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Here’s an interesting article which focuses on the rise of marketing to niche audiences in music, but is applicable to books and other cultural products. Since Game of Thrones just ended we all have to invoke it in our writing, so here’s mine: GoT stands out as a widely appealing product in a time of niche hits, and I’ve seen a number of articles pointing out that its Sunday audience exceeded Big Bang Theory’s finale numbers. But if you compare live audiences, then BBT beat GoT handily, 13.5 million to 18 million. Live broadcast TV is not quite dead. And where do they compare to series finales of the past? Neither would break the Top 10, which would require an audience of at least 35 million viewers.

But back to the point about niche markets:

Fandom is fragmenting. Streaming personalization and falling radio audiences are combining to rewrite the music marketing rulebook, ushering in a whole new marketing paradigm. Hits used to be cultural moments; artist brands built by traditional mass media. However, this fire-hydrant approach to marketing lacked both accountability and effective targeting. Now, hyper targeting, both in marketing campaigns and streaming recommendations, is creating a new type of hit and a new type of artist. Global fanbases are being built via the accumulation of local niches, while a few big hits for everyone are being replaced by many, smaller hits for individuals. Niche is the new mainstream.

We can see this in commercial fiction. Romance Twitter, as is frequently observed, doesn’t reflect the overall reading trends of the universe of romance readers (compare the waitlists for Mary Balogh at US libraries with the amount of discussion of her works on Romance Twitter, for example). But that doesn’t mean that Romance Twitter darlings don’t sell, and sell well. They just sell across different markets. They may not be Balogh level sales, but they’re healthy and can sustain careers while they’re popular.

The upside is that a lot more authors can break through. The downside is that the cultural space is fragmented and so is the discourse. Being a romance reader doesn’t mean you have the same books and authors in common anymore, at least not with as many people.


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Like the Weeknote post, the links post is late this week, but not absent!

Here is yet another article on how news isn’t news anymore. Yes, it’s a preoccupation of mine. I’ve been thinking about writing a post on what reading the “news” in the 21stC looks like these days. I’ve talked about it in links posts, but it deserves its own discussion. In the meantime, though, read this thoughtful Guardian article on news media consumption.

The profound experiential shift we have recently experienced is not merely down to the fact that the news is now available around the clock; CNN pioneered that, way back in 1980. Instead, it arises from the much newer feeling of actively participating in it, thanks to the interactivity of social media. If you are, say, angry about Brexit, it is possible to be angry about Brexit almost all of the time: to encounter new and enraging facts about Brexit, and opportunities to vent about Brexit, in ways that would have been unthinkable as recently as the mid-2000s. If you had fulminated then to your family and colleagues as even respected peers, novelists and philosophers now routinely fulminate on Twitter, you’d have alienated everyone you knew.

One crucial difference is that raging on Facebook, or sharing posts or voting in online polls, feels like doing something – an intervention that might, in however minuscule a way, change the outcome of the story. This sense of agency may largely be an illusion – one that serves the interests of the social media platforms to which it helps addict us – but it is undeniably powerful. And it extends even to those who themselves never comment or post. The sheer fact of being able to click, in accordance with your interests, through a bottomless supply of updates, commentary, jokes and analysis, feels like a form of participation in the news, utterly unlike passively consuming the same headlines repeated through the day on CNN or the BBC.

I think that one of the reasons we feel as if tweeting and sharing and so on is “doing something” is that activism and protest have been transformed by the availability of social media. There’s no question that coordination is easier with online tools. But limiting our participation to online forums rather and foregoing the old-fashioned, effortful methods of physically showing up to a meeting or public gathering (for those of us who have that option; not everyone does) does not do much to advance collective action goals. Yes, the Arab Spring was aided by Twitter. But did you know that the most common ways of communicating information during those protests were still through voice and text? And, for all of us, there is evidence that reacting and venting on social media about supposedly newsworthy events makes us feel worse about the world, not better.


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This article feels as if it was generated by the Slate Contrarian Bot circa 2005. In Bookriot, a librarian (and aspiring author) says she thinks that tagging authors in all discussions of their books, including negative ones, is a great idea!

I can understand why some authors might be hurt by negative reviews. Criticism is hard! I’m just not convinced that the “risk” outweighs the “benefit” here. Easy access to more information on authors is important to me and authors are not required to read reviews. Most books don’t fall within categories that are strictly positive or negative. If we lean toward caution and decide against tagging authors in negative reviews, we can’t tag authors at all—it’s rare that any review worth anything doesn’t mention anything that hasn’t gone well in a book. In that case, authors are losing out on additional potential readers.

