In Defense of “Easy Reads”

Reading, typically tied to academics or an extension of learning, has recently rebranded itself into something more than a mundane chore assigned by your 8th-grade English teacher. With the rise of “BookTok”, a corner on TikTok dedicated to talking about everything books, and Goodreads, an app that fosters a sense of community among other book lovers, it’s no wonder the reading rate is on an upward trend. 

The overall response to the rise of casual reading has been mostly positive, as reading renders benefits such as reducing screen time, exercising the brain, and even improving memory.  Personally, I attribute the rise in reading, especially with younger generations, to the current book marketplace. Authors like Emily Henry, Riley Sager, Taylor Jenkins Reed, Freida McFadden, and (how could we forget) Colleen Hoover are just some of the few who are absolutely killing it in the publishing industry, selling copies daily. One of the main reasons these authors maintained such success is that they make what is known as “easy reads”. Featuring a linear–yet compelling– plot, fast-paced structure, and accessible language, “easy reads” are perfect picks for those dipping their toes into reading or those who want to pick up something simply entertaining. 

I never thought there was shame in enjoying an “easy read”; as I’ll be the first to admit, I love a book I can sit back and not have to think too hard about. However, I noticed recurring criticism tied to the books.

The “easy read” genre holds a relatively dicey reputation, as some argue the books lack scholarly content, fail to challenge readers intellectually, and/or aren’t making their way into universities’ curriculum or literary canon. In “Unpopular Opinion: Books that are ‘easy to read’ are actually harder to write,” Georgia Wells works her way through the “easy read”, argument as she puts it, “These novels work for a vast majority of people, from those who haven’t read a book since they left school, to those who read a wide range of texts and like to use ‘easy reads’ as a break from the weight of reading classics.”

To Well’s point, it’s entirely true. Speaking from someone in a major where the curriculum requires extensive reading of scholarly books, research papers, etc, the “easy read” genre got me into reading as a hobby. Also, let’s not forget that writing is a form of art. Many of these books are designed to tell a story, so the whole intellectual criticism of the “easy reads” really doesn’t apply to the genre, as that’s not the point of most of these books. Instead, these books are designed to entice and evoke emotion in readers, and with the recent rise in reading, it seems these “easy reads” are doing something right. Right?

Doubling down on the “easy read” defense, just take a look at the recent book-to-screen adaptations, The Housemaid by McFadden, and Reminders of Him by Hoover, which are just two current examples proving that so-called “easy reads” are not just disposable books but influential forces that can be incorporated into mainstream entertainment.

So in defense of ‘easy reads,’ here’s what I got.

Producing an “easy read” is harder than you think. Realistically, creating a book appealing to a vast audience is a challenge that requires extensive plot planning skills, research, and a lot of time. “Easy reads” are also so necessary to the publishing industry, as it’s a forum of comprehensible creative expression that can both entertain and impact readers.

Although I can’t speak for everyone, personally, I look back on my all-time favorite books, and my list is filled with “easy reads” because those are the books that, honestly, stuck with me the most. 

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