The US paperbacks of JRR Tolkien's 'Lord of the Rings' series transformed fantasy from a fringe literary genre to a mainstream form.

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."

The series’ success reshaped the market for youth fiction. In 1997, about 3,000 young adult titles were published annually. By 2009, that number soared to 30,000 as publishers chased the next major phenomenon.

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.

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.

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.

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.

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.

“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).

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.

What began as a story written in cafés by an unknown author grew into a global phenomenon—spanning seven books, eight films, theme parks, and video games—reshaping modern popular culture.

The word—at least as a word used to describe fiction—didn’t appear in the Oxford English Dictionary until 1949. Scholars believe that’s due to the arrival of the Magazine of Fantasy and Science Fiction, an influential publication, and the rise in fantasy’s popularity following World War II.

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.

Though only 500 hardback copies of "The Philosopher’s Stone" were printed in 1997—and mostly sent to libraries, due to doubts it would sell—glowing reviews and word of mouth fueled a surge in demand. Within a year, the book had sold more than 70,000 copies in the UK.

JRR Tolkien's epic fantasy trilogy "The Lord of the Rings" is a seminal work in the history of literature partly due to its creator's obsessive focus on systematic detail—including the calendars used in the world. Take a fantastic dive into the minutiae of Tolkien's creation by learning the different approaches to time organization in the Shire or Rivendell with this dense, comprehensive resource based on Tolkien's appendices.

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.

As literacy rates began to rise in the 19th century, so did the demand for reading materials. The only problem? Newspapers and books weren’t cheap, and newly literate middle-class families struggled to afford literature. That changed when booksellers began offering small fees for patrons who decided to borrow rather than purchase books. This was eventually called a circulating library, an innovation that would satisfy the burgeoning readership of novels and increase literacy rates further.

JRR Tolkien fought in World War I, an experience his grandson, Simon Tolkien, says informed the fantasy legend’s famous trilogy. The companionship between Frodo and Sam and Sauron’s pervasive evil, according to the younger Tolkien, were directly influenced by time on the battlefield.

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.”

Johannes Gutenberg's invention of the printing press in 1440 changed how writing was reproduced. It allowed multiple manuscripts to be copied via movable type rather than by hand, making more literature more widely available. Over time, that change caused literacy rates to rise, creating a market for even more literature.

Ira Levin’s 1967 novel “Rosemary’s Baby” showed publishers horror was a viable commercial genre. That was proven again in 1971, with William Peter Blatty’s “The Exorcist” and again in 1974 with Stephen King’s “Carrie.” The books dealt with societal fears (the occult, drugs, sex) during a time of political upheaval.

Scholastic changed "Harry Potter and the Philosopher’s Stone" to "Sorcerer’s Stone" in 1998, fearing the original title sounded too academic and might confuse American readers unfamiliar with the word’s magical meaning.

Stephen King’s horror, fantasy, and science fiction were once considered lowbrow and unworthy of serious academic study. That's changed over the last 50 years, with King courses and symposiums taking place at universities around the world.

It's becoming mainstream after being relegated to the dorks for decades. LinkedIn cofounder Reid Hoffman has contemplated the role the game played in his own formation as a person and a business leader.

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."

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.

After its 1998 US release, "Harry Potter and the Sorcerer’s Stone" reached No. 1 on The New York Times Best Seller list—the first children’s book to do so since "Charlotte’s Web." By September 1999, the first three books held the top three spots on the list.

In 2000, The New York Times introduced a separate bestseller list for children's books after Harry Potter titles occupied top spots on the main list for more than a year.

As anticipation grew, bookstores worldwide hosted midnight release parties for new Harry Potter titles—drawing crowds in costume, complete with games and countdowns, transforming book launches into global celebrations of reading. Libraries and stores were required to adhere to strict regulations over who could handle the books before the official debut.

Ali Hazlewood's "The Love Hypothesis" began as "Star Wars" fan fiction. Cassandra Clare's "Mortal Instruments" series was about "Harry Potter" characters Draco Malfoy and Ginny Weasley. Anna Todd's "After" series was an example of "real life fiction," or fan fiction that is about real people rather than fictional ones (the books were originally based on the boy band One Direction).

Richard Garfield originally pitched a game publisher on a more complex game about programming robots, but he was told that they were looking for something less expensive and more portable. Inspired by the way baseball cards were collected and traded, he came up with the idea for Magic: the Gathering, which gave players packets of random cards, effectively pieces of the whole game, rather than the entire deck.

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.”

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 first volume in the popular erotic romance series was originally called "Master of the Universe" and focused on the main characters of "Twilight," the popular vampire series by Stephanie Meyer. After it became a hit in fan fiction communities, James removed the references to "Twilight" and changed the title. It would go on to be the fastest-selling paperback of all time in the United Kingdom and lead to additional books and film adaptations.

The medieval book publishing industry wasn't quite so robust as our modern era's, but the mystical and satirical tomes coming out at that time still needed a name. Peruse this list of some of the quirkier of those titles, which reflects the era's literalness, theological interest, and downright silliness.

The subgenre—primarily aimed at female readers and sometimes bordering on erotica—has become a sensation, due in no small part to its popularity on social media platforms like TikTok. Writers like Sarah J. Maas and Rebecca Yarros harken back to early Gothic works, which similarly sought to combine the supernatural and the erotic.

The Nordic illustrator was asked to contribute illustrations for the 1960 Swedish translation of J.R.R. Tolkien's "The Hobbit." Some fans were critical, though, arguing that the images didn't accurately represent Tolkien's Middle-earth. One of their most convincing pieces of evidence was Jansson's portrayal of Gollum, which she turned into a massive beast. After seeing it, Tolkien realized he needed to specify that the character was "a small, slimy creature."

In the late 2000s, Suzanne Collins’s dystopian "The Hunger Games," a young adult book series where impoverished children are pitted against one another for entertainment, spent over five years on The New York Times bestseller list.

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.