1. Present
1.1. CASE STUDY 3 - Online Format
1.1.1. Margaret Atwood: Positron (2012 -2013 ), self-published online
1.1.2. Wattpad
1.1.2.1. Toronto-based Wattpad started in 2006—before the Kindle and Nook were even available—and now has more than 20 million users, which includes the often-trumpeted participation of Margaret Atwood. Strictly speaking, Wattpad isn’t a platform for serials; it’s a platform for all types of writing. But the predominant creative activity on Wattpad is the work-in-progress. Participating writers tend to be female teens and young adults producing genre fiction and fan fiction, the latter of which is Wattpad’s fastest-growing category. Its millions of stories are freely accessible to anyone in the world, and its user base has one writer for every nine readers—a writer’s dream.
1.1.2.1.1. Therein lies part of the reason Wattpad is attractive to certain writers: it offers a real chance to directly reach and grow a readership—even if it means giving away the writing for free—and also be front-of-mind with fans due to Wattpad’s ability to ping a devoted readership whenever a new story or installment gets posted
1.1.3. Amazon
1.1.3.1. Serialized fiction can present an immediate opportunity to profit if an author has the right platform for sales and distribution, which brings us, perhaps inevitably, to Amazon.
1.1.3.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
1.1.3.1.2. Amazon Kindle Direct Publishing (KDP): This is the self-publishing platform authors use to publish and sell their e-books, whether or not they’re produced and marketed as serialized fiction.
1.1.3.1.3. Kindle Serials: Launched in the fall of 2012, Kindle Serials is run by Amazon Publishing. Readers who buy a serial while it’s in progress pay $1.99 up front and receive all new installments—usually eight total—for that price. After the serialization is complete, the completed work is sold at a higher price; $3.99 is common as of this writing.
1.1.3.2. Kindle did ask me what genres I liked and to provide a wide I picked all of them. It asked me to rate some books in those genres which I skipped. The app then provided me with samples to ‘get me reading’ – possibly what the app publicises the most or are most popular (the user of the app cannot tell straight away).
1.1.3.3. Kindle Serials have some exclusivity. Many have raved against this as: ‘What I don’t like about this model though is the content exclusivity aspect of it. As Laura Hazard Owen notes in The serious business of Kindle Serials, some authors are rejecting Amazon’s exclusivity requirement. Good for them. The last thing we need is to see is even higher walls around the Kindle platform.’
1.1.3.3.1. (https://www.forbes.com/sites/oreillymedia/2012/10/03/exclusivity-and-kindle-serials-what-you-should-consider-before-jumping-in/#65cee3095275).
1.1.3.4. the Kindle market 55.9% identified themselves as female, and 42% as male. Less than 0.5% are under 25, compared with 38.7% aged 35-54 and 37% aged 55 or older.
1.1.4. Take publishing start-up Plympton, launched in fall 2012, which focuses on publishing serials of literary and classic literature
1.1.5. Redership
1.1.5.1. Wattpad
1.1.5.1.1. 2009, Wattpad launched a mobile app for content delivery; today, 85 percent of their traffic comes from mobile devices, and they send 6.7 million push notifications per day.
1.1.5.1.2. 20 million users, which includes the often-trumpeted participation of Margaret Atwood.
1.1.5.1.3. user base has one writer for every nine readers.
1.1.5.1.4. 2009, Wattpad launched a mobile app for content delivery
1.1.5.1.5. Ashleigh Gardner, Wattpad’s Head of Publishing Partnerships, told me, “The focus of Wattpad has been the connection of the reader and writer.”
1.1.5.1.6. “It can be very daunting to write a book, but it’s very easy to write a chapter,” Gardner said.
1.1.5.1.7. When you consider the age of writers using Wattpad (three out of four users are under the age of 25), and also the very positive community that Wattpad has created (there is no “dislike” button, and appreciation and positive comments are the rule), one could see Wattpad becoming a preferred path for young writers to learn the craft and get their career footing. But can it pay?
1.1.5.1.8. Traditional publishing deals represent one way to monetize a huge Wattpad fanbase.
1.1.5.1.9. Traditional Publishing
1.1.5.1.10. Finance
1.1.5.1.11. Pros
1.1.5.1.12. Cons
1.1.5.1.13. movies
1.1.6. Sweek
1.1.6.1. "Reading a book used to be a solitary experience, but we see that people are looking for those social elements," says Sabine van der Plas, co-founder and marketing manager at the Netherlands-based Sweek, a mobile writing platform. She cites as an example the communities of book bloggers and booktubers — I'd add Book Twitter as well — who share not just book reviews but "also other subjective experiences and pictures about reading."
