Too Late

Colleen Hoover’s novels have become a publishing phenomenon in the past few years. After self-publishing several books, her work was picked up by a major publishing house. By 2014, she had appeared on the New York Times bestseller lists for two novels. At points in the following decade, Hoover’s novels represented over half of the entries on the New York Times Bestseller List for fiction. She has sold over 20 million copies of her books, which she originally began writing for fun, as well as to examine meaningful questions about her own life.

There is some debate about whether the new adult genre—with which Hoover is frequently associated—is a necessary or redundant category. Proponents of the category tend to describe new adult as a gap between young adult fiction and adult fiction. New adult books often feature characters in late adolescence. They are essentially coming-of-age stories that offer a more vivid, grittier look at dysfunction than do many traditional young adult narratives.

Critics of the new adult label claim that they are simply young adult novels that are overly sexualized and focus on depression, drug abuse, neurological disorders, rape, and sex that often straddles the line of consent. Too Late can be used as an exhibit for either stance. It features an imperiled 21-year-old woman who is constantly subjected to rape, physical and verbal abuse, and the consequences of living with people with substance use disorders. Too Late is as sexually explicit as many adult novels, although its breathless descriptions of romance and infatuation would fit neatly into many traditional young adult narratives, in which the characters are romantically inexperienced. There are sexual passages that would not be out of place in erotica. The young adult label can serve as a sign of the maturity level of a book’s content.

Regardless of the debate about the new adult label, Hoover’s work is only gaining in popularity. This will bring new attention to the genre, however it is marketed. It will also inspire imitators hoping to capitalize on Hoover’s breakthrough success, so the conversation will continue regardless of its supporters or detractors. The differences may come down to semantics, but the numbers tell a clear story.

Beyond the realms of literary criticism and marketing taxonomy, it is important to note that Hoover is a survivor of abuse. There was abuse in her home when she was a child, and she also experienced abuse as an adult. Again, she originally wrote for her own pleasure and to make sense of her experiences. When she gained popularity, she continued to write as she always had, without labels or ideological struggles in mind.