Americans are reading less—unless they’re readers of romantic fiction, at least.

Print sales of romance novels saw exponential growth in 2022 with a 52.4% increase in sales from the year prior. While print books are seeing a spike in popularity amidst a backdrop of literary social media trends such as BookTok, eBook sales trends tell a similar story about consumers of romantic fiction. Although romantic fiction saw a 16% decrease in 2022 eBook sales, the digital units that did sell represented 60%  of total romance books sold that year, highlighting the overall dominance of the genre—particularly its digital dominance.

The grip that the genre has on its readers mystifies many; the loyalty of the fanbase is practically unmatched. The genre’s readership has been a major force behind the big screen adaptations of popular romance novels like Twilight and 50 Shades of Grey, the latter of which grossed more than $570,000,000 throughout box offices globally. The readership has also been a major force behind the genre’s success in digital publishing.

But the demand for romantic fiction is only partially to credit for its success, particularly in the world of digital publishing.

The Readership

Despite the prevalence of the common “print vs. eBook” preference debate, readers of romantic fiction show unprecedented flexibility that might take many of them out of such debates. In fact, readers of romantic fiction may even prefer eBooks to their traditional predecessors. This is because the habits of the average reader of romantic fiction just happen to complement eBooks….perfectly.

The typical reader of romance will finish a book within just 7 days of starting it, while the average American is not even finishing 2 books within 30 days. Some readers of romantic fiction have reported finishing as many as 5 novels in a single week. The rate at which the readership completes a novel primes the genre well for the world of digital publishing, where the barriers of working through a publishing house and an agent are problems of the past. Authors of romantic fiction are able to set the pace of their releases at their discretion, and alter as they see fit based on collected analytics.

Readers of romantic fiction also display a tendency to be more open-minded when it comes to checking out books by new writers, which also helps explain the genre’s success with a digital format. In fact, at least 50% of romantic fiction readers surveyed answered affirmatively when asked whether or not they’d be interested in reading a novel by a new author, a phenomenon not witnessed by consumers of other genres of literature. Amazon’s online Kindle store speaks to the romance readers’ innate hunger for variety, with hundreds of thousands of new authors available right at their very fingertips without ever having to leave their home.

The Genre

In addition to the reading habits of consumers of romantic fiction, the genre itself has certain characteristics that provide additional insight into the reasons for its digital dominance. Chiefly, its formulaic structure that readers have come to know and love over the decades.

Romance novels most often utilize a three-act structure with a clearly defined beginning, middle, and end, but the ending is the most critical part. The hallmark of any romance novel is its Happily Ever After (HEA) ending. This ending is optimistic, meant to evoke positive feelings within the reader after they have watched the novel’s main character go through a series of obstacles within the story’s first or second act. The ending shows readers a win, and that kind of optimism is a large back of what keeps readers coming back for more despite the overall predictability of the plot structure-the desire for the happy ending. This three-part typically also unfolds quickly, as most romance novels are fewer than 100,000 words in total, quite possibly reminding its readers of the earlier fan-fiction days that preceded eBooks.

The Industry’s Response

The digital dominance of eBooks is so prolific that even the largest traditional publisher of romance, Harlequin, which was first founded in 1949 could not ignore it. In 2000, the publishing house created a website where readers and writers of romantic fiction could interact with each other, as well as purchase both print and eBook selections. Seven years later, the publisher would become the first of its kind to release 100% of its new titles in digital format. Seven years later, the traditional publisher would also become the first to form a digital publishing entity, Carina Press. The offshoot works to help bridge the gap between readers of romantic fiction and the genre itself by meeting reader demands, chiefly demands for more diversity.

As publishers digital and traditional alike continue to watch book sale trends and social media wars of opinion, these concerns have seemed to largely passed right over readers of romantic fiction. While eBook sales may be taking a dip, readers of romance novels have their feet dug in the ground, and after analyzing how well the genre adapted to digital publishing, it isn’t difficult to see why. Regardless of digital publishing trends yet to pass, readers of romantic fiction seem content to sit on the sidelines and simply finish an eBook–or 5.

