This has been the summer of Colleen Hoover, a recent viral TikTok announced, editing together clips of young women at the beach reading books by the Texas novelist. Furthermore, just a couple of months ago we had a Colleen Hoover spring and before that a Colleen Hoover winter and before that a Colleen Hoover fall. On any given week for more than a year now, the 42-year-old Hoover has had three to six books on Publishers Weekly’s top 10 bestseller list. Currently three of the top five titles on the New York Times’ combined print and e-book fiction list are Hoover’s. The most popular of these novels, It Ends With Us, isn’t even new. It was published six years ago. A forthcoming sequel to that novel (or possibly a prequel, it’s not yet clear), It Starts With Us, will be published in October, its perch at the summit of both lists guaranteed.
Observers typically attribute Hoover’s success to BookTok, the segment of TikTok dedicated to authors and readers. And Hoover—known as CoHo to her fans, who call themselves Cohorts—is indeed the queen of BookTok, an adept TikToker herself, as well as the subject of countless videos in which young women appear clutching huge stacks of candy-colored CoHo paperbacks and proceed to rank their favorites among her 24 titles. But while Hoover might just be the ideal author to preside over TikTok, the platform is only the latest online vehicle she had ridden to fame and fortune. She sometimes presents herself as surprised by her own virality, but Hoover has been a savvy self-promoter since 2012, when she distributed free copies of her first, self-published YA novel, Slammed, to influential book bloggers. She was big on BookTube (the YouTube book community) and big on “Bookstagram” well before TikTok came along. Furthermore, her story—social worker and mom transformed into blockbuster author via whatever new technology of the moment is ostensibly revolutionizing the book business (self-publishing, blogging, Instagram, TikTok)—is catnip to traditional news outlets.
But a new technology can’t make readers love a book. It can only persuade people to read it. What is it about Hoover’s work that makes it so popular, so infectiously recommendable? Her novels do seem particularly well-suited to the currently ascendant TikTok because the platform favors big, grabby displays of emotion, as opposed to the tasteful lifestyle curation of Instagram, formerly touted as the hot new way to sell books. CoHo fans on TikTok record themselves sobbing, screaming, gasping in astonishment, and pressing her books to their hearts in winsome displays of adoration. Often, actual words are superfluous to communicating the reader’s response—in fact, they may be more of a hindrance than a help. Above all, BookTok conveys that Hoover’s fiction delivers power jolts of unadulterated feels.
Hoover’s books are more varied than the work of many bestselling novelists. You pretty much know what you’re getting when you grab a James Patterson thriller before boarding a long flight. But Hoover has written YA, romantic comedies, a ghost story, a gothic suspense novel, problem novels exploring such difficult issues as domestic violence and child sexual abuse, and steamy romances like Ugly Love, a novel about an affair between a nurse and an airline pilot that I estimate to be about 70 percent sex scenes. Not all of the Cohorts adore all of her books, but they’ve shown themselves to be willing to follow her into relatively uncharted territory and to appreciate what they find there. (Note to anyone reading further: There will be spoilers.)
Romance of one kind or another plays a role in every Hoover novel, and to judge by her TikTok fans, they speak to an audience with a well-developed awareness of the romance genre’s established—not to say shopworn—tropes.
Currently three of the top five titles on the New York Times’ combined print and e-book fiction list are Hoover’s.
Link to the rest at Slate