Publishing Departments

Danmei, and The Haitang Incident

Controversies, Publishing Departments

On June 21, 2024, Yunjian (云间), author of novel Application for Divorce (离婚申请), was quietly detained in the night. Her suspected crime: writing danmei, a popular Chinese-specific genre of queer male romance and erotica that developed alongside its more popular Japanese counterpart, shounen ai (lit. “boys love”). In official terms, she was suspected “of producing and selling obscene materials for profit.”

Since last June, authors have been silently disappeared off Taiwanese-based website Haitang Literature City. Late December, they revealed that they had been implicated by a series of police crackdowns in Anhui province, east China, specifically targeting danmei authors.

It’s not merely a matter of sexual impropriety. Amidst the turbulence of beloved authors being arrested, a frightful note on censorship law incited online outrage: sexual assailants get off easier than erotica authors. More specifically, authors earning over 250,000 yuan (USD 34,700) from “obscene materials” can face a lifetime of imprisonment—though the severity of the sentence could, hypothetically, be lessened by paying back “between one and five times the amount of illegal income.” Authors who made less were typically placed on probation. Meanwhile, the punishment for rape of a female minor by guardians under “heinous circumstances” is between three and ten years.

For Yunjian, it wasn’t until December 6th that she received her official verdict: a sentence of 4 years and 6 months, with a fine double her earnings.

According to South China Morning Post, as of January 1st, Anhui police had detained over 50 writers in China since June 2024.

Taiwan, the birthplace of beloved Brokeback Mountain director Ang Lee and the origin of queer film Your Name Engraved Herein is a known safe haven for sexual minorities and free speech. Haitang Literature City previously served that purpose for authors of queer fiction, but authors are frequently finding themselves with nowhere for their craft to go.

Domestic censorships had grown tighter. Since previous years, the fate of progressing live action adaptions for danmei novels have been left in the dark. Since 2021 and 2022 respectively, Immortality, based off beloved novel The Husky and His White Cat Shizun (dubbed 2HA, as a shortening of its original Chinese name), and Eternal Faith, the live action for Heaven’s Official Blessing (dubbed TGCF), were under rigorous censorship review before news of releases ambiguously fizzled out.

However, Heaven’s Official Blessing also has a widely accessible Netflix-housed donghua animation adaptation, and both 2HA and TGCF have official translations licensed by a Los Angeles publisher, Seven Seas Entertainment. Previous works of Mo Xiang Tong Xue, author of TGCF, have also spurned other adaptations: including a live action Chinese drama The Untamed, the Mo Dao Zu Shi donghua, and recently, even a four-part stage play in Japan. Seven Seas’ latest acquisition, Thrice Married to Salted Fish, was just announced last week. Suffice to say, danmei isn’t a genre kept in the dark, or to be shelved in with the “pornographic” label. It is a thriving worldwide phenomenon.

Due to the covert nature of queer fiction in China, even Mo Xiang Tong Xue, was at one point suspected of being arrested, with rumors claiming either censorship or tax evasion.

The Haitang incident is a fearmongering response to the increasing popularity of danmei. “They were all arrested on the same day, and the police had all the authors’ information; it was clear that they had been targeted,” speculated Chenchen, a longtime danmei reader.

As a result of the fines, many authors still had to turn back to writing to pay off their dues.

The question of free speech is complex—the legislation is largely freely interpreted by those in power. What constitutes as “obscene materials,” and how do we measure the “social harm” that dictates the severity of a sentencing? The lines keep shifting: whereas euphemisms used to slip under the radar, new reinterpretations of censorship easily place restrictions on “nothing below the neck.”

In one interview by RFA Mandarin, longtime writer Si Yueshu laments that the lines keep shifting for authors, despite danmei being a low-paying labor of love. “You can’t actually know what you’re allowed to write and what you’re not allowed to write,” she says. “Very successful authors usually upload three chapters a day, or more than 10,000 words, and the most they can make is around 20,000 yuan (US$2,740) a month.”

The extensive fines for this hard-earned salary become, more clearly, examples of economic exploitation.

Danmei remains an explorative space for women and queer individuals to express their sexuality. Infringement of this freedom based on historical stigma against homosexuality has long been criticized as outdated. Why must independent queer authors be martyrs for creative expression? And for the average American fan, what can they do besides consumption?

For some like Yunjian, who have been facing poverty, medical conditions, and innumerable other hardships, donations have helped authors stay afloat.

In the Western or even Chinese diasporae consciousness, danmei isn’t without its faults, in terms of reinforcing certain gendered stereotypes or beauty standards. Yet that critique is entirely quashed under the face of legislative censorship, which seeks to perpetuate the idea that gay people, below the neck, have never existed in China at all.

