The New Indian Reader: Younger, More Experimental and Willing to Spend

For the longest time, reading in India has had a strong sense of purpose attached to it. We read to learn, to improve ourselves, to prepare for an examination, acquire a new skill or get ahead professionally. It is perhaps no surprise, therefore, that non-fiction has traditionally accounted for more than half of the Indian trade publishing market.

But something interesting is happening. The Indian reader is changing — becoming younger, more experimental and increasingly willing to spend on books. More importantly, a growing number of people are reading simply because they enjoy it.

From Reading to Improve to Reading for Pleasure

One of the clearest manifestations of this change is the rise of fiction. Over the last four to five years, fiction has been among the fastest-growing segments of the Indian trade book market.

Much of this momentum is coming from younger readers, particularly the 14–24 age group. This generation is discovering books differently, experimenting across genres and moving comfortably between Indian and international authors.

Thrillers have become particularly strong, with writers such as Freida McFadden building an enormous following. Romance remains a perennial favourite but is evolving rapidly. Romantasy — the intersection of romance and fantasy — has emerged as a significant category, particularly among younger readers. Writers such as Dolly Alderton are also finding strong resonance with readers through their candid exploration of relationships, friendship and contemporary life.

Indian commercial fiction is evolving alongside this. Durjoy Datta and Srishti Chaudhary represent different generations and voices within popular Indian romance and contemporary fiction, showing that home-grown storytelling continues to connect strongly with younger readers.

At the same time, mythology and mythological fiction remain powerful areas of reader interest. Authors such as Akshat Gupta and Anand Neelakantan have demonstrated how stories rooted in Indian mythology, history and culture can be retold in contemporary and highly accessible ways.

There is also growing interest in more intimate forms of writing — poetry, thoughts, reflections and personal musings. Writers such as Rithvik Singh and Sumitra Manda are connecting with young readers looking for writing that feels immediate, emotional and relatable.

And young readers are not restricting themselves to traditionally youth-oriented writing. One of the most interesting examples was Arundhati Roy’s Mother Mary Comes to Me, which became a major talking point among readers, including across college campuses. It was a reminder that younger readers are curious, culturally engaged and willing to embrace serious literary voices when a book enters the wider conversation.

Social Media Has Transformed Discovery

A major catalyst behind this change is social media. Book discovery is no longer limited to a bookstore table, newspaper review or recommendation from a friend. Instagram, YouTube and other social platforms have created an enormous ecosystem of book influencers and reading communities.

There are now numerous creators with substantial followings who can create meaningful demand for a title through a recommendation, review or reel. The visual appeal of books also lends itself particularly well to social media — beautiful covers, sprayed edges, bookshelves, reading cafés and book hauls have all become part of the culture.

Books have, in a sense, become cool again. Celebrities, entrepreneurs, business leaders and public personalities are also regularly seen recommending books or carrying them. A book recommendation from someone people admire can trigger curiosity well beyond the traditional book-buying audience.

Reading increasingly sits alongside music, travel, fashion and food as part of how younger consumers express their interests and identity.

Reading Is Becoming Social

There is another fascinating development. An activity traditionally considered solitary is becoming increasingly communal.

Across Indian cities, book clubs and informal reading communities are flourishing. Silent reading clubs, Lodhi Reads, Delhi Book Lovers and Cubbon Reads, among many others, are bringing people together around books. Platforms such as Tweak India have also helped make conversations around books more mainstream.

The movement extends beyond organised clubs. Residential communities are creating libraries and reading spaces. Schools are increasingly encouraging extracurricular reading through book clubs that take children beyond prescribed textbooks and curricula.

This matters because reading habits are reinforced by community. When people around you are talking about books, recommending them and meeting to read together, books become part of everyday culture rather than an occasional purchase.

There may also be another factor at work: screen fatigue is real. After spending much of the day moving between phones, laptops, social media and streaming platforms, a physical book offers something increasingly valuable — uninterrupted time away from a screen.

Ironically, readers may discover the book on a screen but ultimately buy it to escape one.

The Book Is Becoming an Object of Desire

Perhaps one of the most encouraging trends is that a growing section of readers is not necessarily looking for the cheapest edition anymore.

There is a new cohort of passionate book lovers who want to own, collect and display beautiful books. Hardbacks, premium cover finishes, special editions, sprayed and patterned edges and beautifully designed box sets are finding enthusiastic buyers. For these readers, the book is simultaneously content, experience and collectible.

This willingness to spend more is significant for publishers and booksellers. It suggests that the physical book has not lost relevance in a digital world. If anything, its physicality has become part of its appeal.

A reader may finish the story in a few days, but a beautifully produced book can remain on the shelf for years.

The Definition of Reading Is Expanding Too

Experimentation is not restricted to conventional genres. One of the more interesting recent successes has been Murdoku, which combines murder mysteries with logic and puzzle solving. Its popularity shows that consumers are open to formats that sit somewhere between a book, a game and an experience.

Adult colouring books are another interesting area. Coco Wyo, already a global phenomenon, has found an enthusiastic audience in India as well. Their appeal as an accessible, screen-free way to relax and de-stress fits neatly into the broader changes we are seeing in consumer behaviour.

At first glance, thrillers, romantasy, mythology, poetry and musings, literary fiction, puzzle books, colouring books and premium editions may appear to have very little in common.

But there is a common thread running through all of them: The new Indian reader is willing to experiment.

A Very Good Time for Books

The most encouraging part of this transformation is not simply that certain genres are growing. It is that the relationship Indians have with books appears to be broadening.

The traditional reader who turns to books for knowledge, self-improvement and professional development remains extremely important. But alongside that reader is emerging another one — younger, curious, socially connected, comfortable discovering books online, willing to experiment across genres and increasingly prepared to spend more for something they value.

They read to escape. They read to belong. They read to relax. They read because someone they follow recommended a book. They join communities built around reading. They buy an edition because it looks beautiful on their shelf.

And increasingly, they read simply for the joy of reading.

For publishers, authors and booksellers, this opens possibilities well beyond the traditional definition of the Indian book market. It may just be one of the most exciting times to be in publishing in India.

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About the Author

Currently overseeing the complete sales portfolio for Penguin in India, Sameer Mahale comes with 22 years of experience in General Trade Publishing. Sameer joined Penguin in January 2017 as General Manager- Sales, initially looking after Children’s sales, custom publishing, DK sales, and the North India region, and going on to head the Online Sales Team in 2021.

Sameer offers a 360-degree publishing perspective, leading sales and managing the Penguin Enterprise division as a publisher. He has been instrumental in driving eCommerce sales at Penguin. An industry expert, Sameer also teaches courses on the publishing landscape in India and sales & distribution strategy at the National Book Trust publishing course.