Zines and the Internet

The Internet has had a massive effect on fanzines, affecting not only their market, but also how they are viewed by fans.
In January 1997, a zine editor wrote in a Sentinel zine: 
A zine editor in July 1998 wrote of her optimism: 
By 1999, some online fans began calling print zines "dead-tree" fanfiction.Where to get Star TRek Voyager P/K AND P/T fanfiction???? post to alt.startrek.creative dated August 1, 1999.
In 2000, fanfiction was on the cusp of print and online. An ad in The Web After Dark reflected this major shift in fanwork creation and access.
The following is from a flyer illustrating this shift, including the need to explain the difference between a novel and an anthology. "THE PRESSES: Bringing Online to Zine Form: If you have a story you've published online and would like to see it in print as a novel with illustrations by KOZ, drop us an Email...
All we ask is that the work not have been in a fanzine before and you allow a little technical cleanup via punctuation and spelling, should the piece need it.
Novels should be at least 50 pages long when you save it to a word processing file. Send it to us as an attached file saved in MS Word 7 or under, Word Perfect 6 and under, Write for Windows 98 or under, or a text only file.
A collection is five or six stories by one author. The total page-count on the five or six should be around 50 pages.
All zines are published in digest-size with a full color cover and several color illustrations amongst the black and white ones inside.
Authors receive ten copies of the novel/novella/collection to do with as they please. Give them away or sell them at the asking price. It's our way of saying thank you.
There are still many, many people not online. Have your work seen by an unlimited audience."
A fan in 2002 commented: 
==Organizational and Sociological Differences==
Zines and online fiction exist in and create entirely different social milieus, but not all fans agree on what those differences consist of or how to characterize these two types of fandom. Speaking from the zine side of things, fans often describe each as a single community, where the major distinction is between offline fandom and online fandom: 
Fans who entered fandom through the internet often see zine-producing fandom as one flavor of fandom among many and don't think of online fandom as a single community: 
A fan in 2001 noted what she felt were big differences between zine fic and online fic and posted this self-labeled "rant": 
==Visceral Differences==
Many fans of printed zines feel the object-in-hand is part of the total experience.
Some comments from fans:
 
==Decline in Number of Zines==
Also see: History_of_Media_Fanzines.
Also see: Why Fewer Zines?
The arrival and accessibility of the internet, among other things, led to a profound and lasting decline in zine production. But this decline hit different fandoms at different speeds. Older fandoms with many years of zine production, such as K/S, The Professionals and others maintained zine production longer.
Even before the world wide web, fans noticed a drop-off in number of new zines. From a 1988 issue of On the Double, there was complaint from a writer/fan about lack of submissions to zines: "I hear complaints from all over fandom that zines aren't getting enough submissions." The editor of the June 1991 Southern Enclave published many LoCs encouraging fellow fans to make more zines to take up the slack in offerings.
One long-time zine ed wrote of her excitement about the internet and zines: "1997 is revving up to be a good year, zine-wise. By February, we were juggling four in stages of layout. By our big annual convention, MediaWest*Con, we'll have a total of eight new publications for the table!... We've had a terrific surge of interest and have been very active in online fannish activities and communication. Cyberspace was absolutely the best invention that could have come along for us, as we are now in contact with fans and subscribers from all over the gold on a daily basis." from the editorial in Wild Cards #5
Different fandoms tried different strategies throughout the late 90s and early 2000s to accommodate fans who were acting out more of their fannish life online.
==Impact of the Internet==
The internet and wider computer access for fans made everything more complicated.
In early 1994, a Pros fan wrote at length about some of these complexities regarding "publishing" and "rights": 
From a fan, Lorraine Anderson, in 1995: 
In 1995, some fans believed that there was no way to feasibly sell online zines or books because most people wouldn't want to pay for what they couldn't tangibly pick up and show off to friends. An AT&T commercial of the time showing a girl reading a "book" on a monitor, with virtual pages that turned, was lampooned as being "totally ridiculous." Others pointed out that piracy would be virulent if everything of value was available online.From Morgan Dawn's personal notes, accessed October 4, 2010
Randall Landers, a zine publisher, says,
A brief sampling of letterzines in the late 1990s and early 2000s exemplifies the contradictory reactions among fandom to the new technology (Note: see The K/S Press and other letterzines from the mid to late 1990's for MUCH MORE fannish discussion on this subject.)
