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“the rest is …”: Shakespeare and Online Fan Fiction

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Shakespeare’s Fans

Part of the book series: Palgrave Studies in Adaptation and Visual Culture ((PSADVC))

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Abstract

This chapter focuses specifically on Shakespeare fan fiction published online. Aimed particularly at those scholars who might be unfamiliar with this type of writing, the chapter argues in favor of understanding fan fiction on its own terms and according to its own tropes and genres. As a type of writing produced by fans and for fans, fan fiction has a number of unique identifying features. Examining fan fiction in the context of Shakespeare criticism and adaptation more generally, this chapter argues against viewing fan fiction as a radical break with or antithesis to academia, as it often does the work of criticism and adaptation by slightly different means. Additionally, Shakespeare’s place in the education system complicates prevailing assumptions about who writes fan fiction and why.

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Notes

  1. 1.

    planet_plantagenet, “Tempest/Star Trek Crossover,” Archive of Our Own, Published July 6, 2016, accessed July 19, 2019, https://archiveofourown.org/works/7401964.

  2. 2.

    fiftysevenacademics, “Antonio Evens the Score,” Archive of Our Own, Published April 23, 2015, accessed July 19, 2019, https://archiveofourown.org/works/3808588.

  3. 3.

    a_t_rain, “The Great Danish Crocodile Cook-Off,” Archive of Our Own, Published May 18, 2019, accessed July 19, 2019, https://archiveofourown.org/works/18875281.

  4. 4.

    beacandy, “Exit, Katherine,” Archive of Our Own, Published September 19, 2015, accessed July 19, 2019, https://archiveofourown.org/works/4827524.

  5. 5.

    Douglas Lanier, Shakespeare and Modern Popular Culture (Oxford: Oxford University Press, 2002), 83.

  6. 6.

    Francesca Coppa, The Fanfiction Reader: Folk Tales for the Digital Age (Ann Arbor: University of Michigan Press, 2017), ix.

  7. 7.

    tvecking, “Just this once,” Archive of Our Own, Published March 6, 2018, accessed August 7, 2018, https://archiveofourown.org/works/13890330; benvoliio, “Patience Perforce,” Archive of Our Own, Published April 6, 2018, accessed August 7, 2018, https://archiveofourown.org/works/14225991/chapters/32798499.

  8. 8.

    hamlets_scribe, “Hamlette,” Archive of Our Own, Published May 21, 2014, accessed August 7, 2018, https://archiveofourown.org/works/1668677.

  9. 9.

    Karen Hellekson and Kristina Busse, “Introduction: Work in Progress,” in Fan Fiction and Fan Communities in the Age of the Internet, eds. Karen Hellekson and Kristina Busse (Jefferson and London: McFarland and Company, Inc., 2006), 12.

  10. 10.

    Erica Whyman, “Queering the Pitch,” Romeo and Juliet Program (Stratford-upon-Avon: Royal Shakespeare Company, 2018), np.

  11. 11.

    Coppa, The Fanfiction Reader, 9.

  12. 12.

    Cornel Sandvoss offers a wonderful discussion of the contentious debate regarding aesthetic value in the assessment of fan works as texts, but also of fan studies (and, more broadly, cultural studies) as a field, arguing that “we need to formulate aesthetic categories that avoid the absolutism of traditional textual interpretation as much as the relativism of poststructuralism and deconstructionism.” See: Cornel Sandvoss, “The Death of the Reader?: Literary Theory and the Study of Texts in Popular Culture,” in The Fan Fiction Studies Reader, eds. Karen Hellekson and Kristina Busse (Iowa City: University of Iowa Press, 2014), 73–74. See also: Matt Hills, “Media Academics as Media Audiences: Aesthetic Judgments in Media and Cultural Studies,” in Fandom: Identities and Communities in a Mediated World, eds. Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington (New York and London: New York University Press, 2007), 33.

  13. 13.

    Coppa, The Fanfiction Reader, 12–13.

  14. 14.

    Hellekson and Busse, “Introduction: Work in Progress,” 9.

