Some Internet genres reach wide audiences, others are public but site-specific, and still others are intended to be conveyed privately only to single recipients. Some genres conventionally have one author; others have many. Some genres are associated with little or no investment of time, labor, or fiscal resources; others may be extremely expensive to produce. However, the advent of user-friendly tools or amateur-accessible instructions, allowing computer users to create their own content or modify the content of others, can change a given cost-benefit or individual-corporate ratio very rapidly, so that even the manpower requirements and price of production of a once prohibitively expensive videogame could be reduced to the level of personal comput- ing, if the code is made public or back-end programming tasks are given a familiar graphical user interface. Several of these digital genres have stimulated so much media discussion in contemporary civic life that I have devoted entire chapters in this book to them. Of course, many digital genres are still evolving, emerging, and merging, so that likely my tentative list will soon include even more neologisms.