For centuries, the publishing industry has been shaped by a handful of elite gatekeepers: literary agents, publishers, and professional reviewers. The world of books has long been shrouded in prestige, with the decisions on what’s canon, what’s popular – what’s good in fact – largely being made by middle-class, middle-aged, white women. Their tastes have dictated which books made it to market and which languished in obscurity.
Now in the age of social media a new set of tastemakers has emerged – one made up of ordinary readers, propelled to influence through platforms like TikTok and Instagram. This shift is swiftly transforming publishing, ushering in a more reader-driven model. But with the wave of democratisation comes a host of challenges, and the very nature of what is deemed ‘worthy’ of literary attention is shifting in ways that are not always beneficial.
Emotional appeal of BookTok
BookTok is a community on TikTok where users share videos about books – BookTokers, as they are called, review, discuss, and recommend titles.
One of the most significant criticisms of BookTok is the way it tends to prioritise emotional engagement and aesthetic appeal over literary merit. The books that go viral often adhere to a specific formula: dramatic, emotionally charged narratives with a strong reliance on twists and high-impact episodes.
This, it can be argued, leads to a homogenisation of popular literature, where depth, complexity, and innovation are overshadowed by marketability. Readers are drawn to books that promise an immediate emotional ‘high’ rather than those that require deeper appreciation, leading to concerns that social media is promoting a culture of instant gratification above literary excellence.
BookTok’s instant demand
The unpredictable nature of virality can also create instability within the industry. The sudden popularity of certain books may result in supply chain issues, with publishers scrambling to meet demand for titles they hadn’t anticipated would become bestsellers.
While such unpredictability is exciting, it means that some books that could have done well, and have been carefully nurtured through traditional marketing strategies may be overshadowed by those that happen to trend at the right (or wrong) moment.
Another issue is the narrow scope of books that thrive on social media. While BookTok has certainly uplifted certain genres – notably romance, fantasy, and dark academia – others, particularly literary fiction, struggle to gain anything like the same traction. The emphasis on relatability and accessibility often means that work exploring complex themes with experimental prose or unconventional structures is overlooked in favour of those that offer quick emotional payoffs.
As a result, today’s publishing decisions are becoming increasingly dictated by what is likely to succeed on social media, resulting in a self-reinforcing cycle in which certain kinds of books are prioritised while others are sidelined.
Breaking down barriers in publishing
Despite these criticisms there is no denying the positive impact that BookTok and Instagram have had on the industry. Social media has broken down traditional gatekeeping barriers, allowing books that might have been ignored by mainstream publishers to find passionate audiences. The rise of self-published authors who have gone on to achieve wide success thanks to social media is evidence of this shift – proof that publishing is no longer entirely controlled by industry insiders.
Perhaps even more significantly, BookTok has helped make reading more accessible. By removing the elitism historically associated with the literary canon, social media has encouraged a wider audience – particularly young people – to engage with books in a way that feels less intimidating.
Traditional literary culture is associated with classism, favouring the kinds of books that appeal to academic and critical circles and often dismissing genres like romance or fantasy as frivolous. BookTok has actively challenged such discrimination, celebrating works that resonate with readers on an emotional level rather than those deemed ‘highbrow’ or ‘literary’ by conventional standards. In doing so, it has encouraged a broader, more diverse readership and redefined what it means to be well-read.
Greater diversity in the literary landscape
BookTok has played a crucial role in diversifying the literary landscape. Books by women, particularly in genres usually regarded as ‘lesser’ literature – such as romance and young adult fiction – have found both respect and commercial success.
Similarly, the growing appetite for translated literature, particularly from Asia, has been bolstered by BookTok’s enthusiasm for international works like Before the Coffee Gets Cold by Toshikazu Kawaguchi and Convenience Store Woman by Sayaka Murata. In this way, social media has challenged the Eurocentric bias of traditional publishing, offering a platform for voices that have long been marginalised.
Commercialisation risk
Publishers recognizing the power of these platforms have not been slow to adapt their strategies accordingly. Many now work directly with influencers, offering them early copies of books, sponsorships, and exclusive content in exchange for promotion. While this allows for a more organic form of marketing, it has raised concerns about the commercialisation of recommendations. The authenticity that made BookTok so powerful in the first place is now at risk, as influencer culture blurs the line between genuine enthusiasm and paid promotion.
Additionally, the speed at which books trend means that literature is sometimes treated as disposable. A title that is everywhere one month might be entirely forgotten the next. The rapid turnover devalues literature as an enduring art form, positioning books as fleeting commodities for short-term consumption. Some critics argue that this trivialisation undermines the role of literature in fostering deeper engagement with complex ideas, reducing books to mere content.
What future for publishing?
A lingering debate in the publishing world is whether BookTok and Instagram are democratising literature or diminishing it. While these platforms have undeniably popularised reading, they have also reshaped literary culture in ways that prioritise virality over longevity. The tension between accessibility and literary quality is not new, but social media has amplified it in unprecedented ways. Whether this shift represents a decline or an evolution is open to question.
Despite any concerns, the influence of social media on publishing is unlikely to wane. If anything, it will become more dominant, with publishers continuing to tailor their lists to align with online trends. Already, some authors craft books with BookTok appeal in mind, seeking dramatic elements to maximise engagement. It remains to be seen if this will lead to a more inclusive and dynamic literary landscape or a more homogenised and commercialised one.
Ultimately, the rise of BookTok and Instagram has reshaped the balance of power in publishing. The traditional gatekeepers have given way to one largely dictated by algorithms, virality, and fleeting trends. The future of literature will be shaped by whether social media can sustain its role as a genuine force for discovery and inclusivity, or if it ultimately succumbs to the same commercial pressures that have long defined the industry.