Which is, historically, challenging to prove.

Above: “cut sleeve,” a euphemism for homosexuality, originating from a folktale regarding Emperor Ai of Han, who had cut his sleeve rather than disturb his lover resting upon it.

Diversity & Inclusion

Publishing Departments
Image by Brianna Montes

A LACK OF DIVERSITY 

The publishing industry has historically been a predominantly white industry, and there are very few opportunities for upward mobility for minority publishing staff.

According to the Lee & Low survey, the most recent results embedded below, as of 2023 the industry overall is:

  • 72.5% white
  • 71.3% cisgender women
  • 68.7% straight
  • 83.5% non-disabled
Diversity Baseline Survey 3.0

And it’s not just publishing staff, it’s authors, too.

Diagram derived from: “Just How White is the Book Industry?” by Richard Jean So and Gus Wezerek, Dec. 2020

According to this article, 89% of bestsellers in 2018 were written by white authors, with the remaining 11% being written by people of color, and that’s without breaking down the statistics by ethnic group.

Such a lack of diversity across the board skews the representation within the literature that passes through the publishing houses. 

WHY DOES THIS MATTER 

Such a skew limits the readers’ ability to view the world through different perspectives. Through an increased exposure to diverse experiences via literature, there is an increase in understanding and empathy towards other people, even if they don’t come from the same community. 

If a certain demographic’s stories are being told at a much higher amount than all the others, it puts that particular demographic on a pedestal that could give readers, especially young readers, the impression that their own experiences and background shouldn’t be valued as much.

 

For the sake of both equity, the publishing industry needs to pick up the pace in hiring a diverse staff. With diverse staff spread across the different departments and allowed a seat at the executive table, more books by authors who are disabled, LGBTQ+, and/or people of color will be given the opportunity to publish and have their books marketed as much as their white, hetero, non-disabled counterparts. Publishing staff hold the keys to the gate for most authors, so it’s crucial that these guardians, as a group, possess an understanding and enthusiasm for the stories coming their way and not group them into a monolith heavily influenced by stereotypes.

On the topic of reform, several individual stories illuminate how a single editor’s career can pioneer progress towards a more diverse literary ecosystem. What’s more, the trials and tribulations of their careers can reveal both progress and the lack thereof in the industry at large. Below are looks into the careers of three different, courageous women who championed diversity and inclusion in their respective publishing houses: Toni Morrison, Krishan Trotman, and Lisa Lucas.

On the topic of reform, several individual stories illuminate how a single editor’s career can pioneer progress towards a more diverse literary ecosystem. What’s more, the trials and tribulations of their careers can reveal both progress and the lack thereof in the industry at large. Below are looks into the careers of three different, courageous women who championed diversity and inclusion in their respective publishing houses: Toni Morrison, Krishan Trotman, and Lisa Lucas.

Toni Morrison

Best known for her dazzling career as an author, Toni Morrison’s contributions to the literary landscape as an editor are often underrepresented. In the late 60s, when Morrison became an editor for fiction at Random House, roughly 95 percent of the fiction published by big commercial houses was by white authors. She diligently and unrelentingly pushed to acquire black authors. Due to Morrison, Random House published nonfiction works by Black Panther Huey Newton, Angela Davis, Muham­mad Ali, as well as fiction and poetry by Henry Dumas, Toni Cade Bambara, Lucille Clifton, Leon Forrest, and Gayle Jones. During this time, she moved consistently between editing, writing, and teaching. She spoke transparently and bluntly about the racial status quo of the publishing industry, championing the need to diversify authorial and editorial voices.

She resigned from Random House in 1983, supposedly because the books she edited were not earning enough money. Two years before, she delivered the keynote address at the American Writers Congress, including the following lines, “Editors are now judged by the profitability of what they acquire rather than by what they acquire, or the way they acquire it.” Morrison’s legacy, her pioneering prioritization of uplifting black voices, remains as resonant as it did forty years ago.

Photo from Bettman / Getty

Krishan Trotman

Krishan Trotman is an author and also the founder and publisher of Legacy Lit, an imprint of Hachette Book Group. She is one of the few working African American publishing executives and has committed fifteen years to publishing books about and by multicultural voices and social justice. Legacy Lit is an imprint dedicated to uplifting voices from underrepresented, under-served, and overlooked communities. She launched this imprint in 2020, four years after she joined Hachette Books. Her authors have gone on to win awards and become New York Times bestsellers; titles include congressman John Lewis’ Across That Bridge; journalist Stephanie Land’s Maid; MSNBC political analyst Malcolm Nance’s The Plot to Destroy Democracy; and New York Times columnist Lindy West’s The Witches Are Coming and Shit Actually.

