Kelley, Brittany. “Chocolate Frogs for My Betas!: Practicing Literacy at One Online Fanfiction Website.” Computers and Composition 40 (2916): 48-59. Web. 02 June 2016.
Brittany Kelley investigates the literacy practices of a fan-fiction site, the Ashwinder archive included in the Sycophant Hex fan community, a “site for quality Harry Potter fanfiction” (Sycophant Hex, qtd. in Kelley 49). Noting prior research on fan fiction that casts it as a locus for “resistance” within consumer cultures, Kelley contends that the interactions within the fan community she has studied are more complex, with unique “affective econom[ies]” (49) that both derive from and expand upon larger social forces (50).
Citing Kathleen Blake Yancey’s 2004 call for composition studies to embrace “this moment right now” for its unique window on what writing and identify mean in an age of increasing digital expansion, Kelley argues that fan fiction deserves attention because it would seem to embody the democratization offered by new online environments (49). For Kelley, however, an important reason to study fan fiction is what it can reveal about evolving digital practices, how they shape writers, and how these practices “change the ways in which texts are produced, circulated, and received” (49).
Kelley documents the degree to which sites like Sycophant Hex are governed by hierarchical gatekeeping processes, such as “vehement” assertions from administrators about the importance of correct English grammar, at the same time that they play a “teaching role” for novice writers who are encouraged to use the site’s resources to improve their writing (50). Contributors are also held to high standards with regard to accurate use of the Harry Potter “canon” and are reminded that while they “own” new characters, invented settings, and events they create beyond those that appear in the books, the “intellectual property” belongs to J. K. Rowling (51-52). Thus, Kelley posits, the site offers access and agency tempered with elements of control.
Kelley’s particular focus is the nature of the exchanges that govern interaction on the site. Though these exchanges take place within a rule-bound context that requires strict adherence to the canon and that channels writers into categories of permitted activities, Kelley argues that the more salient feature of such sites is the degree to which they are governed by the development of emotional relationships and a “‘goodwill’ ethics of exchange” (52).
Citing Henry Jenkins, Kelley posits that continued interaction within the group is the incentive for participation in the exchange of symbolic and social rather than financial capital (52-53). She sees this incentive as affective and emotional, noting for example that plagiarism, which is loosely defined on the site, is seen not so much in terms of legal ownership but rather as “a direct offense against the affective economy of the website” (52).
Kelley illustrates this “goodwill” ethic through a case study of one successful fan-fiction writer, Chivalric. In Kelley’s view, this writer’s practice demonstrates how writers establish long-lasting and emotionally rich relationships with the “betas” who voluntarily edit both for surface correctness and for plot and character development (56). Members of the fan-fiction community serve as betas for each other, generating what Kelley describes as a “gift economy” in contrast to a “commodity culture” (53).
Kelley presents Chivalric’s process to support her claim that literacy practices among fan writers are “deeply heteroglossic” (53). Writing produced by these writers integrates many elements and voices: the intellectual creations of J. K. Rowling; an extensive set of categories and tropes created by community members over time; discussion and debate on forums; specific group-governed genre expectations; and the ongoing interactions among authors and beta readers (55). Many of these intertwined voices are documented in the notes, acknowledgments, and dedications that accompany texts (56).
Further analyzing the heteroglossic nature of these sites, Kelley draws on Mikhail Bakhtin’s distinction between “centripetal” and “centrifugal” language practices to examine Chivalric’s short story, “Divorce.” Centripetal or “unitary language,” in this view, is language that is bound by clear directives from the language community, in this case the accepted uses that can be made of the Harry Potter characters and themes. At the same time, Kelley writes that Chivalric’s story, which won one of the competitive challenges generated on the site, demonstrates centrifugal force in that it gives the standard tropes and story material a “unique twist” (55) that results in an original, “transformative” telling that expands readers’ understanding of the conventional materials Chivalric incorporated (54, 55-56). This story, Kelley argues, comments on the power relationships among two Harry Potter characters, legal and political machinations in the post-canon world of fan fiction, and implications of gender in the particular category into which the story falls.
Citing Matt Hills, Kelley notes that prior research casting fan fiction as an avenue for resistance to dominant cultures has been criticized as an attempt by scholars to justify their attention to the form and to cast fan writers as “mini-academics” taking on the role of cultural critics (50, 57). She argues that her study reveals the degree to which academic views of digital environments as “somehow democratizing and hence liberating” should also recognize that “these spaces are still beset with the tensions of power structures” (57).
In her view, the hope that the access offered by such sites will allow for “widely shared and discussed knowledge” free of the bonds of entrenched power systems should include the caveat that much of what ultimately gets distributed “already fits nearly within dominant narratives” (57). The practices Kelley has examined, she contends, are still subject to issues of “race, gender, sex, class, sexuality, etc.” (58).
Noting scholarship on the possibilities of importing fan-fiction processes into the classroom, Kelly cites Michelle Knobel and Colin Lankshear to caution that it may not always be possible or advisable to do so. However, she notes that fan-fiction communities adopt many features of formal writing instruction, such as peer review and revision, and that components of fan-fiction engagement mirror the goals of writing classrooms. In particular, these sites feature learning that is “entirely self-directed” and that is enabled by the kind of intense emotional engagement that fosters learning (58). For these reasons, Kelley urges more “in-depth investigation of the writing practices of these online communities” (58).
June 29, 2016 at 4:04 pm
Wow, it’s pretty cool to see my article summarized here. So, thanks! This article came out of something like 4 years of research and writing for my dissertation, so it’s neat to think that it’s getting some circulation. I’m still working on expanding upon what can be gleaned from the elements of emotion and identity in digital spaces from online fan fiction. I’m also still excited yet circumspect in how I’d want to apply these lessons in the classroom.
But since this is an awesome blog for comp folks, I guess I’d like to send a question out into the world: What might these kinds of writing practices in online fan fiction spaces mean in your own pedagogy, or how might you think about applying them?
Also, if anyone is interested to see how I’m continuing to work through these ideas, feel free to visit my blog, My Textual Romance, at: https://bnkelley86.wordpress.com/
I look forward to some cool conversations. 🙂
June 29, 2016 at 5:03 pm
Wow, Brittany. Thanks for a terrific question. I’m looking forward to seeing what people have to say.
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