Episode 303 - Midlist Success with Jane Friedman
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Jane Friedman discusses MIDLIST SUCCESS, including how traditional publishers are shifting focus to support mid-list authors over a longer timeframe, what indie authors have long done to keep backlist titles selling, why building a sustainable career can be more effective than chasing a breakout bestseller, and practical steps authors can take to strengthen their marketing and reader connections.
Jane Friedman has spent her entire career working in the book publishing industry, with a focus on author education and trend reporting. She is the editor of The Bottom Line, the essential publishing industry newsletter for authors, and was named Publishing Commentator of the Year by Digital Book World in 2023. Her latest book is THE BUSINESS OF BEING A WRITER, SECOND EDITION (University of Chicago Press), which received a starred review from Library Journal.
Episode Links
https://youtube.com/@janefriedman
Referenced in the interview:
https://www.axios.com/2024/03/25/news-media-filter-bubble-different-realities
Summary
In this episode of The Indy Author Podcast, Matty Dalrymple talks with Jane Friedman about the evolving role of mid-list authors, the changing dynamics of the publishing industry, and how both traditional publishers and indie authors are adapting to new realities in marketing, publicity, and career building. The discussion highlights the convergence of strategies between traditional publishing and self-publishing, the importance of supporting backlist titles, and the shift toward building sustainable author careers rather than chasing breakout bestsellers.
Jane begins by describing a panel she attended at the US Book Show that focused on mid-list authors. She notes that while publishing conferences often recycle familiar advice, this time she noticed a real shift: traditional publishers are paying more attention to books beyond the initial three- to six-month release window. In the past, most marketing and publicity dollars were concentrated around a book’s launch, with little effort invested afterward. Now, publishers are more willing to extend support over an 18- to 24-month period, especially if a book gains traction through organic discovery, such as a recommendation from a BookTok influencer. Jane points out that this is not a new phenomenon—backlist books have always had the potential to find new audiences—but TikTok and other platforms have accelerated the trend and made publishers more prepared to capitalize on these opportunities.
Matty observes that for years indie authors learned from traditional publishing practices, but now traditional publishers are adopting strategies long used in the self-publishing community. For example, more BookBub Featured Deals, which used to be a primary tool for indie authors, are now being filled by traditionally published backlist titles. Jane agrees, noting that indie authors have always supported their backlist aggressively, with the patience to wait for long-term results. Traditional publishers, who historically focused heavily on frontlist titles, are beginning to recognize the value of this approach. “Most authors’ biggest complaint with their publisher,” Jane says, “is that they didn’t get the marketing and promotion support they thought they deserved.” For mid-list authors in particular, having a publisher willing to nurture a book over a longer horizon is a welcome development.
The conversation touches on remarks by a publishing executive who suggested that the industry should not be overly reliant on hits and bestsellers but instead focus on consistently introducing readers to an author’s existing catalog. Jane describes this as “music to authors’ ears,” though she cautions that publishers are still very invested in chasing blockbusters. Still, phenomena like BookTok have given overlooked titles a second chance, and publishers are learning to jump in when they see momentum.
Matty notes that this reflects a broader change in how publishers connect with readers. In the past, publicity was about big, splashy media coverage—landing a story in Vanity Fair, for example. Now, there is greater recognition of the power of niche coverage in outlets that directly reach likely readers. Jane agrees, explaining that while high-profile media used to generate ripple effects across the industry, today’s fragmented audience landscape makes targeted engagement more effective. She observes that traditional publishers have not historically been strong at direct-to-reader marketing, having relied on bookstores, distributors, and libraries as intermediaries. Over the last decade, however, publishers have been forced to adapt and learn how to connect with readers more directly.
This leads to a discussion of how publishers increasingly see indie authors as a source of both talent and insight. They may seek to acquire successful indie authors’ print rights or study how they navigate platforms like Amazon, TikTok, and social media. Jane explains that while it is not necessarily more likely today for a self-published book to attract a traditional publishing deal than it was a decade ago, the quality of deals has improved. Successful indie authors can sometimes retain digital rights—ebooks and audiobooks—while partnering with publishers for print distribution, an area where publishers still have significant advantages. “That is a really significant change,” Jane says, since indie authors often struggle to match the retail presence of traditional houses.
Matty and Jane agree that these shifts reflect a move away from chasing a single breakout book and toward building sustainable careers. Jane’s advice for authors is consistent with long-standing best practices: build and maintain a professional website, cultivate an email newsletter, and choose a platform where you can engage meaningfully with readers or peers. Social media can be part of the mix, but Jane cautions against relying on it as the primary strategy, noting that algorithms and pay-to-play dynamics have made it less effective. Instead, she suggests authors focus on the one or two places where they can most productively reach their audience. “You don’t have to master all 12,” she says, referring to a framework that described audiences splintering into multiple distinct categories of media consumption.
Matty raises the question of what happens when an indie author with a strong email list partners with a traditional publisher. Jane clarifies that authors always retain control of their assets, including websites, newsletters, and social media accounts. While publishers may offer guidance, they do not take ownership. For authors, maintaining authentic and consistent engagement with readers remains essential regardless of publishing path.
Another theme from the panel was that not every mid-list author aspires to stay mid-list. Many hope for a breakout book, and Jane shares advice from marketers and publicists on how to approach this. First, authors should not try to artificially position a routine book as a breakout—“don’t put lipstick on a pig.” At the same time, when a book does feel different or has zeitgeist appeal, authors should highlight that in their marketing. She cites the example of Taylor Jenkins Reid’s “The Seven Husbands of Evelyn Hugo,” which took about 18 months to gain traction but ultimately elevated the author to blockbuster status. The lesson is that authors may have a gut instinct about which projects could reach a larger audience, but they cannot force the outcome.
Matty reflects that for many writers, steady mid-list success may be more appealing than the pressure of maintaining blockbuster status. The two also discuss the idea of evaluating each book individually rather than defining oneself permanently as a mid-list or bestseller author. Some books may be mid-list, while others may break out, and this fluidity should not be seen as a demotion but as a natural variation in a writer’s career. Jane adds that publishers are increasingly open to authors experimenting within related genres, as long as the shift is not too radical.
Throughout the conversation, both Matty and Jane emphasize the importance of patience, consistency, and long-term thinking in an industry where quick success is rare. Indie authors can take encouragement from the fact that traditional publishers are beginning to adopt strategies indies have long used, such as ongoing backlist promotion and cultivating direct reader relationships. At the same time, traditional publishers bring strengths in print distribution and established publicity channels that can complement indie efforts in certain situations.
For authors navigating today’s publishing landscape, the key takeaways are clear: support every book for the long term, invest in direct-to-reader platforms like websites and newsletters, evaluate each project individually for the best publishing path, and resist the temptation to chase breakout status at the expense of steady growth. As Jane concludes, publishers are adapting to new realities, but much of the wisdom for building a sustainable writing career remains consistent: focus on the fundamentals, build authentic connections, and be prepared for opportunities whenever and however they arrive.