Author has written 3 stories for Legend of Zelda, Gundam Wing/AC, and Escaflowne.
Taken from black_k_kat's profile. I found it appropriate and interesting, and here's hoping you do too.
"Named after the punctuation mark between its lover-heroes (e.g. Kirk/Spock), slash fan fiction was born at the end of the 60's, when inventive viewers started penning steamy rendezvous between Captain Kirk and Mister Spock in fanzines. But it wasn't until the 90's that slash fiction truly flourished, with the advent of the internet and its discussion groups, where a growing subculture of writers, editors, and readers could share and critique one another's work. Intrepid slash writers - primarily women - gleefully found the love that dare not speak its name between just about everyone: Starsky and Hutch, Luke Skywalker and Han Solo, even Harry Potter and Draco Malfoy. (HP/DM authors hasten to assure readers that their stories feature the characters in their late teens.)
The relationship dynamics in slash have become just as varied as the couples. Initially steeped in first-time male love between two comrades-in-arms, slash has developed into a free-for-all, exploring S&M complexities, male pregnancy, and other flights of writerly fancy. Slash also attracts critical attention from social theorists, many of whom ponder one or more interesting questions about the genre: Why do slash writers, who are predominantly straight women writing for other women, focus so much (though far from exclusively) on male/male romantic relations? Although theories abound - male relationships are truly egalitarian, female characters are too boring to write about - slash has become so diverse that it easily thwarts anyone trying to find one generalizing principle.
With slash's steamy combination of gender-bending plots and playful raunch, it's no surprise that cultural theorists, feminists, and everyday pop culture mavens have found it so intriguing. Like all fan fiction, slash turns pop culture consumers into creators and thrives on a sort of dialogue between fan and character. But it goes one step further than most fanfic by openly interrogating pop culture notions of masculine and feminine - experimenting with, discarding, or reinventing ideas about gender.
...When they're not experimenting with the genre, slash authors - a very self-aware, self-analyzing community - are discussing gender, queerness, and feminism in all their different forms. Add to this a lively academic debate on slash, and you have a rich melange that makes a grand unified theory of slash seem laughable. One critic may posit that slash is a space where female writers can create the "ideal" human in a misogynistic world: male body, male power, female way of relating. Another will argue that slash provides a space for women to work out their gender issues, a place where they can dump the unwanted restrictions of "femininity." Slash is gay. Slash isn't gay. Slash is neither, or a little of both. Slash lets women assert power over men the way the patriarchy asserts power over women. Slash lets women humanize and redraft masculinity. Slash is about nooky. Slash isn't about sex at all. Slash allows women ways of writing (collaborative, participatory) that subvert male ways of writing (copyrighted, absolute, and closed).
...For many, slash has become a potent way to personalize interactions with a show, to lay claim to it by infusing it with sexual fantasy, gendered role-play, and power dynamics. And for those who are politically inclined, writing slash is a creative endeavor with feminist overtones - one that allows people to ponder gender issues in a creative, supportive environment. The world of slash, after all, is populated predominately by women who are not mere consumers of culture but who have become producers in their own right. Slash writers, along with authors of other fanfic, have changed TV and movie watching from a passive act to a participatory one, allowing for the deciphering and creation of meaning. That a slash writer can grapple with gender and power issues adds extra richness to the already subversive practice of writing fanfic."
From Fan/Tastic Voyage: Rewriting Gender in the Wide, Wild World of Slash Fiction, by Noy Thrupkaew, originally featured in the Spring 2003 issue of Bitch Magazine. Also featured in Bitchfest: Ten Years of Cultural Criticism from the Pages of Bitch Magazine (FSG Publishing, 2006, pg. 194)