Lisa Lucas

Lisa Lucas became the first black person to run Pantheon and Schocken in the house’s eighty-year history in 202. There was immense pressure on her to head a major publishing division, during a time when ongoing nationwide protests pressured corporations to recruit more people of color.

In May 2024, however, only four years since Lucas had been brought on, she was fired. Although she has not spoken much about her departure from Pantheon, she said in a TIMES interview, “A bunch of people of color come in because something interesting happens, and then the marketplace or political landscape changes, and a lot of us are gone.” This happened despite Lucas’s talent for taste-making, for sniffing out a manuscript that could touch and inspire underrepresented readerships. For many, her story is a signifier of the publishing industry’s failure to address racial imbalances and create meaningful, long-lasting changes.

Independent Publishing

Genre & Press Identities, Publishing Departments
indie-meme-265x300 - BandWagon Magazine

Because independent publishers aren’t often comprised of different departments, it’s important to have a multitude of skills under your belt.

The Editorial Aspect

Independent publishers are still publishers at the end of the day, not much is too different in an editorial sense. One of the best things about independent publishing is that there’s less of a bureaucratic process in selecting manuscripts. That’s how indie publishers often have noticeably distinct brands or motifs in the literature they publish. This also ties into the marketing aspect; boutique publishing makes it easier to know what to expect from them. Indie publishing allows for people to publish things that they want to read, instead of  chasing the next bestseller. It’s not to say that indie publishers don’t think of books in terms of their marketability, it’s just that there’s more freedom to select books whose attractiveness don’t solely come from their potential to  sell.

Financial and Sales

Along with all of those editorial skills, you have to maintain the financial aspect of the business as well. So far in my experience as an intern, I’ve written up invoices, royalty statements, and applied for a grant. There’s no passing the work off to a department full of business savvy people who’re comfortable looking at numbers all day—on a team of less than ten people (dare I say even one or two people), it’s imperative to know where money’s coming from and going to. 

Funding

Grants grants grants! There are a multitude of grants that will fund your artistic projects. I once watched a seminar on applying for grants and learned that there are so many out there—too many to feel like there’s a lack of funding for your publishing house. I also learned that the grant application process is also super competitive so it’s best to apply to as many as you possibly can. 

The best way I could describe the grant application process is that it’s somewhat similar to the college application process. You have to sell yourself to your potential patrons; you have to make the goals of your project clear and how you’d allocate the funds you’d be provided to accomplish those goals, you must also explain why you need their particular funding and convey how your goals overlap with the grantor’s, and you have to describe why the project you’re pursuing is necessary and relevant. 

You can also be funded after a project; some grants are there to reimburse your business expenses in a given time period. It’s critical to keep track of all your business transactions: marketing and public relations, book cover design, warehouse space, etc,. 

As an indie publisher, there are times of outsourcing help, like getting PR people to track the amount of times that a book is mentioned in publications, or working closely with certain graphic designers and artists to dream up the ideal cover image. You don’t have to be superhuman to run a publishing house. Part of the job is knowing where to get help from.

Sales

Book transactions are in a unique place right now, putting indie publishers and indie bookstores in one of the most unique positions of all. It’s hard to be in the publishing industry and avoid the power and influence of that one bookseller. We all know I’m referring to Amazon, right? If a book isn’t available on Amazon, it might as well not exist because Amazon’s share of the print book market is at least 40%. So a large part of the sales tasks at an indie publisher is maintaining the Amazon listings for books: making sure that the information is accurate and up to date with any prizes and acknowledgements or creating engaging Amazon A+ Content that would entice readers to purchase the book. As the old saying goes: if you can’t beat ‘em, join ‘em.

However, there are a lot of readers that are anti-Amazon and are looking for more ways to buy books without contributing to their monopolization of the market. So maintaining the book listings on the publisher’s own website so that transactions can happen directly through that portal is another valid approach. Bookshop is another slightly more ethical way for consumers to buy books online–in case they’re consciously avoiding the Monopolous Big A. Bookshop directly platforms local bookstores and independent publishers, making it easier to buy books from them. Publishers and bookstores are able to have pages on Bookshop and create cool booklists, which are similar to playlists, making it easier to engage with and shop. From a publishing perspective, Bookshop has been incredibly useful and super easy to navigate.

