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READING and WRITING INTERNET FAN FICTION by Juli J View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt INVENTING A UNIVERSE: READING AND WRITING INTERNET FAN FICTION by Juli J. Parrish A.B., Bryn Mawr College, 1993 M.A., Temple University, 1996 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Juli J. Parrish It was defended on July 26, 2007 and approved by Nicholas Coles, Associate Professor, Department of English Amanda J. Godley, Assistant Professor, School of Education John Twyning, Associate Professor, Department of English Dissertation Advisor: Jean Ferguson Carr, Associate Professor, Department of English ii Copyright © by Juli J. Parrish 2007 iii INVENTING A UNIVERSE: READING AND WRITING INTERNET FAN FICTION Juli J. Parrish, PhD University of Pittsburgh, 2007 Inventing a Universe examines the creative and critical writing of an internet fan fiction archive. First, I suggest that persistent theories of fan writing, including the influential notion of fans as “textual poachers,” have not adequately made visible the work of reading and writing that goes in at such sites. I reframe internet fan fiction as the work of amateur writers drawing on composition studies work on discourse communities and student writing to offer new ways of reading these texts and textual practices. Second, analyzing the discourse conventions and texts of a particular fan fiction archive, Different Colored Pens, I argue that members of this site share an explicit collaborative project of using fan fiction to help one another improve as readers and writers. This dissertation, which is among the first academic efforts to focus on and analyze fan fiction feedback practices specifically, will contribute to the rich and growing literature on the ways that online communities of amateur writers, including fan fiction writers, collaboratively develop their writing skills. iv TABLE OF CONTENTS ACKNOWLEDGMENTS......................................................................................................VIII 1.0 INVENTING A UNIVERSE: INTERNET FAN FICTION IN CONTEXT .......... 1 1.1 DISCLAIMERS: DEFINING INTERNET FAN FICTION ..................... 11 1.2 DISTRIBUTION: SCOPE, COMMUNITIES, AND FANDOMS............ 21 1.3 SPOILERS: THE CONSEQUENCES OF “CANON”............................... 28 1.4 FEEDBACK: THE TEXTUAL WORK OF READING AND WRITING........................ 34 1.5 PAIRINGS AND RATINGS: FAN FICTION RELATIONSHIPS.......... 39 1.6 ACKNOWLEDGMENTS: THE WORK OF COMPOSITION STUDIES.............................................. 42 2.0 METAPHOR AS CANON: THE WORK OF TEXTUAL POACHING......... 47 2.1 POACHERS AND POACHING .................................................................... 54 2.2 READING FAN FICTION CRITICALLY.................................................. 68 3.0 READING AND WRITING AT DIFFERENT COLORED PENS ................... 81 3.1 FORM AND FUNCTION AT DIFFERENT COLORED PENS............... 86 3.2 “SEEING RED,” WRITING DESIRE ......................................................... 96 3.3 CRITICAL PROJECTS AT DIFFERENT COLORED PENS ............... 104 v 4.0 “THE ART OF LEAVING FEEDBACK”: ENCOURAGING RESPONSE AT DIFFERENT COLORED PENS ........................................................................... 118 4.1 INVITING FEEDBACK ............................................................................... 121 4.2 TALES OUT OF SCHOOL.......................................................................... 129 4.3 FOSTERING IMPROVEMENT ................................................................. 137 4.4 THE FEEDBACK LOOP.............................................................................. 144 5.0 CONCLUSION: WRITING RELATIONSHIPS THAT MATTER .............. 148 5.1 FAN FICTION MODELS FOR WRITING INSTRUCTION ................ 153 5.1.1 Archives of Feedback.............................................................................. 154 5.1.2 Beta Reading ............................................................................................ 157 5.1.3 Canonical Revision.................................................................................. 158 5.2 CONCLUSION: INVENTING THE UNIVERSE .................................... 159 BIBLIOGRAPHY.................................................................................................................... 165 BIBLIOGRAPHY OF WEBSITES ...................................................................................... 184 vi LIST OF FIGURES Figure 1. Story Notes for Rosser’s “Sidestep Chronicle,” Different Colored Pens ....................... 