I think all arts ask this question periodically - Basically "How can we make more money? Why are we loosing or not reaching a group of untapped cash?"
Yep - I'd agree with that. It turns out to be quite difficult to target 'people who don't read much', though. There are lots of different reasons kids might not read with a variety of different remedies operating with various levels of effectiveness. If it's about being slightly below the average reading level, there are specialist solutions for that and different kinds of things to read. If it's about being more captivated by video games, I've seen people try to produce work which is more gamelike, but it doesn't seem to work very well (hell, I've just been playing Titanfall for an hour. It's not going to work on the page.)
Hollywood said the same thing - the same year Avatar became the highest grossing movie of all time. Their argument was that people weren't going to the movies.
I think it's true that Hollywood often chases the biggest audience it thinks it can get in a single package - so there's a lot of reboots and remakes and sequels, based on previously successful IP.
Ultimately, the problem is not with the die-hards but with those who rarely use a service/buy/etc. How do you get a person to go to the movies VS waiting on the movie to come out on DVD? How do you get a person to buy a song vs listen to it a few times on youtube/radio? How do you get those who would rather watch a movie to read?
It's not easy, and I'm not sure the most obvious solution is always the right one. Why don't boys read? Get men to pick the books. How to get kids who prefer movies to read? Make books more like movies. They sound like neat answers but, hmmm. Not sure.
A quick search for “Reluctant Reader Books” turns up books like Percy Jackson, Alex Rider, Diary of a Wimpy Kid, and others which are filled with ACTION or every page is loaded with COMEDY, etc.
I used to work on the Alex Rider series at the height of their popularity. Anthony Horowitz was a midlist author before he wrote Stormbreaker. He had written at least a dozen MG novels, aimed fairly broadly at boys, and none of them had quite 'hit'. There was a series called Groosham Grange, which was like a Munsters-themed Harry Potter - a lot of fun, but it didn't land quite well enough. (The sequel, The Unholy Grail, interestingly prefigures Goblet of Fire.) There was a Raymond Chandler-inflected comedy thriller series called The Diamond Brothers, which was more successful and got a minor film adaptation. And a few standalone stories that were kinda Dahl-esque, like Granny and The Swap (IIRC.)
Alex Rider was a bit of a swerve. He toned down the comedy and the horror elements, but left tinges here and there as appropriate. He riffed off the structure and the trappings of James Bond and deftly found child-friendly parallels. It's really clever stuff, and it's more than the action and explosions - it's the confident, satisfying storytelling, the cast of characters, the protagonist.
I've seen stuff try to replicate the success of Alex Rider and not manage it. The competition has all the explosions and violence and exotic locations, but it doesn't hang together as well. Ditto for, on a grander scale, Harry Potter. Sometimes everything just clicks. Subsequently, Anthony has written a series of horror-themed adventures, and while they showcase his skill with plotting, his knack for an action scene, etc etc, they haven't had quite the same impact.
And so I don't think it's possible to reduce this to a set of initial conditions or to a formula - must have a male author, author must have particular skills, book must contain explosions, must limit emotional exposure. (Not that I'm saying that's what you're asking, just taking the argument to a logical extreme.) I think we just have to look at the books we get sent and pick the ones that seem best, whoever we are and whoever wrote them. The one that conquers the world and ripples right out from the core readership to those reluctant readers probably won't be the one we expected.