1.1.6.2. "Technology allows us to not only communicate directly with other readers, but also with the author," she says of the publishing industry's modern edge over the typical print series. "When — as a reader — you can comment on an author's work and read it as soon as it's published, you feel a more intimate connection with the writers and his works. Especially if the writer uses the readers' feedback, they become truly part of the story."
1.1.6.3. Each time someone uploads a new chapter on Sweek, all that story's followers get a notification. Sabine explains that they always recommend authors to publish their story chapter by chapter, to keep engagement with the readers the highest. It seems to be working: Since launching in June 2016, Sweek has gained a presence in 75 countries and has picked up enough steam that it is now adding an impressive 2,000 new registered users a day.
1.1.6.4. "Whenever you start viewing your TV series each week or each day, you build a habit and for some people even an addiction," Sabine adds. "If we change the fictional written word from 'book' format to serialized mobile format, readers will develop the same habits. We're looking into 'scenario writing teams' who can write a continuous story that will be updated often with cliff-hangers at the end of each chapter."
1.1.6.5. https://www.forbes.com/sites/adamrowe1/2018/01/20/writing-network-startups-serialized-storytelling/#4a828b8c5eaf
1.1.7. Inkitt Inkitt is a reader-powered book publisher.
1.1.7.1. Pros
1.1.7.1.1. Through engagement and support, readers/audience determine if a story gets traditionally published (American Idol for writers)
1.1.7.1.2. Accessible by app and website
1.1.7.1.3. If story is selected for publication, writer is provided in-house resources to publish book
1.1.7.1.4. Readers review story (similar to Goodreads)
1.1.7.1.5. How many times a story has been read or voted/clapped for is not visible to readers
1.1.7.1.6. Large reader and writer audience
1.1.7.1.7. Great network if looking for beta readers and feedback
1.1.7.1.8. The app offers a “tease me” section. Set up like Tinder, readers swipe left or right to decide if they want to read a story based only on the stories “teaser” which is a short version of the summary/blurb
1.1.7.1.9. https://writingcooperative.com/top-websites-for-fiction-writers-to-share-their-writing-cc4ed210105b
1.1.7.2. Cons
1.1.7.2.1. Traditional book covers are not allowed on the site. This forces writers to provide a quality summary and title to gain traction
1.1.7.2.2. Use data to dictate success. Data is not always accurate
1.1.7.2.3. Cannot edit own story on app
1.1.8. Primary Data Research - Wattpad vs Radish
1.1.8.1. initial app differences
1.1.8.1.1. Wattpad
1.1.8.1.2. Radish
1.1.8.2. App Formats
1.1.8.2.1. Wattpad
1.1.8.2.2. Radish
1.1.8.3. Initial Book Suggestions
1.1.8.3.1. Radish
1.1.8.3.2. Wattpad
1.1.8.4. Average Readership Numbers for trending books
1.1.8.4.1. Wattpad
1.1.8.4.2. Radish
1.1.8.5. Distinct Genre Differences
1.1.8.5.1. Both heavily market romance
1.1.8.5.2. Radish subject matters mainly include: billionaires/royalty, one-night stands, werewolves, rich man-poor girl arc
1.1.8.5.3. Wattpad: LGBT, fanfiction, fantasy – including werewolves, yet had some distinct and interesting distinctions like biographies
1.1.8.6. Distinct genre differences from the app and traditional book publishing
1.1.8.6.1. fanfiction, mass production of billionaire and rich-boy poor girl arcs
1.1.8.7. romance mainly, Radish’s trending list seemed to be more dominated by the same cycle of books and authors, more than Wattpad
1.1.8.8. The effect of costs
1.1.8.8.1. Radishs trending list books had the highest majority of costful chapters to non, whereas Wattpad books that needed to be paid for nearly never showed up on the trending list – possibly due to its heritage as a free, self-publishing app
1.1.9. Famous Books Serilised Online
1.1.9.1. Wattpad
1.1.9.1.1. Chasing Red - Isabelle Ronin
1.1.9.1.2. Bad Boy's Girl Book by Blair Holden
1.2. Features distinct to this era (21st century)
1.2.1. mirrored serial novels to ‘episodes making up a season’ whereas a traditional novel is a ‘movie’.
