Eve Davies
With the proliferation of social media, there’s no denying that influencer culture is taking over many creative industries, including marketing and advertising, fashion, photography, design, and even publishing. With this, there has been a huge increase in the number of books written by social media stars over the last couple of years.
To name a few recent influencer literature successes, there’s Becoming Molly Mae, Hinch Yourself Happy, and This is Not a Fashion Story.
Ever since Zoella’s debut fiction novel, Girl Online, became the fastest-selling fiction book of all time and topped the Sunday Times Bestseller list 2014, fiction and non-fiction literature by influencers has been constantly on the rise. In 2020 – the pandemic year which, for many, consisted of scrolling, reading, and scrolling some more – social media consumption increased by 72%. So I guess there’s no surprise that 2020’s bestseller lists were packed with books by influencers.
“unattainable version of a ‘perfect’, always-camera-ready lifestyle”
We all have our favourites whose seemingly ‘perfect’ lives we look up to in awe. And yes, a lot of them are positive role models, showing how hard work can lead to success and not shying away from highlighting the realities of life at times; yet there are many who portray an unrealistic, unattainable version of a ‘perfect’, always-camera-ready lifestyle and are put on a pedestal simply because of their large social media followings.
However, publishing influencers remains a touchy, controversial subject. As a young, aspiring writer, I’ll admit that I feel disheartened when I see influencers, with essentially no writing history or skill, be handed book deals with huge publishing companies. That said, my own opinion on the matter is constantly buffering.
Understanding the publishers’ standpoint
There are several factors that make influencers alluring to book publishers: mainly the guarantee of success, profit, and the sense of being ‘on-trend’. I understand why publishing companies do it – publishing ‘authors’ who already have a name for themselves, along with a loyal following, is bound to bring in the pounds. It is a sure bet in the publishing industry which, we must remember, is a competitive trade. Although some would say that it is a lucrative, somewhat selfish, card for big, wealthy publishers to play as they discard the talent and skill of smaller writers in favour of profit.
“as a result of their followings rather than their writing capabilities or ideas”
Ultimately, there is not always enough risk-taking in publishing. As stated by Kit Caless, co-founder of the independent London publisher Influx Press: “most publishers will publish books because they think they’ll make money; not because they think they’re good or healthy for culture.”
A book by a trending influencer about a trending topic, regardless of the writing standard, is a safe option for publishers. It is likely to be well-received by their fanbases, while giving lesser-known authors a chance poses a larger financial risk as commercial success is not promised.
A senior marketing and publicity professional in publishing predicted that “50% of all book deals with influencers are as a result of their followings rather than their writing capabilities or ideas.”
What about the real writers?
Getting a publishing deal is no easy ordeal and many writers spend most of their careers sending manuscripts, being rejected, and trying again until a publisher takes note of their ideas and talent. Having been involved in writing circles and workshops in both an academic and a community setting, I’ve seen the struggle that writers, young and old, go through to get their work published.
“ghostwriters should be fully credited”
I sympathise with those who have committed countless hours and pennies to becoming a better writer, for their career to be jaded by the greed of publishing houses whose focus is sales figures and income, and consequently allow influencers to add ‘author’ to their already multi-hyphened career that usually includes ‘Instagrammer’, ‘YouTuber’, ‘podcaster’, or ‘brand ambassador’. Surely, someone who has dedicated their career to becoming a better writer should be given a spot on the bookstore shelves over someone who already has several brand sponsorships and thousands of daily readers on social media.
Furthermore, a lot of controversy surrounds the matter due to the exploitation of ghostwriters. Many influencers with book deals do not have the writing expertise to write a full book, so they will hire ghostwriters to communicate their thoughts and stories on the page. Putting the influencer’s name on what is essentially the ghostwriter’s work is an understandably moot move. I believe that ghostwriters should be fully credited for their contribution to the final published piece.
Nevertheless, it must be acknowledged that not all influencers use ghostwriters. Many of them are highly creative individuals with the ability to express themselves well in writing and speaking – it is a huge part of their work after all.
What did other young writers have to say?
I spoke to several young writers who have experience in or are aspiring to work in the publishing field. They all agreed that they understand why influencers are chosen by publishers due to their large followings and subsequent, almost guaranteed, profit. However, the general belief was that book publishers should equally focus their attention on smaller, lesser known individuals who may be publishing their first ever book and establishing their audiences.
“Talent can come from anywhere “
One young writer highlighted that publishing influencers runs the risk of leaving “so much talent undiscovered, as it is overlooked in favour of more established names.” They continued: “I would love to see publishers encouraging first-time authors and smaller creators to submit their manuscripts or ideas, creating a space where strong talent from an undiscovered author can flourish.”
The accomplishment of having a book published, especially by a large publication, is something that many authors dream of. Hence, it can be an immense blow to their confidence when influencers, who may have little real interest publishing, appear to be handed book deals easily.
The young writer said: “I believe it is important to continually scout out and encourage budding authors to send in their work to publishers. Talent can come from anywhere and increasing the number of books written by influencers subsequently makes it more difficult for other, smaller authors to pave their way into the industry.”
Is there a place for influencer literature in the publishing industry?
Bringing in an immense number of sales, there is inevitably a place for influencer literature in the publishing industry. Another advantage of influencers publishing books is that it encourages audiences who would not usually read to discover the joy of reading. It is a privilege to read and I believe that everybody should use their literary skills, no matter the author or standard of literature, considering the variety of benefits that practising them brings.
For influencer literature to be accepted in the publishing industry, there needs to be measurements in place to ensure a fair balance between already established authors, previously unpublished authors, and social media influencers. It is unfair for social media personalities to be given an advantage in an industry that is not reserved for them. Hence, they should add variety to the publishing landscape, by capturing their individual professions – be it fashion, health, or astrology – in a book, as opposed to taking opportunities from practised writers.
Featured image courtesy of Pexels on Pixabay. Image license can be found here. No changes were made to this image.
evedaviess
Eve is 22 years old and lives in Swansea. She has recently graduated from Cardiff University with a BA in English Literature. Eve's main interest is in lifestyle writing, particularly health, food, and travel.