Information and tips, focusing on publishing, publicity, promotional ideas, author profiles, design resources and more.
Some sources of high quality free typefaces:
there are filters on the left to help users narrow down their search
Tags at the bottom right to help you find the right style
Just keep on scrolling and make them an offer…
Lots of good stuff on offer, plus sign up for their newsletter!
Alisa Beagley writes and illustrates action-packed books set in a world of superheroes and supervillains. Her latest book, Clash of the Powers is out soon and follows on from Captives of the Killer and Second Chances.
Alisa promotes and sells her books via her well-designed and informative website.
Author Natalie Gretton recovered from the recent bankruptcy of her publisher by holding a very successful book launch for The Healer of Marchmont. Here is her account of the event:
My young adult medieval adventure novel was due for release five weeks after the publisher went into liquidation. After negotiation with the printers, I purchased the 1500 copies of The Healer of Marchmont. Neither my husband, Mike of I had much idea of how to market the book to sell, so listened to anyone who had advice for us.
I was offered our local Neighbourhood Centre to have a book launch and chose a date some weeks from that. Flyers went out to the whole town and outlying areas of Trentham through the postal service, advertising the launch using the cover of the book, part of the blurb and a little about me. I also placed books in the local Trentham bookstore, Aesop’s Attic in Kyneton, New Leaves bookshop in Woodend, Stoneman’s Bookroom in Castlemaine, and Paradise Books in Daylesford. These were on a commission basis. Friends were contacted by Email, on Facebook, through my new website set up by my IT guru son, and word of mouth. A visit by friends who live in Canberra was good, because they took a box of 64 books back with them to sell for me. At present there are five books in Harry Hartog bookshop in Woden, Canberra, and more are being advertised by the friends. Other people took 10 books and sold those as well.
The book launch went very well. The day was lovely, sunny, still and warm. People came from many different places and were old and new friends we have known for short times and long times. We had some local people attend as well. Fifty people altogether. Some people had bought the book earlier and came to give comments about it or to get it signed for their children and grandchildren. Diane Parsons, a local retired secondary school teacher, launched the book for me and, after that, a critique was given by Charlie Wells. Charlie’s mother is the manager at the Trentham Neighbourhood Centre and had asked Charlie to read the book. His comments were very interesting and insightful for a ten-year-old young man. All the comments we had on the day and in Emails since have been very positive. The day of the launch we sold $500 worth of books, which did not include more that were sold prior to the launch.
There are still very many books to sell, but at least I have more than some other writers who were left in the lurch. I think I was more fortunate than some other writers as at least I have something tangible, unlike writers who were left in the lurch by a publisher.
So with a bit of advice and some energetic Emailing, phoning, flyer producing and a launch with a good afternoon, good friends, some lovely snacks and a few drinks, one can recover from what could have been a total disaster.
Abdi Aden, author of Shining and Yes I Can is very successful at promoting his books. Here are a few suggestions from him based on his experiences:
My PR is very basic and low budget.
Word of mouth anywhere you can, such as my kids’ basketball, take-away shops, public places.
Schools I visit and speak at.
Making t-shirts.
Websites, also other book-sellers
websites.
Calling places saying “I have a book.” For example, some writers festivals, and also Dymocks Camberwell runs a book night every November for self-publishers.
Social media like Instagram, Facebook, Twitter and LinkedIn.
Also learn when new social media come up like Snapchat.
Find small festivals, such as Clunes — self-publishers do well there. People attend from all over the world,
“Moving forward at 70% takes more guts, more strength of character, than holding out for 100%, because it entails moving forward amid uncertainty, anxiety, and the disagreeable feeling that comes with putting less-than-perfect work into the world.”
Sign up to his interesting newsletter here.
Effective April 1, 2025, IngramSpark will adjust print-on-demand pricing.
What this change means for you:
Pricing adjustments will result in some books costing more, while others will cost less. View our complete pricing and services guide, including any available discounts here.
Black and white books are now priced more competitively, offering even greater affordability.
Higher discounts are available on books you purchase from us directly.
Ultra-premium color books are now eligible for discounts. Ultra-premium color features offset-quality color printing achieved through a toner printer, making this option perfect for titles rich in images and illustrations.
Books enabled for distribution gain access to our global distribution network of over 45,000 retailers, librarians, universities and educators and are assessed a 1.5% market access fee.
