#reader culture

[saphicangel]

reminder that there are writers out there posting incredible works and wondering if anyone is reading them at all. if you enjoy a fic, leaving a like, reblog, comment, or even a few words can genuinely make someone’s day. some of the best stories I’ve read have barely any notes. don’t let note counts decide what you read. writers with big audiences deserve their success, but there are also amazing authors posting beautiful work to almost empty rooms.

[u2011234567]

Soo apparently…

This is what happens when you binge Heated Rivalry, get violently obsessed, and then start posting about Hollanov.

[goldies-shenanigans]

people are always like “noooo don’t skip ahead you’ll spoil it for yourself” bitch please, what do you think im doing. skimming the pure chaos and shock at the end of city of brass was the one thing that let me finish the whole book. and it was so worth it. 

[castalyne]

Booktubers/Bookstagrammers making declarations about cancelling and Unhauling JK Rowling’s works, while proudly displaying Cassandra Clare’s (Shadowhunters, Mortal Instruments)  work on their shelves behind them.

[fallingforfiction-series]

“Not Real Literature” 

Fantasy and romance are among the most successful genres in publishing, yet they are often dismissed as “not real literature.” This post explores why genres predominantly written for and read by women continue to face criticism despite their popularity, cultural influence and commercial success.

Fantasy and romance literature are among the most successful genres in publishing,  yet are often criticised or dismissed as “not real literature.” This criticism is particularly interesting given the popularity of these genres. Romance is the highest-earning fiction genre, generating more than $1.44 billion in revenue annually, while fantasy continues to grow in both sales and readership (Curcic, 2022a; Curcic, 2022b). Social media platforms such as TikTok have changed how readers discover and discuss books, creating communities where millions of people share recommendations, reviews, reactions and personal opinions.

Despite their popularity, online forums often dismiss romance as “just smut” and fantasy as escapist or delusional, rather than recognising them as forms of storytelling. These genres frequently face criticism that is rarely directed at other forms of fiction, which raises an important question.

If romance and fantasy are so popular, why are they still seen as less valuable than other forms of literature?

Research shows that women are more likely than men to read fiction, particularly romance (Summers, 2013; Tepper, 2000). While romance readership is majority female, with women accounting for approximately 82% of readers (Curcic, 2022b). Fantasy readership has also become increasingly associated with women, particularly through the rise of romantasy and online communities such as BookTok and Tumblr (Buchholz, 2024). Historically, cultural interests associated with women are often viewed as less serious or less valuable than those associated with men. This dismissal can be seen across all media, music, television, books and fandom culture. Genres that primarily appeal to women are frequently dismissed as frivolous, emotional or lacking intellectual value, regardless of their popularity (WhyNot, 2024).

Readers of romance and fantasy literature often face “smut shaming” and are labelled “lacking in intelligence” for the content they enjoy (Hannah’s Café, 2026). Yet the themes explored are often as complex as those in traditionally respected genres. Fantasy frequently examines power, identity, morality, politics and social structures through fictional worlds, while romance explores relationships, vulnerability, personal growth and emotional connection. 

The issue is not that fantasy and romance are “not real literature.” Instead, it is the fact that genres written by women for women and enjoyed by women continue to be judged by different standards. Even as fantasy and romance continue to dominate publishing and social media, the idea that these genres are less worthy of literary recognition is becoming difficult to justify. 

References

Buchholz, K. (2024, July 29). Infographic: Women Rule BookTok With Fantasy and Romance Novels. Statista Daily Data; Statista. https://www.statista.com/chart/32735/booktok-authors/

Curcic, D. (2022a, October 2). Fantasy Book Sales Statistics. WordsRated. https://wordsrated.com/fantasy-book-sales-statistics/

Curcic, D. (2022b, October 9). Romance Novel Sales Statistics. WORDSRATED. https://wordsrated.com/romance-novel-sales-statistics/

Hannah’s Café. (2026, February 18). Women Are Not Asking for Wings on Tinder. Medium. https://medium.com/hello-love/women-are-not-asking-for-wings-on-tinder-560b6df14322

Summers, K. (2013). Adult Reading Habits and Preferences in Relation to Gender Differences. Reference & User Services Quarterly, 52(3), 243–249. https://www.jstor.org/stable/refuseserq.52.3.243

Tepper, S. J. (2000). Fiction reading in America: Explaining the gender gap. Poetics, 27(4), 255–275. https://doi.org/10.1016/S0304-422X(00)00003-6

WhyNot. (2024, February 9). What the hell are gendered interests? WhyNot. https://www.whynot.org.au/voice/arts-creativity/what-the-hell-are-gendered-interests/

[fallingforfiction-series]

Tumblr & AO3 changed how readers experience books

This post explores how platforms such as Tumblr, AO3 and Wattpad have changed the way readers experience books. It examines the role of fanfiction, online fandom communities and social media in shaping reader engagement and creating new pathways into traditional publishing.

Readers are no longer limited to traditionally published content. Platforms such as Tumblr, Archive of Our Own (AO3), Wattpad and Fanfiction.net allow readers to publish and consume fan-made content that explores and extends storylines, fictional worlds and new relationships between characters. These fan-created works allow readers to be active participants in storytelling rather than remain passive audiences (Rosenblatt & Tushnet, 2015).

