DWCrosspost

Tumblr post (this is likely a reblog, and may have more pictures over there)
morgandawn: (Ariel Yes?)
 I need fans with both DW and tumblr accounts to help test the cross-posting recipe and work flow 

Context here

Detailed instructions here
morgandawn: (zineswin)



This is not a new concept, just one I kept forgetting to implement until a few nights ago. I created a custom access filter on Dreamwidth, and added a short entry with my fannish accounts and passwords, and instructions for archiving them in the event that I fall out of my treehouse. To be clear, I have no intention or expectation of doing so! I’m living till I’m 100 if it kills me. But, just in case, I’ve got a fannish executor/person who has my personal details. I’m lucky to have a good crossover friend to take the job: we met online, and she knows which sites I’m active on, but we’re also currently housemates. If I fell out of a treehouse while vacationing in Canada, my parents would phone her.

Please consider doing something similar. Vanishing acts are heartbreaking.

Signal boosting because this is important. (It is also the reason I have a .txt file in my VividCon folder called “in the event of renenet’s untimely death.”)

People with AO3 accounts can (and should!) designate a Fannish Next of Kin: “someone who would gain access to your account in case of death or incapacitation. By naming another individual who can act on your behalf, you can decide ahead of time how you want your AO3 accounts handled going into the future.” See Fanlore for more information about Fannish Estate Planning.

Additional (not fandom-oriented) information is available. The “social media will” link on the AO3 page is broken, but you can find it and other relevant pages via the Wayback Machine: How and Why You Should Write a Social Media Will is specifically about social media, and the Writing a Will page includes a section about social media. You can also read more about “Digital Property Planning.”

I love that the Fanlore page on Fannish Estate Planning says : 

Related terms: Ex-Parrot”

Cause I do not plan to die. I plan to pine for the fjords forever.

morgandawn: (zineswin)

Fiction written in the community based on one television series has been printed in pale blue ink on yellow paper, which photocopies as a blank page. Editors and authors would release the work only to people they knew, and then only after the purchaser had promised not to pass the work any further. Secondary readers - those known to the purchasers but not to the editors or writers - could be given the option to read the work in the home of the purchaser, but generally could not receive full access until they became well known in the fan group."


Camille Bacon-Smith, writing about pre-internet fanfic communities in her book Enterprising Women: Television Fandom and the Creation of Popular Myth
(via surrexi)

Let’s see if I can remember the fandoms that CBS is referencing

The first is….Starsky & Hutch RPS? (no, wait that was The Purple Pages) - named because they were printed on purple paper. There was a Starsky & Hutch gen and slash zine that was printed in blue ink on red paper: Pushing The Odds. You can see images of the zine here as well. So I am drawing a blank on the blue ink/yellow paper fandom.

morgandawn: Fandom is my Fandom (Fandom is my Fandom)

Keep reading 

“My favorite fandom story is about how when my dad found out I was super into Kirk/Spock, his eyes lit up as though Christmas had come early. “Hold on just a second,” he said, and hustled down to the basement. He eventually emerged triumphant with a limited-edition fanzine from the ‘70s that was nothing but vintage Kirk/Spock fic, complete with epic illustrations and poetry. “One of my friends submitted a piece to this anthology,” he said. “She gave me a copy.“ 

People don’t stop being nerds when they get older. See also: the creators of "House, M.D.”  and “Wicked” and every other “adaptation” of beloved stories that is just another word for “sanctioned official fanfic au.” Who do think writes that? Fans do. Fans who grew up loving their favorite stories and wanted to keep playing with them. And I guarantee so many more Fans Of A Certain Age are lurking on tumblr or twitter or the AO3 or deviantart than you think.

Let’s put this idea to rest, shall we? Fandom is for lovers. That’s the only rule for entry, that you WANT to be here.

morgandawn: (Zen fen lanning Green)
After blogging about how technology reshapes our communities and culture (allowing some aspects to thrive and others to falter), part of the conversation on tumblr migrated to the discussion of how fans build communities, how culture is created and how they communicate  their expectations of how to operate within those communities and cultures to one another. But before I repost my part in this discussion below, let me offer some context.

