Not too long ago, reading was an intimate, life-changing experience. It was a journey dictated by curiosity — not algorithms. Book lovers looked for stories that spoke to them, authors who challenged the norm and ideas that reshaped their way of thinking. Then, BookTok happened.
BookTok’s early days were driven by genuine emotion — excitement over hidden gems, unknown books with novel ideas that captivated readers and deep conversations about plot and characters. But as publishers caught on and co-opted the platform to turn a profit, they began to adapt releases in accordance with what the hyper-commercialized BookTok demands. As noted in a 2022 Observer article, publishers have started actively scouting viral self-published authors and creating campaigns to mimic BookTok’s aesthetic, prioritizing the kind of stories that trend well over those that push literary boundaries. The formula became heavily clear: romance, familiar tropes and predictable arcs designed for quick consumption rather than meaningful engagement. Authors like Ana Huang, author of the “Twisted” series — “Twisted Love,” “Twisted Games,” “Twisted Hate” and “Twisted Lies” — have capitalized on this, churning out slightly modified versions of the same book and knowing that social media hype will keep sales rolling.
As Susan Swinwood, editorial director at Canary Street Press, noted: “Everything is about angsty, new adult love stories,” which makes it “an easy decision” to publish books in this genre that cater to BookTok’s viral formula. Meanwhile, lesser-known authors with fresh, creative ideas are drowned out in the noise, struggling to gain traction in an environment that prioritizes quantity over quality. The increasing gap between what publishers believe readers want and what readers want only serves to aggravate this. Simply put, the audience’s intelligence and judgment is undervalued. Publishers seemingly assume that readers will only react to cliches, intense heat and plot lines that are obvious, but this is a mistake. Readers crave complexity, uniqueness and narratives that don’t speak down to them.
However, readers settle for chasing trends and consuming books like disposable content. Reading has become another facet of influencer culture, where the goal is to be seen reading the “right” book rather than truly engaging with it and with fellow readers. This shift isn’t limited to how we read; it’s a reflection of a larger cultural movement that prioritizes aesthetic above substance. A concerning trend towards performative involvement is indicated when books are viewed as accessories; this reflects how we engage with politics, news and even one another.
Some might argue that BookTok is democratizing literature, making books more accessible and motivating a new generation to read. To some extent, that’s true. But accessibility should not come at the cost of storytelling. The most celebrated BookTok hits often reinforce unrealistic beauty standards and problematic romantic dynamics, all wrapped in attractive-looking covers designed for social media appeal. Ugly Love by Colleen Hoover is an example of a popular BookTok novel that perpetuates the normalization of power imbalances and emotional abuse in relationships. The female lead falls for the male lead, who is emotionally absent and often treats her with disrespect, yet the story romanticizes this toxic dynamic. Critics have pointed out that Hoover’s portrayal of emotionally abusive relationships risks normalizing such behaviors for readers, particularly younger audiences. Meanwhile, books by diverse, lesser-known authors — ones who often challenge mainstream perspectives — struggle to find visibility in a rigged algorithm driven by profit that rewards consumption over all else.
Reading doesn’t have to be this way. Beyond its commercial value, reading is a crucial instrument for shaping young minds, nurturing emapthy and encouraging critical thinking. Books have historically played a vital role in challenging societal norms, giving voice to marginalized communities and offering much needed perspectives beyond our own lived experiences. When literature is merely reduced to aesthetics and words to highlight with pretty colors, we lose an essential space for intellectual and emotional growth. This could be the cause of the nationwide increase in book bans. Books that defy conventional wisdom or push limits are sometimes the first to be targeted. Books like “Gender Queer” and “The Hate U Give” push readers to think about social institutions, face hard realities and develop empathy for those with different lived experiences to theirs. However, these are frequently seen as “too controversial” and taken out of libraries or classrooms. Reading should be about discovery and exposing ourselves to ideas that make us uncomfortable and reshape our once unshakable ideas.
A strong reading culture stimulates powerful discussions and connections, both online and offline. Book clubs, whether in-person or virtual, create spaces for analysis and debate. Readers ought to engage with complex narratives that force them to think beyond the surface and develop soft skills, which are increasingly necessary in an era of misinformation and shallow-level digital consumption. Without these conversations, literature becomes just another form of passive entertainment rather than a catalyst to deeper understanding.
The solution isn’t to abruptly abandon BookTok entirely — after all, it has introduced millions to the joy of reading — but to approach with discernment. Readers have the power to take back control, to prioritize depth over hype and to look for books beyond the social media algorithm. Independent authors and small publishers still exist, continuing to craft stories that challenge and inspire. Authentic reading culture isn’t dead: it’s just waiting to be revived.
Yailin Jiménez is a business analytics student at Pontificia Comillas University with a passion for media and digital culture. She is a frequent reader of The Stanford Daily.