How Colleen Hoover became the undisputed queen of BookTok
dedicated to them, her ubiquity is especially pronounced on social media, where reading her has become something of an online rite of passage. If any author has come to represent the staggering and often inexplicable power of social media as a promotional force, it’s Hoover. As an author who rode the wave of self-publishing and adult-oriented coming-of-age narratives in the post-world, Hoover can easily lay claim to the title of queen of BookTok.
The typical Hoover book is a story about two people in love who are burdened by trauma from their pasts; in each one, every emotion is dependably turned up to “extra intense.” She’s written rom-coms, mysteries, and kitchen-sink dramas, but even across genres, you know a Hoover novel when you see it. All the characters have preposterous names like Lowen Ashleigh or Layken Cohen; there’s even a florist named Lily Bloom. Everyone harbors relentless angst and has uniformly excellent sex.
In the early 2010s, a new category began to emerge in fiction, one hoping to bridge the gap between what audiences expected from YA and more adult-oriented works. Given the name “new adult” , this category allowed the market to take advantage of a literary liminal space, the kind Britney Spears sang about in “I’m Not a Girl, Not Yet a Woman.”originated the term when it put out a call for “fiction similar to YA that can be published and marketed as adult — a sort of an ‘older YA’ or ‘new adult.
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