I  came into fandom just as fans began migrating from print onto the Usenet and mailing lists. A large portion of our time was discussing whether fans - especially slash fans -- should even be online, let alone visible.  We also had to quickly come up to speed on netiquette and translate  the preexisting "rules" into ones that worked for our fan community where the specter of copyright infringement loomed large. Then, when fandom exploded over the Internets,  spilling out of mailing lists to forums and blogs and websites, we again wrestled with issues, many of which were driven by the vagaries of the technology platforms we were using: When was it OK to respond to someone's blog post? When was it OK to post a story without warnings? When was it OK to leave feedback - and where? Was it OK to post a story in parts?  When were we expected to put text behind a cut? When was it OK to use someone's icon? How to credit icons? Was it permitted to create a rec list? A rec list in your own blog? A rec list on delic.ious? Could I use RSS to read someone's blog somewhere else besides LJ?  If someone friended me, did I have to friend them back? How to unfriend someone? When to lock a post and why? 

The list has been endless and quite often people  felt frustrated because what was so obvious to them was not obvious to everyone else.  Charged phrases like  "ethics" and "morals' and "universal rules"  have been used. We have often sounded like a community of mono-centric tunnel dwellers.

As fandom migrated to Twitter and Tumblr and Instagram and Wattpad, none of this has changed. The "rules" on these platforms are not intuitive, are fluid and of course vary across groups of fans. But we still suffer from tunnel vision.

So when the topic of universal Tumblr rules came up here, I gathered some thoughts I'd seen floating around and summarized them.


What I take away from this [post] is that Tumblr contains multitudes of communities that do not - and for practical reasons - cannot share the same norms. We ran into many of the same how come you don’t see the fandom world the same way I see it” discussions on LJ when we were trying to hash out the “rules”. On Tumblr though, the fluidity of the platform and the built in reblogging means that the communities intersect more easily.  Without the privacy tools of LJ or the gate-keepers of closed mailing lists, the only “tool” available to us is to expect other users to understand and follow our unwritten rules. Which of course is doomed to fail.

In addition, some of Tumblr users “rules” are based on a platform that itself keeps changing.  For example, I learned today that in the past untagged posts could not be found by Tumblr’s search engine. So untagged post = semi private. But Tumblr’s search engine has changed and they now pick up phrases in posts not just tags. If you are using add-ons like xkit that new search box may not show up. So the more long-time Tumblr users are confused when new faces show up on their untagged posts. And the new faces are confused at the resulting freak-out.

Then there is the scary nature of the Tumblr platform itself - anything that you post can, by the very nature of how the platform is designed, be reblogged, linked and/or responded to.  But   because there is no ability to lock or delete or edit a post once it has been reblogged, the entire discussion, other’s responses, even your follow-on responses to their responses are lost to you. Even worse, you cannot easily track the multiple discussion pathways.  You cannot chase the white rabbit because there are hundreds of white rabbits hopping all over the place and OMG is that a caterpillar? What does that have to do with anything I said?”

But this debate about everyone should know my Tumblr rules” reminds me of when we were hashing out how fandom (a formerly closed society) should use LJ.  We were originally so very strident “My Blog! My Rules!”seeing our blogs as privately owned spaces. But then triggers warnings discussions happened and that too shifted. We had a responsibility to warn - or to at least warn if we were not warning. To be a member in good standing meant you had to start treating your unlocked blogs posts as more of communally posts (locked blog posts were a different matter). I am not saying I agree with this cultural shift, but I can see echoes in today’s discussion. 

It is as if we keep wanting intimacy and connection but have the need to control the pace and scope and direction all at the same time we’re hurtling down a technological slope that was not built for our use. No wonder we’re flailing again and again. Fandom needs to reset its expectations and either build a platform that is more customizable for its needs or start investing in some good sledding gear. 

