#i still want to reblog your other post with gogandmagog because you guys brought up other fabulous things i didn't have time to address here

[no-where-new-hero]

☕ - booktok and I'm cheating to add the state of YA in general 👀

Disclaimer at first that I don't have TikTok (proudly) so that my experience with social media book discourse is through Instagram (which also has a lot of TikToks transferred over, obviously) but I'm not sure if the IG algorithm shows me different things from what TikTok would. Anyway.

I'm going to start with the state of YA actually because I feel slightly more familiar with this but also I think BookTok/Bookstagram trends are absolutely contributing to its hellscape. I may have talked about this in the post about where LMM would be shelved, but I think YA is losing its own identity. It's no longer about finding your place in the world or coming to terms with identity or dealing with themes that will help provide a bridge between childhood and adulthood. Romantasy abounds as much as in adult fiction, maybe just with a little less sex (though that's debatable). Contemporary feels reducible to a Pinterest moodboard (Portrait of a Thief, which I honestly liked in a lot of ways, suffered from this in my opinion). Fantasy without romance is almost nonexistent, and SF is more and more negligible.

All of these issues are perpetuated by BookTok. In a small video, there's only so much of a story you can share. Romantic tropes, aesthetic pictures, over-the-top dramatic lines sell well on there because they're catchy and cater to a romance- and visual-centric society. But I think it has given the false impression that you can stretch a skin of plot over these bones and call it an animal, and because everyone is accepting that this is an animal, the proliferation of such simulacra continues. Especially when the plot itself is none too strong.

You mentioned the trope problem, and I'll drill down on it because I definitely see this as the fanficification of published literature and the deterioration of rigorous plotting: A, because people enjoy it. B, because a majority of new authors grew up in the fanfic heyday and cut their teeth on that style, so they no longer know how to break free of it. C, because it's easy: you have narrative assumptions baked into rivals to lovers, in there's-only-one-bed, the coffeeshop au, etc. They're in fanfic because they're easy and provide a handy template for the meat of the story, which is the characters. But translating that into original fiction runs the risk of creating a predictable story. Predictability can mean palatability, which doesn't hurt on the whole. But it again inscribes this misbelief that if that's all that's on the market, that's all that people want.

The publishing industry absolutely is perpetuating it too: to sell a book now, you need to give comparative titles, "the books yours will sit next to on a display." There's more and more pigeonholing, which the fanfic style enables.

I could also get into the moral turpitude of some of the books on there (cough anything by colleen hoover not to mention HAUNTING ADELINE cough) but that will sound unnecessarily judgy, so I won't. Suffice to say that I feel sorry for anyone trying to "become a reader" by taking their recommendations solely from an app driven by popularity, shock-value, and the cultural capital of prettiness and success.

(Okay I need a last footnote to say that I understand that ALL advertising is driven by popularity, shock-value, and cultural capital. But you remember in the old days when you could go into the library and find a dusty book that was published in like 1990 or something and it smelled like it was growing mildew and it probably had a horrible cover and the author was someone you'd never heard of and none of your friends knew what the book was but you would bring it home and it would completely change your brain chemistry and everything you thought about the world? THAT'S HOW YOU BECOME A READER FELLAS. As a librarian in training, I'm going to die on this hill.)