Sciencefiction Fanzine

A science-fiction fanzine is an amateur or semi-professional periodical created by members of science-fiction fandom, produced from the 1930s to the present. As one of the earliest and most influential forms of fan publication, the science-fiction fanzine helped shape the identity, culture and vocabulary of organised fandom. Indeed, the term fanzine itself originated within this community, and for decades fanzine production constituted a central element of fannish activity, often referred to as fanac (fan activity).

Origins and early development

The first recognised science-fiction fanzine, The Comet, was issued in 1930 by the Science Correspondence Club of Chicago. These early publications were produced by hand or via simple duplicating methods and circulated among small groups of enthusiasts. In October 1940 Russ Chauvenet coined the term fanzine in his publication Detours, distinguishing these non-professional magazines from professionally edited and commercially sold science-fiction magazines, typically called prozines. Prior to this neologism, publications created by fans were often described as fanmags or letterzines.
Traditional fanzines were generally available “for the usual,” meaning that an editor would send a sample copy on request and further issues would be provided once the reader supplied a letter of comment (LoC). The LoC both sustained circulation and served as a vehicle for discussion. Many fanzines included extensive letter columns, functioning as slow-motion analogues of modern internet forums, newsgroups and mailing lists.
In 1955 the World Science Fiction Convention (Worldcon) introduced Hugo Awards for Best Fanzine, later adding categories for Best Fan Writer and Best Fan Artist in 1967. These awards recognised the creativity and cultural value of fan-produced publications and have continued into the twenty-first century.

Semiprozines and professionalisation

By the 1970s and 1980s, developments in desktop publishing and printing technology enabled some fanzines to evolve into more polished magazines. Sercon (serious and constructive) fanzines—those focusing on literary criticism, commentary and news—grew increasingly sophisticated. Publications such as Locus began to pay contributors, charge subscription fees and distribute widely. These hybrid publications became known as semiprozines, blending amateur enthusiasm with professional editorial standards.
The Hugo Awards added a separate category for Best Semiprozine in 1984, acknowledging the significant differences between fully amateur fanzines and polished semi-professional periodicals. Notable semiprozines include Locus, Ansible, The New York Review of Science Fiction and Interzone. Some semiprozines publish original fiction, providing a platform for emerging writers.

Amateur press associations (APAs)

Amateur press associations, or APAs, represent another important mode of fannish publishing. In these groups, individual members produce personal contributions that are collated into a combined publication known as an apazine, which is then distributed to all members. The earliest science-fiction APA, the Fantasy Amateur Press Association (FAPA), was founded in 1937 and remains active. Many APAs continue as hard-copy assemblages, while others distribute digital e-zines.

Broader influence and related fanzine cultures

The concept and format of the fanzine expanded beyond science fiction. Early rock-and-roll fanzines, for instance, were created by fans with roots in science-fiction fandom. Much online slang, abbreviation and jargon used across computer, gaming and web culture derives from fanzine and fandom vocabulary, often referred to collectively as fanspeak. The rise of the internet led to the emergence of webzines, which carry forward the ethos of amateur publication in digital form.

Conventions and fan gatherings

Fanzine communities have long gathered at broader science-fiction conventions, but dedicated events also emerged. The Detroit-based Autoclave conventions of the 1970s were among the earliest fanzine-only gatherings. In 1984 the first Corflu convention was held in Berkeley, California, celebrating fanzine culture and production. A companion convention, Ditto, was launched in Toronto in 1988. Both events continue annually, drawing editors, artists and long-time contributors.
These conventions provide spaces for discussion of printing techniques, fannish history, collecting, archiving and the preservation of fan heritage. They also highlight the centrality of fanzines in shaping communal identity within science-fiction fandom.

Continuing legacy

Science-fiction fanzines remain significant despite the shift toward digital communication. While many contemporary fans participate through online forums, blogs and social media, print and electronic fanzines persist as distinctive platforms for commentary, creative writing, artwork and community discourse. Archival projects at universities and cultural institutions, such as those maintained at Georgia Tech, highlight the importance of fanzines as historical documents of fan culture.