  15. 15.

    Sheenagh Pugh, The Democratic Genre: Fan Fiction in a Literary Context (Bridgend: Seren, 2005), 67.

  16. 16.

    Deborah Kaplan, “Construction of Fan Fiction Character Through Narrative,” in Fan Fiction and Fan Communities in the Age of the Internet, eds. Karen Hellekson and Kristina Busse (Jefferson and London: McFarland and Company, Inc., 2006), 136.

  17. 17.

    Anne Jamison, Fic: Why Fanfiction Is Taking Over the World (Dallas: Smart Pop, 2013), 14.

  18. 18.

    Pugh, The Democratic Genre, 19.

  19. 19.

    megvad, “Romance and Justice,” Archive of Our Own, Published May 7, 2017, accessed July 19, 2018, https://archiveofourown.org/works/10848702/chapters/24086955.

  20. 20.

    TheHazardsofLove13, “Toys of Desperation,” Archive of Our Own, Published June 10, 2018, accessed July 19, 2018, https://archiveofourown.org/works/14893634.

  21. 21.

    Gardenostalgic, “To Mar the Foolish Fates,” Archive of Our Own, Published April 6, 2016, accessed July 19, 2018, https://archiveofourown.org/works/6475003.

  22. 22.

    Nayoky, “The Twelfth Trap,” Archive of Our Own, Published July 28, 2015, accessed July 19, 2018, https://archiveofourown.org/works/4442354/chapters/10093139.

  23. 23.

    Graham Holderness, “Shakespeare and the Undead,” in The Shakespeare User: Critical and Creative Appropriations in a Networked Culture, eds. Valerie M. Fazel and Louise Geddes (Palgrave Macmillan, 2017), 225–26. As I discuss in Chap. 1, this is part of Holderness’ defense of his own Shakespeare novels as decidedly not fan fiction because of their roots in literary criticism and historical scholarship.

  24. 24.

    Andrew Hartley, “Introduction: ‘Reason Not the Need!’,” in Shakespeare and Millennial Fiction, ed. Andrew James Hartley (Cambridge: Cambridge University Press, 2018), 5.

  25. 25.

    Pugh generally affirms this sentiment when she suggests that Shakespeare fanfic—especially fics inspired by Romeo and Juliet—is often “written by young people studying the play at school.” While this is probable, it is difficult to determine with any degree of certainty. See Pugh, The Democratic Genre, 62–63.

  26. 26.

    ElwritesFanworks, “No Forgiveness Under Heaven,” Archive of Our Own, Published May 29, 2017, accessed August 7, 2018, https://archiveofourown.org/works/11030331.

  27. 27.

    MacBeth, “Beshrew My Heart,” Archive of Our Own, Published July 28, 2014, accessed August 3, 2018, https://www.archiveofourown.org/works/2033745.

  28. 28.

    MacBeth. “Beshrew My Heart.”

  29. 29.

    MacBeth. “Beshrew My Heart.”

  30. 30.

    tinypurplefishes, “The Shrew of Padua,” Archive of Our Own, Published September 19, 2015, accessed July 16, 2019, https://archiveofourown.org/works/4827707.

  31. 31.

    cheshireArcher, “The Perfect Nurse,” Archive of Our Own, Published September 4, 2017, accessed July 16, 2019, https://archiveofourown.org/works/11994462.

  32. 32.

    While the previous examples of tags are common enough not to require a specific citation, the ‘Claudius/Pringles® Can’ tag appears with: ilikeituptheass, “The Kingdom of Denmark Is Run by a Gay Stoner’s Father but It Sounds Like the Author Is on Crack by Fall Out Boy,” Archive of Our Own, Published June 19, 2018, accessed July 23, 2019, https://archiveofourown.org/works/14975120. ‘I’m experimenting with how I write magic’ appears with: NathanieloftheSky, “To Where the Wind Blows,” Archive of Our Own, Published June 24, 2018, accessed July 23, 2019, https://archiveofourown.org/works/15028202/chapters/34838825.

  33. 33.