Is this a huge deal? Absolutely not. If it was, I’d go on with tagging authors regardless of the kind of reviews I write. But I do think it’s worth considering who the reviews are for, at the end of the day.

This is a bad argument. As many, many Twitter responses and some site commenters are letting Bookriot and the author know. However, given that she seems to be one of the site’s most active contributors, and the content maw is never sated, I’m sure it’s not the last #slatepitch piece we’ll see with the same byline. Sigh.

UPDATE: The post is still up on Bookriot, but the original Bookriot tweet publicizing it, which so many people replied to (and probably ratioed badly) is gone. Which … is kind of missing the point?


I posted a link to Christian Lorentzen’s Harper’s essay on the demise of book reviewing a while back, and now LitHub has used it to generate more content published a roundup of responses from his fellow critics. They run the gamut from complete disagreement (mostly by critics who run or work in these listicle- and Q&A-dominated sections) to overall agreement (from a critic at the TLS, which is hardly a surprise).

This is at best not addressing his points at all, and at worst confirming them:

Are book reviews drying up? Is the world of serious criticism shrinking? It seems to me that, actually, the world of book reviews is expanding. There are readers everywhere, of all kinds. They all deserve to know what books are out there that might be of interest. We do our best to reach them all.

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Courtesy of the Chronicle, here’s a depressing story about the decline in reading (both the act of reading and reading comprehension):

The scores of fourth- and eighth-graders on reading tests have climbed steadily since the 1990s, according to the National Assessment of Educational Progress. But those of 12th-graders have fallen. Just 37 percent of high-school seniors graduate with “proficiency” in reading, meaning they can read a text for both its literal and its inferential meanings.

The problem seems to extend to life after college. In 1992 and 2003, the National Center for Education Statistics studied American adults’ prose, document, and quantitative literacy (respectively, the ability to do things like read news articles, to read maps and food labels, and to balance a checkbook). The results, experts said, were “appalling.” College graduates’ math skills, statistically, hadn’t budged. But their prose and document literacy had declined. While those with bachelor’s and graduate degrees maintained the highest levels of literacy overall, those groups also experienced the steepest declines. Just 31 percent of college graduates were considered proficient readers in 2003, by that test’s definition, down from 40 percent in 1992. (International studies show similar trends. More data allowing comparison of adult literacy over time is expected this year.)

I teach a writing-intensive course for upper-level undergraduates every year, and I force them to write short response papers on the readings (you can’t write about a subject if you don’t understand what you’ve read on it). I teach at a highly selective institution, my students work very hard, they are able to devote most of their time to their studies, and yet they mostly don’t complete the assigned reading unless they are penalized for not doing so. It’s frustrating but it’s something we need to confront. Reading is just not that popular an activity anymore, even among the most highly educated. And even prestigious, selective colleges emphasize social and other non-academic aspects of student life as much as they do in-class learning, so there are more officially certified, built-in distractions that we didn’t have when we were in school. I don’t want to make college only about class experiences, but if people who clearly do enjoy learning aren’t treating scholarly and leisure book and article reading as integral to their daily lives, how can we expect it of everyone else?


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Cleo, whom some of you may know from here and other Romanceland venues (DA, SBTB, my previous blog, and elsewhere) has written a lovely post about the Monument Quilt Project. It’s over at Smart Bitches and you definitely want to go take a look. Like the AIDS Quilt Project, the work is a giant quilt made up of individual squares, with each contribution memorializing survivors of sexual violence. Cleo has a photo of her own contribution, which is beautiful. And there are photos which include Cleo (yay!) and her cat (adorable).

In the post Cleo says:

I was uncertain about asking SB Sarah if I could write about this for SBTB, since it really has nothing to do with romance novels. I’m delighted that she said yes because this blog is one of the places where I’ve practiced being more open about my experience as a survivor of childhood sexual abuse. Reading and sewing are also two of the things that have sustained me for most of my life, since I was old enough to learn both skills. So it seems fitting that I’d write about sewing for a romance blog.

I think a romance blog is exactly the right place to post this, because romance novels are about finding love, hope, and support in a difficult world. What better place?

The quilt will be on display at the National Mall in Washington DC from 31 May to 2 June. If you’re anywhere near, go see it! I guarantee you won’t regret it. And thank you, Cleo, for sharing this with us.


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