Blackspire

Unbreaking the Publishing Industry

The publishing industry is fucking broken. Depending on your source, only 1% to .6% of the books submitted to trad publishers actually get published (with or without an agent). However, even if you’re one of the blessed few to land a deal, you’re not out of the woods.

Most books sell fewer than 2,000 copies in their lifetimes. Many sell fewer than 1,000 copies, and the numbers are even lower for self-published authors. The Amazon/self-pub revolution that was supposed to democratize the publishing industry, taking the power out of the gatekeepers’ hands and putting it in the hands of authors, has backfired. That doesn’t even touch on the effects of the glut of AI slop now hitting shelves (don’t even get me started on that horseshit).

Why is it like this?

There are a few reasons:

• Discoverability is broken, and it has been almost since self-publishing exploded. It’s harder than ever to find a book that’s worth reading because the shelves are so damned crowded, and it’s tough to parse the books that suck from those that you’ll love. Slick marketing and fucking sock puppet reviews don’t help (or the reverse – nasty review bombs designed to kill a book’s sales).
• Trad publishers need to publish books that will sell, which means they have to look at what sold well in the past, leading them to look for more of the same with little tolerance for the risks inherent in taking a chance on something different. Agents are in the same boat. Even if they want to take a chance on a story that’s different, they’re unlikely to do so, because for them to get paid, they have to be reasonably confident that they can sell that book to a publisher. Since the Big 5 are risk-averse, agents are, too.
• There are fewer ways to find books in the first place. Once, you could go to a physical bookstore, pick up a book, feel its heft, and get book recommendations from the staff. With the rise of Amazon and digital technology, physical bookstores started shuttering. Fewer avenues of discoverability mean a harder time finding books, and fewer people even bothering in the first place.
• E-commerce had a knock-on effect. It meant that more people were staying home than going out, which further hurt struggling bookstores, but also started eroding the sense of community. Bookstores and other third spaces helped us come together and meet others, and fostered a sense of belonging.

No single factor broke publishing. The industry was a fucking mess before Amazon and self-publishing, although those forces definitely muddied the waters further. The good news is that things are fixable. We just need to think smaller.

Discoverability

Let’s talk about discoverability. While yes, more people than ever are publishing books today, the sheer number makes it harder than ever to find a book that you’ll like. And with the prices of books rising substantially, fewer people can afford to take a chance on a book that they might DNF.

Discoverability is the biggest hurdle for authors, not just for readers. It’s the whole reason they bother with marketing in the first place (getting their book in front of the right readers is fucking hard). So, how do we connect these people?

The answer is that we need to take a step back. We need more bookstores where people who love to read work and are happy to recommend books, not because they’re paid to, but because the person they’re talking to would probably enjoy it. Bookstores can also highlight local and indie authors, who are usually underrepresented in the few remaining mega stores, while hosting author signings and related events. We also need other avenues, like podcasts that highlight books while also giving listeners a chance to meet and get to know authors (hint: The Spec-Fic Speakeasy is doing that). Zines also have a big role to play (both digital and physical) in connecting people with stories.

Risk-Taking Publishers

Publishers are risk-averse, and because they are, agents are, too. That’s not knocking them (not really). Sure, it would be great if some of them would have the guts to break the mold, but people gotta eat, and most folks don’t like it when you start taking chances with their paycheck (I know I don’t).

To solve this issue, we need to think smaller: small presses are much less risk-averse and often build their reputation on taking risks with authors that the Big 5 would be too afraid to support. We’re talking about presses like Edge & Busby Press, Drek Death and Doom, Nightingale Press & Publishing, and Mac Sitko’s Metaphysical.

New Third Spaces

There’s a growing backlash against “digital everything”. Part of it’s driven by the realization that you often don’t own the digital things that you buy. Instead, you own a revocable right to access those things (looking at you here, Sony). There’s also the fact that physical media is just more immersive, and digital stuff is ephemeral. Compare the experience of buying a new LP, sliding the vinyl out of the sleeve, checking out the album art, and reading the lyrics to cuing up an album on your iPhone. It’s not remotely the same. One puts you in the moment, and one quickly slips into the background. Of course, part of it’s the craving for something real, something authentic. Physical media is having a renaissance – records, cassette tapes, CDs, and, of course, physical books.

However, the infrastructure that used to help us explore those things and find new books and music to love is eroded. Yes, B&N is still around, and maybe you’re lucky enough to have a Books-A-Million nearby, but those only do so much good. What we need is a surge of new third spaces: small, independent bookstores. Often, these third spaces double as coffee shops, wine bars, bakeries, and more, giving us new ways to come together, discover books we love, and also discover a growing sense of community.

What You Can Do

None of this fixes itself. We all have roles to play.

If you’re a reader, that means going out of your way sometimes. Buy from an indie bookstore instead of one-clicking on Amazon, even when it costs a couple of bucks more. Take a few chances on small presses instead of just the imprints you already know. Leave a real review for a book you loved from an author you’d never heard of. Better yet, fucking tell a friend about it. Word of mouth is still the most powerful discovery tool out there (and it doesn’t run on an algorithm).

If you’re an author, query the small press that actually publishes books like yours instead of just chasing the Big 5 dream. Show up at your local bookstore and ask about an event (you might be surprised at just how supportive these folks are). Start that zine you’ve been dreaming about or launch the podcast that’s been on your mind.

Sure, some of these things feel like they’re too small to make a difference. It matters. Every third space, indie author event, small press, and indie bookshelf exists because somebody decided to build it instead of waiting for the industry to fix itself.

Small Is the Future

Publishing didn’t break in one place, so it’s not going to get fixed in one place either. It’s going to get fixed by bookstores that break the mold, by small presses run by people who still read every submission themselves, by zines stapled together at a kitchen table, and by podcasts recorded in someone’s closet. Mostly, it’s going to get fixed because the community comes together out of a love for fiction.

None of that is going to out-market Amazon or out-scale the Big 5, but it’s not supposed to. Our job is to do what they can’t, which is to make you feel like someone actually picked this book for you.

The future of publishing is smaller and a hell of a lot more human.

Strangleroot wants to be part of that. Our goal as a mobile, horror-exclusive bookstore is to:

• Promote local authors with in-person signings and events
• Give our customers informed recommendations
• Partner with local makers for any sundries we can
• Work with local businesses like breweries and other bookstores
• Host TTRPG game nights with another local bookstore
• Hold book festivals with all local booksellers featuring multi-author signings, local musicians, local restaurants, etc.
• Stock small press-published and self-published authors (25% of our inventory will come from small presses/indie authors)

Of course, we can’t do this alone. Getting Strangleroot up and running will take a community effort. Want to chip in? Fucking awesome. Here’s how:

1. Donate to our GoFundMe.
2. Subscribe to us so you can keep up to date with things.
3. Share us with the folks you know on and off Substack.

Stay tuned for more updates as we move toward opening our doors (and stocking your books on our shelves!).

Thanks,

Walt