I sat at the OTW’s information booth this past weekend at Ascendio. I manned the booth most of the day on Friday when I wasn’t in panels; on Saturday I wasn’t able to man it at all, so I wound up leaving our OTW shoebox out on the table with all our brochures and business cards, in the hope that people would still out request for information.
One person took the time to tell us exactly what they think of the work we do.
All humor aside, this person, whoever they are, whatever their motives, basically very nicely summed up why the work we do at the OTW is so very important. It’s not just that we’re doing fanwork preservation (though when I talked to people about Open Doors and Fanlore, they always got really excited). It’s that simply by existing, we’re making visible the argument that fanwork is okay, and the more that visibility provokes responses like this, the more we know conversations are happening that gradually move us further along the sociocultural spectrum towards general, widespread acceptance of fan and remix cultures.
This is why, in a nutshell, I’m really happy to be on staff and to be doing con outreach and development/membership work, and all the other stuff I’m doing. Because the bottom line is that before there was an OTW, there was no pro-active, organized, systematic fan response to this kind of attitude towards fandom. Now there’s us. And as frustrating as things get sometimes, holy crap, is it still better to have a broken and flawed OTW than no OTW at all. Because even on its worst day, this org is still amazing, and I’m still kind of blown away that it exists. ♥
This is fascinating and something I would like to gain permission to use in my film demo reel on women in fandom.