But it also occurred to me that perhaps even technology cannot overcome this profound cultural shift.  I came across this post today that argues that once technology created a truly global platform, our interactions were fundamentally changed*:

I think we’d be better served thinking of fandom as what Mary Pratt calls a “contact zone,” which she defines as:

 “social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power”

I think this extends to virtual spaces like Tumblr or Twitter, where discrete ‘communities’ are increasingly unfeasible …. I think we’re not a community - we’re a LOT of people who have one thing in common, and probably a lot of other things not in common, and I think it’s easy for us to forget the latter part of that when we think about - and concern ourselves with - the idea of “fandom” as “community.” We will not always agree, and so the question becomes one of what we do next…..”

Her suggestion:: Create or find smaller sites off Tumblr for conversations that require a greater degree of mutual understanding and a shared/common language to really progress. ….. Don’t respond to trolls, because they have a different MO altogether. I ignore assholes on the street, so I ignore them here, and do my best to keep them out of my backyard. I think those are all good tactics for engaging online, and they’re ways to make sense of Tumblr in all its infinite diversity. 

Because I do think there’s value in being on Tumblr in all its infinite diversity. I’ve learned more about sexuality, gender, class, race - I mean, you name it - in my year and a half here than I have in years of living out in the world, because here I come into contact with people I might never speak to otherwise, and all because we have this one shared thing. I think the contact is critical - but that we have to understand that it’s the nature of contact with people and ideas outside our own experiences to be a bit fraught with conflict and, as Pratt says, grappling..”

TLDR version: We are multitudes. I’d better get used to it. In the meantime, cake anyone?

*And not just for fandom. Go anywhere online and you will see the conflict between these various contact zones.

morgandawn: (Default Me Icon)
 I made a post yesterday about how technology interacts with fandom culture (here).

One of the tumblr posters raised a good point in her follow-on comments: that we should not confuse content creation with communication. That while tumblr may be poor (for some) for communication and community building, it is an asset to many for visual content creation.  I found her original post to be very helpful in understanding how visual fans responded better to tumblr and how an image friendly platform has enabled more fans to become content creators.  And look!  It helped further the creation of gifsets as a fandom art form.
I guess what I am saying is that I hope the next platform facilitates both visual and textual content creation as well as visual and textual communication. I saw a tumblr post this weekend that talked about how the recent Mad Max movie is told  mainly visually and is more universally accessible to viewers which ties neatly into this topic.
And last, even while some of the discussion has fallen back into the old pathways (LJ good, tumblr bad...and no one is talking about twitter cause....twitter), the fact that technology has often been an invisible party to fandom communication (and content creation) these past decades is something worth talking about.   Or blogging. Or re-blogging. Or tweeting. Or Facebooking (is there a word for Facebooking?) 
morgandawn: (Zen fen lanning Green)

A while back I did a series of posts about how technology has shaped – and continues to shape – our fandom culture: here,  here and here.   The short version: We do not use technology, technology uses us.  And I am not alone in blogging about this.

I came across two interesting posts discussing fandom’s migration to newer platforms and think they both fit into my belief that fandom needs to recognize the larger social and technological forces shaping our community.


First up, a fan discusses how twitter hinders fan communication

The mix of locked and public accounts, trying to follow multi-branching conversations when sometimes you can’t see what half the people are saying, and of course the character limit are all huge obstacles to good fandom discussion.....Twitter has the extra wrinkle of locked accounts, especially in RPF fandoms where harassment from “mainstream” fans of the sport/movie/musician/etc is a very real possibility. It’s understandable, but since locking is a binary, all or nothing situation, it has the effect of first isolating a locked account and then, when they’ve become a sufficiently big presence in a circle of fandom Twitter accounts, isolating newcomers from that portion of the discussion.