Marketing

As I’ve mentioned before, indie presses tend to have a potent personality or style associated with their brands, compared to big publishers that make it a goal to publish everything under the sun. So marketing is absolutely crucial in the case of independent publishing. I would say that social media is the absolute best way to market for all publishers, big and small. With BookTube, Bookstagram, and now the tidal wave that is BookTok, it’s evident that readers are influencing other like minded readers on what the hottest books are. Social media is a more personable and intimate aspect of marketing and it gives indie presses an edge to relate with readers in a way that big presses can’t. From a consumer perspective, if I saw a video of HarperCollins employees doing a TikTok dance while holding one of their bestsellers, I’d roll my eyes and keep scrolling. Consumers are smart—when we see a recognizable name trying to present as relatable, it feels disingenuous. However, the “indie” aspect of independent presses contributes to their marketability. People want to feel like they’re supporting passionate and ethically-sourced art.

It also doesn’t take a lot to market on social media, it’s very inexpensive and fast. If you are in a crunch for visuals for an Instagram story or a tweet, you can easily hop on Canva and experiment with templates to create something that looks much more professional and time consuming than it actually was.

Another aspect of marketing is applying your books for book prizes and attending book festivals to generate buzz across the reading community.

Organization and Time Management

It takes a multitude of skills to complete the jobs of various departments as one person. Organizational skills are an absolute must when it comes to boutique publishing.  You have to track your shipments, your sales, your royalties, your inventory, your everything. The work becomes meticulous when these responsibilities are not broken up between people. It’s a lot to stay on top of so you have to be the kind of person that’s willing to manage it all.

However, I think that the very hard work that comes with indie publishing is rewarding. We talk about everything that publishing is missing and the kinds of stories that are often overlooked but indie publishing can be the answer to those problems. The freedom that comes with the territory allows for a level of creativity and experimentation that’s been previously edited out or not even  published at all. With indie publishing there’s an opportunity to blend the personal and the professional.

Legal

Publishing Departments
https://upload.wikimedia.org/wikipedia/commons/2/25/Honor%C3%A9_Daumier_-_Two_Lawyers_Conversing_-_Google_Art_Project.jpg
Honoré Daumier, Two Lawyers Conversing, 1808–1879, chalk, gouache, and watercolor on canvas. Public domain.

When thinking about writing a book, there are many things to consider. As Zadie Smith said, “In the transition from the dream to the real it has set its aura of perfection.” Does my writing capture my voice? Is the plot of my story compelling? Are the characters interacting the way I want them to? Is my narrative fulfilled by the world I’ve built? These are all valid concerns that challenge the writer. However, have you ever considered if the character you’ve portrayed as a sadistic, pathological liar would have a real-life equivalent that can take you to court? And win big? Would the soft drink brand your protagonist loves drinking also take you to court?

LEGAL VETTING

As briefly mentioned in the “Editorial” section in the “Departments” tab of this year’s publishing website, the editor not only serves to fulfil the publishing needs of the author, but they’re also responsible for protecting the author from any legal issues that may arise in their writing.

Although it’s safe to assume that this issue exclusively comes up in nonfiction writing like memoir, personal essays, or investigative journalism (since the subjects are most likely of real-life individuals and institutions/companies), legal issues can appear in any genre, even in poetry and in works for young adults and children.

Typically, before the manuscript is handed to the publishing house and the editor, the author should have diligently made sure they have permissions. Permission includes direct quotations from individuals, lyrics from songs, excerpts from poems or other texts, and artwork or photographs. All writers should assume that not everything is under fair use, creative commons licences, or is in the public domain. 

Once the manuscript is being discussed with the editor and the author, typically after or during developmental and line edits, the editor must decide if the manuscript needs legal vetting. Not all manuscripts require legal vetting, but some do. The editor thinks about potentially legal issues that could arise, such as if the antagonist is being libeled, if a protected secret is exposed, or if falsehoods are brought up against a real-life institution. If the manuscript requires legal vetting, an in-house lawyer will review the manuscript. (If a publishing house doesn’t have a lawyer, it is sent to higher-ups for review before being sent to an outside lawyer; legal vetting is expensive.) 

Some issues a vetting lawyer can look for are potentially libelous claims, claims that harm an individual’s or company’s reputation. They can discern if current, real-life individuals or companies in the manuscript—explicitly named or not—could be potential plaintiffs for a libel or defamation case. (NOTE: opinions are not considered defamation since they are not fact, and everyone is entitled to their own opinion).

Vetting lawyers also flag anything that may challenge an individual’s right to privacy. As described earlier, vetting lawyers are also involved in assessing legal issues that arise in permissions, copyright infringement, and intellectual property. Vetting lawyers may suggest certain changes to reduce claims of legal issues, such as rewording, adding disclaimer language, an Author’s Note, or, if the author agrees, omission. In flagging these issues earlier in the editorial process (and before publication), the likelihood of authors and publishing houses encountering lawsuits would be mitigated.

by Aleander Santos

Marketing vs. Publicity

Publishing Departments

Publicity can often be confused with marketing as they both deal with many similar issues: selling a book!

