If a publisher wants to sell fan fiction, they encourage writers to change key details

Modern copyright law prohibits using someone's intellectual property (like a character) without their permission. By and large, fan fiction is tacitly condoned by copyright holders because it's commonly distributed for free. If anything, the copyright holders often benefit by allowing passionate fan communities to flourish.

Writers have always reinterpreted and retold others' stories. (John Milton, for example, used characters from the Bible in "Paradise Lost.") Fan fiction, though, refers to unauthorized, creative retellings of copyrighted stories intended for other fans.

Rather than complaining about a writer's decisions, fan fiction is interactive, providing the fandom with the opportunity to tell the story in the way they see fit. That's especially evident in "shipping," a popular fan fiction trope that's focused on the romantic pairing of characters who are not romantically involved in the source material.

The self-published fan fiction zines of the '60s, '70s, and '80s were obscure enough that they rarely attracted the attention of the copyright holders of their source material. But Lucasfilm, the production company behind the "Star Wars" films, threatened legal action against fans who published X-rated stories and "homosexual expressions of love" featuring its characters.

In an academic study, University of Washington professor Cecilia Aragon found that fan fiction often teaches young writers how to craft stronger sentences and convey complex ideas effectively. Much of that comes from the larger fan fiction community, which regularly comments on others' stories, offering kind-hearted constructive criticism in what she calls "distributed mentoring."

James might've revised her "Twilight" fan fiction book "Master of the Universe" before it was republished as "Fifty Shades of Grey," but studies found that the two manuscripts were essentially the same text. Some wondered whether that meant Stephanie Meyer, author of "Twilight," was entitled to royalties, though Meyer never pursued legal action.

Some professors approach the genre as a unique form of literature that expands the boundaries of art. Comparative literature courses read the source material as well as its fan fiction byproducts, asking students to analyze the conditions that might've produced such dramatic reinterpretations.

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).

Although some serious literary types disregard fan fiction, other academics consider it a fascinating development in art and communication, one that allows everyday people to participate in worldbuilding and storytelling.

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?"

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.

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."

One subgenre of fan fiction is called "self-insert." It's exactly as it sounds: The form takes a preexisting story and inserts a reader proxy into the world of the story, acting as a form of wish-fulfillment.

This guide to the genre's major platforms breaks down their strengths and weaknesses, offering an excellent primer for the uninitiated newcomers.

The "Game of Thrones" author is all for fans creating their own stories, but he finds attempts to commercialize fan fiction distasteful. He's also not interested in reading it. "What I see doesn't affect me, so if you want to do it, I don't care," he said in an interview, "but please don't send it to me."

Eliezer Yudkowsky's "Harry Potter and the Methods of Rationality" is not your typical fan fiction: It uses JK Rowling's fictional universe to wrestle with rationalist philosophy and the physics behind the magic taught at Hogwarts. The book went on to become popular in Silicon Valley, especially in the effective altruism movement.

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.

Sybil G. Brinton's 1913 novel "Old Friends and New Fancies" brought together characters from Austen's six major books. Other works of JAFF (Jane Austen Fan Fiction) followed in the same style. The books appealed to the budding group of Janeites, a term referring to Jane Austen superfans.

True crime fans are notorious for falling down rabbit holes. Now that passionate interest is being exploited by attorneys marshaling influencers to serve as informal public relations representatives, a trend that's blurring the lines between fan theories and reality.

In 2025, readers discovered AI prompts in three writers' texts, with one even instructing the AI bot to make a passage sound more like another romance writer. This Futurism piece digs into the scandals and how it's contributed to readers' skepticism about the genre's more prolific writers.

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.

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.

The Pulitzer Prize brings prestige but inconsistent financial benefits. For nonfiction writers, receiving the award does increase sales, but only modestly. The big winners are the fiction writers, some of whom have seen sales double after a win.

AlternateHistory.com has hosted fan-written "what if" timelines, discussions, and speculative fiction since 2000, making it the largest online gathering of alternate history enthusiasts, with over 10,000 active members and a wiki cataloging hundreds of user-created scenarios. Two highlights to pique your interest: what if the Vikings had settled North America? What would have had to happen for the storyline of George Orwell's "1984" to come true?

