Statement

This is what I am trying to acomplish with my research. To get there, I've carefully chosen reference material: 398 scholar papers and 16 books on topics labeled: Reading, YA, MKT, Bestseller and pop, Fandom, Other, Potter, Publishing, Transmedia and trends. An issue of the American Book Review (31.2) dedicated to Bad Books has its own folder.

Hell of a task. I'm looking for the black string again.

Book publishing marketing on the XXI century must have very strong strategies and models to suceed. The need to view the industry as profitable and product (brand) dependant is vital to sucessfully push and place a fiction book into the social and cultural mesh of today's entertainment industries. Book publishing professionals must concieve themselves as entertainment content producers above all. Here I point out the most recent trends that the book industry has applied specially to the YA fiction literature market.

Being the most measurable and visible niche, its development is relevant because it stablishes intenational trends around specific genres, authors and brands with international reach and transcultural identification. It's relevant to analize how the market responds to marketing strategies, where do they come from, how are they are articulated and why are they succesful or not on blending in terms of author, text and worldbuilding, branding and public engagement. It's important how do they work, modify and replicate in this highly sensitive niche whose media consumption and cultural exposure are vital to the book industry and others dependant of it.

I'll pay special attention to the YA public, its definition, structure, reach, configuration, movility, identities, and fandom movements out of 3 fiction sagas: Harry Potter, Hunger Games and Twilight. I'll also dig tangencially into the configuration of the story as well as fiction and characters models that function within those texts according to transmedia theory and related practices.

My objective is to identify where and how marketing strategies affect to boost the sucess and create a movements that translate in sales, brand recognition and community building beyond the book industry boundaries that can maintain a healthy market and promote long lasting reading practices even when the core material is targeted and artificially produced to feed those proven sucessful movements.
Where and when does it end and how will the YA community respond to an inminent overflow of remixed material.