Service fees remain unchanged:
FREE title setup. Upload your books for free*.
FREE revisions on new books. Revise your book within 60 days of the book’s first production date and you will not be charged a revision fee.
Simplified shipping for orders printed and shipped within the United States with standard and basic options.
Beginning February 15th, you can use our publisher compensation calculator to see what you’ll earn for books sold after March 31, 2025. You may want to consider a list price adjustment on your books to maintain your current publisher compensation rates. Need help making a list price change? View our help article.
Alternatives to IngramSpark include Amazon Kindle Direct Publishing, Lulu and BookBaby.
Alternatives to IngramSpark include Amazon Kindle Direct Publishing, Lulu and BookBaby.
And ChatGPT helpfully suggested the following:
AI has made search engines more adept at understanding the context and intent behind search queries. Instead of just targeting keywords, create content that answers the questions and needs of your audience in a natural, conversational tone1.
With the rise of voice assistants like Siri and Alexa, optimizing for voice search is crucial. Use long-tail keywords and natural language phrases that people are likely to use when speaking rather than typing1.
AI tools can help generate and optimize content, but it's important to balance this with human creativity. Use AI to assist with tasks like keyword research, meta tag optimization, and content suggestions, but ensure the final content is high-quality and unique1.
Instead of producing a large volume of content, focus on creating fewer, high-quality pieces that provide real value to your audience. This approach can help you stand out in search results and build a loyal readership.
SEO is constantly evolving, especially with the integration of AI. Keep up with the latest trends and algorithm updates to ensure your strategies remain effective1.
Backlinks from reputable websites continue to be a strong ranking factor. Focus on creating valuable content that others will want to link to and engage in outreach to build relationships with other content creators and influencers.
By adapting to these strategies, content creators can continue to promote their websites effectively and rank well in search results, even in the age of AI content.
Eleanor Hecks discusses the importance of graphic design in enhancing the reader experience:
Authors live in an age where attention spans are dwindling and competition for readers is fiercer than ever. Today, readers crave stories that capture their imagination while captivating their senses.
For writers and book designers, this is where visuals become a must-have tool for deepening engagement and enhancing the storytelling experience. Whether through a book cover or carefully crafted book opener, graphics and design can amplify a narrative’s impact, making it linger long after the final page.
Visual storytelling is the art of conveying a narrative through images, typography and design. It goes beyond the written work, enhancing a story’s emotional impact and immersing readers in its world. For authors, visual storytelling is the connection between content and experience. It creates a richer, more engaging passage for readers.
In publishing today, this system has become increasingly important. Consider that publishers and independent authors sold over 767 million print books in 2023. When you factor in e-books, the figure climbs even higher. With so many options available, authors must find ways to stand out, and designs are one way to achieve that.
Visual storytelling is crucial because it fits the human brain’s natural preference for visuals. Humans prefer graphics over text because of a phenomenon called picture superiority, which psychologist Allan Paivio studied. According to Paivio’s dual coding theory, humans store visuals in two ways — as an image and as a word or phrase that describes the image.
In contrast, humans only store words as verbal representations. This means images are inherently more memorable, making visual storytelling better for capturing and holding readers’ attention. By integrating visuals into books, authors can create more relatable narratives on multiple levels.
When adding images to content, authors create an experience that complements and enhances the narrative. Understanding the key components of graphics can create lasting impressions on readers. Success depends on the type of experience created, as 80% of consumers now consider it to be just as important as the quality of the product when making future purchasing decisions.
To give readers what they want, the visuals must contain various components, including:
Typography
Illustrations and graphics
Color theory
Layout and white space
Cover design
Carefully combining each of these elements enables writers to produce books that are visually appealing and emotionally impactful.
Today's authors find creative ways to weave graphics and design into their storytelling, making books more dynamic and engaging. In fiction, many successful authors add maps to orient readers in complex fantasy worlds or use character illustrations to breathe life into protagonists.
In nonfiction, authors leverage images like infographics, charts and diagrams to simplify complex ideas and present data in a digestible format. For memoirs and biographies, authors typically include personal photos or handwritten notes to add authenticity and emotional resonance. By incorporating visuals strategically, they can enhance the reader’s connection to the content while making their books distinctive.
The following strategies offer ideas for authors and designers to use graphics and design elements to captivate readers.
