Download Fic: Why Fanfiction Is Taking Over the World by Anne Jamison PDF
By Anne Jamison
What's fanfiction, and what's it no longer? Why does fanfiction topic? And what makes it so vital to the way forward for literature?
Fic is a groundbreaking exploration of the heritage and tradition of fan writing and what it potential for how we predict approximately examining, writing, and authorship. It’s a narrative approximately literature, neighborhood, and technology—about what tales are being advised, who’s telling them, how, and why.
With provocative discussions from either expert and fan writers, on matters from Star Trek to The X-Files and Buffy the Vampire Slayer to Harry Potter, Twilight, and past, Fic sheds mild at the largely misunderstood world(s) of fanfiction—not basically how fanfiction is reworking the literary panorama, yet the way it already has.
Fic incorporates a foreword through Lev Grossman (author of The Magicians) and interviews with Jonathan Lethem, Doug Wright, Eurydice (Vivean Dean), and Katie Forsythe/wordstrings.
Cyndy Aleo (algonquinrt; d0tpark3r)
V. Arrow (aimmyarrowshigh)
Tish Beaty (his_tweet)
Brad Bell
Amber Benson
Peter Berg (Homfrog)
Kristina Busse
Rachel Caine
Francesca Coppa
Randi Flanagan (BellaFlan)
Jolie Fontenot
Wendy C. Fries (Atlin Merrick)
Ron Hogan
Bethan Jones
Christina Lauren (Christina Hobbs/tby789 and Lauren Billings/LolaShoes)
Jacqueline Lichtenberg
Rukmini Pande and Samira Nadkarni
Chris Rankin
Tiffany Reisz
Andrew Shaffer
Andy Sawyer
Heidi Tandy (Heidi8)
Darren Wershler
Jules Wilkinson (missyjack)
Jen Zern (NautiBitz)
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Sample text
Considering how remarkably crisp and emotionally intact their first sessions for the first album, Peter Green’s Fleetwood Mac, still sound 40 years later, it is rather amazing that they were engineered (by Mike Ross) onto a four-track machine, over three slim days, completely live, including vocals, with no overdubbing whatsoever. This alone places them in stark contrast to their other famous British peers, who were by then making experimental music that could not be performed live at all, thus beginning an alienation from their audience that would corrosively affect their creativity in the long run.
Even Jethro Tull started out as a pseudo-blues band. Meanwhile, the American blues roots were being further tilled by extraordinary talents such as Paul Butterfield, 30 Fleetwood Mac: 40 Years of Creative Chaos Canned Heat, and the Blues Project, featuring the incendiary guitarist Mike Bloomfield. ‘‘There were a million groups making a mockery of the blues. And a million guitarists playing as fast as they could and calling it blues. I didn’t want the music messed about. I was possessive about it,’’ he lamented.
Their long-term vision, however, unfolded in slow motion—so slowly, in fact, that many people are unaware of their magnificent middle period. Their creative trajectory was so distinctively innovative precisely because of this long-delayed production of their own uniquely personal style. Unlike their ambitious peers, who seemed to arrive full blown on the musical scene, it took Fleetwood Mac another 10 years (plus a great deal of tragedy) before they would deliver the shiny baby of their later pop phase.