:From a LoC in a 1998 Southern Enclave 
:From The K/S Press #48 in 1998: 
:From "The K/S Press" #48 (2000): 
Irrespective of fandom's attitude towards the Internet, starting in the late 1990s, fanzines began a steady slow decline as more and more fan fiction become freely available on the Internet. Fanzine publishers began complaining how difficult it was to get fans writers to contribute to fanzines.
Many zine editors started to 'release' stories back to their writers after one year, so that the writers could then publish their stories on their own web pages. This was a useful stop gap, but eventually, most writers stopped submitting to zines altogether.
There were many reasons fanzines were being bypassed by writers and readers:
A writer's letter to The K/S Press #6 (1997) illustrates one dilemma: 
Readers also saw a huge benefit as they discovered they could wander across the vast plains of the Internet, steadily devouring an endless supply of free and easy to access fan fiction.
But other fans pointed that the 'free' online access came at a price: most stories or fan fiction archives went offline after only a few years: "Yet, no matter how old my zines get (and some of them are over 25 years old), I've never opened one up and gotten a 404 File Not Found error. 
In the end, after one business analyst examined the fanzine vs Internet 'markets', fanzines could not maintain their competetive edge against the flexibility, reach and relatively low cost of Internet fan fiction.
In actuality, prior to the advent of graphical websites, fanzines did have one competitive advantage over netfic and that was fan art. However, by the late 1990s most fanzine publishers had dropped fanart and offset printing in order to take advantage of the faster and cheaper method of xeroxing. One zine publisher explained this shift:
Eventually graphical and interactive websites would erase this advantage, but the failure of fanzine publishers to use the advantage in their favor did not go unnoticed by fandom: 
Or as another fan expressed more succinctly: 
By 2010, much of online fandom had adopted a hostile, almost dismissive attitude towards print fanzines:
Also see: Fanzines and the Internet or "Whither Thou Goest, Orion Press?" for much more discussion.
==Value and Money==
In the days of print zines, the practical lens of money was one through which many fans viewed their fanfiction.
The quality of fanfiction was a big issue when fans forked over money for the privilege; and judging the quality was a big topic of conversation. Zine reviews rated products on readability, art, and a number of other things; and almost always included a section on whether a fan got her or his money's worth with a zine's purchase. Whereas today, a fan can easily make the choice to click a back button on a disappointing piece of fiction or art, fans who'd paid cold hard cash (and had often waited months, sometimes years) had much more invested in fanworks.
One fan writes: 
Fans filled letterzines with complaints about zine covers being too intricate (read: expensive), and white space and filler art getting in the way of the meat of a zine. There was a constant battle over font size, and whether a zine was good if it squeezed in as much type as possible, or if it was bad because the print was too small. Fans were constantly discussing zines and whether they had gotten their money's worth.
Some comments:
: 
: 
: 
There was much debate surrounding critical reviews of zines. Discussion abounded in letterzines, in adzines, and LoCs everywhere as fans debated the value of what they felt to be overly critical and harsh reviews. The reviewers would, in turn argue that one of the goals of these pointed reivews was to keep fans from wasting their money on crappy zines.
A fan comments: 
Some would argue that the exchange of currency for fiction was one way to ensure that the quality of said fiction would remain high—a monetary hoop all authors and artists had to jump through. Fans who experience the availability of fiction on the internet today could argue that it was simply one more gatekeeper, an obstacle to creativity and accessibility.
A fan in 1996 wrote about the costs of both print zines and fanfiction on the internet: 
==Elitism==
Even as early as 1986, fans were complaining that zines were elitist.
One fan writes: 
Some fans argue that in today's era of online access, buying and selling fanzines is elitist:
Others point out that not everyone has access to a computer, even in developed countries like US or Europe. In addition, some fans have accessibility issues that preclude them from reading online. Both statements counter the elitist argument with one of their own, namely that online fandom has equal potential of being exclusionary.Livejournal posts by fluterbev. Poll: I'd like to hear your thoughts (webcite) and Meta: Profiting from fanfiction (a follow up to my recent poll) (webcite). 26–27 February 2009. (accessed October 4, 2010). See discussion in comments.