While considering what kind of jobs in publishing work best with your skill sets, it’s essential to understand the difference between marketing and publicity, as the two departments work on different tasks. While marketing and publicity can be two separate teams in a big publishing house, they typically work closely together, while many smaller presses may combine these two departments into one team.

In layman’s terms, marketing handles paid promotion, while publicity handles earned promotions and events.

Publicists…

Their goal is to generate buzz and credibility by getting others to talk about the book.

  • Develop publicity plans (outline of promotional strategies)
  • Create press releases
  • Conduct media outreach (pitching books to newspapers, blogs, magazines, podcasts etc.)
  • Secure interviews & build relationships with journalists, influencers and reviewers)
  • Social media calendar management
  • Coordinate book reviews
  • Collaborate with the publisher and author
  • Work with the author to develop their online presence
  • Track media coverage and reviews

Publicists often reach out to literary magazines such as The Paris Review, Tin House, and Granta for features/coverage of their authors.

Marketers…

Their goal is to increase book sales by creating awareness through paid and planned ad campaigns.

  • Conduct market research and analysis
  • Draft marketing plans
  • Establish and position a unique brand identity for the book and author
  • Monitor and analyze the effectiveness of marketing tactics
  • Create promotional materials
  • Send newsletters and manage email marketing lists
  • Budget and report ad campaigns and expenses
  • Identify the target market for the author and book
  • Collaborate with sales to determine the best distribution tactics to reach the audience
  • Manage digital advertising (like Google ads, Amazon Ads, Instagram Ads, etc.)

“I still don’t get it. Are they separate departments or the same thing?”

Here’s what publishing professionals have to say…

Carla Gray, Director of Marketing at Houghton Mifflin Harcourt

“Marketing is nothing without publicity. The two teams work closely from the launch of the book through its publication.”

Lydia Hirt, Marketing Director at Riverhead Books and Viking Books at Penguin Random House

“Marketing and publicity are two oars on the same book boat. We work incredibly closely together and collaborate along the way—ultimately toward the same goal of bringing books to readers.”

Summary

In large publishing houses, publicity and marketing may be separated into two departments that work closely together. In smaller presses, they’re often combined.

Publicists build the buzz by pitching to media, arranging events, writing press releases, and helping authors to grow their audience.

Marketers plan ad campaigns, analyze changing markets, build brand identity, and manage outreach through digital platforms and newsletters.

As publishing professionals put it:

Marketing and publicity are “two oars on the same boat” meaning each role is distinct, but they work together, rowing in the same direction.

Editorial Intern Tool Kit: What to Expect, Key Terms, and Readers Reports

Publishing Departments

What does an editorial intern do?

An editorial intern can be responsible for a variety of different tasks depending on the publishing house or press that they intern for. Some common tasks include proofreading catalog materials, putting together mailing lists, reading manuscripts and proposals submitted by agents and writing reader reports, attending editorial meetings and editing/proofreading in some cases.

Key Terms in Editorial:

Manuscript (ms): Typically used when referring to fiction; an unpublished version of what can eventually become a book that is submitted to the publishing house for review.

Proposal: Typically used when referring to non-fiction. It is similar to a manuscript in that it also gets sent to the publishing house for review, however, it is not the finished version of a project but rather an overview of it containing sections that function like a business plan including an overview, author bio, audience analysis, comparative titles, and marketing and publicity information.

Galley: An advanced copy of the book in the pre-publication stage. It is normally sent out to reviewers and usually comes right before the final proofreading.

Agent: Someone who works closely with the writer to help find a publisher and get their stories made into books.

ARC (Advance Readers Copy): Copies of a book distributed by an author or publishing company to a select group of readers that are intended for promotional purposes.

Backlist: A list of older books available from a publisher.

Frontlist: A publisher’s list of newly or recently published books.
Comparable titles (Comp Titles): Published books that would appeal to a similar audience as the book in question.

Slush Pile: Unsolicited manuscripts sent by aspiring writers.

What is a reader’s report?

A reader’s report neatly and concisely summarizes a manuscript for those who haven’t read it. It should include the specific genre of the piece, the narrative perspective (for fiction) and anything noteworthy about it. The manuscript’s objective strengths or weaknesses should also be included in the report in order to indicate why the piece should or should not be considered for publication.

I was instructed to write a readers report, now what?

Structure of a reader’s report:

Heading: The top of a reader’s report should include the title of the work (titles are normally written in all caps), the author’s name, the agent’s name and your recommendation (pass or consider).

Summary: No more than a paragraph describing what the manuscript or proposal was about.

Analysis: Around one to two paragraphs describing the strengths/weakness of the piece and comp titles.