1.2.1.1. serial publishing can be successful as ashort duration between publication can engage the reader and allow the audience to engage in other reading
1.2.1.2. the growth of other media, especially the mass realise of real ‘episodes’ has led to a public feeling of ‘binge-watching’ correlates to other forms of media - including the impatience to wait for long awaited chapters.
1.2.1.2.1. https://www.youtube.com/watch?v=QsZT4lYR_9E
1.2.2. edges of the traditional book publishing industry, at fan-fiction sites and other niche communities.
1.2.2.1. https://writerunboxed.com/2014/02/24/serial-fiction/
1.3. Success
1.3.1. It is also beneficial to the author (the same as the centuries before) to manage their own writing whilst gaining an audience.
1.3.2. Exposure
1.3.2.1. Self-publishing websites attract over 40% of all of China’s internet users every month.
1.3.2.1.1. https://www.fastcompany.com/4068517/get-to-know-radish-the-serialized-fiction-app-bringing-novels-to-smartphones
1.3.2.2. One of Amazon’s most successful serial projects has been Option to Kill by Andrew Petersen, which had sold 119,000 copies by late 2013. Other successful serials Belle cited had sold 20,000 to 30,000 copies.
1.3.2.2.1. https://writerunboxed.com/2014/02/24/serial-fiction/
1.3.3. Corporate serial publishing provides help and support for fast turn around to keep audiences
1.3.3.1. Author Neal Pollack enjoys writing fast, and he has spent the last two years writing books with Amazon Publishing, and his latest projects, Downward-Facing Death and Open Your Heart, have been serials
1.3.3.1.1. For the first serial, about a yoga detective, Pollack wrote 10,000 words a month. For the second, he had to provide 30,000 words upfront and 10,000 words a week.
1.3.3.1.2. Amazon provided editing and proofreading support, and Pollack says they gave him the best editor he’s ever worked with in his career.
1.4. Failures
1.4.1. even Amazon, a marker of success for self-published authors can have it's downfall
1.4.1.1. Amazon also comes with the usual downsides of that particular monolith: total control over their terms and products, opaque analytics, and business goals that can be at odds with those of authors and publishers.
1.4.1.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
1.4.2. stigmatisation/ don't believe the easily publicised self-published serial books don't have literary value
1.4.2.1. Take publishing start-up Plympton, launched in fall 2012, which focuses on publishing serials of literary and classic literature.
1.4.2.1.1. partnered with Kindle Serials for distribution of their first three titles, but haven’t released any serials since then, and don’t plan to continue working with Kindle Serials.
1.4.2.2. “The direction they were going is they wanted their titles to be Amazon Publishing titles, not from other publishers. They were a little more of a drugstore [mass-market] book than we were.” Once Plympton realized it wasn’t an ideal fit, Love says that slowed them down, because there wasn’t another immediate way to serialize. “Just having lots of little e-books isn’t very elegant and doesn’t take advantage of the form. We’ve been experimenting with various things. We’re building an app to get the right platform for serialization. A lot of other people are running up against the same problem.” - Plympton founder Yael Goldstein
1.4.3. People do not see it as an end goal of their writing
1.4.3.1. Many authors refer to release e-books as a complete file after serial success, such as Sean Platt in the article effectively, de-serializing his serials, is reader convenience, but it’s also good business sense.
1.4.3.1.1. “If we want to charge $6 for our season, the smart thing is waiting until we’re done and releasing it. Doing it both ways was crippling us; you are sending attention to two different places. You have half the people buying one product, and half the people buying the other product, and you’re not getting the [Amazon] rank you need to.”
1.4.4. limited to certain genres
1.4.4.1. Amazon released about 50 Kindle Serials in 2013, most are genre fiction in the mystery/thriller, science fiction & fantasy, and romance categories, Jeff Belle, vice president of Amazon Publishing, said they look for the “true” serial.
1.4.4.1.1. “You’re talking about working with an author who wants to create content essentially in real time, weekly or every other week, and engage an audience who is responding—who know they are involved in that creative process.”