From a conversation in 2002: 
In 2002, a fan responded to another fan's complaint that too much fiction in this fandom was only available as zines, hence a "gate-keeping, elitist" fandom culture. She said: 
For others, the worry is that if fanzines once again become the norm or if too many fan writers stop offering their fan fiction for free, it would be a shift in our fannish culture: 
Some fans feel that zines have an exclusionary effect based on region as well. A zine that is quite cheap to purchase via media mail in the United States will be significantly more expensive once postage to Canada is factored in and often prohibitively expensive if a fan is paying postage to Australia or South America or Europe. Most zines, at least most zines about which it's easy to find information, seem to come from the US or the UK with only a handful from other locations. Fans in other countries often feel that it is only through the internet that they are able to participate in fandom.
Perhaps the middle of the road approach is to recognize that fanzines "obviously provide a service and for fill a need, because we as individuals all have our own preferred way of reading fan fic, some prefer to use the net, some like the weight of an actual book in their hands, neither option is better than the other, just different." Comment from nicky69 in Poll: I'd like to hear your thoughts. Post by fluterbev, 26 February 2009. 
Regarding the subject of elitism and fandom, some fans in the mid to late 1990's felt that it was the computer and internet fandom that was elitist, citing the costs of a computer, of internet access, and the costs, many hidden, that went into online life. Fans wrote in The K/S Press that it was the availability of print that kept things affordable and accessible to everyone.
Or, as some might say: Fandom should continue to operate under the principles of IDIC.
==Visibility and Attention==
Fanzines predated the Internet by decades; however, when it came to visibility on the Internet some fanzine publishers were slow to embrace the Internet's marketing and outreach opportunities.
While fanzine listings can be found as early as 1984, they were often buried among more general book store or part of other general fandom merchandise and fan club listings.See the Star Trek Dealer's List (VERY LONG !!) post to rec.arts.startrek dated September 7, 1990. Slash (or K/S) was rarely mentioned, although there was one 1985 Usenet post to net.startrek explaining why info on K/S, even though popular among fans, was not something that should be widely disseminated."Feminists who are interested in erotica written by women for women should find themselves very able to "stomach" K/S. They should check out the rave review of K/S written by SF feminist author Joanna Russ in a fanzine named NOME, "Another Addict Raves about K/S." Naturally there is a spectrum of material--from mild to X-rated, from well-written to total trash. This material is widely circulated, but not "Published" in the ordinary, or profit-making sense, and is in fact underground material of great interest to the participants--the writers, readers and editors. Unfortunately, attention paid to K/S for its feminist importance, may be damaging to fandom as a whole, if Paramount gets too interested in it. Starsky/Hutch and Star Wars fandoms were severely restricted by paranoid producers. Joanna has refused to supply the names of K/S editors and writers to the editors of Penthouse FORUM--but FORUM is interested. As for the writers involved, writing fan material is wonderful fun, and may just provide the impetus for writers to break into publication, as a number of fan writers have. While it is true that REAL SF writers look askance at Trek as formula fiction, the first item of importance to most aspiring writers is GETTING PUBLISHED. Trek is a "hungry" market." Requested information on K/S post dated August 14, 1985. The info about K/S was offered in response to an inquiry by a net.starttrek fan after reading about K/S in a Kirkland, Washington area newspaper. See Star Trek erotica?!? dated August 6, 1985. Read a cautious follow-up reply here.
A few fanzine publishers did end up on the Internet; whether intentionally or not. In 1992 Kathryn Andersen compiled an extensive seven part Blake's 7 fanzine list and posted it to rec.arts.sf.tv. It included mainly gen fanzines along with a smattering of slash zines.Blake's 7 Address Listing (1/7) dated October 10, 1992. A few months earlier fans had also posted slash and gen Blake's 7 fanzine publisher addresses, along with a discussion of slash and their ordering experiences. See Blakes 7 Fanzines dated April 1992 and More on B7 zines dated April 17, 1993. Also in 1992 a fan posted ordering information for several K/S zine publishers to rec.arts.startrek.misc including Wendy Rathbone and Bill Hupe.Kirk/Spock zines dated September 20, 1992. In 1993, Star Wars fanzine ordering info was posted to rec.arts.sf.starwars. The listing was intended to include both gen and slash fanzines, although no specific slash fanzines were part of the initial posting.SW fanzine list dated December 17, 1993. Quantum Leap fanzines and reviews were posted to rec.arts.sf.tv.quantum-leap. While only gen zines were listed, the list owner did invite fellow fans to compile their own slash fanzine list.QL Fanzine List Update + Reviews dated June 20, 1994. Other newsgroups included information on where to order Battlestar Galactica fanzinesBSG Digest 100 post to rec.arts.sf.tv dated April 17, 1995. and Doctor Who zines.fanzines post to net.tv.drwho dated January 31, 1984. By 1995, fanzine advertisements on the open Internet for both gen and slash zines were neither new or unusual, although slash fanzine publishers tended to publicize in smaller numbers.