Next up:   a fan argues that Tumblr benefits both visual and text based fan whereas LJ mainly benefited text base fans (as a text based fan I can say that – for me – Tumblr does not work as a method of discussing with other text based fans. But that is a side point to her main point.*)


“……what I mean by that is, I see a lot of posts, primarily from writerly types, talking about how much they miss LJ and how much better it was and how the friends from LJ are the best friends they’ve ever made and stuff like that, which is fine, as someone who cut their teeth on LJ myself, I understand where they’re coming from, but I don’t think they realize that tumblr—for all its many, many flaws—has made fandom participation much more accessible to nonwriter types than LJ ever was. if you didn’t write on LJ, you didn’t get noticed, you didn’t get the attention and the lifelong friends and people caring about your not-fic writing, because you just didn’t get that exposure. the same is true of tumblr, to a degree, given the creation-based nature of fandom in general [and there’s a whole other meta post to be had about fandom culture’s dirty little secret of not caring about people unless they produce content, but I’m not going to go into that here], but the difference is, on tumblr, if you can’t write creatively [like me /coughs], there are a far wider variety of entry points; gifs were functionally unknown on LJ, but on here gifmakers get a fuckton of attention, as do graphics makers, meta writers, and [admittedly to a lesser extent] vidders, and fanart has a wider platform on which to reach people…..

……this obviously has a great deal to do with the nature of the platform on which fandom conducts its activities;
 LJ was text based, so text-based content creation was king, and tumblr is image based, so image-based content gets more attention this way, but the main difference, in my view, is that LJ only had text, which resulted in written content dominating to the point of near total exclusion of nonwriters… I suspect the people singing LJ’s praises didn’t experience how isolating it could be if you didn’t produce the kind of content favored by the platform at the time. Meanwhile the relationships I’ve made on tumblr as a result of a major form of fandom interaction finally shifting to something I’m capable of doing are just as longlasting as the relationships made between writers on LJ, and I bristle a bit at the implication that they’re not.”

My thought:  when we use platforms designed by commercial entities for their own purposes, we end up absorbing some of their cultural DNA – this is not necessarily a bad thing and has been going on since the early days of Fandom Dodos (fanzines and mimeo machines oh my!) through the early days of UseNet and bulletin boards across mailing lists and into today.  But until we own the platforms; until we design them to meet our needs, we are influenced by these commercial forces in ways we often fail to examine or understand. And because we fail to understand how external forces are shaping and reshaping us, we tend to lose sight that we, as a community, do have agency. We also run the risk of losing the ability to both talk about ourselves and to ourselves in ways that bring us together.


Which is why AO3 (Archive of our Own) speaks to me on so many levels. “We own the servers” is not just a slogan – it is philosophical world view that peers into our future and says:  “Oh shit, that’s one big tidal wave coming down on us. Let’s build a boat. And if we get wet, we’ll get wet together.“  


And which is why I wish that we had better tools to communicate with our fellow fans – ones that did not encourage us to limit and self-segregate us or force us into creating artificial divisions. I am a text based fan – but I am also a vidder and can communicate visually.  I like having more privacy controls  – but I may, or may not use them, understanding that with every “locked” tweet or post I am locking myself away. I like to blog about fandom – but also about art and music and politics and social change and kittens. I love it when people tag their posts (easier to find what I want when I want it), but I don’t object to tagless posts.  I see myself as a media fan while also acknowledging that many fans who are part of my community do not identify themselves that way.


In conclusion:  


*Edited: the original post focused on tumblr as a medium for content creation and not as a medium for communication. I quoted however a bit more of the original post now that I've removed the link.
morgandawn: Fandom is my Fandom (Fandom is my Fandom)
 For tumblr post go here

Click on the images for full size version.
Image 1

Image 2
Image 3
Image 4

Image 1: If ebooks-Tree has links to your fanfic on AO3, this is the screen you will see. The number of stories is in the upper left corner.

Image 2: If ebooks-Tree does not have links to your fanfic on AO3, there will be no stories listed. There will be a fake download link in the center that will take you to a pay website that will ask you for your credit card to download the story. I do not know if you can download stories from this “fake” website link because they require a credit card to test.

