The publishing ecosystems of contemporary australian genre fiction

Mapping the entertainment ecosystem of Wattpad: Platforms, publishing and adaptation

“…While dedicated e-readers have been available since the early 1990s, it was not until the introduction of the Amazon Kindle in 2007, and in particular, Kindle applications for smartphones released circa 2009–2010 that the publication and sales of e-books proliferated (see, e.g. Driscoll et al, 2018). Today, all publishing is digital at least in part, and platforms have become a key feature of the contemporary publishing industry.…”

Experiments with Book Festival People (Real and Imaginary)

“…Fictional names or labels are sometimes used to define segments of the audience: "Eva"s who are 30-something and love late night networking events; "Jan"s who are in their sixties and looking for new cultural experiences (note: these are fictional examples of fictionalization). 10 Such groupings may partially speak to the lived experiences of people attending book culture events, but inevitably smooth over the rough edges of non-conformity to type.…”

#loveyourshelfie

“…15 This pattern is consistent with the overall growth in genre fiction by Australian authors: Driscoll et al have found that "total output" of novels by Australians across the genres of crime, fantasy, and romance "has increased almost fivefold since 2000" and that the greatest increase is in romance. 16 The sheer volume of category romance published by Harlequin and Mills & Boon (even with a restricted focus on Australian-authored titles) and the continuous adaptation of their marketing strategy and distribution system makes it difficult to study these books. As Thompson explains, "[w]riting about a present-day industry is always going to be like shooting at a moving target: no sooner have you finished the text than your subject matter has changed-things happen, events move on, and the industry you had captured at a particular point in time now looks slightly different."…”