While the increase in print book sales is encouraging, it doesn’t necessarily correlate to less time spent on our phones. However, I’m encouraged by the fact that online platforms, while still inescapable, are being used less as a complete replacement for analog media and human connection and more as a way to discover new stories and build real-life communities around those stories.
A lot of kids love comics, even the ones who don’t think of themselves as readers. I’ve seen students absolutely inhale beat-up library copies of Bone, Smile, or Dragonball Z in their free time while they simultaneously struggled to even comprehend the texts I assigned in class, let alone be interested in or enjoy them. Stories told in visuals, with minimal written language, pull in readers who otherwise have a hard time reading.
Reading the classics seems like a great idea until you hit a passage that is particularly hard to decipher. Many classics are published using old translations, meaning that the writing can feel unfamiliar and almost foreign. Now, imagine that, like me, you’re dyslexic, or have a learning disability that makes reading more challenging.
These days, the printed word faces a six-headed hydra. Artificial intelligence subsists off of human ingenuity and threatens education, entertainment, and the publishing sector.
Most readers don’t have a favorite imprint—most probably couldn’t even name more than a handful. But it’s possible you could have a favorite—or a few favorites—without even realizing it.
Are you a fan of manga? Are you someone who would rather scroll through Webtoon than your Instagram feed? Are you a webcomic creator with a dream to publish? You’re in luck because in recent years, there’s been a growth of imprints tailored towards manga, manhwas, manhua, webcomics, graphic novels, and light novels.
Historically, bookstore communities have risen spectacularly to the occasion in times of crisis, and they continue to do so. This is especially true in bookstores that focus on specific minority identities, such as the Black and queer communities. These communities have faced, and continue to confront, threats from a prejudiced world that targets them.
At the end of the day, it can be intimidating to use what little energy you have left to get out of your comfort zone and connect with a wider community. Many indie bookstores have taken on the burden of organizing events and services that address a wide range of patron needs—everything from social engagement to meaningful activism.
What defines a story as “young adult”: the protagonist’s age, the reading level, the story’s contents, the specific themes, or the intended audience? More concerning, how might the presence of a marginalized identity (e.g., BIPOC, feminine, LGBTQ+, disabled) color one’s perception of what is considered—and acceptable—“YA” fiction?
As we have entered the Fall 2025 term, I have had to readdress what the Quick Start Guide project is and its relevance to the publishing industry we hope to soon enter. Most importantly, there has been a major alteration to the scope of the project.