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Chick lit
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== Publishers == In 2000, ''[[Sydney Morning Herald]]'' described the "publishing phenomenon" of what it called "chicfic," books with "Covers [that] are candy-bright, heavy in pink and fluorescence. The titles are also candy-bright, hinting at easy digestion and a good laugh... ...Such books are positioned in a marketplace as hybrids of the magazine article, fictional or fictionalised, television...and comfort food digestible over a single night at home."<ref name=SMH /> Through the 2000s publishers continued to push the subgenre because sales continued to be high. In 2003, ''[[Publishers Weekly]]'' reported on numerous new chick lit imprints, such as, "Kensington's ''Strapless'', which launched in April 2003 and has one book a month scheduled through the end of 2004. Kensington editorial director John Scognamiglio explained that the imprint was created in response to requests from salespeople for a chick lit brand." Nonetheless, the same ''Publishers Weekly'' article was already looking back enviously at the massive sales achieved by ''Bridget Jones's Diary'' in 1998 and commenting on the challenges for chick lit publishers in a now-overcrowded market. Already, ''Publishers Weekly'' suggested, chick lit was - if not in decline - at least at a turning point.<ref name=PW /> In 2008, editor [[Sara Nelson (editor)|Sara Nelson]] stated that the definition of what's considered to be within the genre of chick lit has become more accomplished and "grown up".<ref name=twsOctJ55f /> By 2012 news sources were reporting the death of chick lit. [[Salon.com]] reported that "Because chick lit (whatever it is - or was) provoked so many ideologically fraught arguments about the values placed on women's vs. men's tastes, high- vs. lowbrow culture, comedy vs. drama and so on, it's tempting to read particular significance into its decline," but went on to argue that the decline was due to a normal process of changing fashion and taste in genre fiction.<ref name=Salon />
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