I have cited Star Trek fansite Ex Astris Sciencia in an academic paper:
For example, Star Trek fan Bernd Schneider has attempted to accurately calculate the size of the USS Enterprise as depicted in recent film Star Trek (2009), but his calculations diverge from official figures, which has made him the subject of outspokenly hostile criticism (Schneider 2010:n.p.).
(The paper is a critique of Textual Poachers by Henry Jenkins. This makes sense in context.)
I don’t like the word postmortem as used in reference to creative works. I prefer to think of a finished artwork is a living thing, and the implication of a “postmortem” is in opposition to that. Things are different for Sunrise Issue 7. The end of “Concourse” feels like a death, and not a particularly tragic one at that. This issue was a bad experience for me, one in which my careful planning system failed me and a perfectly good concept was driven into the ground by poor execution. Now that the issue is finally finished it’s time to take a look back and figure out how it went wrong. Ladies and gentlemen, welcome to the “Concourse” postmortem.
Here in my lap I have eighteen pages of lined paper ripped from a notebook. The obsessively neat handwriting is mine, as is the story. Both date from when I was ten. The story takes place on Crystalia, a world that had a pseudo-medieval society and a landscape dotted with giant inexplicable crystals. For a short time the place fascinated me, but now these few pages are all that remains.
Treyl’s foot slipped on the slick crystal. As he ascended up the side of the crystal, he wondered whether this climb would really succeed in getting him up high enough to be picked up by hot air balloon. He had to head to the island of Taloba to have his corn ground and sold.