'While the written conventions of works that fall into the category of genre fiction may be well-known—elves and swords in high fantasy, whiskey drinking private eyes with shady pasts in detective fiction, and so on—the larger, interactive communities these texts fit into benefit from the deep worldbuilding presented in Genre Worlds: Popular Fiction and Twenty-First-Century Book Culture. Kim Wilkins, Beth Driscoll, and Lisa Fletcher meld a meticulous research model together with a fan's appreciation to analyze genre worlds, which they define as “textual, social, and industrial complex[es] in which people work together to create and circulate specific types of books” (17). Their focus on the cooperative and connected elements behind the publishing, writing, and circulation of genre fiction gives a bird's-eye view of the industry while diving into the different players that operate in the worlds of three genres: crime, romance, and fantasy. Their focus is on the anglophone market of Australian fiction, which opens room for robust exploration of national and transnational trends in genre fiction conventions and publishing practices.' (Introduction)