Creepypasta is one of the most popular niches of creative works published to the internet. Several stories in this online literary horror genre have become mainstream, such as the 2018 film Slender Man based off the creepypasta of the same name. However, while many of these stories have evolved to stand on their own in whatever form, their conceptions were heavily reliant on the internet as a medium. In order to understand the origins of these stories and how they got their success, one must learn more about the relationship between creepypasta and the internet.

What is Creepypasta?

Creepypasta is, at a basic level, online horror content. Its name comes from the phrase “copypasta,” which is an internet-born phrase referring to, as Merriam-Webster states, “data (such as a block of text) that has been copied and spread widely online.” The merging of this word and “creepy” refers to the nature of creepypasta as horror images and stories posted online and spread around the internet. In this way, creepypasta somewhat resembles oral storytelling. There is a source for the story (usually an image or ambiguous post), then an established canon writing, then internet users spread the story and add on pieces of their own. An article by Annalee Hewitz called “Has Creepypasta Reinvented Classic Folklore?” posits that creepypasta has the same “fluid and ever-changing” nature as an oral folktale. However, in the case of creepypasta, the story does get to be published (if not in the traditional sense) online.

“Something Awful”

While creepypasta has historically come from various different sources, many of the most recognized stories from the genre have come from the online forum known as “Something Awful.” The Library of Congress digital archive refers to the forum as “a comedy website housing a variety of content, including blog entries, forums, feature articles, digitally edited pictures, and humorous media reviews.” One of the threads on Something Awful is dedicated to original horror stories written by members of the site, and in June of 2009, user Gerogerigegege posted a thread asking for submissions of “paranormal images” created by fellow users. This thread led to the creation of Slender Man, one of the most recognizable and popular creepypasta stories. Additionally, Something Awful was used to spread the “Smile Dog” creepypasta, which began as a single edited image and became a full story with abundant lore. The site is doubtless one of the leading sources for the spread and creation of creepypasta content.

Slender Man

Slender Man, by Eric Knudsen, is a creepypasta featuring a tall, faceless pale man in a suit. The story started when Knudsen, using the username Victor Surge, posted edited pictures of the character to the aforementioned Something Awful thread. He paired these black and white images with a cryptic caption: “We didn’t want to go, we didn’t want to kill them, but its persistent silence and outstretched arms horrified and comforted us at the same time … 1983, photographer unknown, presumed dead.” The creature Slender Man is characterized as an enactor of chaos and violence, usually grooming young children into doing his bidding. Knudsen expanded his creepypasta into an established intellectual property, beginning with lore that he shared on the internet, then with the indie game series of the same name, and leading to the 2018 Slender Man film.

Smile Dog

“Smile Dog” has a far more ambiguous origin than that of Slender Man. The creepypasta comes from a heavily edited image of a dog with human-like teeth that was spread around the internet. This became an established story about the image in which anyone who sees it becomes haunted by dreams of the creepy dog until they themselves show the image to someone else. The author of the official story is unknown, but it is still considered as the official canon. The image itself was shared to Something Awful, like many other creepypasta images.

Creepypasta Vs. Traditional Horror

One question that may come to mind when considering creepypasta is how it is any different from the regular horror genre, like any scary story from a book in the library. The definitive factor here is the internet as a medium. The internet is interactive, which is one of its most definitive features. When one picks up a book from the library, with the author’s name and publishing company emblazoned on the cover, there is a disconnect between the reader and the story that allows a sense of removal from the events occurring in the narrative. The reader may become captivated by the story, and even frightened by what is depicted within, but there is a comfortable padding of reality that comes from a traditionally published work. With the internet, and especially spaces like Reddit or Something Awful, there doesn’t have to be an announcement of the story’s fictional nature. The interaction between the reader and content is far more intimate without the red tape of published works, and strips away some of the comfort provided by a printed fictional work.

Creepypasta and its Legacy

The internet has provided a new avenue for digital publishing that transcends the restraints of traditional publishing companies. Stories like Slender Man and Smile Dog might never have been conceived within a traditional setting, especially given the components heavily reliant on an internet format (such as the original images associated with the stories). As Hewitz states, “creepypasta stories — whether visual or written — are always undergoing transformation.” There is a fluidity to online storytelling that cannot be replicated in a fixed format like a printed book. In this way, creepypastas are more similar to stories shared verbally, and contain the same kind of ingenuity and originality that comes with collaboration of such a large scale.

