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Texts that resonate with an audience often give way to retellings and reworkings, the purposes of which may vary from being highly critical of the source text to illustrating a desire to never allow the original story to end. The popularity of Stephenie Meyer’s novels can be measured in terms of sold copies, but also in terms of the amount of fan activities connected to the narratives. Fan fiction, or fanfic, is one expression of contemporary fan involvement with previous texts; the term today describes mainly Internet-published stories. The Twilight saga has resulted in an unusually large number of fan fictions; on the largest collective site, FanFiction. net, there are more than 175,000 stories to date.1 Plotlines, characters, and narrative details from Meyer’s novels are, using established fanfic vernacular, referred to as canon, and fanfic authors enter into an intertextual dialogue with this canon as they create alternative stories, developments, and/or perspectives. The varied fan-created products (fan fiction, fan films, and fan art) and the different approaches to the canon suggest that readers are both active and critical.
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Stored only when both papers are in the corpus — 3 citations exist upstream.
Papers that cite the same references — the relational fallback while embeddings are still backfilling.
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