Draft Pass note: Polite letter addressed to the agent when the manuscript/proposal is a pass.

Some objective reasons to pass on a manuscript: (Depending on the publisher you intern for some of these might vary but here is a general idea)

  • The stakes aren’t high enough or interesting enough to keep the readers engaged.
  • The characters are shallowly developed or unavailable
  • The plot doesn’t have enough momentum/ there are pacing issues
  • The story is overloaded with different threads or characters
  • The subject matter is too familiar to be impactful or to distinguish itself in the market

Subjectieve reasons that shouldn’t be the deciding factor for passing: (Depending on the publisher you intern for some of these might vary but here is a general idea)

  • The characters aren’t likable
  • You don’t like the writing style
  • There are small issues within the manuscript that are easily fixable

Questions to ask yourself when writing a readers report:

  • What is the book’s primary aim and did it or did it not achieve that claim?
  • Is this book offering a new/fresh perspective on the subject matter or something we haven’t seen before?
  • Who would the potential audience for this book be?

Harsh reality: Around 95% of submissions will end up being a pass.

Pass note: A note/email sent to the agent when the manuscript is a pass/ won’t be considered for publication. A pass note should be specific enough to demonstrate that you read the book but constructed carefully so that the agent cannot nitpick or argue with your reason for passing. Your aim is to make a short feedback sandwich— you can include one positive thing you liked about the book and pick the most unsuccessful element of the project to explain the pass.

Do’s and Don’t for Reader’s Reports

Do: Try and evaluate the piece objectively

Don’t: Judge the piece merely on what you as a reader enjoy reading

Do: Read enough of the manuscript until you can determine and defend why it should be recommended for consideration or a pass.

Don’t: Read the entire manuscript (normally reading around 30 pages should give you a good feel for the text)

Some more information on reader’s reports:

Literature’s Invisible Arbiters

A Successful Reader’s Report

https://www.tumblr.com/bibulous/42849529562/all-about-readers-reports

Marketing

Publishing Departments
Image by Brianna Montes

Just like Editorial, Marketing has roles such as Marketing Assistants. They also have roles such as Junior and Senior Marketing directors, Marketing Executives, Junior and Senior Marketing Managers, etc. While there are more roles within Marketing, the entry-level job starts out with the position of the Marketing Assistant, which requires performing administrative duties within the marketing department. 

Marketing is the middle ground between Editorial and Sales as it deals with marketing the books to consumers and different markets. This means deciding on which markets and platforms to promote the books on, which covers and jackets will be used for the books, which resellers and book distributors  (such as Amazon, Target, Barnes and Noble) to market and sell to, promotion methods and which demographics to target, etc. 

Marketing includes deciding on strategies for book displays (such as newsletters, and book giveaways), special materials for book promotions and other events, budgeting plans for the marketing strategies, advertisements for promotions, etc.  Working within this department also means keeping up with past and present marketing trends. 

Marketing jobs and skills you can build to get them!
The Role of Non-traditional Marketing in Publishing
Marketing Genius: What makes a best-seller?


Marketing Strategies of Popular Authors

Let’s talk about how bestselling authors like Colleen Hoover, Tomi Adeyemi, and Jenny Han rose to fame — not just through their stories, but through smart, targeted marketing. These examples show how marketing can shape an author’s reach, brand, and reader loyalty.

The success of Tomi Adeyemi’s debut novel COBAB

”By the time I was soliciting agents with CHILDREN OF BLOOD AND BONE, my blog had around 3,500 subscribers. Ultimately it was my book and not my platform/readership that got me to where I am, but it doesn’t help to already have 3,500 people who might want to buy your book since you’ve been helping them for free for so many years.” — Tomi Adeyemi, Author of Children of Blood and Bone.

Before Children of Blood and Bone launched, Tomi was already cultivating an audience through her blog, “Tomi Adeyemi: Writer. Blogger. Creative.” She offered free writing tips, shared insights into the publishing process, and was super transparent about her journey as an aspiring author. Here’s how that strategy worked in her favor. Her blog gave her a platform to build a loyal readership before she even got a book deal. By consistently posting writing advice and updates, she established trust and credibility in the writing community, which naturally translated into excitement and early support when her book was announced.

Tomi was real about her rejections, doubts, and breakthroughs. That kind of vulnerability made her relatable, which is a huge asset in today’s author branding. Readers felt like they knew her journey—and that emotional investment translated into book sales and online buzz.

The publication of Children of Virtue and Vengeance was postponed twice, moving from an initial March release to December. Adeyemi emphasized the importance of allowing sufficient time for the creative process, stating that rushing could compromise the quality of the work. This decision reflects a marketing strategy that prioritizes product excellence over strict adherence to schedules.

