The word 'fantasy' wasn't used to describe fiction until the 20th century, when it became a much-used descriptor for stories about magical, faraway worlds.

Tolkien effectively invented modern fantasy, which often relies on an intricate universe, complete with its own languages, cultures, lifeforms, physics, and systems. When an author did this effectively, he called it “Faërie”—a sort of enchantment that transports the reader into the fictional world.

Fantasy is a literary genre that embraces supernatural and magical elements. While the stories often follow common narrative archetypes, like a quest, they frequently take place in elaborately constructed worlds, which sometimes have their own complex physics, lifeforms, and societies.

The literary genre has become massively popular in the 2020s, turning a previously marginal form into a mainstream concern. Spufford, a literary novelist who grew up loving books that explored fantastic worlds, argues that fantasy is so popular because it so accurately reflects the real world.

“Fantasy” itself is a rather broad way of characterizing fiction. The genre encompasses many subgenres, including epic (like JRR Tolkein’s “Lord of the Rings”), dark (like Neil Gaiman’s “Coraline”), or even superhero (like your favorite Marvel or DC comics).

Tolkien's debut novel, 1937's "The Hobbit," was aimed at young adults, yet it felt far more serious than the whimsical tales of Lewis Carroll or L. Frank Baum. "What Tolkien does is take the 'otherworld' fantasy developed in the 19th century and makes it child-sized, melding it with folklore and Norse myth," notes Farah Mendlesohn, the author of "Rhetorics of Fantasy."

In fantasy, anything is possible, mirroring the supernatural worlds of history’s earliest stories. The narrative voice of fantasy is often similar to early tales, too, with an affinity for the magisterial rather than the contemporary.

After the success of 19th-century books like Mary Shelley’s “Frankenstein” and Robert Louis Stevenson’s “The Strange Case of Dr. Jekyll and Mr. Hyde,” readers were eager for more stories that deviated from realism. Early 20th-century texts like George MacDonald’s “Phantastes” and Lord Dunsany’s “The King of Elfland’s Daughter” met the moment, laying the groundwork for the fantasy genre.

Fantasy stories take place in universes where magic exists; science fiction stories take place in universes that are still grounded in the physics of our world. In science fiction, supernatural powers have scientific explanations. Think of “Spiderman”: Peter Parker gains his powers after being bitten by a radioactive spider.

A lot of 19th-century British fantasy was often stiff; its children’s literature was often overly didactic. Carroll’s novel—about a young girl who falls into an unusual world full—was neither, offering vivid, psychedelic imagery and seemingly nonsensical word games.

Inspired by the fantasy paperback explosion of the late 1960s and early 1970s, Gary Gygax and Dave Arneson published the original incarnation of the game, which immersed players in worlds similar to fantasy fiction. Since then, several newer editions have been released. In recent years, podcasts and livestreams featuring individuals playing the game have gained popularity.

Baum blended elements of Hans Christian Andersen, the Brothers Grimm, and Lewis Carroll, placing them in an American context. The illustrations of William Wallace Denslow brought the fantastical elements to life, as seen below. The book was an instant smash hit, selling out its initial 10,000-book pressing within the first eight months. By the time it entered the public domain in 1956, it had sold 3 million copies.

The story is the earliest surviving poem in the English language and enshrined many Anglo-Saxon ideals about heroism, loyalty, and adventure. JRR Tolkein was an enthusiastic fan of the poem, even lecturing about it in 1936, and mirrored many of its themes in “Lord of the Rings.” Critics have also highlighted the influence on later fantasy stories, including “Harry Potter.”

In "Lord of the Rings," there's Elvish. In "Avatar," it's Na'vi. In "Game of Thrones," it's Dothraki. The languages draw readers into these fictional stories, imbuing the worlds with a sense of realism. Linguist John McWhorter argues these are real languages because they have grammatical rules and evolve over time.

The Fantasy Football League began in 1980, before fantasy football was available online. The group, which began in Northern California, originally used a touchdown-only format because it was easier to score in the preinternet era.