1.5. Primary Data
1.5.1. Research: Radish vs Wattpad
1.5.1.1. Background
1.5.1.2. initial App Differences
1.5.1.3. initial generated suggestions
1.6. experience for author
1.6.1. "Studies have shown that up to 81% of Americans say they'd like to write a book one day. But many people find authoring a whole book isolating, and the journey from idea to finished product can seem insurmountable. On Wattpad, you don't need the whole book. You only need your first chapter, which you can share with people and start to build an audience."
1.6.1.1. https://www.forbes.com/sites/adamrowe1/2018/01/20/writing-network-startups-serialized-storytelling/#4a828b8c5eaf
1.7. experience for public
1.7.1. "Our data shows that longer books sell better than shorter books," says Mark Coker, founder, and CEO of Smashwords. "eBook buyers love longer books. I think when authors try to cut a single full-length novel into a bunch of short serialized episodes, they can undercut their book's full potential. It creates unnecessary friction to force the reader to download, pay and process multiple eBooks."
1.7.2. Amazon released about 50 Kindle Serials in 2013, most are genre fiction in the mystery/thriller, science fiction & fantasy, and romance categories, Jeff Belle, vice president of Amazon Publishing, said they look for the “true” serial.
1.7.2.1. “You’re talking about working with an author who wants to create content essentially in real time, weekly or every other week, and engage an audience who is responding—who know they are involved in that creative process.”
1.7.2.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
1.8. experience for publisher
1.9. Fanfiction
1.9.1. Wattpad
1.9.1.1. It’s important to bear in mind that the fastest growing category at Wattpad is fan fiction; out of 20 million new story uploads in 2013, 7.5 million were fan-fiction shares.
1.9.1.2. Gardner said that a lot of the people who start out reading fan fiction become motivated to write fan fiction.
1.9.1.2.1. She explained it this way: “When someone is learning to play music, they don’t start out writing their own songs. They start by playing covers, then writing their own songs. So you play around with other characters until you learn how to write your own.”
1.9.2. It remains on the fringes of the traditional publishing industry, at sites maintained by volunteers or as nonprofits.
1.9.3. An Archive of Our Own
1.9.4. finance
1.9.4.1. he fan-fiction community is known for rejecting about every effort to monetize its activity, since it’s seen as counter to the fan-fiction ethos and philosophy.
1.9.4.2. Fan fiction is nearly impossible to monetize, since its very existence is predicated on copyright infringement—appropriating other authors’ characters and worlds without permission.
1.9.4.3. E.L. James is not exactly a representative example of the fanfiction community
1.9.5. Amazon
1.9.5.1. Amazon has seen possibility of profit when it looks at the devoted and engaged fanfic community. In 2013, the company launched Kindle Worlds, a formal publishing program built around legitimizing and selling fan fiction by securing permission in advance from copyright holders – yet is now closed for submissions and closed down.
2. Future
2.1. What's in store?
2.1.1. Sean Platt (author) - “I always felt from the start that we were delivering a broken experience. [The serial] really shouldn’t be in e-book form, they should be an app. You pay for it once on the front end and you get automatic updates.”
2.1.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
2.1.1.2. ”The serial really shouldn’t be in e-book form, they should be an app. You pay for it once on the front end and you get automatic updates.”
2.2. Here’s the thing: “Pure” serials are tough to make money on right away. Today’s authors don’t exactly have a burgeoning market of periodicals willing to pay a meaningful wage for such work. Instead, most writers do it for free, then make money by selling compilations, asking for donations, or building an audience large enough to catch the attention of an agent or a publisher, as in the case of 50 Shades of Grey, which started out as a fan-fiction serial.
2.2.1. https://writerunboxed.com/2014/02/24/serial-fiction/
2.3. changes
2.3.1. "few start-ups and the over-reliance of publishing types on the example of Charles Dickens as the ideal serial author. What first struck me as a fringe activity in 2011 is starting to look more like a potential driver of author discoverability, as well as how we consume stories. Since that article (and certainly since the Victorian era!), a lot has happened. Amazon has gotten into the game, and new services like Wattpad are affecting on how writers and readers interact, with participation from mainstream and niche authors alike. What first struck me as a fringe activity in 2011 is starting to look more like a potential driver of author discoverability, as well as how we consume stories. It’s time to take a fresh look at the form of serials: what’s happening with the trend, how authors are using serial publishing services, and why it matters to the future of publishing."
