This research aims to study the power of communication and marketing in the field of literature among young people. I wish to analyze literary consumption trends, the place this practice holds in their lives, and the ways in which they learn about it and choose one book over another. This study will allow me to highlight a key issue, then carry out creative monitoring and a creative research.

The context

In France, young people enjoy reading. According to a study conducted by the National Book Center (CNL) in 2024 among a sample of 1,500 French youths aged 7 to 25, 81% of them say they like reading. However, that same study also showed a sharp decline in leisure reading among teenagers: 89% of boys aged 10 to 12 read for pleasure compared to only 65% of those aged 16 to 19. Another study by the CNL in 2023 revealed a 12% drop in readers aged 15 to 24 between 2019 and 2023. It is therefore important to first understand the reasons behind this decline: which new activities have replaced reading, and what elements are missing for it to remain appealing to young people.

The CNL study showed that among 7- to 25-year-olds, 48% say they prefer other activities over reading, 25% find books too long, and 17% struggle to concentrate. Naturally, this young generation has been strongly shaped by the rise of social media platforms. The first factor that helps us understand the decline in reading within this age group is this: 7- to 25-year-olds spend ten times more time in front of screens than reading each week. Not only does this occupy a major part of their daily lives, but it also has side effects on the brain, such as a constant need to be connected and a reduced attention span.

Platforms like TikTok, Instagram, and YouTube offer very short forms of content (shorts, reels, etc.) in an endless feed, which causes the brain to get used to very brief attention spans. An article published on Développez.com about the TikTok phenomenon explains that this platform can even alter young users’ attention capacities. Michael Manos, clinical director of the Center for Attention and Learning at the Cleveland Clinic Children’s Hospital, explains that the constantly changing short videos on TikTok prevent children from developing their “directed attention”, that is, the ability to inhibit distractions, maintain focus, and shift attention appropriately. This can lead to difficulties adapting to non-digital activities, where things do not move as fast. Thus, the more time young people spend on these platforms, the more their directed attention decreases, making slower activities harder to engage with and therefore less enjoyable.

The CNL study also found that one in two young French readers engages in other activities simultaneously while reading: 36% send messages, 34% watch videos, and 31% browse social media at the same time. This is a direct consequence of the problem mentioned above — social media users feel a constant need to switch their focus more frequently. Multitasking becomes their way of not getting bored while reading.

These studies therefore show that one of the main reasons behind the decline in reading among young French people is the rise of social networks and the resulting decrease in attention span. Reading requires sustained, directed attention, something increasingly difficult for young social media users to maintain. As a result, they perceive reading as too slow, boring, or unstimulating, and are more drawn to activities requiring less cognitive focus, such as social media, streaming platforms, or video games.

While the negative effects of social media on young people are often discussed, it is important to remember that they can also have positive impacts. Given how central these platforms have become in young people’s lives, it would be narrow-minded to only view them negatively and not take advantage of the opportunities they also provide. In 2023, 18% of 16- to 25-year-olds reported spending more than 5 hours a day on social media, and 45% spent between 3 and 5 hours.

For some, social networks are a source of inspiration and motivation, especially platforms like TikTok, Pinterest, and YouTube. Several viral trends on TikTok perfectly illustrate this: Cleantok, Studytok, etc. These refer to categories of content focused on specific practices. Cleantok is a hashtag grouping more than 4 million satisfying videos of people cleaning their homes, and Studytok includes over a million videos of people filming themselves studying. At first glance, it may seem surprising that people consume videos of others doing mundane activities like cleaning or revising. But in reality, these videos inspire and motivate viewers to tidy up their homes or study in a more organized way. Similar types of content can also be found on YouTube, Pinterest, and Instagram.

If these social platforms can motivate users to clean or study, could they also motivate them to read? The answer is yes: more than half of 16- to 19-year-olds choose a book after hearing about it online, and 14% have read a book because it was recommended by a social media personality. The BookTok and Bookstagram phenomena are becoming increasingly popular and have a growing influence. On TikTok, there are over 30 million videos under the hashtag BookTok. Influencers specializing in this field have emerged, such as @Dizreads (20k followers on TikTok) and @LeCafedesLettres (58.4k followers). Their content revolves around reading recommendations of all genres, book hauls (showing recently purchased books), bookshelf tours, and more.

