The Economics of Children’s Book Publishing in the 21st Century

Taxel, Joel

doi:10.4324/9780203843543.ch35

Cited by 4 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…More broadly, our analysis suggests that teachers and scholars of YA literature should critically engage youth adaptations and the broader YA publishing industry. Notions about what is safe or appropriate for the youth reader still appear to be driven by a publishing industry rooted in whiteness (Sims, 1982;Taxel, 2011). In the youth adaptation of Dreamland, for example, the characters and storylines often reside within one chapter of the text and are separated away from the other characters, storylines, plot points, and timelines.…”

Section: Discussionmentioning

confidence: 99%

“…Further, youth access to information about a range of topics, such as drugs, sex, and suicide, is often mediated through adult supervision (Sarigianides, 2012) and a publishing industry slanted toward white, middle-class sensibilities (Taxel, 2011). While this issue is not new (Sims, 1982), the current political climate has created a sense of urgency around how youth are positioned in schools via curricular materials.…”

mentioning

confidence: 99%

See 1 more Smart Citation

Doctors, Drugs, and Danger

et al. 2021

View full text Add to dashboard Cite

Scholarship on young adult (YA) literature has long attended to the interrelationship of power, ideology, and narrative. Drawing on this scholarship, we examined a nonfiction text about the opiate epidemic. Using critical comparative content analysis (CCCA), our study examined differences in Dreamland (the original version) and Dreamland (the young adult adaptation) to better understand the changing nature of textual representation when youth become the imagined audience. We found that in the youth adaptation of Dreamland, the implied youth reader is (a) provided less information about the opiate epidemic, which is also delivered in a simpler structure; (b) kept at a greater rhetorical distance from people who might be deemed unsavory, and (c) given a more optimistic view of the opiate epidemic in terms of progress achieved rather than action needed. The youth adaptation of Dreamland, therefore, positions youth as needing simplicity, protection, and a sense of optimism. Our analysis demonstrates how the implied youth reader is a textual byproduct of discourses of adolescence/ts. As youth adaptations continue their prominence in the YA marketplace, scholars and teachers should critically engage how youth are positioned as readers and thinkers by the YA publishing industry. Next steps involve additional studies that focus on the implied (youth) reader through CCCA and studies that involve middle and secondary education students, the real readers of these texts. This study is supplemented by an interview with Sam Quinones, the author of the original version of Dreamland.

show abstract

Section: Discussionmentioning

confidence: 99%

mentioning

confidence: 99%

Doctors, Drugs, and Danger

et al. 2021

View full text Add to dashboard Cite

show abstract

“…Likewise, this disruption of brick-and-mortar publishing houses also highlights potential implications for literacy instruction and the ways multimodal composing practices are enacted within and outside of school walls. In many ways, access to texts within schools or curriculum is determined by the publishing industry (Short, 2018;Taxel, 2002) and therefore this influences how educators, students and school leaders privilege or value particular texts and compositional genres. There is a messy interconnectedness among social media, AI algorithms, texts, schools and the economic considerations that shift intentions, outcomes and justice.…”

Section: Composing On Tiktokmentioning

confidence: 99%

Writing with, for, and against the algorithm: TikTokers’ relationships with AI as audience, co-author, and censor

Jerasa,

Burriss

2024

ETPC

View full text Add to dashboard Cite

Purpose Artificial intelligence (AI) has become increasingly important and influential in reading and writing. The influx of social media digital spaces, like TikTok, has also shifted the ways multimodal composition takes place alongside AI. This study aims to argue that within spaces like TikTok, human composers must attend to the ways they write for, with and against the AI-powered algorithm. Design/methodology/approach Data collection was drawn from a larger study on #BookTok (the TikTok subcommunity for readers) that included semi-structured interviews including watching and reflecting on a TikTok they created. The authors grounded this study in critical posthumanist literacies to analyze and open code five #BookTok content creators’ interview transcripts. Using axial coding, authors collaboratively determined three overarching and entangled themes: writing for, with and against. Findings Findings highlight the nuanced ways #BookTokers consider the AI algorithm in their compositional choices, namely, in the ways how they want to disseminate their videos to a larger audience or more niche-focused community. Throughout the interviews, participants revealed how the AI algorithm was situated differently as both audience member, co-author and censor. Originality/value This study is grounded in critical posthumanist literacies and explores composition as a joint accomplishment between humans and machines. The authors argued that it is necessary to expand our human-centered notions of what it means to write for an audience, to co-author and to resist censorship or gatekeeping.

show abstract

“…Too often, those published are not as readily available as other texts (McNair, 2008). This trend does not appear to be changing as a highly-competitive global market has made publishers less willing than previously to take what may be perceived as "risks" in publishing such works (Taxel, 2011). Moreover, a strong history exists in the field of children's literature of mischaracterizing marginalized groups of people (Bishop, 2007)-a trend that, unfortunately, continues to this day (Franqu ız, Mart ınez-Rold an, & Mercado, 2011; Mart ınez-Rold an, 2013).…”

Section: Cultural Competencementioning

confidence: 99%

Culturally and Linguistically Relevant Readalouds

May

Bingham

Pendergast

2014

Multicultural Perspectives

View full text Add to dashboard Cite

The teacher readaloud is an instructional tool established in its ability to foster children's language and literacy development. Increasing cultural and linguistic diversity and changing standards place pressure on teachers to provide literacy and language instruction relevant to children's everyday lives and learning. This article presents a framework for conducting culturally and linguistically relevant readalouds within two essential components, talk and text, in terms of developing cultural competence, maintaining high academic expectations, and fostering a critical stance. Particular attention is given to the interactive nature of these readalouds and how they can be used to promote children's active co-construction of textually-based meaning.

show abstract

The Economics of Children’s Book Publishing in the 21st Century

Cited by 4 publications

References 0 publications

Doctors, Drugs, and Danger

Doctors, Drugs, and Danger

Writing with, for, and against the algorithm: TikTokers’ relationships with AI as audience, co-author, and censor

Culturally and Linguistically Relevant Readalouds

Contact Info

Product

Resources

About