It’s not unusual to see crossovers in technical industries. An innovative tool adapted from the realm of video games is seeing an emergence in digital publishing—the digital visual novel. These formats play like a video game, encouraging users to make decisions and provide visual and audio elements to engage the user in an immersive and interactive experience with the material. Digital visual novels present a unique and engaging medium with promising implications for educational materials in particular. These interactive books have the potential to revolutionize traditional learning methods. As technology continues to integrate into education, exploring the implications of digital visual novels in this context becomes increasingly relevant.

One of the primary benefits of this medium lies in the immersive nature of the visual novel. By combining narrative or expository elements with visuals and real-time decision-making, learners can actively engage with the content. This interactive storytelling approach fosters a more dynamic and participatory learning experience for the user. It can be particularly effective in subjects that require a hands-on, contextual understanding, such as medical or technological sciences, industry technical manuals, children’s educational tools.

The visual novel can be an especially useful tool for providing easy access to learning materials for children or adults with reading or learning disabilities as they can cater to different learning styles. Visual learners may benefit from the rich graphics and illustrations, while textual information caters to those who learn best through reading. The inclusion of audio components adds another layer, accommodating auditory learners. This versatility allows educators to address diverse needs within a single platform.

The branching narrative structure inherent in many visual novels also offers a personalized learning experience. Students can make decisions within the text, influencing its progression and outcomes. This not only enhances critical thinking and decision-making skills, but also provides a safe space for experimentation and learning from consequences. It encourages students to explore different paths and perspectives, promoting a deeper understanding of the subject matter.

The gamification aspect of visual novels can make learning more enjoyable. Incorporating elements like points, achievements, or progression levels can motivate students to actively participate and complete educational modules. This gamified approach taps into the psychological aspect of reward systems, making the learning process inherently more engaging.

Accessibility is another key advantage. Digital visual novels can be easily accessed and distributed through online platforms, overcoming geographical barriers. This accessibility ensures that a wider audience, including remote learners, can benefit from the educational content. Additionally, the ability to update and modify digital content allows for ongoing improvements based on feedback and evolving educational needs.

However, challenges exist, including the need for careful content curation to ensure educational integrity. While the immersive nature of visual novels is advantageous than the traditional printed or electronic text, it also demands a balance to prevent distraction from the educational objectives. Striking this balance requires thoughtful design and alignment with curriculum goals.

Furthermore, the integration of digital visual novels into educational systems may face resistance due to traditional perceptions of gaming as a distraction. Educators and institutions must recognize the educational potential of this medium and work towards overcoming skepticism by demonstrating its effectiveness in achieving learning outcomes.

The implications of digital visual novels as educational materials are vast and promising. Their immersive, interactive, and personalized nature aligns well with modern educational goals. As technology continues to advance, embracing innovative mediums like visual novels can contribute to a more engaging and effective learning experience, preparing students for the evolving demands of the digital age.

The Publisher Desk Incubator program has announced the opening of 2024 applications. It is a program focused on providing digital publishing companies with a comprehensive suite of support and services. The ten chosen digital publishers will receive services and tools valued at up to $50,000, enhancing everything from monetization to SEO and content strategy.

The application is open to all digital publishing platforms and once that has been submitted, they will proceed to the interview portion of the qualifying companies chosen. The program outlines a set of standards that the companies chosen must display in order to be considered for the award. There are no publicized stipulations in reference to location, subject matter, or specific parameters that the company must have in order to qualify. However, they emphasize that the companies that will receive the awards are ones that display a promise of growth and innovation.

“There is a tremendous amount of creativity and drive among publishers online, and we know that it often takes a boost to take a publisher to the next level,” said Chris Ward, Co-Founder and Chief Revenue Officer of The Publisher Desk. “Our program is geared toward growth-minded publishers and entrepreneurs who want to take their content and maximize it in a way that scales their business.”

Incubator Programs

The Publisher Desk Incubator Program is not the only one of its kind. There are many similar organizations offering services and tools to companies that are working to establish, or even expand, their companies that need assistance to navigate the most optimal paths forward.

Some programs are even offered at universities. They open applications to their students. Then dependent upon how many the program has allotted for; those students are immersed in an intense and unique curriculum intended to provide services and tools to encourage mastery.