It was against this backdrop that in 1995 one fan decided to take advantage of the World Wide Web graphical web and create a website listing slash fanzine publishers. Websites were still a relatively new phenomena to most Internet fans with most of their fannish communication taking place via person to person email, closed mailing lists, private bulletin boards and the public Usenet. The fan began by contacting fanzine publishers in 1995 and sending emails and letters requesting permission to put their ordering information onto a secured website. Some of their contact info had been obtained, with permission, through On the Double, a fanzine adzine. The site was intended to be password protected and initially only the fanzine publishers and volunteers assisting with proofreading the site had access.Source: Morgan Dawn's personal notes, accessed November 18, 2012.
However, one of the zine editors passed on the info to her friend who claimed she was able to access the site without the password. Her friend immediately began raising the alarm and in September 1995 posted to Virgule-L, the slash mailing list, that someone (whom she refused to identify) had listed the addresses of fanzine publishers without permission. The vagueness of her alarm and the lack of specifics resulted in a swift and negative reaction in the online slash community with many raising valid concerns about outing and privacy violations. As one publisher commented: "We put our flyers in fanzines. At SF and media conventions. In places where we are relatively certain other fans (Slashfans) will have access to them but not necessarily the general public. The WWW is like a YELLOW PAGES. Why put slash in the yellow pages?" Charlotte Hill's post to the Virgule-L mailing list dated September 14, 1995, quoted with permission. Today, 17 years later, she adds that given how exuberantly open slash fandom has become, it deserved "its own damn marquee on Times Square." And, even though the coordinator immediately posted to the mailing list the full details of the project, including the fact that the website logs had shown no unauthorized access, the overall reaction remained negative.One of these details illustrated just how unfamiliar most fans were with the Internet and computer technology. While the project coordinator thought she had obtained permission from the editor of On the Double to include the adzine's publishing info, the editor claimed she had no idea it was going onto a 'public' website. Another detail was that even before the website address was leaked, the owner stripped much of the contact info because she was worried that URL would be leaked (as it was – by the very zine publishers she was attempting to protect.) Source: Morgan Dawn's personal notes, accessed November 18, 2012. The site was quickly taken down and the website owner begged fans to let everyone know that the project was always intended to list contact info only with permission. However, a month later the tale had grown in scope and had become the subject of (inaccurate gossip) at Zebracon. (See issue #23 of Come Together).
Another example of zines and the increased visibility of the internet is from Starsky & Hutch Adzine & Newsletter #15 (February 1995):
 
A small focus group at the con discussed the feasibility of putting slash on the net: 
Less than a year later, another fan who was a member of a more openly advertised slash mailing list, slash-sis posted emails and addresses (and in a few cases the phone numbers)The editors of Plastic Cow Press received a phone call from a reporter writing an article about slash fandom during which he requested a copy of their adzine Media Monitor. Source: Morgan Dawn's personal notes accessed Feb 26, 2014. of fanzine publishers and convention organizers. Again, members of the slash community objected, but the website owner left the website up, although she did remove individual contact info upon request.The June 1996 version of the website read: "Hello and welcome to the Slash Home Page! My name is Kronette. (note: this is the fan's current pseud. She used her real name at the time). I'll be your host, taking you through the maze of depraved, disgusting, and downright delicious story montage! I am just the 'keeper' here; all authors retain copyrights over their stories. Do not publish, pass around, or otherwise attempt to make any money off of them, or we'll come after you. A quick explanation -- this page was created to give us slashers one central place for our stories. After the authors listing, you'll find stories by said author and where to obtain their stories. Just click on the author's name and away you go! Once at said author's list, clicking on their name will let you send email directly to them; some have their own web pages where their stories are available. I'll update this as I get new information!" Source: Morgan Dawn's personal notes, accessed November 19, 2012. The website which had been optimized to be invisible to search engines was later used as the basis for a magazine article about slash, proving to some fans that their fears of visibility were not unfounded.Please Not In Front Of The Klingons Captain by Gareth Branwyn dated September 1996. In a sidebar, Gareth noted that as soon as he had contacted the zine publishers they vanished and some refused to send him any further details. See Access To Slash Sidebar. By November 1996, Yahoo's search page had created a category just for slash websites: "News and Media:Television:Shows:Fan Fiction:Slash"."Just when I think I'm so blase, and so over the 'outing' of slash on the net conversation, something else boggles my mind...Remember when some people went ballistic on this list over a proposed page? I'm on another list that's currently agonizing over whether to have a slash web page, (you know, the same things we argued about: what's the state of the art for security, should you list people's full names, and contact addresses, should you explain what slash is...). Slash-sis list went through it a few months back when their page (which they thought was unsearchable), was used as a starting place for a web article on slash. It's fascinating to watch the questions unfold again, each time with a little more information left over from last time..." Sandy Hereld's post to Virgule-L mailing list dated November 7, 1996.
