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The landscape of online communication is rapidly evolving, significantly impacting the creation and maintenance of online communities, particularly within the children’s publishing sector. Recent fluctuations across social media platforms—including major changes on X, variations in Meta’s policies affecting Facebook, Instagram, and Threads, as well as the uncertain trajectory of TikTok—are forcing users to reassess where they congregate online and the degree of their engagement. Within this ongoing upheaval, the children’s publishing community faces the challenge of establishing viable new platforms for interaction and networking.
At X, previously known as Twitter, transformations have included the introduction of subscription services and the substitution of traditional fact-checking with community-driven notes. These developments have been part of a broader trend reflected in the platform’s toxic environment, which has deterred many users over time. According to author-illustrator Jarrett J. Krosoczka, the atmosphere became increasingly hostile as X’s ownership transitioned and political tensions rose in the run-up to the 2024 election.
Historically, X had served as the primary gathering spot for the children’s publishing community. “The kid lit community flourished there,” remarks Kate McKean from Howard Morhaim Literary Agency, highlighting the platform’s role in providing valuable access to resources and opportunities in the traditional publishing sphere.
Laurel Snyder, a children’s author who departed the platform last year, fondly recalls the initial camaraderie found on Twitter, where it served as a spontaneous and warm environment fostering meaningful friendships. Despite its drawbacks, Snyder notes that prior to its decline, Twitter developed a vibrant presence that endearingly connected writers, readers, and industry professionals alike.
Although X retains some activity, many users have sought refuge from its changing dynamics, leading to the fragmentation of their once-cohesive communities. Author Ryan La Sala reflects on this disarray, describing how individuals now find themselves distributing their attention across multiple platforms, leading to a diluted and chaotic presence. The absence of key publishing figures has also altered the community’s character—an unexpected change that initially felt liberating but ultimately led to nostalgia for the former structure.
The challenge lies not only in migrating to new spaces, but also in hesitance stemming from past experiences where communities have collapsed. Eric Smith from P.S. Literary Agency observes the reluctance among some to invest in new platforms due to fears of repeating past disappointments.
As the search for alternative online spaces continues, several candidates have emerged, with Bluesky gaining particular attention. Developed initially as a project by Twitter co-founder Jack Dorsey, Bluesky has seen rapid growth, almost doubling its user base within a couple of months. Kate Messner, a children’s author, expresses optimism for Bluesky, viewing it as a promising environment still in progress for the kid lit community.
Many users are rallying around Bluesky as they transition away from X, hoping to rekindle the early spirit of Twitter in a less adversarial setting. Early adopter Debbie Ridpath Ohi has taken initiative in fostering community engagement through the platform, creating resources that assist others in reconnecting with their audience while navigating this transformative period.
In contrast, Threads, Meta’s latest offering, faces skepticism as it adopts a community-driven approach to fact-checking similar to X’s. Observers worry that the quality and safety of conversations on Threads may mirror the challenges that plagued other platforms. La Sala, who has already shifted away from Threads, suspects it might soon encounter issues reminiscent of those experienced on previous Meta platforms.
Current Sentiments in the Community
Kate McKean
VP, Howard Morhaim Literary Agency
“The kid lit community [on Twitter] was so vibrant. It was great for agents and editors, too. You got what you put into it.”
Ryan La Sala
Author
“Now, we’re all just posting on nine platforms at once, and it’s a very strange and strained cacophony.”
Jarrett J. Krosoczka
Author & Illustrator
“My platform of choice is texting with my friends in the kid lit community. I’m over trying to find the next shiny new thing.”
Chloe Gong
Author
“I think many of us are just kind of baffled and are still holding on hope that TikTok will be saved. There will definitely be a void if TikTok is banned.”
Debbie Ridpath Ohi
Author & Illustrator
“I don’t think we’ll ever be able to recapture the same innocence of early social media days, but that’s not necessarily a bad thing. The world has changed, and social media changes along with it.”
Simultaneously, TikTok’s status remains precarious, as previous efforts for a U.S. ban fuel uncertainty within its creative spaces. BookTok, a thriving community within TikTok centered on literary discussions, has significantly influenced children’s publishing by giving rise to numerous authors and trends. Lynn Painter describes her experience as a beneficiary of this phenomenon, crediting TikTok for enhancing her reach and visibility.
Maintaining optimism, both Painter and others acknowledge the ephemeral nature of social media communities. Author Chloe Gong articulates collective apprehension about what a potential ban might mean for the future of literacy engagement and content sharing. Yet, the consortium of writers and readers remains resilient, indicating a readiness to transition to new platforms should a void arise.
As the community embarks on this exploration of newer alternatives—be it through Xiaohongshu, YouTube, or independent blogs—there’s a growing desire for formats that allow for more meaningful interaction. This shift indicates a reflection on values and an active prioritization of cultivating supportive environments within the literary sphere.
Ultimately, the rise and fall of platforms should not overshadow the connections and dialogues that define the children’s publishing community. As McKean reiterated, the essence of kid lit transcends any single platform. As this demographic navigates through waves of change, their collective hope persists, looking towards a future where they can continue to celebrate and promote literature that inspires young audiences.
A version of this article appeared in the 02/03/2025 issue of Publishers Weekly under the headline: Greener pastures, Bluer Skies.
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