An incubator program’s purpose is to give companies access to mentorship, investors, and other support to help them get established. In the case of The Publisher Desk Incubator they integrate advanced monetization strategies, proactive website monitoring, and strategic keyword research, all designed to enhance content visibility and optimize revenue.

Another example of an incubator program for digital publishing that companies may consider is Le Labo de l’Edition (the Publishing Laboratory). It is a digital publishing incubator based in Paris. “Le Labo is unique in that it’s developed by and funded by the city of Paris itself, aiming towards educational collaboration and partnership. The goal of the incubation program is to assist traditional publishers to evolve in response to the shift to digital publishing. Le Labo connects members of publishing community to develop a continued strategy for growth and development of the organization.”

Taking the Initiative

With a growing demand for digital content, and specifically for scientific, technical, medical, legal, and business text, competition will become more intense. Enrolling into a program like The Publisher Desk Incubator will offer these digital publishing companies an edge over their competitors. It will also prepare them for the potential challenges that other companies have already faced, offering them an insight into how to prevent falling victim as other publishers have inevitably done.

According to Technavio’s market analysis, “The Digital Publishing Market size is expected to grow by USD 138.76 billion, accelerating at a CAGR of 13.12% during the forecast period.” Speculations cite the “digitization of paperback books is notably driving the digital publishing market.” However, there are still pitfalls that can result in the failure of companies like, “high subscription costs may impede market growth.”

Enrolling into a program that offers insight into these positives and negatives, while also being educated about the various tools and services offered, will provide digital publishers with the power to make educated decisions that will best benefit them. As the industry grows companies that take initiative into reinforcing their growing potential will statistically prove better equipped to maintain relevance and have a higher chance of success.

According to Technavio, if digital publishing continues the current trends, then between 2024 and 2028 the market dynamics speculate that three major challenges will hinder digital publishers. They are:

• Real-time monetary transactions in digital content entail potential financial loss for consumers if critical data is lost, fueling consumer concerns about the security and privacy of their account details and potentially hindering market growth.
• Piracy remains a longstanding threat in the content industry, set challenges such as file sharing, copying, and downloading from illegal online sources, emphasizing the critical need for premium digital content protection among the service providers.
• Illegal downloading of digital content results in billions of dollars in losses, restricting the growth of the global digital publishing market.

The Publisher Desk Incubator program will educate their chosen publishers on how to combat these challenges. The purpose is to provide the most comprehensive information in order to provide the building blocks necessary to be successful in such a booming industry. With the saturation of competition there are ample reasons for publishers to look into the resource that offers such an edge over the competition.

These days most teenagers and young adults do not read newspapers or magazines. Instead, they read news and articles on their smartphones and laptops (O’Brien, 2021). Getting news and media online instead of in print is an example of how “digital media” is changing society. A 2021 magazine article talked about the effects of digital media on jobs like writers, editors and publishers (“Impacts of Digital Media”, 2021). 

The article said that digital media creates both challenges and opportunities for these careers (“Impacts”, 2021). One challenge is that news cycles are much quicker now. Writers have to publish stories very fast on news websites (“Impacts”, 2021). They do not always have enough time to check facts or do proper research before posting articles. Another challenge is that publishers and editors now worry more about fake viral news spreading online (“Impacts”, 2021). When false information goes viral, it makes their publications seem untrustworthy. Fact checkers have to work extra hard to protect against false news (“Impacts”, 2021).

However, digital media also provides new opportunities. Writers can now share news globally within seconds (“Impacts, 2021”). Before the internet, they only reached local readers. Digital tools also allow greater creativity. Writers use multimedia like online videos and podcasts to tell better stories (“Impacts”, 2021). For publishers and editors, digital analytics help them understand reader interests better (“Impacts”, 2021). Online data shows them which types of articles perform best with audiences. This helps guide their decisions.

Overall the article argued modern digital media pushes writers, editors and publishers to be more flexible and adapt quickly (“Impacts”, 2021). Roles are changing. Writing skills now emphasize speed. Editors oversee more fact checking than before. Publishers track online data patterns more closely. Digital technology will likely keep disrupting old media models (“Impacts, 2021”). Jobs depend on adjusting to new internet-centered systems.

