I definitely think, in the "lull" after agents went nuts for contemporary - ANNA AND THE FRENCH KISS, ALL THE BRIGHT PLACES, John Green and John Green-like novels - adult genre fiction jumped on YA with GONE GIRL. I definitely feel like that's had a very similar arc to TWILIGHT and THG with buzzed film adaptations and reader hype which, if anything, had a longer shelf life than the YA comps, perhaps because as a trend, nothing beat GG but there were a fair few more blockbuster successes - THE GIRL ON THE TRAIN, obviously, so much so that I still see these being circulated as comps a wild five years after GG came out. I think these successes "stole away" a lot of the primary female adult readers that would read YA post-Twilight. Why? I think it's as simple as a) what young people like and primarily read has always been mocked (I'm still hearing jokes about teenagers in love with sparkly vampires in the year of our Lord 2018!), and b) the "anything Girl" (Dragon Tattoo, Train, Gone, Before, etc. etc.) is a far more flexible genre comp. When the main markers of the subgenre are "intelligent femme fatales doing fucked up shit, usually in multiple POVs" it's faaaaar easier to make that into a longer lasting trend. We've simply seen the shift in energy publishing-wise.

On the other topics brought up here, I agree with everything here:

Quote Originally Posted by Putputt View Post
^^ This.

Bmr, I think your theory might have more credence if it isn’t for the inconvenient fact that:

1. Non-diverse books by non-diverse authors are still being published with a lot of hype.
2. Diverse books are recently getting the hype they deserve and simply outselling their competition.

So you’re ignoring the fact that THUG pretty much flattened the books slated to be “the next Hunger Games” (i.e. Caraval and Carve the Mark...and CTM was written by a big-name writer to boot!) in an effort to prove your theory. But what about the non-diverse books which just aren’t making it super huge? There’s a ton of them out there. I see PM announcements being made all the time of non-diverse stories selling at auction. They’re still being released. Diverse books are still a very small part of the market, so it’s a bit of a reach to blame the lack of “the next Hunger Games” in YA on them. When your theory requires such impressive mental gymnatiscs, maybe it’s time to consider that it might be wrong?
But wanted to pick up on the idea that Harlequin posed - of "exoticism." I think this is a fair criticism of a lot of the manner of YA publishing, but it's also to be expected when YA marketing is naturally done so much via social media. A couple of things that jumped out at me from this thread:

One WILDLY successful book isn't a trend (yet). THUG was a very organic success. I heard about it from the insane reader reactions to ARCs, saying it was the new big thing. Then it was topping the NYT bestseller lists week after week after week, then it was getting made into a film -- there really was a lot of reader-led hype around that book. However, it wasn't "just" successful because of an "agent-led narrative" - leaving briefly aside any questions about craft or quality, it had a combination of an absolutely brilliant premise which combined the ever-popular idea of "the teens are the resistance, the teens are rising up!" which we've seen as far back as THG (sorry if that seems like an insensitive comparison), but completely changing it up with the stuff of news stories that teens see everywhere on social media, and fired up by BLM.

I think, if it seems like diverse novels have come out of nowhere and now ALL the agents want them, it's because of that organic success. They've realised, to put it bluntly, that they almost missed the boat on this one. While they were out emulating Game of Thrones (which I know isn't a new product, but back in 2013, it seemed like all anybody wanted) or Outlander, those kind of teen-led, teen-centred social thrillers were what the Facebook/Twitter teens of today want to read, to talk about, and tweet about.

Sorry if this got way long and rambling. I'm up watching the Oscars and now it's morning here in England (how?!?!).