An evocative cover is a great way to capture potential readers at first glance. The new Game of Thrones covers’ design perfectly exemplifies this. The series “A Song of Ice and Fire” uses traditional linocut art to create intrigue about the world the reader is about to enter. The covers perfectly capture Westeros and the danger that lurks within it, garnering attention and setting the tone for the epic narratives.
Whimsical chapter headers or illustrations can provide readers with visual cues. Such elements offer a glimpse into upcoming events, building anticipation and enriching the storytelling experience.
Inconspicuous visual elements that follow the story’s plot or characters can delight attentive readers. These hidden gems encourage deeper engagement, as readers feel rewarded for their attention to detail.
Impactful lines with elegant designs draw the reader’s eye to significant moments. This technique spotlights key passages, amplifying their emotional connection and making them more memorable.
Creative typography can accentuate pivotal moments or emotions within the narrative. Authors can deliver intensity, urgency or tranquility by varying text placement and style, adding another dimension to the reading experience.
Authors must use visual storytelling through graphics and design to connect with today’s readers. Visual storytelling elevates a book from a story to an unforgettable reading experience. As readers increasingly value the experience a book provides, investing in visual storytelling is a strategic creative choice. Start experimenting with visuals to convert stories into ones that readers will cherish.
Eleanor Hecks is a writer and web designer who is passionate about helping other writers grow their online presence. Her work can be found on her site Designerly, as well as publications such as IndependentPublishing.com and I Need a Book Cover.
Online marketing firm Newfangled breaks down the current SEO situation, and it isn’t pretty.
“Even if you are an exemplary student, play exactly by the rules and do every single thing right and start publishing this week, it’ll take you at least 18 months (or longer) before you could have any hope of seeing real results from organic Google rankings.”
The writer argues that two of the main reasons are Google’s decision to index AI content (and there is a lot of it) and that users simply do not scroll anymore. If they do not get the result they want, they change the search term rather than scroll. Bottom line: content creators are going to have to find new routes to user engagement.
“The rules of great content have not really changed at all in the past 20 years — great content engages people, builds trust and credibility, and educates the specific masses. Those are the rules and what you should do to achieve your goal of lead generation. That’s what’s changed a lot over the years.”
All of this illustrates that authors setting up their websites should not rely on automatic engagement. They will only be found by someone searching very specifically, probably for their name, or the title of their book. It is good to have a website that showcases an author’s work, but it is important to have other strategies to garner attention.
Newfangled have another interesting article on the kind of content you should put on your site, and in social media posts, to rise above the generic.
An interesting article posted by Apple on using accessible, readable typefaces. Many of the suggestions are worth considering, though following them all might feel a little constricting.
“Legibility is an informal measure of how easy it is to distinguish one letter from another in a particular typeface. Several aspects of a typefaces’ (font’s) design significantly impact how legible it will be.
This is a basic guide for anyone who is looking to choose typefaces that will increase legibility in any document.”
Independent author Tony Whitefield has been profiled by the Greek Herald. Tony explains how his love for Greek culture, landscape and history led to him writing several works on history and fiction.
““I never ever thought that I could write a novel,” Tony said.
I’m a great believer that anyone can write, and having been a high school teacher for years, I thought, well I’ve written lots of articles, listing things and curriculum things and I’ve completed a master’s thesis and a PhD, so I just wanted to take that next step and commence writing.”
The 64-year-old said what he loved most about writing was the “aha moments.”
“I just love when I’m focused on such miniscule things and I can’t work out how to construct something, so I go away and clear my mind. Then, when I come back and start typing, it clicks,”
WorkingType Design’s resources booklet has been updated with more author advice and resources. The booklet can be downloaded here. If you’d like to add your own experiences, advice or warnings, please let us know. The case studies in the booklet show that there are many ways to promote a new or existing book, on or offline.
Some very good advice and an ansight into the publishing process from experienced editor Euan Mitchelle. Excerpted from his book “Your Book Publishing Options”
The Publishers’ Paradox
Publishers want a submission that is different yet has been done before.
A paradox is a statement that appears to contradict itself yet contains a slippery truth. How can publishers expect something different – that is, new – but somehow it has been done before? This doesn’t seem to make sense. The answer is that publishers want evidence your genre or type of book is already selling in viable quantities, and your submission has at least one marketable point of difference from the existing competition.
