Citations:fanonical

Adjective: "(fandom slang) of, pertaining to, or characteristic of fanon"

 * 2011, Elizabeth Burgess, "Programming Processes: Controlling Second Lives", in Creating Second Lives: Community, Identity and Spatiality as Constructions of the Virtual (eds. Astrid Ensslin & Eben Muse), unnumbered page:
 * The acting out of fanonical scenarios, and thus the fulfilling of different narratives that could emerge from the basics of the text, satisfies unfulfilled potential for which the games simply would not have the space (nor, perhaps, the inclination).
 * 2011, "Glossary", in New Narratives: Stories and Storytelling in the Digital Age (eds. Bronwen Thomas & Ruth Page), page 277:
 * A fan-derived alternative to the "canon" whereby aspects of plotting, background information, or characterization become “fanonical” due to uptake and dissemination within fan communities.
 * 2014, Mafalda Stasi, "The Toy Soldiers from Leeds: The Slash Palimpsest", in Fan Fiction and Fan Communities in the Age of the Internet New Essays (eds. Karen Hellekson & Kristina Busse), page 124:
 * Here canon and fanon freely mesh: on the one hand, we have canonical elements such as "green, slanted eyes" and "thin body," and on the other, we have fanonical elements built on canonical ones, such as "fine-boned, cat-like," "beautiful, fey, little ... child."
 * 2015, Amanda K. Allen, "Social Networking, Participatory Culture and the Fandom World of Harry Potter", in Medieval Afterlives in Contemporary Culture (eds. Gail Ashton), page 280:
 * Thus while the Ron/Hermione ship is canonical, because Rowling included a relationship between the characters in her books, the Minerva/Hermione ship is fanonical, because a romantic or sexualized relationship between those characters exists only in the minds of fans.
 * 2015, Jason Mittell, Complex TV: The Poetics of Contemporary Television Storytelling, page 279:
 * Because I disagreed with the decision to eliminate imagined relationships from the site, I created a page titled "Pairings (fanon)" on March 27, 2009, to restore the "cruft" (excessive, detailed material) that had been edited out, albeit within its own fanonical space as dictated by Lostpedia policy.
 * 2017, Larisa Kocic-Zámbó, "Resounding Words: Fan Fiction and the Pleasure of Adaptation", in Travelling Around Cultures: Collected Essays on Literature and Art (eds. Gabriella Moise & Zsolt Győri), page 66:
 * More likely, as a series ends terminating the shared canonical matrix of its fans, so too (albeit gradually) will the fanonical matrix cease.
 * 2017, Bob Rehak, "From Model Building to 3D Printing: Star Trek and Build Code Across the Analog/Digital Divide", in The Routledge Companion to Media Fandom (eds. Melissa A. Click & Suzanne Scott), unnumbered pages:
 * Indeed, the latter area directly inherits a tradition of "Treknological" argument in which fans' endless charting and policing of the franchise's timeline and established “facts” function not so much as a stabilizing force but an arena of contestation and negotiation between canonical and fanonical spheres of knowledge, enacted both in material and virtual forms.
 * 2018, Ann K. McClellan, Sherlock's World: Fan Fiction and the Reimagining of BBC's Sherlock, page 104:
 * A slashed Johnlock relationship becomes fanonical because of its consistency with, and recreation and reinforcement of, the show's world.
 * 2020, Mike Goode, Romantic Capabilities: Blake, Scott, Austen, and the New Messages of Old Media, page 200:
 * Fans refer to broadly accepted expansions of canonical universe as "fanonical" universe, or “fanon” and anyone who makes a deep dive into realist Austen fanfiction will soon discover that fanonical Austenland has grown to include various seedy quarters of London frequented by rakish aristocrats, the interiors of lending libraries, servants' quarters, and plenty of other regency places that are never directly represented (or, in some cases, even alluded to) in the Austen canon.