We will return later to the types of content published by these influencers. What is most important to note here is the power of social platforms to make a seemingly “unattractive” domain appealing, and the strong influence they have on consumer motivation.

Beyond social media, there are other factors that make reading appealing to young people. For instance, among 7- to 19-year-olds, the choice of a book also depends on its cover and overall aesthetic: 40% of young readers say they choose a book based on its cover. In the Instagram era, “aesthetics” play an increasingly important role in our lives: we all want that “Instagrammable” interior, outfit, or lifestyle, like influencers. This highlights the importance of the artistic direction of publishing houses. Some already make an effort to stand out, such as Éditions Zones, a publishing house focused on counterculture that releases books with original covers. Another example is Bloomsbury’s edition of Frankenstein and Cleopatra by Coco Mellors, which went viral on social media due to its beautiful cover.

Another factor that motivates young people to read is recommendations from friends or family. According to the CNL report, this is actually the main source of motivation: 45% of 7- to 19-year-olds buy a book after a recommendation from someone close to them, and 55% have already lent a book they enjoyed. Although reading is a very personal and individual activity, it still holds a social dimension. The rise of book influencers and the fact that personal recommendations remain the top motivation for purchasing a book among young people both illustrate this.

Until now, we have discussed reading mainly in the context of physical books. However, other forms of reading have been emerging over the past few years, namely digital and audiobooks. According to the National Publishing Union, the digital publishing market grew by 3.6% between 2020 and 2021, by 13.5% between 2019 and 2020, and by 9.2% between 2018 and 2019. The Ministry of Culture has even set a goal to make digital reading accessible to everyone by 2025. As for audiobooks, they “gained 800,000 new users in just one year, according to the annual reading habits survey released on April 22, 2022, by Sofia, SNE, and SGDL during the Paris Book Festival.”

Alongside these new forms of literary consumption, book-buying habits are also evolving. The second-hand market, in particular, has recently experienced a boom, posing a challenge to traditional publishing. According to Le Point, one in five books is now bought second-hand. The growing phenomenon of “book boxes” also gives readers the chance to access second-hand books for free by exchanging their own. Among the young people surveyed in the CNL study, 15% obtain books this way, and 57% sometimes buy their books second-hand. Libraries are also seeing more visitors than bookstores: in 2024, 69% of young people reported visiting their school library at least once a month, 29% visited public libraries outside of school, while only 33% visited bookstores.

This contextual analysis allows us to understand several things. First, the place that literature occupies in young people’s lives: they enjoy reading but often lose the time, motivation, and focus required for it during adolescence. We also highlighted existing opportunities that make reading appealing to youth, such as social media, publishing aesthetics, and personal recommendations. Finally, we observed certain phenomena within the publishing market: the rise of digital and audio reading, as well as the growth of second-hand and book-exchange markets.

Monitoring

In this section, I aim to analyze the communication techniques used by various players in the field of reading. I will start by looking at the strategies of publishing houses, then delve deeper into the BookTok and Bookstagram phenomena, and finally explore literary media and podcasts. The goal is to observe current communication trends in the literary world, understand what works best, and draw inspiration from them.

Let’s begin with the communication strategies of publishing houses. To recall, the major French publishing groups that will be the focus of this analysis are Gallimard, Hachette, and Editis. These groups use multichannel communication strategies, including social media, advertising, sponsorships, and press/media relations.

What is particularly interesting in their communication approaches is the focus on building community engagement. For instance, Éditions Gallimard provides online forums and discussion spaces where readers can exchange ideas about books they’ve read. These forums are moderated by Gallimard staff to ensure respectful exchanges. The publisher also organizes Q&A sessions with authors and themed virtual discussions. Gallimard further encourages reading clubs by offering discussion guides, thematic questions, and sometimes free or discounted copies for club members. The main drawback of these otherwise relevant actions is that they don’t receive enough visibility, there isn’t enough communication surrounding them.