Remember the example of the new atlas on page 31? If you think your book can’t be pigeonholed into an existing genre or combination of genres (cyborg-romance, gothic-crime), think again. This can be particularly confronting for fiction writers, as I found when my first manuscript was summed up by publishers as a coming-of-age/on-the-road tale. Up to that point it was my unique story that I didn’t like to categorise.
To a publisher it was just another text whose commercial potential could be guesstimated. Therein lies the key difference that your submission needs to overcome.
You are going to improve your chances of pitching to a publisher if you can put yourself in their shoes. But I have read too many submissions – in my later role as a publisher – that are self-centred (including a new writer’s career goals), rather than focused on how a book might fit with the publisher’s existing list of titles. The following alternatives aim to turn an ordinary submission into an extraordinary pitch.
Independent author Santosh Nambiar talks about Mindfulness. Santosh’s website does a great job of showcasing his books and services. Clean design, plenty of content and recently updated. And a clear introductory statement:
Are you ready to silence the unwanted mindnoise from your life?
The simple awareness of your conditioned mind will set you on the path to freedom from unwanted mindnoise, paving the way for peace, creativity, emotional wellbeing and clarity. Allow yourself to be free and live a more purposeful, grounded and conscious life.
In recent times, the whole process of digital content access and consumption has gone through a great transformation. One of the tools that many people around the globe use for reading is ebook readers. With Progressive Web Apps (PWAs) emerging, a new dimension has been added to the future ebook reading experience, presenting a seamless, responsive, and immersive experience in an easy format that can easily adapt to a variety of devices and environments. In reality, PWAs are presenting ebook sites with the much-needed opportunity to revolutionize reading experiences while filling the gap that has thus been formed between websites and native mobile apps.
This article delves into how Progressive Web Apps are revolutionizing the future of ebook readers and categorizes the features and benefits that may dictate the course of ebook consumption into the future.
Progressive Web Apps represent native app experiences delivered through web-based applications without reliance on native technologies from mobile or computers. Like regular websites, PWAs run instantly, support all devices for responsiveness, load offline, and can be accessed directly from any device's home screen without user interaction with app stores. PWAs are fast and reliable, with app-like performance, making the experience engaging, even in situations where there is little or no internet.
PWA provides the ebooks an experience of reading as if it were a native application. They assure smooth cross-device functionality, hence an ebook reader can read anywhere at any time on any smartphone, tablet, or desktop. Unlike native apps, these work across all platforms without having to download and install separate applications from stores. They thus save users from managing multiple apps to enjoy an uninterrupted reading of their ebook library. The Progressive Web App will be platform-agnostic, ensuring reading is accessible and convenient on all devices with a consistent responsive experience.
The biggest challenge ebook platforms faced was uninterrupted reading when there was no internet. In this respect, PWAs stand out, because they are built to be offline-capable. By using the service, the background scripts run on top of a webpage, without disrupting its functionality—PWAs can cache all the needed assets, including ebook files, to ensure that the users can keep reading even if there's no access to the internet.
This will make it possible to keep reading from your favorite series while you're traveling, as you are when commuting, even when connectivity might be spotty or unavailable for your ebook reader. Once connectivity comes back online, you will automatically update in the cloud and find what you've been reading synced throughout all of your devices. This level of convenience upgrades the whole user experience, which is why PWAs become an excellent option for ebook platforms looking forward to offering flexible and uninterrupted reading.
Optimized Speed and Performance
Ebooks must be fast and performant, and PWAs guarantee fast fluid experiences. Techniques such as caching enable them to load fast even on slower networks, reducing wait time. They are also lightweight, requiring less storage space on devices. This means they don't take a lot of storage space for content and features like native apps do; instead, they stream or cache content, thus reducing how much space will be occupied on a device without diminishing functionality. That makes PWAs very suitable for storage-limited users who want the best reading experience possible.
Engagement Features and Notifications
The ebooks can be made more enjoyable through PWAs with features like push notifications, where it notifies a user of a new release, reading milestones, or reminders to read. This makes the experience very personal and engaging because it reminds users to continue their favorite books or reminds them of events like book club meetings. This ensures that users are connected with their ebook libraries, thus bettering reading habits and engagement. Another area is push notifications, which will allow ebook platforms to be in touch with the users, hence improving retention and further use of the platform.