Colleen Hoover’s strategic book marketing

Colleen Hoover’s use of social media platforms has been instrumental in her marketing strategy. By actively engaging with her audience on platforms like Instagram and TikTok (BookTok), she fosters a sense of community and personal connection. This direct engagement not only humanizes her brand but also encourages word-of-mouth promotion, as readers feel personally connected to the author.

There was significant impact from the BookTok community on TikTok on Hoover’s book sales. User-generated content, such as reviews and emotional reactions, createed organic buzz around her books. This grassroots promotion often leads to viral trends, substantially boosting visibility and sales without traditional advertising.

Hoover also employed scarcity marketing by releasing limited edition books and exclusive merchandise. This strategy not only rewards loyal fans, but also creates a sense of urgency and exclusivity, prompting quicker purchases and increased engagement.

A recurring theme in Hoover’s marketing approach is authenticity. By sharing personal stories, writing processes, and candid moments, she builds trust and relatability. This transparency resonates with readers, fostering a loyal and engaged fan base.

Jenny Han’s comprehensive approach to the promotion of TSITP

”Last June, the first season of the show debuted at No. 1 on the streaming service; to date the hashtag #thesummeriturnedpretty has drawn 6.8 billion views on TikTok, according to Prime Video. Overnight, the cast became stars on social media and the success of the series sent Han’s novels back to the top of the New York Times bestseller list. “Summer” also marked a milestone for Han, who was already considered a rock star in the world of young adult literature — she made the transition from bestselling novelist to successful series creator.” — Los Angeles Times

The show’s promotional efforts were deeply integrated with social media platforms, particularly TikTok and Instagram. The hashtag #TheSummerITurnedPretty garnered over 13.8 billion views on TikTok, indicating massive fan engagement. The marketing team also created exclusive content for fans, such as adding them to a “Close Friends” group on Instagram to share sneak peeks and behind-the-scenes content.

Music played a pivotal role in the show’s appeal. Han personally wrote a heartfelt letter to Taylor Swift to secure the rights to “The Way I Loved You (Taylor’s Version)” for a key scene in the first season.

For the second season, Amazon shifted from a binge-release model to a weekly episode rollout. This strategy aimed to build sustained engagement and anticipation, turning the show into appointment viewing. 

The marketing campaign also included immersive experiences, such as secret screenings of the first episode in partnership with Refinery29, and interactive elements like a Snapchat lens that allowed fans to preview the first few minutes of episode one directly from the book cover. These initiatives created a sense of exclusivity and deeper connection with the audience.

Sources

“What I learned from Colleen Hoover About Marketing” Medium Article

”The Jenny Han Effect: How the YA rock star took charge of her own media empire” LA Times Article

“The Impact of Social Media on the Publishing Industry: A Case The Impact of Social Media on the Publishing Industry: A Case Study of Author Colleen Hoover” 2023 Undergraduate Thesis

“Tomi Adeyemi Talks YA Fiction Publishing Deal for ‘Children of Blood and Bone’” Teen Vogue Article

“Q & A with Tomi Adeyemi” Publishers Weekly article

Reflect & Consider

  1. Why do you think marketing is considered the “middle ground” between editorial and sales? How does this positioning affect its responsibilities?
  2. What factors should marketers consider when choosing a book’s target audience or platform (like social media, online stores, or in-person events)?
  3. In your opinion, what makes a marketing strategy successful? Can you think of a book campaign that stood out to you, and why?
  4. What are the potential downsides of using only traditional or familiar marketing strategies in an evolving industry?
  5. How can collaboration between Marketing, Editorial, and Sales lead to a more successful book launch?
  6. Reflect on a book that you discovered through marketing (a giveaway, ad, or display). How did the marketing influence your decision to read it?

Sales

Publishing Departments
Victor Gabriel Gilbert, Un Marche Parisien, 1878

Overview of Sales Roles

Similar to the Marketing department, Sales also has roles ranging from Sales Assistant to Junior and Senior Sales Executives. The entry-level position is the role of Sales Assistant, which also involves administrative duties and responsibilities.

What Does the Sales Department Do?

The Sales department manages the financial side of publishing. This includes developing budgets, overseeing sales accounts, and selling books to wholesale distributors, bookstores, resellers, online retailers, and libraries. They use data and trend analysis to determine where and how to sell specific books.

Why Market Trends Matter

Understanding market trends allows Sales teams to identify which titles will succeed in which markets. This insight guides pricing, distribution, and sales timing, all of which directly affect a book’s commercial success.

