It is essential not to evaluate a book solely based on its author, particularly when the author is a debut writer. In various other fields, untapped talent is often regarded with admiration. New musical groups receive accolades at festivals and concerts; emerging fashion designers, such as Nancy Tyagi, grace the red carpet at prestigious events like Cannes; and open-mic nights attract enthusiastic audiences.

Conversely, debut authors are frequently overlooked, as if they were afflicted by an unsightly condition—attendance at their book readings is minimal. There is a lack of enthusiasm for being the first to recognize a promising new voice. In the Indian publishing industry, the principle of "fame breeds fame" prevails. A shift in this mindset is necessary.

Reading the room

The publishing industry is currently facing a paradox, as articulated by Thomas Abraham, managing director at Hachette India: "Business is thriving, yet readership is on the decline." He notes that for the past six or seven years, more than 95% of newly published books in the Indian market have sold fewer than 500 copies, a trend that spans the entire industry rather than being confined to a few publishers. While the number of aspiring writers continues to grow, the appetite for reading appears to be diminishing.

In such a saturated market, it becomes increasingly challenging for lesser-known authors to gain visibility, particularly if they lack a significant social media following, unlike well-known figures such as poet Rupi Kaur. Ravi Singh, co-founder of Speaking Tiger Books, observes that readers tend to be less open to debut authors from India compared to their international counterparts.

Books face inherent challenges in gaining traction. Unlike music or video content, they cannot be easily showcased in popular cafes, go viral on social media platforms, or be transformed into catchy remixes, making it difficult for new titles to capture attention. Rochelle Potkar, a novelist, poet, and screenwriter, points out that the pace of book consumption is slower than that of other entertainment forms, leading to a reluctance among readers to explore unfamiliar voices.

The situation is further exacerbated by the fact that a majority of books are now purchased online. This trend significantly reduces the opportunities for readers to browse and discover new authors, leading them to favour titles that are already well-established in popularity. Elizabeth Kuruvilla, the publishing director at Simon & Schuster India, notes, “In fiction, much of the promotion relies on word-of-mouth. When you read a book, you often recommend it to a friend.” This dynamic places debut authors at a distinct disadvantage.

Saikat Majumdar, a novelist, critic, and academic, asserts that although the literary community is eager to uncover new works, this enthusiasm is confined to a limited audience. Exceptional discoveries seldom reach a broader public. Literary festivals and panel discussions tend to be more exclusive, as organizers often prioritize well-known authors over emerging talents.

Potkar observes, “Everyone is ensconced in their own small circles.” Writers find themselves competing against one another instead of viewing the industry as a unified entity. Established authors and literary organizations typically elevate voices from within their own networks, leaving newcomers feeling marginalized or overlooked.

A novel approach

How can the narrative be transformed? Readers are encouraged to visit independent bookstores, where selections are made by fellow readers rather than being influenced by well-known brands. Potkar observes that events such as Spoken Fest, the Bangalore Literature Festival, and the Dibrugarh University International Literature Festival are more inclusive and receptive to emerging voices. Programs like the Himalayan Writing Retreat actively foster new authors through residencies and workshops.

On an international scale, new writers have successfully debuted their works on TikTok’s BookTok platform. In India, book clubs wield significant influence. Potkar notes, “If just five or ten individuals promote your book online, it can reach hundreds.” Abraham adds, “The most successful titles are those that cultivate a sense of community.” He further remarks that events, festivals, and social media, with few exceptions, often do not contribute effectively to sales or promotion.

Writing it off

Publishers, according to Singh, should be more willing to take risks on emerging authors. “We consider every submission we receive, even those that are unsolicited. My colleagues and I actively seek out fresh voices, informed by our observations in newspapers, social media, and magazines.”

They have successfully published the debut works of Selma Carvalho and Mihir Vatsa. However, this often involves a degree of uncertainty. “First-time authors must exercise patience. It is uncommon for your initial book to achieve significant sales,” Singh explains. “Writers should not feel discouraged or inferior because they have only one book to their name, nor should they believe that a certain level of fame is necessary to be recognized as legitimate authors.”

Majumdar points out that publishers can expand the diversity of stories they offer by engaging writers from underrepresented communities. “Editorial preferences often mirror a specific social background and educational experience, which tends to be quite uniform among the leading publishing houses.”

Debut authors, in turn, must work to gain visibility and support from established writers. “Aim to develop a mentor-mentee relationship,” suggests Potkar. “Engage with a writer’s work through reading and reviewing, attend their book launches, and persist in your efforts until they become receptive to you. Avoid pursuing them solely for a blurb or endorsement.” Additionally, she emphasizes the importance of continually refining one’s craft, as eventually, the right audience will be found.

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