2.3.1.1. the format has grown and change substantially, with the online format, that had kept it at the fringes of traditional, since 2011
2.3.1.2. https://writerunboxed.com/2014/02/24/serial-fiction/
2.3.2. Internet changes
2.3.2.1. Amazon
2.3.3. not the end game for authors
2.3.3.1. Many authors refer to release e-books as a complete file after serial success, such as Sean Platt in the article effectively, de-serializing his serials, is reader convenience, but it’s also good business sense.
2.3.3.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
2.3.3.2. It shows how this is not the end goal for modern authors, as it was in Victorian times, the most prolific authors wrote in serial, second-rate ones went straight to a traditional publishing deal. Suggesting the future of serial publishing is a set up for authors.
2.3.3.3. Kira Lerner at EpiGuide, an online community founded in 1998 and the longest-running active hub for serials. Lerner has been a practitioner of the form since 1997, penning one of the oldest serials still in existence,
2.3.3.3.1. About Schuyler Falls. She said that most of the community belongs to the hobbyist category, without any goal to sell their work, and that it’s risky to monetize the in-progress activity, using webcomics as an example of why.
2.3.4. its more of a hobby more than a literary career choice
2.3.5. Pulp fiction has profited from the serialisation form, since the dime store novel, and the 1920s-era Stratemeyer Syndicate further improved on the model with ghost-written series like Nancy Drew, the Bobsey Twins, and the Hardy Boys. These books promoted earlier stories at the front of the book and often ended with previews teasing the title of the next instalment — and the syndicate even instructed writers to end chapters and even pages mid-scene.
2.3.5.1. Yet this model is being moved on from. Serialisation has moved to the online format and social networking
2.3.5.1.1. "Reading a book used to be a solitary experience, but we see that people are looking for those social elements," says Sabine van der Plas, co-founder and marketing manager at the Netherlands-based Sweek, a mobile writing platform. She cites as an example the communities of book bloggers and booktubers — I'd add Book Twitter as well — who share not just book reviews but "also other subjective experiences and pictures about reading."
2.3.5.1.2. "Technology allows us to not only communicate directly with other readers, but also with the author," she says of the publishing industry's modern edge over the typical print series. "When — as a reader — you can comment on an author's work and read it as soon as it's published, you feel a more intimate connection with the writers and his works. Especially if the writer uses the readers' feedback, they become truly part of the story."
2.3.5.1.3. Each time someone uploads a new chapter on Sweek, all that story's followers get a notification. Sabine explains that they always recommend authors to publish their story chapter by chapter, to keep engagement with the readers the highest. It seems to be working: Since launching in June 2016, Sweek has gained a presence in 75 countries and has picked up enough steam that it is now adding an impressive 2,000 new registered users a day.
2.3.5.1.4. "Whenever you start viewing your TV series each week or each day, you build a habit and for some people even an addiction," Sabine adds. "If we change the fictional written word from 'book' format to serialized mobile format, readers will develop the same habits. We're looking into 'scenario writing teams' who can write a continuous story that will be updated often with cliff-hangers at the end of each chapter."
2.4. for the author
2.4.1. beneficial to the author (the same as the centuries before) to manage their own writing whilst gaining an audience.
2.4.2. If these forms are being reinvented and rediscovered because mobile- and tablet-based reading is growing, this may mean the strategic author has to start thinking about their readership as divided between two distinct groups:
2.4.2.1. the very large group that expects the content for free,
2.4.2.2. and the smaller group that’s willing to pay.
2.4.2.2.1. This is more or less what another industry commentator expressed on his blogduring the same week as Hellman: “Wattpad might not be the future, but the future will look more like Wattpad than it will the publishing industry … Added benefit: we who are poor and have no money for joy can get stories for free if we want to.”
2.4.2.2.2. Amazon
2.5. for the public
2.5.1. can engage in other reading
2.5.2. the growth of other media, especially the mass realise of real ‘episodes’ has led to a public feeling of ‘binge-watching’ correlates to other forms of media - including the impatience to wait for long awaited chapters.
2.6. the formats continous successes
2.7. the formats continous failures
2.8. comparison between case studies
2.8.1. 'binge-watching debate'
2.8.1.1. mirrored serial novels to ‘episodes making up a season’ whereas a traditional novel is a ‘movie’. Trend can be seen in the modern day as serial publishing can be successful as ashort duration between publication can engage the reader and allow the audience to engage in other reading. It is also beneficial to the author (the same as the centuries before) to manage their own writing whilst gaining an audience. However the growth of other media, especially the mass realise of real ‘episodes’ has led to a public feeling of ‘binge-watching’ correlates to other forms of media - including the impatience to wait for long awaited chapters.
