With the success of the Hunger Games movie and the resulting increase in book sales, we are reminded of the dominance of Ditz Lit on the publishing market.
Ditz Lit has many forms and forms with some of the most popular, paranormal romance, urban fantasy and YA dystopian. The main feature of Ditz Lit is the painful way it evokes feelings from its readers. All signs and situations are made as simple as possible to maximize the emotional response, especially for fear and anger. It is ideally suited to the emotionally overreactive teen.
Ditz Lit has always been with us and has always been a large and lucrative market. What has changed recently is the takeover of this sector by adolescent consumers. The success of this genre is best achieved by displaying a teenage world that teenagers often portray as innocent victims and adults as ruthless villains. There is some controversy, if this is a late performance of the teenage world, or simply confuse the desire of veiled suburbs to see themselves as disadvantaged in some way.
Not all Ditz Lit consumers are teenagers. To prove this, try log log bloggers to see how many of those who have not yet reviewed the Hunger Games novel. There are not many. Ditz Lit is becoming normal and needs all its competitors.
Apologists of Ditz Lit claim that it is dizzy because it is written for teenagers. They are teenagers too. Those who view literature as a means to pursue more emotional maturity are only part of the world of ruthless adult villains. Under the Ditz-Lit model, it is not the literature that encourages adolescents to grow up. There is literature to encourage adolescents to save their emotional immaturity and to welcome adults.
With the enormous commercial success of Ditz Lit, it is difficult to get the impression that our cultural feelings are increasingly being defined on the emotional level of the children. The film industry has been in this trend for a while. Because the publishing industry is increasingly dependent on films as an advertising medium, we can expect that even more books will be defined in the development phase of higher education.
The more popularity Ditz Lit has with readers, the more we need a subtle fiction to create a counterbalance. Those who find boring stories about heroes and baddies are not very hopeful. The sales figures make this genre the benchmark against which all literature is measured. Authors who do not follow the mass market for the youth public are often considered somewhat inadequate.
It is worth noting that the creators of these novels can hardly be held responsible for their distribution. This credit is mainly due to the saturation strategy to best sell the mentality. This strange concept of so many different people reading the same books does not benefit the literary market, but it maximizes revenue for publishers and probably does not disappear quickly.
The great irony of the success of dystopian novels, such as The Hunger Games, is that it creates a kind of dystopia for all other authors who are forced to pay tribute in a desperate but senseless attempt to survive. It can be a good story for Ditz Lit’s next bestseller. In this case someone else has to write it.