Low Cost and Easy Updates
Developing and maintaining native apps on each operating system is expensive and very time-consuming for ebook platforms. PWAs are relatively affordable and only need one codebase for all platforms, thereby simplifying the development process. As well, PWAs have automatic background updates, in which the user does not have to manually download updates. This means that the platform would never stop evolving because bugs can be fixed quickly and new content added the same way. With a PWA, there is a more agile ebook platform solution. The experience is streamlined and efficient for the developer and user.
Improved Discoverability and Accessibility
PWAs can significantly improve discoverability. They are especially great for markets where accessing the app stores may be difficult. The ebook platforms may send users directly to their sites to access a PWA in an instant. This improves acquisition rates and increases platform reach. Second, PWAs are friendlier to people with disabilities because they can be developed based on web technologies that support a screen reader and adjustable fonts besides offering high-contrast themes. This makes ebooks much more accessible to everyone, closer to reaching an even wider cross-section of a population for reading books even with visually impaired populations.
Future of Ebook Readers with PWAs
PWAs will definitely change the game in the digital reading world, making it much more accessible, performance-wise, and engaging. An ebook will generate an amazing load-time experience due to cross-device capability, offline capability, and push notifications, which will take readers anywhere they want, at any time, to read their favorite titles with flexibility, responsiveness, and immersion. As ebook platforms adopt PWAs, they will change the face of digital content consumption, making it easier and more accessible on any device so that the next generation of readers can find content easily.
In a nutshell, the influence of Progressive Web Apps on ebook readers is just tremendous. They are flexible, high-performance, and engaging in fulfilling the needs of today's digital readers while making development easier and discoverability better. More ebook platforms embracing PWAs will make ebook reading faster, more accessible, and more enjoyable than ever before.
Reports:
Article contributed by Harikrishna Kundariya
Biography:- Harikrishna Kundariya, a marketer, developer, IoT, Cloud & AWS savvy, co-founder, Director of eSparkBiz Technologies. His 12+ years of experience enables him to provide digital solutions to new start-ups based on IoT and SaaS applications.
“A book is a great resource as it establishes the author as an expert on the topic and someone who has a lot of intellectual property. The books we create with clients are all to support their existing businesses and not to sell as a way to independently make revenue. The amount of book sales necessary to get a return on investment of your time, effort and money to create a book, isn’t worthwhile. We make the returns from speaking, consulting and coaching clients based on the materials in the book. “
Andrew’s latest book detailing his 12-step e-ttraction method is out now.
Author and experienced editor Euan Mitchell explains the three levels of editing, and why all are important. Taken with permission from Euan’s excellent book “Your Book Publishing Options”, published by Overdog Press, and available as an ebook here, Alternatively, you can buy a printed copy directly from Euan for $35 (including postage within Australia).
1. Structural Editing
Also known as ‘substantive editing’, structural editing concentrates on the overall structure of a manuscript – the big picture, not the details yet.A structural editor assesses the content of a manuscript and the way it is presented, including order and length of chapters, consistency of writing style and choice of language throughout, the sense of flow between sections, and the overall clarity with which a writer has pursued their intentions.
A good structural editor can be the most valuable ally a writer has during the publishing process. This does not mean the structural editor merely lavishes praise over the entire manuscript, indeed, serious restructuring may be suggested. This can be confronting for the writer, even with the most diplomatic of editors. The writer might feel like bursting into tears. It can feel like having the wind knocked out of you. But that doesn’t mean the advice is to be avoided. On the contrary, carefully considered insights from a good structural editor may be precisely what a writer needs to hear in order to raise their work to a higher level. Think of it as tough love. Patience, open-mindedness and diplomacy from both editor and writer are the keys to working through a structural edit. This is easy to say, but often hard to remember in the heat of the moment when an editor is recommending substantial changes to a manuscript in which a writer has invested months or years of their life. The changes may mostly be reasonable, but emotions can still be difficult to manage.To complicate matters, a writer is not expected to passively accept all suggestions. Structural editors are not always right. And there can be unfortunate personality clashes. But writers should not stonewall every recommendation because they don’t like an editor’s manner. A balance needs to be struck through thoughtful negotiation. Remember to breathe and take your time to consider a different point of view, not lapse into knee-jerk defensiveness.