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.

AI models are trained on enormous datasets built from content scraped from websites across the internet. Copyright law includes a four-factor test to determine whether copies of content fall under fair use, but the law's enforcement has been inconsistent.

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.

Maintaining the illusion of professional wrestling—or kayfabe—was once considered the most important aspect of running a successful promotion. That’s changed over time, with wrestling’s most serious fans growing as interested in the stories behind the scenes as they are in the matches taking place in the ring.

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.

The Canadian journal Paediatrics & Child Health issued corrections to 138 case studies published since 2000, acknowledging the cases were entirely fictional—a practice intended to protect patient privacy that was never disclosed to readers. At least 61 of the fabricated reports were cited as fact in other peer-reviewed journals a combined 218 times, including a 2006 Lancet article alleging an infant died from opioid-laced breast milk.

At her publisher’s suggestion, Joanne Rowling used the pen name “JK Rowling,” believing boys might be less likely to buy a fantasy novel written by a woman.

“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).

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.

Romantasy grows more popular every year, but that doesn't mean it's taken seriously as literature. Hosts from KPBS' "The Finest" attended Comic Con 2025 to get romantasy fans' takes on the genre's unserious reputation.

From Joseph Conrad to JK Rowling, writers employ pseudonyms for all kinds of reasons. How they find those pseudonyms, however, depends on the individual.

Are you thinking of writing a story that involves time travel? You might want to read this guide first. It offers questions to consider, mistakes to avoid and strategies to employ to ensure you avoid paradoxes, plot holes and implausibilities.

Some, like Butler, regretted writing predictable, trope-heavy books. Others, like King and Burgess, regretted that what they'd intended as satire had been misunderstood as endorsements.

Arthur Brooke's "The Tragical History of Romeus and Juliet" was first published in 1562 and shares many details with Shakespeare's "Romeo and Juliet." Shakespeare wasn't alone in his borrowing; Brooke's poem was based on other earlier Italian stories. None of this writing was considered fan fiction—copyright law didn't exist, and stories were regularly cribbed from preexisting sources.

The 1972 Kathleen E. Woodiwiss novel helped create the romance subgenre featuring historical settings and intense, steamy sex scenes. It was an under-the-radar sensation, quietly selling millions of copies while simultaneously courting controversy for its portrayals of rape. In this essay, Jeannette Cooperman revisits the book to see how it reads 50 years after its publication.

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 Gay Talese’s 2016 book on Gerald Foos was found to lack factual accuracy, criticism of New Journalism returned to the limelight. Some believe the narrative focus requires abandoning the facts and leaves too much room for writers to make up material rather than present what actually happened.

Romance books are currently trending in the publishing industry. That means romance authors are currently seeing greater commercial success than many writers in other genres. This podcast episode dives into what's behind the publishing industry trend from a business perspective. Listen to it here.

Yale English professor Joe Cleary argues that dystopian literature’s continued relevance is due to a torrent of additional societal anxieties and that the streaming adaptations of dystopian classics "The Handmaid’s Tale" and "The Man in the High Castle" have expanded the genre’s popularity, introducing new audiences to its tropes.

Diane Winston, a media scholar at the University of Southern California, argues that romance novels have remained popular because they've historically offered women shame-free ways to explore their identities and sexualities. She notes that's even more true today, with contemporary romance novels, from romantasy bestsellers to "Heated Rivalry," more willingly explore social dynamics.

"Street art" has become a major seller in the art world, yet many states still consider graffiti to be illegal vandalism. Copyright law complicates the situation further, offering protections for "original works of authorship fixed in a tangible medium of expression," even if they've been created illegally.

Austen has a modern fan community unrivaled by that of other novelists of her time, devoted in ways similar to more recent pop culture phenomena like "Star Trek" and "Harry Potter," with Janeites regularly donning period-specific costumes, writing fan fiction, and engaging in spirited debates about the work.