2.8.1.1.1. why Victorian books were so lengthy (as they were serialised to capture an audience over a period of time with medium to large instalments, who might not have been willing to read a book of that length all at once
2.8.1.1.2. the overarching family dynamics found in Nine Stories (eg the Glass family). In Salinger’s case they were both successful as they mirrored the radio specials (often like the modern’s day time television) and gave depth to a character which many might prefer due to the personal aspect other than the voice, but also failed due to the same radio format - as many did not see the point in reading to listening.
2.8.1.1.3. A similar trend can be seen in the modern day as serial publishing can be successful as ashort duration between publication can engage the reader and allow the audience to engage in other reading
2.8.1.2. https://www.youtube.com/watch?v=QsZT4lYR_9E
2.8.1.3. The theatrics of serial publishing
2.8.1.3.1. ‘Dombey and Son’, 1848, gave ‘Dickens the idea of doing public readings.’
2.8.1.4. Deferred Gratification
2.8.2. It could be said that unlike Victorian serial publishing where an established author published, 20th century publishing – and coincidently online publishing is for authors to publish to establish themselves.
2.9. continuity
2.9.1. . Author Neal Pollack enjoys writing fast, and he has spent the last two years writing books with Amazon Publishing, and his latest projects, Downward-Facing Death and Open Your Heart, have been serials. For the first serial, about a yoga detective, Pollack wrote 10,000 words a month. For the second, he had to provide 30,000 words upfront and 10,000 words a week.
2.9.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
2.10. Financial Aspect
2.10.1. Wattpad
2.10.1.1. They don’t charge site users, and they don’t retail any type of content, product, or service. They do accept display advertising, but even Wattpad CEO Allen Lau has said that’s not the long-term business model. In 2013, Wattpad started testing a crowdfunding feature that would allow its users to raise money from their fans to formally publish their work. Just as with other crowdfunding sites, Wattpad took a percentage of the money raised. However, if you visit their “Fan Funding” page today, you’ll see a notice that their “experiment is now over.”
2.11. Traditional Publishing
2.11.1. Wattpad
2.11.1.1. Another model is using Wattpad to serialize a completed work, and making it clear to readers that the full work is available for sale elsewhere, for those who lack the patience to wait for future instalments. (Platt’s writing partner supports a Wattpad account for this exact purpose.) For writers who transition to traditional publishing from Wattpad, the fans who played a role in that success expect the authors’ work to be made available for free to them, in serialized form, out of courtesy and respect.
2.12. Eric Hellman, an industry expert who specializes in economic models for e-books, recently wrote on his blog: ‘It’s worth paying close attention to the fan fiction sites. After all, 2012’s biggest revenue engine for the book industry, 50 Shades, was a repackaged fanfic. On an iPad with a decent internet connection, the fanfic sites work better than ePubs. … They deliver content in smaller, more addictive chunks, and they integrate popular culture MUCH more effectively than books do … The authors are responsive and deeply connected to readers; they often ARE the readers! There’s a fanfic site to appeal to every reader’.
2.12.1. https://writerunboxed.com/2014/02/24/serial-fiction/
2.13. for the publisher
2.13.1. While serials and fan fiction are sometimes dismissed by industry insiders as low-quality work that won’t much affect how traditional publishing operates, others have started to speculate that these markets might be in a position to do exactly that.
2.13.1.1. https://writerunboxed.com/2014/02/24/serial-fiction/
2.14. Media
2.14.1. Yap, whose Serial Box publishes serial fiction digitally in an episodic, season-based format similar to many television shows, notes that he saw the television landscape, which often relies on the book industry for properties to adapt, veering away from darker shows toward lighter, Hallmark Channel–style fare. “I was talking to a TV exec recently who said, ‘If someone gave me Game of Thrones today, I would not greenlight it,’ ” Yap says. Not all at the table agreed—The Handmaid’s Tale, one of Amazon’s banner shows, was mentioned as a counterexample, along with the news that Margaret Atwood would soon publish a sequel to the novel from which the show was adapted—and it quickly became clear that television, and the book business’s wary attention to it, was a divisive topic.