    Mark Duffett, Understanding Fandom: An Introduction to the Study of Media Fan Culture (New York and London: Bloomsbury, 2013), 178; Pugh, The Democratic Genre, 91.

  34. 34.

    MissTantabis, “Ganymede and Jupiter,” Archive of Our Own, Published June 6, 2018, accessed June 12, 2018, https://www.archiveofourown.org/works/14863355.

  35. 35.

    William Shakespeare, The Tragedy of King Richard the Third (London, 1597).

  36. 36.

    William Shakespeare, The Most Excellent Historie of the Merchant of Venice (London, 1600).

  37. 37.

    Daniel Defoe, The Life and Strange Surprizing Adventures of Robinson Crusoe (London, 1719).

  38. 38.

    720418mb, “Standing Ovation,” Archive of Our Own, Published February 7, 2017, accessed July 30, 2018, https://archiveofourown.org/works/9619868/chapters/21733892.

  39. 39.

    Killtheselights, “Conceal Me What I Am,” Archive of Our Own, Published April 7, 2018, accessed July 30, 2018, https://archiveofourown.org/works/14242881/chapters/32843100. In the Notes, the author indicates “I studied Shakespeare internationally on a scholarship so yeah, this how I chose to use that knowledge.”

  40. 40.

    republic, “John Cage collaborates with William Shakespeare,” Archive of Our Own, Published September 20, 2016, accessed July 18, 2019, https://archiveofourown.org/works/8092441. See also: Michelle K. Yost, “Stratford-Upon-Web: Shakespeare in Twenty-First-Century Fanfiction,” in Shakespeare and Millennial Fiction, ed. Andrew James Hartley (Cambridge: Cambridge University Press, 2018), 206.

  41. 41.

    mcrshank, “Auric Idolatry,” Archive of Our Own, Published March 30, 2018, accessed July 18, 2019, https://archiveofourown.org/works/14141649/chapters/32591031.

  42. 42.

    I am basing these numbers on my own impressions of an AO3 search for ‘Shakespeare’ filtered by length. Given the sheer number of relatively short fics—half of the 9250 results were shorter than 2000 words in length—providing an average length would give the misleading impression that fics tend to be longer than they actually are.

  43. 43.

    Pugh, The Democratic Genre, 175–84.

  44. 44.

    For a text-message Hamlet, see: planet_plantagenet, “Wild and Whirling Words: Hamlet in Texts,” Archive of Our Own, Published June 9, 2017, accessed July 18, 2019, https://archiveofourown.org/works/11149473/chapters/24876822.

  45. 45.

    Valerie Fazel and Louise Geddes, “‘Give Me Your Hands If We Be Friends’: Collaborative Authority in Shakespeare Fan Fiction,” Shakespeare 12, no. 3 (2016): 280. See: Raggdoll_101, “Shakespeare Crack-eth,” Archive of Our Own, Published February 2, 2018, accessed July 23, 2019, https://archiveofourown.org/works/13713543.

  46. 46.

    Francesca Coppa, “A Brief History of Media Fandom,” in Fan Fiction and Fan Communities in the Age of the Internet, eds. Karen Hellekson and Kristina Busse (Jefferson and London: McFarland and Company, Inc., 2006), 44.

  47. 47.

    Henry Jenkins, Fans, Bloggers, and Gamers: Exploring Participatory Culture (New York and London: New York University Press, 2006), 44.

  48. 48.

    princehamlet, “Suddenly, Pirates!,” Archive of Our Own, Published May 17, 2018, accessed July 15, 2019, https://archiveofourown.org/works/14688603/chapters/33939147; 1f_this_be_madness, “Hamlet and the Pirates,” Archive of Our Own, Published October 2, 2015, accessed July 15, 2019, https://archiveofourown.org/works/4914781?view_full_work=true.

  49. 49.

    Katherine Anderson Howell, “Invitation: Remix Pedagogy in the Fandom Classroom,” in Fandom as Classroom Practice: A Teaching Guide, ed. Katherine Anderson Howell (Iowa City: University of Iowa Press, 2018), 2–3.