2. Copyediting
After the structural editing, the copyediting begins. This primarily involves fixing spelling, grammar and punctuation. Small publishers may have the same editor for structural editing and copyediting, but larger publishers often pass the manuscript to another editor. The copyeditor will read through the manuscript sentence by sentence, making corrections. This is why copyediting is sometimes referred to as ‘line editing’. There is a grey area between structural editing and copyediting. A copyeditor may still request numerous paragraphs be moved, rewritten or even deleted just when the writer thought all structural issues had been resolved. Patience, open-mindedness and diplomacy will once again be needed.
Fortunately, however, most rewriting at the copyediting stage usually requires improvements at the sentence level. Certain long sentences may be clearer if broken up into two or three sentences. Too many short sentences may flow better if synthesised into longer sentences. And, ofcourse, within each sentence the grammar, spelling and punctuation will be scrutinised.
A copyeditor will also look for inconsistencies in details that the structural editor may have missed. The spelling of certain names may vary slightly. A sequence of actions may be missing a crucial step. The accent of a character may inexplicably change. The writer may unintentionally repeat certain phrases that become irritating verbal ‘tics’.
This is usually the most time-consuming of all three levels of editing.Some changes may not be a simple matter of right or wrong, but require further consultation between copyeditor and writer. Set aside as much time as practical to address ‘author queries’ from the copyeditor. It will be time well spent.
3. Proofreading
This is the ‘final filter’ of the editing process. Even the best copyeditors can leave behind careless errors. They are human, too. So after the edited manuscript has been laid out by a designer or typesetter to look like the pages of a finished book, another person is usually contracted to proofread print-outs of the pages to clean up any final errors.
Proofreaders occasionally suggest a sentence be reworded, but usually they stick to obvious inconsistencies and mistakes. ‘Thai-poes’ can undermine the credibility of a book and possibly mean a reprint if a misspelling inadvertently causes offence.
You don’t want these sorts of distractions from your otherwise brilliant manuscript, so don’t cut corners on proofreading as some publishers unfortunately do. Even if this means, in addition to the publisher’s proofreader, you also proofread the pages one final time when you probably won’t feel like doing so.
If you write or publish in the YA or middle grade space, you might be interested in entering Hardie Grant’s Ampersand Prize. Details below. Dates are for 2024 — no doubt the 2025 dates will be similar.
We accept submissions from any person who has not previously had a young adult, middle-grade or graphic novel published by a trade publishing house anywhere in the world. If you have had a picture book, general fiction (for adults), educational or non-fiction title published, you are still eligible. Submissions must be entered at Submittable.com (link will become live July 1) and all required fields must be completed before submission. Writers will be required to submit a one-page synopsis with their manuscript, as well as a 100-word explanation of why they wrote the book (used only for context).
If you are a self-published author, you are eligible to submit a manuscript provided you follow submission guidelines, and note in your cover letter whether the submitted manuscript has been self-published already. If it has, please remove it from sale for the duration of the Ampersand Prize (from 1 July 2024 until the shortlist is announced). By entering your manuscript, you agree to contract all publishing rights, including print and digital, if selected as the winner. Note that we do not accept ePub or Mobi files as submissions.
Submissions open: 1-31 July 2024
Shortlist announced: November 2024
Winner announced: December 2024
If you love both books and being organised, this site may be of interest. Library Thing allows users to catalogue all of their books plus movies and music, and keep track of their reading progress, along with linking to like-minded bibliophiles and finding new titles to peruse. Also available in App form on Apple and Android.
Features include
Add books, movies and music from Amazon, the Library of Congress and 4,941 other libraries.
Track your reading progress, rate and review.
See detailed charts and stats about your library and reading life.
Find your new favorite book with personalized recommendations.
A warm and welcoming community of nearly three million book lovers.
Our Early Reviewers program offers over 3,000 free, early-release books every month.
Can an AI be a useful tool for authors, or a crutch that prevents an author from using their own judgement and enhancing their writing skills. Can AI give us agency, or rob us of it? No doubt the answer is both or either. Independent author expert Joanne Penn raises this interesting topic, with the assistance of Grok, the resident AI on X. I suspect the main problem will be (or already is) the absolute tidal wave of AI enabled and initiated content that will wash through the publishing world, much of which will be complete forgettable rubbish. The desire of most readers to read stories about humans for humans may be a difficult one to satisfy. Amplifying the already near-infinite supply of content will not assist with the long-term problem of declining readership. With many people welded to their phones and compulsively watching extremely short-form videos, the sight of a person reading an actual book or even an e-reader is rare enough to be remarkable.