In 1997, a fan in the Phillipines raised her concerns for the survival of Kirk/Spock (TOS) online in The K/S Press Issue #8: I have been reading the recent discussions on the newsletter about K/S fiction being online.
In 1998, a fan was dismayed at how fast fans noticed her newly-posted story: 
Visibility didn't just come from the scary outside, but also from one's family. A fan in 1996 wrote: 
These facts serve to illustrate that fanzine publishers, and slash fanzine publishers in particular, remained uncertain how to use the extra visibility afforded by the Internet. However, as with most fannish print vs. online interactions, the bulk of fandom simply bypassed the fanzine publisher's reservations and began posting their fan fiction - and even their slash fan fic - directly, first to closed archives and eventually to public websites. By 2000, most fanzine publishers had followed suit and set up their own websites, although by the time they fully embraced online advertising, print fanzines had significantly fallen in popularity.By 1997, Fan Fiction on the Net began listing slash zine info, along with slash websites. KnightWriter Press' zine website predates 1998. The earliest archived website for Agent With Style dates back to 1998. Teeny Gozer Production set up Fanzines.com in 1998.
==Legality==
As fanzines faded from fannish life, a few newer fans who had only seen fan fiction online developed a negative, almost hostile attitude towards the buying and selling of fanzines suggesting they were, among other things, elitist and illegal.
In 2009, a copy of a custom zine found its way for sale on eBay which then led to some fans to argue that all fanzines were a violation of copyright law and were 'putting fandom in peril' by introducing profit to fan fiction.Excerpts from the July 2009 "PSA to Fanfic Writers"
:"If you are a Fanfic writer or Artist please go to this ebay site doctor_beth2000 and check to see if YOUR fanworks or someones you know and like are being sold as Fanzines for profit in what appears to be a very lucrative and active operation." petzipellepingo, dated July 29, 2009 and
:"I've never charged anyone for my fan works and actually turned down an invitation to a fanzine because I disliked the idea that anyone would have to pay for my creations, even if it was purportedly just for production costs. Seeing the 'real' fanzines listed for sale in that Ebay store just adds to my personal reasons not to participate in such projects." cited in 'Interesting copyright infringement issue', Fandom Lawyers, dated July 29, 2009). The fact that fan fiction had existed solely in fanzine format prior to the Internet and that reimbursement printing costs was necessary in order for the fan fiction to be shared was conveniently overlooked. It was as if Internet fans were throwing away 30 years of fannish traditions in their desire to protect the rights of fan writers to control the distribution of their fan works.:"Publishing and selling a fanzine is not a crime. It is not (although this is arguable) a violation of copyright (see 'fair use' defense). Publishing and selling a fanzine is no greater of a copyright violation than publishing your fan fiction online (in fact, more and more courts are skipping over the exchange of money when applying the fair use defense, so free online fan fiction does not necessarily get greater legal protection). Fans have been publishing and selling fan fiction in the form of fanzines for over 30 years. Let's not try to rewrite history to fit current flashpoints in the copyright debate."' from 'Fanzines and Fan Fiction Are Not Crimes, Morgan Dawn's blog dated July 26, 2009. In many ways, some might argue that fandom is increasingly folding some of the more restrictive copyright practices of the book publishing and entertainment industries into their culture.Common misperceptions as to the legality of fan fiction overall often lead to a chilling effect dissuading fans from participating in fanzine publications.