In recent years, a number of bestselling novels have emerged from fanfiction communities. One of the most well-known examples is Fifty Shades of Grey by E. L. James, which began as Twilight fanfiction before being revised and published as an original novel. Similarly, After by Anna Todd began as a fanfiction story on Wattpad before becoming a bestselling book series and film franchise (Honi Soit, 2023). More recently, author SenLinYu’s viral Harry Potter fanfiction, Manacled, drew international attention on AO3 and was eventually published under the title Alchemised. The success of these works demonstrates how online fandom spaces are increasingly influencing the publishing industry and creating new pathways for writers.

Readers are not only discovering stories through platforms such as Tumblr, AO3 and Wattpad but are also contributing to the visibility and success of authors through recommendations, online discussions and fan-created content. In an increasingly competitive publishing industry, these platforms provide lesser-known writers with opportunities to build audiences and gain recognition outside traditional publishing channels.

These platforms have changed how readers experience books. Reading is no longer limited to purchasing and consuming a story; it has become an interactive experience shaped by online communities. Authors can now be discovered through fanfiction and social media, while stories that begin online can transition into traditionally published works. For many readers and writers, the boundary between fandom and publishing is becoming increasingly blurred.

References

Honi Soit. (2023, September 12). Haven’t I read this before? The Commercialisation of Fanfiction. Honi Soit - News, Culture, Comedy, Opinion, Satire, and More since 1929; Honi Soit. https://honisoit.com/2023/09/havent-i-read-this-before-the-commercialisation-of-fanfiction/

Rosenblatt, B., & Tushnet, R. (2015). Transformative Works: Young Women’s Voices on Fandom and Fair Use (J. Bailey & V. Steeves, Eds.). JSTOR; University of Ottawa Press. https://www.jstor.org/stable/j.ctt15nmj7f.19

[fallingforfiction-series]

A reader’s love for fictional characters

This post explores the parasocial relationships readers can form with fictional characters in fantasy and romance literature.

A parasocial relationship is typically used to describe a one-sided emotional bond formed with celebrities or influencers. However, in recent years, it has increasingly been used to describe the relationships readers develop with fictional characters, particularly in romance and fantasy literature (Hernández, 2022). Readers who have developed parasocial relationships with fictional characters often experience a genuine emotional attachment to them, despite knowing they aren’t real. Research shows that active engagement with fantasy-based media can intensify these parasocial responses (Liebers & Straub, 2020).

The rise of “book boyfriends” within online reading culture highlights this phenomenon. Characters such as Rhysand from A Court of Thorns and Roses or Xaden Riorson from Fourth Wing have developed large online fandoms that actively analyse their behaviour, debate their decisions, create fan edits and produce fanfiction inspired by them (Morris, 2025). Fantasy characters may be particularly desirable to readers, as they exist without real world limitations, such as physical, social and moral constraints (Jackson, 2008). These characters are often described as having desirable traits such as bravery, loyalty, emotional intensity or protectiveness, while also being written with flaws, insecurities and internal conflict, allowing readers to both desire, admire and relate to them.

Fandom platforms such as Tumblr, Archive of Our Own (AO3), Wattpad and Fanfiction.net enable readers to expand fictional worlds and characters through fanfiction, fan art, character analyses and online discussions. These communities provide spaces for readers to connect over shared interests, strengthening a sense of belonging within fandom culture and deepening their connection to the characters and stories they engage with.

While parasocial relationships with fictional characters are sometimes criticised, fiction is designed to create emotional engagement. The stronger the connection between a reader and a character, the more immersive and meaningful the reading experience can become. As fantasy and romance continue to grow in popularity across publishing and online communities, discussions surrounding parasocial relationships and emotional attachment are likely to receive increasing attention and scrutiny, particularly within fandom spaces and on social media platforms such as TikTok.

References

Hernández, C. R. (2022, May 12). Here’s why you got attached to your favourite fictional character. News.ufl.edu. https://news.ufl.edu/2022/05/why-you-got-attached-to-your-favorite-character/

Liebers, N., & Straub, R. (2020). Fantastic relationships and where to find them: Fantasy and its impact on romantic parasocial phenomena with media characters. Poetics, 83, 101481. https://doi.org/10.1016/j.poetic.2020.101481

Morris, K. (2025). Fantasy Novels, Romance, and Book Boyfriends: Romantic Views and Expectations of Young Adult Women [Theses and Dissertations]. https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=11895&context=etd

Jackson, R. (2008). Fantasy: The literature of subversion. Routledge.

[fallingforfiction-series]

Interview with a Reader

Speaking with readers who actively engage in fantasy and romance communities provides an opportunity to view the topic beyond personal opinion and consider lived experiences within online fandom culture.

1. How often do you engage with fantasy or romance content online?

I interact with fantasy or romance content daily between Instagram and TikTok.

2. Do you think readers can become emotionally attached to fictional characters?

Yes, fictional characters can stimulate the same emotions as real people, making it easy to form emotional attachments

3. Do you think fantasy and romance literature are unfairly criticised or dismissed online?

Yes, but I think that is mostly due to the last amount of content in the genre being similar and often viewed as trope-based and not of substance.

4. Do you think BookTok and online influencers have changed publishing trends?

Yes absolutely. I feel like it has almost turned into fast fashion, where most things published are marketed through trends and tropes rather than stories and characters.

I’m interested in hearing different perspectives! Feel free to share your thoughts below