9 Figure 2. Story Notes for Trom DeGrey’s “Laundry Diaries,” Different Colored Pens...... 10 Figure 3. Story Notes for Capt. Murdock’s “Equilibration,” Different Colored Pens ......... 10 Figure 4. Series of posts from “The Laundry Diaries,” Different Colored Pens .................. 36 Figure 5. Screenshot from Greenwoman’s Fanfiction website with Jenkins epigraph ........ 62 Figure 6. Screenshot from The Force.net with Jenkins epigraph ........................................... 64 Figure 7. General index for The Kitten, the Witches, and the Bad Wardrobe.............................. 88 Figure 8. Excerpt of Different Colored Pens index ...................................................................... 92 Figure 9. Excerpt from first post of Antigone Unbound’s “On Second Thought,” Pens ............. 95 Figure 10. Quoted excerpts of all feedback for part 1 of Trom DeGrey’s “Laundry Diaries”... 112 Figure 11. Quoted excerpts of all feedback for part 2 of Trom DeGrey’s “Laundry Diaries”... 113 Figure 12. Sample feedback post by Grimlock72 in “The Sidestep Chronicle” ........................ 143 vii ACKNOWLEDGMENTS I am indebted to a great many people for their support of this dissertation. I want to thank the readers and writers at Different Colored Pens whose collegiality, whimsy, insight, and writing taught me so much of what I know about fan fiction and the critical reading and writing practices that frame it: Antigone Unbound, AutumnT, Bagheera, Blameburner, BoredNow99, Capt. Murdock, darkmagicwillow, Forrister, Grimaldi, Indygo, Jdcioffi, Jomarch, Katharyn, Kieli, La, Leather Queen, Lipkandy, Loco2, MadeinNZ, Magrat70, Mariacomet, Mollyig, Molsongrrrl, Mrs. Vertigo, Pikachu1060, Puff, Rally, RalSt31, Ruby, Sassette, Scout, Sheridan, Sister Bertrille, Slayer Sydney, Slayer747, Snippygal, The Big IT, Tiggrscorpio, Tommo, Trom DeGrey, Vamp No 12, Vix84, Web Warlock, Willa1975, Wizpup, Xita, and Zahir al Daoud. My advisor, Jean Ferguson Carr, has taught me how to ask questions, how to read generously, how to keep student writing at the center of the page and the mind, and how to attend to the nuances of a complicated project. John Twyning encouraged me to write with conviction and commitment, and I hope that I have begun to live up to this task. Nick Coles and Amanda Godley helped me to see the importance of multiple contexts and asked questions that will greatly improve successive versions of this work. I am indebted to other professors at the University of Pittsburgh who taught me so much of what I know about the intricacy and energy of work in composition studies: Dave viii Bartholomae, Joseph Harris, James Seitz, and Mariolina Salvatori. I also am grateful to my colleagues Chris Boettcher, Paul Kameen, Jennifer Lee, and Brenda Whitney, who have reminded me every fall semester of the value of choosing to teach first-year writing, choosing to see student writing as the product of hard work and intellectual engagement. Fellow graduate students Brenda Glascott, Tara Lockhart, and Maggie Rehm all suggestions, questions, and valuable insight. And I am proud to have worked over the years with so many energetic students; in particular, I extend my sincere thanks to Brian Corlett, Eileen Hsu, Denise Mayes, and Chuck Romanchock, who work hard and write harder. Everyone should be so lucky as to learn from writers like these. I thank Amy Murray Twyning for her theoretical mind and her understanding of my project; we started our PhD program together, and she has been, for 11 years, my partner in intellectual crime. I thank Jean Grace for her vast knowledge of composition studies, her unending generosity, and her ability to see the work at the heart of a tangle of sentences. And I thank Geeta Kothari for teaching me how to sit in the chair and write; her discipline and commitment to the work has been a model and a gift. I am grateful to the family and friends who supported me during the writing. Erin Parrish Dickson and Doug Dickson, Christine O’Neill and Dawn McCormick, Jeanne and Joe Horvath, and Eileen Dumm all cooked meals, provided quiet rooms for writing and porches for relaxing, and were patient with unreturned phone calls. My late grandfather, Walter Dumm, contributed many a competitive game of Scrabble. Emily Aubele read multiple drafts, helped me to refine many of my ideas, and taught me to kayak. Finally, Hannah, Andrew, and Lilah Sahud moved to town, fed body and soul, and generally improved my quality of life. My work is the better for all these contributions. ix 1.0 INVENTING A UNIVERSE: INTERNET FAN FICTION IN CONTEXT Do you know just when you realize a seemingly ordinary moment in your life is, in fact, truly extraordinary? Before you even ponder that question, let me just answer
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