Compare these discussions about the legality of fanzines:
:"I'm pretty sure that what doctor_beth2000 is doing is illegal on quite a few levels. It is a violation of copyright law to make a profit off of someone else's work without permission. Fanzines normally are given for free or nominal cost - because of this rule. The original creators of the work could sue them, and the fanfic writers could potentially sue."petzipellepingo, July 26, 2009 and
:"While it is permitted to create a fanzine and to sell one, you have to get permission from the owners of the work first. IF you do not, then you are in violation of Copyright Law", shadowkat67, July 26, 2009
with the fair use and legal discussion in 'Interesting copyright infringement issue', Fandom Lawyers, dated July 29, 2009.
It is not surprising then that this leads to the following negative attitudes towards fanzines in general:
:"I do not charge for what I'm creating for my fandoms. In return, all I ask is that no one else charge for my work either." danceswithgary, July 25, 2009 and
:"I've often thought about making zines of some off my BtVS fic. Online archives are fine, but there's nothing quite as satisfying as holding concrete proof of your literary efforts in your hands. Stuff like this, though, pretty much ensures I'm never going to do it. I guarantee that the updates and clarifications are not going to spread half so far across the net as the original accusations." rahirah, July 26, 2009
Ironically, as some legal experts point out, if printing and selling a fanzine is illegal, so is writing and posting a fan story. All fan fiction runs the risk of being considered an infringing act. It is the fair use defense that can shield fannish activities as an authorized use of copyrighted material. Or to put it another way, the fair use defense depends on a number of factors, and profit is only one of those factors. Increasingly, more courts are dismissing the 'profit' factor in order to find a whole host of previously 'fair use' activities to be acts of infringement.See Tushnet's User-Generated Discontent: Transformation in Practice, 2008 in which she argues that the non-profit aspect needs to play a more central role when courts analyze transformative works. The "don't sue me, I make no money!" disclaimer may no longer be worth the paper it is (or is not) printed on.
==Perceived Decline in Quality==
While zines are still being produced today, some fans feel that do not measure up to the quality standards of decades past.
In 1999, a fan writes: 
klangley56 explains: 
Langley positions her view on zines in the overall context of the Internet's impact on fandom, arguing that there has been an overall decline in both the quality of writing, quality of zine production as well as the quality of fannish discourse. In short, technology and ease of access have cost fandom dearly: 
Another fan's opinion: Deb Walsh writes: 
==The Internet and the Perceived Quality of Fanfic, or "The Internet Makes It Possible for Anyone to Create Fanworks"==
In 2002, this discussion illustrated the love/hate many fans had regarding the internet: 
==Zines: Different Power, Different Tastes==
Some fans felt that different generations had different tastes and that the internet redistributed power; these observations, and others, are discussed below as possible reasons for fewer "traditional" print zines.
From a 2000 discussion: 
From a 2017 post: 
A fan in 2012 described what they felt were some major differences between print zine fic and internet fic:
===Changing Reading Habits===
A fan in March 1998 addressed the question, "Here's another 'is it just me?' question: has netfic changed your
reading": 
Another fan answered the question, "has netfic changed your reading"?: 
Another fan's answer about changing reading habits: 
==Print Zines or Fanworks on the Internet: Which One is More Permanent?==
Print zines or online? Which is longer lasting/more likely to be around and accessible in the future?
From a fan in 1997: 
A fan in 2015 commented: 
==Meta/Further Reading==
* My God, what a concept! by The Divine Adoratrice (October 1997)
* The K/S Netfan-Printzine Fan Wars (1997-2001)
* fanfiction: web or zine?, a lengthy and spirited debate about the impact of the Internet on fanzines, posted to alt.startrek.creative on May 29, 1999
* Please Captain, Not in Front of the Klingons, an early article about slash on the Internet
* Fanzines and the Internet or "Whither Thou Goest, Orion Press?", more debate about the impact of the Internet on fanzines, posted to alt.startrek.creative on October 20, 1998
* Open Letter About AnotherSky.Net Fanfiction Piracy
* "Netfic is free, so stop complaining." by Arduinna (2000)
* Star Wars Print Fandom: An Expose (2001)
* The Cost of Netfic by Flamingo (2002)
* My Worst Moment in Fandom, a fan describes making the bridge between creating print fiction and online fiction, posted April 2012; archive link (2012)
* Thinking about zines this morning, a 2014 post at Man from UNCLE Canteen; archive link (2014)
==References==
Category:Non-fiction Writing
Category:Fiction Writing
Category:Zine Fandom
Category:Discussion
Category:Fandom Migration