Skills Needed in Sales vs. Other Departments

Sales professionals need strong communication and data analysis skills. Unlike Editorial or Marketing, Sales is focused on financial performance, buyer relationships, and product placement strategy.

Impact of Sales Decisions on Visibility

Where a book is sold– whether independent bookstores, chain retailers, or libraries–directly affects how accessible and visible it is to readers. Sales strategy shapes the physical and digital visibility of a title.

Selling to Different Buyers

Different books appeal to different buyers. Libraries tend to seek books with educational value or lasting relevance, while retail stores often prioritize what’s trending. Factors like genre, audience, and format influence where and how books are sold.

Collaboration Between Sales and Marketing

Sales and Marketing work hand-in-hand. Marketing produces awareness and demand, while Sales ensures books are available in the right locations to meet that demand. Coordination between these teams is essential to a book’s success.

When a Book Gains Success Later

Some books underperform at first but become successful over time through media attention, awards, or word-of-mouth. This success is often due to the Sales team’s ability to adapt and strategically relaunch or reposition the title to boost sales.

Social Media

Publishing Departments

Georges Seurat, A Sunday on La Grande Jatte, 1884-84. Public domain.

The Social Media department is a relatively new department thanks to a rise in the usage of social media platforms such as Instagram, TikTok, Facebook, X (formerly known as Twitter), Bluesky, etc. In some companies, the Social Media Department can be a part of either the Marketing or Publicity Department as well. Nowadays, most big publishing companies have a social media department specifically to do social media outreach and how to best promote books on social media platforms (such as reaching out to influencers for the promotion of books), as well as . Employees within this department also keep track of past and present social media trends in order to better understand the demands of the markets and their demographics. 

Positions within this department vary from roles such as Social Media Assistants to Project Managers. In some cases, this department can also include roles for graphic designers and illustrators in order to create the graphics and visuals for the social media posts (besides the jackets and covers). 

Employees within the Social Media departments also run the social media accounts of their respective companies in order to promote their products and keep up with current trends. Both the Marketing and Social Media Departments can utilize promotional strategies such as book giveaways and newsletters as well. 

Instagram

Instagram is a free photo and video-sharing app within the Meta network. Users can post visual content to their feed or Stories and interact through likes, comments, and shares. With features like Reels and Instagram Live, the platform is especially popular for visual storytelling, lifestyle branding, and creative expression.

TikTok

TikTok is a fast-growing video-sharing app owned by ByteDance, known for its short-form content and viral challenges. Users can create videos to reach a massive global audience, based on the app’s algorithm. It is especially popular among Gen Z and has become a space for cultural trends and digital creativity.

X (formerly known as Twitter)

X is a social networking platform where users share text and image content within a limited character count. It encourages open dialogue and fast-paced interaction through posts, reposts, replies, and hashtags. A space for news, commentary, and public conversation, it remains a hub for cultural and political discourse.

Facebook

Facebook is one of the world’s largest social media platforms, used for connecting with friends and joining communities. As part of Meta, it offers features like Stories, Reels, and even event planning tools. It appeals to a broad age range and supports long-form content, group discussions, and business pages.

Threads

Threads is a text-focused social media app developed by Meta as a companion to Instagram. It allows users to share short posts and engage in threaded conversations. Threads is positioned as a more positive and community-focused alternative to X, without the push of algorithms.

BlueSky

BlueSky is a decentralized social media platform initiated by Twitter co-founder Jack Dorsey. It aims to give users more control over their data and content moderation. BlueSky encourages free expression, appealing to those seeking alternatives to mainstream platforms.

Publicity

Publishing Departments
Image from Max Pixel CC0 Public Domain

Publicity also has a few different roles ranging from Publicity Assistants to Junior and Senior Publicity Executives, Directors and Managers. 

The Publicity department is the department that arranges for events such as book/ author tours, book signing events, book readings etc. Publicists will often reach out to newspapers, magazines, radio stations, websites, bloggers etc. in order to promote their books too. Often, publications will notify the Publicity departments of companies before certain best-seller lists with their respective books are published, so that the publicity departments can generate buzz or create events in order to further promote their books. Essentially, the Publicity department takes what the editorial and marketing departments provide them and uses those to conduct promotional outreach and generate publicity/hype around products. 

Marketing vs. Publicity

Reflect & Consider

  1. How does publicity differ from marketing, and why are both neccesary in a book’s promotional plan?
  2. How does timing play a role in publicity efforts, especially when it comes to best-seller announcements or media coordination?
  3. How might relationships with media outlets and influencer shape the success of a publicity campaign?
  4. Why might in-person events like book tours and reading be more impactful for certain audiences or genres?
  5. Can you think of a time when you heard about a book through an interview, an article, or an event? How did that affect your interest in the book?