Image 3: If the story is on ebooks-Tree you will find an individual page (This story is “A Visit From the Home Office” by [personal profile] esteefee). There are two links: the center link is to the pay website that will ask for a credit card to download your fic. The smaller link to the far left is a direct link to the story on A03. The mobi file in this second link is still stored on A03.

Image 4: The last page is what happens if you click on the “free” link to the left to the mobi file stored on A03. As of 4/13/2015, AO3 has disabled the direct links and this is the page the reader will see. They will not be able to download the A03 file. They will not be able to go to your AO3 page. However, the “fake” link remains - I do not know if you can still access the story from there as it requires a credit card to test.

edited: as of 4/14/2014, ebooks-Tree has found a way to bypass the AO3 block.


Apr. 13th, 2015 06:26 pm
morgandawn: (Default)
 Week 2 of limited net connectivity (3 days offline in row). new service ordered (comcast, shudder)  but won't be installed until this weekend.  we have to ration our phone data plan for [personal profile] xlorp 's work, so online access will be spotty,

in the meantime ebooks-tree: what to do, what's happening

and you do not need to give credit card info to download the fic or books. If you must click on a link to see your fic, see these posts:

also, the badges that people are using link to a pay site that charges you for dmca takedowns. While registering gets you one 'free" takedown, I would be dubious signing up for something that charges $10 for "self-service" DMCA removals.

reminder: this is the Internets. Scraping and linking and archiving and sharing and reblogging and uploading will never be "resolved" or "stopped". Follow the AO3's suggestions about locking your fic and do not be freaked if this happens again and again.  Also keep this in mind when objecting to fans who are sharing or linking to your fanworks for the love of fandom...there are bigger and more troubling forces out there that will seek to profit from fandom. Do not stabby stab one other when the sharks are circling.

and last.....

Here Is Some Context For Your  Fandom Freakout

eBooks piracy has been a challenge for many published and indie authors for a while. You are in (good?) company. A site similar to ebooks-tree is Tuebl (2015) (2014) (2014) (2013)

morgandawn: (BSG Roslin wikidwitch)
1. The focused love of a subject matter (TV, knitting, hockey)
2. Active engagement with the subject matter vs passive consumption. Active engagement can be thinking about the show, discussing it, writing fic, making gif sets etc. Passive engagement is turning on the TV and watching it and then forgetting about it.  Note: one can passively consume the products of active engagement. Media fandom does not only consist of artists or fanfic writers, it also includes readers and lurkers and organizers. Also note that the active engagement does not have to be social - you can still be a media fan if you never connect up with another media fan and all the engagement takes place inside your head.
3.Non-commercial (fanzines were always supposed to be non-profit, artists would often get paid for their fanart prints or originals, and if fans turned their fanfic into pro fic - well it was no longer fanfic.)

Everything else: concrit, (n)etiquette, visibility, 4th Wall, warnings are all community specific and even among communities these "norms' or "rules" vary and are not universally accepted. To argue that someone is violating "fandom culture" is like arguing that everyone in the fandom world belongs to a single faith. In fact it argues that even if there are many fandom faiths, that all members of the faith  hold the same beliefs. While it is true that some faiths will not accept you unless you believe in and adopt their specific tenets, there are always those who claim a religious identity while disagreeing with some (or all) of the doctrines of their faith. 

Fandom is multitudes. Fandom is IDIC. Fandom is wherever you are.
morgandawn: (Art Noveau Blue)

Filking is a long time fannish tradition. It exists in both science fiction and media fandom, but its roots are deepest in sci-fi fandom.

Here are excerpts from a book of filk lyrics I found in Stacy’s Doyle’s collection last week. The book is called the NESFA Hymnal.


(first up a song about the sadness of waiting for elevators at fan conventions. in the days before smartphones and hotel wifi, someone had to write one to pass the time while waiting.)

