#reader culture

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

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/