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MARKET SHARE ®
subrights and licensing, advertis- value down the road?” and packaging content or a story
ing, compilations and bundles, Many writers meet disappoint- between two covers—is only one
and (of course) traditional print ment when they’re only one or type of offering on today’s con-
sales. two books into a career and find sumption spectrum, and not
In nonfiction, Instagrammers, themselves constantly giving their necessarily the most profitable
bloggers, and podcasters produce work away because no readership or exciting one. While a book may
volumes upon volumes of free has been developed yet and there carry the same appeal and value
digital content over the course is no demand for the work. At as it did 100 years ago to a certain
of months and years that can such a time, it can feel natural for segment of the market (particu-
then be curated and winnowed them to blame readers and believe larly those who fetishize reading
down into a single, cohesive book that their work isn’t valued. The and books), it ignores a whole
that people pay for, or into an truth most likely is that the work other group of readers who could
annual event or online course or doesn’t yet hold any market value, be interested and nurtured if only
community. or that the author hasn’t found authors think through what read-
When producing something for the package or context that would ers value in terms of experience
free, authors are opening the offer value worth paying for. or access. ■
door to new fans. Instead of ask- There’s no question that market
ing, “Will this cannibalize my dynamics have changed and the Jane Friedman teaches digital
sales?” or, “Am I giving too much supply of writing in the market media and publishing at the
away?” it’s much smarter to ask, today outpaces demand. The tra- University of Virginia and is
“Will this lead to a new reader ditional value that a writer or the former publisher of
who will pay for something they publisher has provided—producing Writer’s Digest.
BOOKLIFE.COM 45