As the internet became more accessible in the '90s, fanfiction writers created websites dedicated to publishing stories about their favorite characters. Still, the hobby was far from mainstream. As one writer from that time said, "Going to Star Trek/comic book conventions in the '80s and '90s was something nerds did. Telling people you read or wrote fan fiction put you in the super geek category."

Although "anti-utopian" stories have always existed, the international conflicts of World War I and World War II inspired some of dystopian literature’s most influential novels, like Yevgeny Zamyatin’s "We," Aldous Huxley’s "Brave New World," and George Orwell’s "1984." In the decades to follow, more writers would follow the example of those early novels, using the dystopian model to critique artificial intelligence, climate change, and more.

The classification includes any fiction that "speculates" about how society might operate in the future or in contexts different from the present reality. The genre is an umbrella term for science fiction, fantasy, alternative historical fiction, dystopian and utopian fiction, and apocalyptic and post-apocalyptic fiction.

The word appeared in 1950's "If I Ran the Zoo," but there are theories that the word (or forms of it) were already part of popular slang before the book was published.

Time travel has fascinated humans for centuries. It appears in myths, literature, and science fiction. One of the earliest examples comes from the 400 BCE Hindu epic Mahabharata, describing time dilation long before Einstein’s Theory of Relativity. By the 19th century, stories introduced machines enabling time travel—setting the stage for modern sci-fi.

Dystopian literature is no longer relegated to the page, with innovations like the Tesla Cybertruck and Meta virtual reality headsets mirroring the aesthetics of texts like "The Running Man" and "Neuromancer." In this essay, Casey Michael Henry argues that the images from these works remain while their messages have faded.

The author is one of the genre’s most legendary names, constructing high fantasies like “The Earthsea Cycle” that detail intricate new worlds. In 2004, she delivered a lecture criticizing books and movies that rely on a simple formula: white characters, Medieval settings, and a battle between good and evil. “Whenever I find a fantasy that is set in a genuinely imagined society and culture instead of this lazy-minded, recycled hokum,” she said, “I feel like setting off fireworks.”

John Stuart Mill, an English philosopher, economist, and politician, uttered the word at the House of Commons while criticizing what he considered to be the government’s insufficient land policy for the Irish, saying, “What is commonly called Utopian is something too good to be practicable; but what they appear to favour is too bad to be practicable.”

"National Pastime" used the statistics of real Major League Baseball players to determine a winner, creating the template for the modern fantasy sports model.

The Harry Potter term for a nonmagical person became an official English word when the Oxford English Dictionary added it in 2003—cementing the series’ influence on modern language and popular culture.

In 2025, the SenLinYu fantasy novel "Alchemised," which began as "Harry Potter" fan fiction, became a bestseller after being traditionally published; its movie rights were sold for over $3M. The mainstreaming of the genre is due to a combination of factors, including publishing's interest in the hard metrics that fan fiction websites provide.

Technicolor provided warm color to films. it was first used in 1917. But the 1939 film used Technicolor in such an intentional way—by having Dorothy exit a dull, sepia-toned world before entering the Technicolor Oz—it popularized the technology, even though audiences had likely seen it used before then.

Baum began writing stories for children while working as a traveling salesman and found success with 1899’s “Father Goose, His Book,” a book of nursery rhymes. Its popularity made him realize children did not want moral education; they wanted escapism.

However, earlier mentions of creatures with similar characteristics existed throughout Medieval Europe. For example, people often spoke of revenants—restless dead creatures who tormented the living. Historians believe these stories grew in popularity in part because of influence from the Catholic Church, which was emphasizing the idea of purgatory. These older revenant stories eventually influenced modern vampire folklore.

Modernist writers in the early 20th century sought to capture the complexities of the human mind in their fiction. Novelists like Virginia Woolf, James Joyce, Jean Rhys, and William Faulkner experimented with the form by using unconventional approaches to narrative, time, and structure. This lecture from Dr. Madeleine Davies from the University of Reading explains how modernists revolutionized fiction, using Woolf’s “Mrs. Dalloway” as a primary example.

