Literary culture is undergoing a transformation in how books are consumed, published, marketed and sold, largely due to the rapid rise of social media. Online communities such as BookTok, are reshaping the contemporary book scene and generating both celebration and criticism. While these platforms have encouraged reading and helped bring literature into the mainstream, they have also been accused of favouring content that prioritises viral popularity over literary value.
As sensationalist fiction driven by tropes and buzzwords gains popularity, concerns grow over the promotion of formulaic storytelling and the marginalisation of originality and intellectual depth. This shift reflects a troubling trend in which literature is increasingly commodified, shaped less by artistic merit and more by algorithms and online trends, ultimately blurring the line between cultural enrichment and consumer entertainment.
In recent years, TikTok, the social media platform, has seen a dramatic rise in popularity during the COVID-19 pandemic, and has continued to thrive post-COVID. A major part of this momentum has been sustained through BookTok, a vibrant subcommunity of TikTok that continues to thrive both online and offline. TikTok functions through an algorithmic trend system, where the use of hashtags fuels visibility and engagement. This trend-led system, often bolstered by sponsorships and promotions, enables books to re-enter mainstream culture with renewed relevance. The hashtag #BookTok has now amassed a staggering 370 billion views, an exponential rise from 9.6 billion views in the immediate aftermath of the pandemic.
BookTok has fostered a strong sense of community, reminiscent of the earlier online literary space known as BookTube. It employs familiar formats such as book hauls, ARC reads, reading challenges, and wrap-ups. At the same time, it draws in a more contemporary audience through visually driven trends: aesthetic book covers, colour-coordinated bookshelves, and exclusive hardcover editions. These viral trends create excitement and elevate reader engagement focusing on consumerism over the quality of the book itself. With the right community on BookTok, all that is needed is a devoted fan base to generate hype and certain buzz around new releases.
This creates a ripple effect across the community. Prominent BookTok influencers often promote the same releases, generating widespread publicity. In doing so, they not only amplify certain titles but also foster a sense of inclusion by encouraging others to join in and “jump on the bandwagon”. BookTok’s impact extends far beyond the digital sphere, with physical bookstores dedicating prominent displays to titles trending on the app. Genres such as Romantasy dominate these displays, and promotional stickers boasting labels like “TikTok Viral Sensation”, have become commonplace. Even major online retailers such as Amazon have leaned into the trend with the category #TikTokMadeMeBuyIt.
Despite the clear commercial and cultural benefits BookTok has brought, particularly reviving public interest in literature and boosting sales, there has been criticism regarding the nature of its influence. For instance, romance remains the most dominant genre on BookTok, with subgenres like Romantasy, contemporary romcoms, and dark romance at the forefront. These books often go viral because of specific buzzwords and tropes such as ‘spice’, ‘enemies to lovers’, ‘grumpy x sunshine’, and ‘second chance romance’. This trend has created an incentive for authors and publishers to market their books through sponsorship deals that lean heavily on these popular tropes to increase visibility.
However, the marketing-driven approach in today’s publishing industry has raised significant concerns. The emphasis on formulaic, trend-based narratives often comes at the expense of originality and literary quality. This strategy has not only marginalised other genres but has also reduced the visibility of diverse voices.
Increasingly, publishers and booksellers are prioritising sensational, easily digestible, and highly marketable fiction, primarily for profit. While there is some visibility of BIPOC characters and LGBT romances within these mainstream genres, such representation is often limited. Authors like Sarah J. Maas, Rebecca Yarros, and Colleen Hoover dominate the scene with books centered on white, cisgender female protagonists and heterosexual romances. As a result, these popular series tend to overshadow more diverse stories, contributing little to a truly inclusive literary landscape.
That said, it is important to strike a balance. Romance as a genre should be celebrated and enjoyed. There is a level of misogyny at play when romance novels, particularly those among women, are dismissed as “lowbrow” or deemed problematic simply because of their genre. This unfair criticism overlooks the many strengths these books offer.
Many romantasy novels, for instance, explore complex themes such as trauma, abusive relationships, mental health, and female friendship. It’s easy to understand why so many women resonate with these stories. Sarah J. Maas’ A Court of Thorns and Roses series becomes a key example of this, particularly the second book, as it explores Feyre Archeron’s journey toward self-empowerment beyond the male gaze and her male suitors. However, it must also be acknowledged that this kind of fiction, focused on heterosexual romance, solely dominates the mainstream. This lack of variety becomes problematic, as it excludes and alienates readers who do not identify with the specific archetype these books often portray.
Those who do not fall into the category of cisgender, heterosexual, and white may struggle to see themselves reflected in these pages. Although there are books that center marginalised voices, they are rarely given the same level of platform or promotion as more mainstream works. This creates added pressure for readers and creators alike who want to engage with BookTok but feel they must align with a specific type of novel in order to be a part of the community.
Whilst there has always been pulp fiction even in the early English novel, there is a growing perception that the quality of modern literature and its writing has declined due to the mass production of books built around buzzwords and trope-heavy formulas. These market-driven trends often prioritise what will successfully sell over what is well-written, pushing more literary or unconventional works to the margins. As a result, literature is shifting, impacting both publishers and retailers and what they choose to promote, as there is less emphasis placed on narrative style, language, structure and innovation, and more on algorithmic appeal and trend-chasing.
Ultimately, while there can and should be a healthy balance between entertaining, so-called ‘lowbrow’ fiction and more literary works, BookTok must confront its internal issues. The community needs to address the lack of representation and identity within the genres it promotes. It is vital that popular platforms give space to BIPOC and LGBT authors to share their stories and challenge the hegemonic narratives that monopolise the algorithm. Only then can the literary culture fostered by BookTok truly become inclusive, diverse, and enriching.
Words by Sonia Radha Panunzi
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