In conclusion, a shift toward online media impacts many traditional writing and publishing jobs – often in both favorable and challenging ways (“Impacts”, 2021). These careers face pressure to change accustomed practices. But digital platforms also allow greater reach and insight. Moving forward, striking an balance between print and online formats could be wise until new internet-native models emerge.

Source:

O’Brien, D. (2021, January 10). Print media in decline as young people move online. Business Daily. https://bizeco.com/print-media-decline-youth-online

Impacts of digital media on writing and publishing careers. (2021, March 31). Publishing Perspectives. https://www.publishingviews.com/impacts-of-digital-media

“Don’t judge a book by its cover!”

Nearly everyone has heard the proverb at least once in their lives—and not without good reason. It is a little piece of wisdom meant to impart an invaluable and universal life lesson: the value of people or things should not be determined on a whim based off on first impression. After all, appearances can be deceiving and it’s what is inside that truly matters most.

But this proverb is rarely applied to actual books and their cover art. In fact, studies and polls show that readers really do often judge a book—even an eBook—by its cover. While this may lead to readers potentially misjudging a great book and missing out entirely, there are some cases where judging a book by its cover are entirely appropriate, such as good old fashioned pulp fiction paperbacks.

These paperbacks are most notable for their whacky and eye-catching cover art, meant to convert lookers to buyers as they gawked at the provocative illustrations. Illustrations including sexy women in revealing clothes, men brandishing weapons, and even graphic depictions of violence—all covers arguably not commonplace today, but also much too detailed to translate well to a thumbnail image. But this doesn’t mean that pulp is incompatible with the digital age.

PULP FICTION, A BRIEF HISTORY

America’s pulp fiction period officially began in 1860 and fizzled out in 1955 after enjoying a couple decades of particularly heightened popularity around the time of the Great Depression. Industrialization brought the emergence printing technology that would vastly change the relationship between the average American, much more literate than before, and books forever.

The printing industry sought to capitalize on growing literacy rates and committed to making books more affordable by printing on wood-pulp paper instead of the rag paper which was in popular use at the time. Unfortunately, while wood-pulp paper was cheaper than its rag paper counterpart, it was definitely not as stable due to its acidity and cellulose composition. However, the instability of the paper was not an issue at the height of pulp’s popularity. Wood-pulp paper was incredibly cheap, meaning paperbacks could be purchased by middle-class Americans for mere pocket change, often just $0.25. They were meant for voracious reading, quick turn-and-burns as opposed to something designed to show off on a bookshelf.

Authors also benefitted from the pulp era. The period marks a significant time of innovation in literature and made way for the introduction of genre fiction never before seen on newsstands before—genres like hardboiled detective, western romance, and even science fiction. The era even lays claim to some prolific names in literature, such as sci-fi legends HP Lovecraft and L. Ron Hubbard, as well as detective story legends Raymond Chandler and Dashiell Hammett.

While not scandalous by today’s standards, Pulps came under heavy criticism in American society for their contents, which frequently included crime, sex, and violence, among other exploitative themes. However, Pulp consumers couldn’t be deterred—amidst a bleak social landscape and the lurking Depression, readers simply craved escapist fiction. It is a craving that is on the rise again today, as evidenced by the increase in adult fiction sales year-over-year. The interest in adult fiction combined with our tendency to be nostalgic seems to suggest that modern society could see the return of Pulp, which even found itself trending on Twitter earlier this year.  

But in the digital age, does the Pulp-curious reader have the option of an authentic experience, or will they have to settle for a watered down and sterilized version of Pulp? Thankfully, there are some options—even with cover art fully intact.

FROM PULP TO PDF

Unfortunately, the use of wood-pulp paper has made the digitization and preservation of these books a daunting task. Unlike the process of scanning a typical book to .PDF, the groups that dedicate themselves to this mission are often faced with unique challenges posed by the wood-pulp due to its composition and age. Often, there are creases that need to be flattened, tears that need to be mended, or even multiple fragments that need to be put back together as a whole.

Thankfully, the Library of Congress, began a preservation initiative for their digital archive, which contains more than 14,000 different pulp titles. Initially, the Library began the task of digitizing by moving the paper-printed pulps to microfilm, or tiny little photographs. The issue with microfilm however, is its inability to properly preserve color intensity and image detail.