Many long-form stories written in English were originally considered "romances," a term derived from the Old French word for "the speech of the people." But changes in medieval culture, triggered by a number of 12th-century church reforms, led to a new interest in what we now consider romantic love, including a new view of marriage as a pursuit of love rather than a transaction. Those new perspectives were then reflected in the period's popular stories, including stories in Chaucer's "Canterbury Tales."

In the mid-1950s, Wilfred “Bill” Winkenbach, a part-owner of the Oakland Raiders, concocted two fantasy sports games: one for Major League Baseball and one for the Professional Golfers’ Association. In 1962, he invented fantasy football alongside two writers from the Oakland Tribune.

This is a comprehensive list of the genre’s most significant works, chosen by a panel of some of the genre’s leading writers, including NK Jemisin, Neil Gaiman, and George RR Martin. It runs the gamut, from “The Arabian Nights” to the present day and is sure to offer more than one new addition to your reading list.

The popularity of "Star Wars" shifted the market away from the more literary, and sometimes cynical, science fiction of the 1960s and '70s. In the wake of George Lucas' space opera, publishers and studios wanted similarly optimistic adventure stories. In time, though, writers like William Gibson would react against that and, in turn, create the "cyber punk" subgenre.

By the late 1990s, CBS, ESPN, and Yahoo had all launched their fantasy platforms, allowing the game to grow even more popular. By 2009, the NFL took note and began offering coverage that explicitly focused on fantasy metrics, including “RedZone,” a popular Sunday show that allows viewers to tune into the most crucial moments from around the league—or across their fantasy rosters.

John Stuart Mill introduced the term "dystopia" in 1868 to critique harmful policies, calling it the opposite of utopia, or an ideal world. The concept grew as industrialization and totalitarian regimes exposed societal flaws, inspiring works like George Orwell's "1984" to warn against oppression and moral decay.

Humans have been captivated by the prospect of leaping forward and backward in time for thousands of years. Georgia Institute of Technology Science Fiction Studies Professor Lisa Yaszek recounts how the concept has been utilized by storytellers from 400 BCE to modern-day to explore our relationship with the supernatural, technology, and the past. In a way, this historical recounting is a journey through time.

Fritz Lang's 1927 epic "Metropolis" set the template for much of the science fiction that followed, establishing themes that would come to define the genre through films like "Star Wars" and novels like "Brave New World." This short documentary from DW digs into the history of the film and its long-lasting impact.

In this brief interview, Terry Castle, an English professor at Stanford, explains the origins of the early British novel. Castle details how the novel was produced for a newly literate middle class interested in recognizable characters and stories “about life as they knew it” rather than Greek and Roman myths or medieval romances. She also explains why a newly enfranchised female demographic was attracted to the fiction of writers like Jane Austen and Virginia Woolf.

The number, estimated by the Fantasy Sports and Gaming Association, has grown exponentially since the start of the century. While fantasy sports in general are popular, football is the most popular, with an estimated 79% of fantasy participants playing fantasy football.

Tolkien coined the term "eucatastrophe" to define what he believed as an essential key to good storytelling: “The consolation of fairy-stories [is] the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous ‘turn.'"

The subgenre can come in many forms, but its shared traits are the way it reflects the anxieties and satirizes the utopian thinking of its writers’ societies. One of the earliest examples is Jonathan Swift's "Gulliver's Travels."

In 1917, two young girls took photos of one another appearing to interact with fairies and a gnome. Sir Arthur Conan Doyle, author of the Sherlock Holmes books and a fervent believer in spiritualism, published the photos in a magazine and asked the girls to recreate them, which they did. Conan Doyle went on to write a book about the fairies. In 1983, decades after his death, the girls admitted the photos had been faked.

Fan fiction sites often appear to be littered with inscrutable codewords, with stories labeled as "AU," "drabble," or "PWP." These alert readers to elements of a fan fiction: "AU" is an alternative universe narrative; "drabble" is a very short story; "PWP" stands for "plot? What plot?"

Although autofiction, a literary genre blending autobiography and fiction, has been around for millennia, it has become a popular mode in the 21st century. This extensive study of the genre—which analyzes works by Megan Boyle, Tao Lin, and others—argues that the form has become more prevalent because it mirrors the defining technology of the times: social media.