THE ELEVATOR SONG ( set to the Beatles song “Yesterday”)

Yesterday, I’ve been waiting here since yesterday.
Now it looks as though I’m here to stay.
Oh, all my plans have gone astray.
And just then, he went past me and went….

Bill Mallardi, Suzanne Tompkins, Jerry Kaufman, and Linda Bushyager
Copyright 1968


(how about a Star Trek themed filk song?)

THE FIRST DAYS OF OUR MISSION (set to “The Twelve Days of Christmas”)

On the first day of our mission
The writers gave to me:

A transporter malfunction,
Klingons on the bridge,
Harcourt Fenton Mudd,
Ten million tribbles,
Several lovely yeomen,
A nurse to love the Vulcan,
A smart-assed Russian ensign,
A sword-wielding helmsman…..

Uhura fair,
A Scottish engineer,
An acid-witted doctor,
A Vulcan pointy-eared,
And a starship to roam the galaxy.”



(a filk song finally giving the bad guys of the Tolkien universe some air time)

GIVE MY REGARDS TO ORTHANC (set to “Give My Regards To Broadway”)
Give my regards to Orthanc;
Remember me to Barad-Dur.
Tell all the boys from old Nan-Curunir
That I’ll be there for sure.

Whisper of how I’m yearning

To mingle with the Morgul throng.

Give my regards to Shelob’s lair,

And tell her I’ll be there ere long.”



(and how about those Ents? Catchy tune, eh?)

THE ENTS’ MARCHING SONG (sung to “The Ants’ Marching Song)

The Ents go marching one by one, Hurrah, Hurrah!
The Ents go marching one by one, Hurrah, Hurrah!
The Ents go marching one by one,
To get their chlorophyll into the sun.

CHORUS:The Ents go marching
Round and round and into the ground
And out in the rain and in again.
The Ents go marching two by two, Hurrah, Hurrah!
The Ents go marching two by two, Hurrah, Hurrah!
The Ents go marching two by two!
Does a marching tree wear a wooden shoe?

(Jim Landau and Sherna Comerford)


(nothing changes much in space)

DRUNKEN SPACEMAN (sung to “(What Shall We Do with the Drunken Sailor?”)

What shall we do with a drunken spaceman?
What shall we do with a drunken spaceman?
What shall we do with a drunken spaceman?
Light years out from Terra.

CHORUS: Hooray, and off she blasts,
Hooray, and off she blasts,
Hooray, and off she blasts,
Light years out from Terra.

Put him in the airlock till he’s sober…
Drop him on an asteroid till he’s sober…
Put him through a space warp till he’s sober…
Throw him in the algae till he’s sober…
Put him in the reaction chamber…
Zap him with a phaser till he’s sober…
Dump him on a comsat till he’s sober…
Hang him on a skyhook till he’s sober…
Leave him in his spacesuit till he’s sober…
Haul him by the legs with a running spaceline…
Leave him out in a Martian sandstorm…
Leave him all day in a Lunar crater…
Boost him into orbit till he’s sober…
Abandon him on a planetoid…

Further verses can be improvised until the singer’s pain threshold
is reached, or the listeners stone him to death.



Feb. 18th, 2015 09:31 pm
morgandawn: (Star Trek My Fandom Invented Slash)

I have blogged about fan made scrapbooks before. This weekend, I helped sort a fan friend’s papers (she passed away in November). In the bottom of a pile, I found her Star Trek themed notebook/scrapbook. On the first page she writes that the year is 1982: "I attended [several Star Trek] conventions. I had fun, purchased memorabilia, watched the bloopers but I have lost most of the souvenirs including a tribble…..I do not have fellow fans or others to share - now I am a lone fan. I am dedicating this book (which I intend to fill with pictures and autographs, ST quotes and personal memories) to Star Trek and what ST means to my life. I wish to not lose and forget something I enjoy so much.”

I do not know if my friend - Stacy Doyle - ever found her lost tribble. But I can say that 30 years later she was still in love with fandom and had made lifelong fan friends. For her fandom was a way of life (FIAWOL) and not just a teenage phase or passing hobby.