  50. 50.

    Quoted in: Lesley Goodman, “Disappointing Fans: Fandom, Fictional Theory, and the Death of the Author,” The Journal of Popular Culture 48, no. 4 (2015): 665.

  51. 51.

    Goodman, “Disappointing Fans,” 665.

  52. 52.

    Jennifer Flaherty, “How Many Daughters Had Lady Macbeth?,” in Shakespeare and Millennial Fiction, ed. Andrew James Hartley (Cambridge: Cambridge University Press, 2018), 101, 102.

  53. 53.

    The Letters of John Keats, vol. 1, ed. H. E. Rollins (Cambridge: Cambridge University Press, 1958), 193–94.

  54. 54.

    Douglas M. Lanier, “The Hogarth Shakespeare Series: Redeeming Shakespeare’s Literariness,” in Shakespeare and Millennial Fiction, ed. Andrew James Hartley (Cambridge: Cambridge University Press, 2018), 237.

  55. 55.

    Ambrose, “Food and Cheer,” Archive of Our Own, Published October 17, 2015, accessed July 17, 2019, https://archiveofourown.org/works/5016358.

  56. 56.

    SanSese, “The Game of Seats,” Archive of Our Own, Published May 16, 2016, accessed July 17, 2019, https://archiveofourown.org/works/6875281.

  57. 57.

    jlaw13, “The Heart Wants What It Wants,” Archive of Our Own, Published March 14, 2019, accessed July 17, 2019, https://archiveofourown.org/works/18104915/chapters/42799271.

  58. 58.

    marruman, “Geraldus Spring, The Shakespearian Talk Show,” Archive of Our Own, Published August 2, 2015, accessed July 18, 2019, https://archiveofourown.org/works/4482794.

  59. 59.

    Douglas Lanier, Shakespeare and Modern Popular Culture, 86.

  60. 60.

    Douglas Lanier, “Shakespeare™: Myth and Biographical Fiction,” in The Cambridge Companion to Shakespeare and Popular Culture, ed. Robert Shaughnessy (Cambridge: Cambridge University Press, 2007), 98.

  61. 61.

    Karen Hellekson and Kristina Busse, “Fan Fiction as Literature,” in The Fan Fiction Studies Reader, eds. Karen Hellekson and Kristina Busse (Iowa City: University of Iowa Press, 2014), 20. More recently, Busse has also explored the ways in which contemporary reading practices and the fanfic community at large has renegotiated the postmodern death of the author through a focus on identity politics, emphasizing that “authors and their intents have indeed been reincorporated and become central to various modes of discourse. The old question of ‘What does the author mean?,’ however, has been replaced with an identity question as to ‘Who is the author?’ In other words, a focus on authorial intention and how thoughts and beliefs create meaning has shifted to a focus on authorial identity and how cultural situatedness shapes meaning.” She likewise stresses that “Authorial identity remains a central concern for marginal subjects—that is, those who do not occupy upper-middle-class, white, male, straight, able-bodied, cisgendered, Western positions.” This is an incredibly important and theoretically productive issue, but one that is worked out in fandoms primarily in relation to contemporary, living authors situated—in general—in the same ideological and cultural debates as the reader. See: Kristina Busse, Framing Fan Fiction: Literary and Social Practices in Fan Fiction Communities (Iowa City: University of Iowa Press, 2017), 19, 26.

  62. 62.

    AuraChannelerChris, “The Subspace Emissary’s Worlds Conquest,” FanFiction, Published March 5, 2008, accessed July 24, 2019, https://www.fanfiction.net/s/4112682/1/The-Subspace-Emissary-s-Worlds-Conquest. Although it does not appear on AO3 and is not Shakespeare fanfic, this work stands as the longest available fic, approximately five times as long as Shakespeare’s complete body of work.

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    Johnathan H. Pope

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Pope, J.H. (2020). “the rest is …”: Shakespeare and Online Fan Fiction. In: Shakespeare’s Fans. Palgrave Studies in Adaptation and Visual Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-33726-1_4

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