The Library recognizes the limitations of microfilm preservation and quickly resolved to split preservation duties between two divisions: the Collections Conservation Section, which is responsible for preserving the covers, and the Preservation Reformatting Division, which is responsible for the text.

Along with the Library, there are private organizations that dedicate themselves to digitizing these delightfully weird pieces of American literary history. Websites such as Radio Archives offer the pulp-curious reader not only digitized copies of pulps, but PDF, Mobi, and ePub formats, fully bringing pulp into the digital world and onto our eReaders—and just in time.  

Substack is taking the world of academia by storm. In the past couple of years, writers like Rayne Fisher-Quann, Zeynep Tufekci, and others have utilized the platform to publish think-pieces, essays, and articles that have since been instrumental in academic and journalistic discussions. The website, despite having its share of copycats and naysayers, continues to grow. With this growth has come a sense of respectability, especially in terms of its forward-thinking members whose essays and articles have begun to be cited and included in academic discussions.

Substack

Substack’s homepage refers to itself as a “subscription network for independent writers and creators.” Launched in 2017, the website was designed to be a platform for writers to post their work and garner a subscription-based, newsletter-style audience of readers. Since then, the site has flourished and evolved into something that has drawn in creators of all kinds. Substack supports the work of writers in a vast range of fields and topics, with its home tab listing categories such as Culture, Technology, Business, Travel, and many more. Its subscription feature allows writers to select which posts they want to be publicly accessible and which they want to make available only to paying subscribers, who contribute a monthly fee for this access.

Online Academia

The internet has a reputation for making worlds once-exclusive accessible to millions, and academia is no exception. The academic field is one with a history often considered pretentious and stuffy, only accessible to a select few and rather narrow-minded in its culture. An article by Armaan Verma for The Daily Gamecock states the following: “Whether it be paywalls, complex or even downright incomprehensible papers, or even historical bias towards upper class men, academia has always found a way to make itself less accessible to the common person.” However, the article shifts to posit that academia can be made more “relevant” through the internet. With the resources the internet provides, academia has the opportunity to widen itself and develop a more expansive and well-rounded culture. Substack and its diverse platform of writers seems to be a promising addition to this effort.

Substack Academics

The following are examples of the writers whose works have been part of wider academic discussions over the past few years.

Rayne Fisher-Quann is a Canadian writer and cultural commentator. Her works on feminism, politics, sociology, and other topics on her Substack account internet princess have received acclaim in contemporary academic and commentative circles. She has spoken at universities like McGill and currently has a following of over 70,000 subscribers on Substack. Some of her influential pieces are the following: “standing on the shoulders of complex female characters” (about the glorification and romanticization of depression in young womanhood through the example of aesthetics and fictional female characters), who’s afraid of amber heard? (a think-piece concerning society’s treatment of Amber Heard and other woman who weren’t “perfect victims”), and the pain gap (a breakdown of the dynamics of toxic relationships and how women suffer).

Zeynep Tufekci is a Turkish sociologist and professor at the University of North Carolina at Chapel Hill. She has an online news publication known as Insight on Substack, where she posts articles, essays, and think-pieces. She is also the author of the book Twitter and Tear Gas. She is a contributing writer to the New York Times and The Atlantic. Some of her influential pieces are the following: “Long Covid, The Long History Version” (about “complex chronic conditions and post-viral syndromes”) and “On the Alex Jones Verdict: The Very, Very Lucrative World of Lying” (about the Alex Jones trial and its societal implications).

Brian Klaas is an American political scientist and global politics professor at University College. He is also a contributing writer to The Atlantic. His Substack account is The Garden of Forking Paths, where he posts articles and essays about various educational topics for his audience of over 20,000 subscribers. Some of his influential pieces are the following: “The Biggest Hidden Bias in Politics” (about the American political system and its main failings), “It’s the Guns.” (about gun violence and gun control), and “The Evolution of Modern Dogs” (about the evolution of dog breeding and its societal implications).

Conclusion

The internet is a great equalizer. Since the dawn of its existence, online publications have revolutionized the fields of journalism, publishing, and academia. The new influence of Substack in online journalism and publishing in general sets a promising foundation for an era of academia that is more diverse and more informed. Perhaps, as it continues to grow, the platform will establish itself as a giant of reputable publications and educated opinion-pieces.