So in her words (and the words of so many other Star Trek fans): Star Trek Lives!

I may post excerpts from her notebook from time time. These excerpts are being used with her family’s permission.

morgandawn: (BSG Roslin wikidwitch)
I've been recently revisiting the concept of the Fourth Wall in light of ongoing fandom debates (Goodreads; Fall Out Boy to name just a few).
It occurred to me that fandom, like many other communities, has undergone a radical shift in response to new technologies (see this and thisboth posts by me). 
But first let me start with this concept: there is nothing individual fans can do about the Fall of the Fourth Wall. In fact, there is nothing that fandom can do to stop the deterioration of the Fourth Wall.  
So why even post?
Because I think that understanding the forces that are reshaping our fandom communities and understanding that these forces are also impacting other communities far outside fandom is the first step to reducing our amount of fear, uncertainty and denial. 
The loss of the Fourth Wall brings several consequences. Some are good, some are bad, and some are both.
The first consequence is Increased Visibility. For obvious reasons this is both good and bad. Increased visibility for the fan individual can be very very bad (see Outing).  Increased visibility  of fandom as a whole is a mixed thing. Why? Because it can lead to ....
Increased Validation/Acceptance/Legitimacy.  The more we are accepted and validated, the fewer individual fans need to worry about increased visibility (note: I saw fewer, not all because fandom is huge and spans many continents and cultures and religions and laws so the risks of visibility will never be reduced equally). The more legitimate our activities become, the more we can push back against overly restrictive copyright laws that would criminalize our fandom activities.  So these are all good things, right? Well, not always. It can be a bad thing  when fandom starts to internalize the message that we need the approval of the content creators to be accepted or to be acceptable.  (See the fabusina essay.  See also the comments in this Fanlore article.)

When we begin to redraw fandom into "good fans" who follow the rules and the etiquette and bad fans who operate outside of the "boundaries," we can end up with fandom religious wars and marginalized and ostracized communities (See RPF; Geek Hierarchy; Alpha/Beta/Omega).  

Of course, increased visibility does not necessarily mean increased acceptance.  It can also lead to everything from mocking to harassment and persecution.

Once you're on the world Internet stage for all to see, you don't get to choose how your "audience" responds.   Which leads us to the next consequence of the Falling of the Fourth Wall.
Increased Commercialization.  TPTB have always know that fannish activities (vids, fic, art, and conventions) have existed . Prior to the Internet, tracking and connecting up with these "unauthorized" fandom activities was difficult and often only happened when someone deliberately targeted a fan or a group of fans (Starsky & Hutch slashRat Patrol Melanie Rawn)  or when the fan activity randomly came across their path (See the Dreadnought  and Vice Line fanzines).  
But with the Internet, social media, search engines and algorithms, it is impossible to remain blind to the vibrant and uncontrolled world of Fandom.  So what do the content creators do when they see a group of possible consumers acting outside of the prescribed sphere?: they either shut it down or commercialize it.
And that is, IMHO, the bigger threat to fandom as we know it (if we define fandom as a group of enthusiasts who engage with one another as a community for fun and love and not profit).  As a group we might be able to handle the increased visibility and the pursuit of external legitimacy* - both the good and the bad parts.  But commercialization takes away our uniqueness and pushes us into well worn paths of pre-defined consumerism and social conformity. In literary terms, it robs us of our agency.  Fandom, not just media fandom but also science fiction, fantasy, anime fandom, have long been places where the "other" can find a home and turn "other" into "us." 
It is in this context that the OTW brings a value add to the fandom table. The OTW can help push back in an organized fashion against the criminalization  and commercialization of fannish activities. (See origins of the OTW).. They cannot speak for all of fandom,  nor do they want to. But as any underrepresented or "minority" group can attest, without some basic organization, very little  changes and you are at the mercy of those with money and power. Organized activity can also help individual  fans frame their own responses to the changes facing fandom  - to either accept the increased commercialization or to reject it.  To either be aware and mindful of the social and technological changes that are reshaping us or to keep reacting over and over with fear, uncertainty and denial.
And that is why I'd rather see fans talk about bigger social and technological shifts and what we can do as individuals  and communities to adapt to the changes instead of worrying about  visibility, the crumbling 4th Wall and "what is a good fan".  Because as I said above, the Internet and technological tools we are adopting are making that aspect of the discussion irrelevant.  We cannot turn back the clock on visibility, either as individuals or as a community.  We are facing a level of surveillance and visibility that no generation has faced before and it impacts us on all levels, not just fannish but also political and social.   But we may be able to lessen the impact of *commercialization* on fandom by realizing its corrosive nature to our community and talking about it.   And, as with any commercial enterprise, we can also push back by looking to our pockets books.   Because if  monetizing fandom and fandom activities does not make "them" money, they might find richer waters to over-fish. And if not, well we will always able to surf the waves even when they tell us we cannot swim in the sea.
*I need to write another post about how the pursuit of legitimacy can undermine a marginalized community like fandom.  Here is the short version: you can purse legitimacy/acceptance without internalizing it or using it create hierarchies of good/bad fans.  If there is one message I'd like "fandom" to embrace it is this:  