All publishing houses maintain a presence on social media, typically using a classic approach that includes posting gift ideas, reading recommendations, and contests. Some have also embraced influencer marketing by partnering with book influencers, for example, Éditions Folio collaborated with influencer @la_bouquinerie_d_emilie.

An interesting initiative to note in this monitoring process is the Pass Culture, created by the French Ministry of Culture. The Pass Culture aims to make culture (not only literature) accessible to all. It gives young people €30 for their 16th and 17th birthdays, and then €300 at age 18. This money can only be spent on cultural works or events (books, CDs, movies, concerts, etc.). Like Gallimard, Pass Culture has created its own “book club”, an Instagram account where readers share their favorites, reviews, recommendations, and updates.

Thus, beyond traditional communication methods (partnerships, social media, advertising, etc.), we can identify a strong will to build communities centered around a shared passion for reading. This is expressed through interactive platforms and reading clubs.

It is essential to focus on the Bookstagram and BookTok phenomena. Having already mentioned these earlier, I won’t go over the definitions again: in short, they are social media trends on Instagram and TikTok where users share literary recommendations. These movements have allowed content creators to become true “literary influencers.” Among the most well-known are @lesouffledesmots, @lecafedeslettres, and @templedumanga.

These influencers publish a wide variety of literary content: bookshelf tours, reading recommendations, contests, book hauls, gift ideas, unboxings, and more. On TikTok, this content is often dynamic, entertaining, and easily shareable, allowing a wide range of books, from bestsellers to hidden gems, to reach larger audiences.

On Instagram, the most visual platform, Bookstagram provides a creative space where readers can express their love for books through carefully composed photographs. Bookstagrammers showcase reading recommendations with artistic staging, accompanied by more personal and detailed commentary.

These trends have deeply transformed the way readers discover, share, and discuss their favorite books. They have also given rise to new forms of literary interaction, such as group reads, monthly reading challenges, and online book clubs. In short, BookTok and Bookstagram have opened new doors for the reading community, offering a dynamic and inclusive space where the passion for books is celebrated and shared. In many ways, this echoes the idea of reading clubs mentioned above.

Another growing phenomenon in cultural communication is podcasting. Literary podcasts have become a popular and accessible way for book lovers to discover new stories, explore in-depth analyses, and listen to engaging discussions about literature. These audio shows come in a variety of formats, author interviews, book reviews, or excerpts read aloud.

Because of their immersive nature, podcasts allow listeners to explore different facets of literature while going about their daily activities. Some of the most well-known French literary podcasts include Le Book Club, Lectures à la carte, La Poudre, and Portraits.

Moreover, literary podcasts often give a platform to underrepresented voices in the publishing world, highlighting emerging authors, independent books, and diverse perspectives. This helps broaden listeners’ horizons and encourages greater inclusivity in the literary landscape.

In short, literary podcasts are much more than entertainment for book enthusiasts, they represent a virtual community where listeners can share their love of books, discover inspiring new works, and deepen their understanding of literature in all its richness and complexity.

Literary media and magazines, such as Le Magazine Littéraire and Lire, also hold an important place for literature enthusiasts seeking discovery and analysis. These publications offer a range of content, from book reviews and author interviews to articles exploring emerging trends in the literary world. Their role goes beyond simple reading recommendations: they serve as guides and beacons in the complex landscape of publishing. Each magazine has its own style, some specializing in particular genres. Ultimately, these media outlets and magazines create a safe space for passionate readers.

To summarize this monitoring work, we can say that the common thread connecting all these elements is the desire to build a sense of community. Whether it’s through the communication strategies of publishing houses and cultural initiatives, the work of BookTok and Bookstagram influencers, or the activity of literary podcasts and magazines, the overall trend points toward openness, connection, and the sharing of a common passion: reading.