"Dear Content Creator, thank you so ever much for your approval/disapproval/love/
shock/horror/outrage/glee, but it is neither  necessary nor required. Please feel free to call at any time you wish to join our party.  Signed With Great Love, Fandom."

morgandawn: Fandom is my Fandom (Fandom is my Fandom)

From 2007, a fan muses about how fandom communities are created, the Fourth Wall and the futility of policing other fans:

Fast-forward to, oh, about 1996 or so. Those among us who were in online fandom at the time will know what I mean when I say I have one word: Buffy. Other fandoms were born around the same time, and were taking advantage of new express lanes on the information superhighway (remember when the media called it that? *g*) as fast as they could be built….The WB’s marketing team went all-out with the new Web toys like kids on Christmas morning, and gave us *drumroll* the Bronze  [a forum/bulletin board]….

And then the inevitable happened: People who wouldn’t know a fanzine if it bit ‘em on the hand, and who would picture a guy in stripes with a ball and chain if you said “con,” were writing fanfic. And posting it to the board. Y’know, the board where half the writing and production staff, two or three of the cast (beware of bored Alyson Hannigan procrastinating painting her ceiling!), and of course Big Ol’ Geekboy Joss himself, were sometimes wasting as much time as the rest of us. At least every other day we had to explain to some lovely, enthusiastic person that there were places for that, and it wasn’t here. Because if you did it here, they would have to take our toys away.

Now, this in and of itself was nothing new. There had always been the need to grab someone by the back of the belt and yank them back from the edge of the Lunatic Fringe cliff. Or, if they were particularly determined, cut our losses and hide until the “thud” stopped echoing through the canyon and the dust settled. But now we were running out of hands to grab all those belts, not just on the Bronze but all over the place. Peer education is easy when a trickle of true believers is stumbling on your doorstep. When they’re arriving in Ellis Island droves, you’d better accept that they’re going to start forming their own communities.

Which is, in fact, exactly what’s happened. At this stage of the game there’s a lot of hinky intersection, especially in spaces like LJ with a wide generational and experience range. But there are also parallel spaces where fannish creativity is flourishing with little or no contact with what I’ve been calling, for want of a better term, “traditional fandom.” Some of them have outright rejected what we try to tell them, and I’m not sure they’re entirely wrong to do so. Yeah, we’re just trying to give them the benefit of our own experience, but when it comes right down to it? We’re trying to cover our own asses. Fandom is by its very nature an anarchic structure. When one or more of us say “Stop peeing in the pool, ya dumb kids!” (and I’ve seen it phrased both more and less tactfully and/or effectively), we have exactly as much authority as the addressee chooses to give us.”

Source: “Take two Excedrin and call me when the dust settles” dated May 26, 2007


morgandawn: (Default)

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