2.14.1.1. https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/78932-wondering-where-publishing-is-headed-ask-its-future-leaders.html
2.14.2. Yet it does have some criticisms
2.14.2.1. Are Serialized Ebooks a Bad Idea? The article is from THE OFFICIAL BLOG FOR SMASHWORDS, A DISTRIBUTOR OF INDIE EBOOKS Smashwords, based in Los Gatos, California, is an e-book-distribution platform founded by Mark Coker for independent authors and publishers. The company began public operation in 2008. Could be critical of e-books because is not apart of their market model https://blog.smashwords.com/2010/06/are-serialized-ebooks-bad-idea.html the serial novel is often characterized by the never-ending middle Smashwords home page dominated by five installments of a single ebook, each about 10,000 words. At Smashwords strict policy of only publishing complete, finished works. a partial book doesn't fit with our mission of connecting a reader's eyeballs and wallet to the finished works of indie authors and publishers. If a customer buys an unfinished, incomplete, or partial work, they feel ripped off. serials technically do not follow their terms of service, unless each serialized chunk can stand alone as a complete story. Smashwords doesn’t want to stand in the way of an author's creative expression, or fail to serve a reader's desire for serialized works. They began to wonder whether readers are interested in serials they posted a short query over at Smashwords Site Updates, inviting Smashwords customers to share their opinions They posted an online poll at MobileRead, where they asked readers to share their opinions on serialized ebooks. Within the first 36 votes recorded so far, 91% of respondents claim they either avoid reading serialized ebooks, or they never read them. At MobileRead many readers there are passionately opposed to serialized ebooks. they suggested Darwin's natural selection, powered by reader preferences, will prevent serialized ebooks from catching on. Most writers write to attract readers, not repel them. Why people might not initially like serial books is: Lack of immediate gratification - If you enjoy a book, you want to finish it now, not later, also people might not be enjoying a book that is unifinished and will never be. Risk - You fear investing money in the serials, only to have the author abandon the project and leave the story unfinished. Cost - A serialized book can be much more expensive than a complete book – maybe not discouring serials on Wattpad. Inconvience - It's easier and more convenient to download a single file than multiple files.
2.14.2.2. https://www.theguardian.com/books/booksblog/2016/mar/21/for-me-traditional-publishing-means-poverty-but-self-publish-no-way A modern and internet savvy newspaper For me, traditional publishing means poverty. But self-publish? No way Life as a professional writer is financially depressing, and I’ve often been advised to self-publish. Here’s why I won’t do it Ros Barber Despite royalty rates of 70%, I think self-publishing is a terrible idea for serious novelists (by which I mean, novelists who take writing seriously, and love to write). If you self-publish your book, you are not going to be writing for a living, instead marketing (10% writing 90% publishing). Some authors claim to make five figures a month from Kindle sales of his 11 novels, puts his writing time percentage in single figures. Yet this author claims that if you love writing that you should aim for a traditional book deal You’re constantly marketing, asking other authors to shout you out First novels are never truly mastered works, or seasoned works, they need development and not straight away sales Your debut should be the best, with help of traditional advice You will never get true literary respect, acclamations or awards – Hay Festival and the Booker You risk looking like an amataur – editors, book covers, publicists for free in traditional sphere, proof-readers Chance of making no money Puts money into money platform but not assured for you Fiona Veitch Smith made the transition from self-publishing to traditional publishing. I do not earn much as a traditionally published author but I earn more than I did as a self-publisher. I published 7 books in 4 years and in that time only one of them went into profit – and that less than £100. And before anyone says it’s because I didn’t work hard enough, my friends and family who barely saw me for 4 years will tell you that I worked my butt off. So hard in fact that I attracted the attention of two separate traditional publishers who took me on (one for my adult books, one for my children’s books). I could no longer take the feeling of inadequacy every time I read an article by a self-publishing success story telling me if only I worked harder and smarter, did all the right social media promotions, spent 90% of my time marketing and only 10% writing – oh and subscribed to their blog or downloaded their latest how-to manual – I too could earn at least 5 figures a month. But the reality is, of dozens of self-publishers I knew, I was probably the most successful.”
2.14.2.3. Dangers of self-publishing
2.14.2.3.1. I have found an article, that although isn't specific to serial publishing, highlights the dangers of self-publishing – such as plagarism. https://www.theguardian.com/books/2019/mar/28/plagiarism-book-stuffing-clickfarms-the-rotten-side-of-self-publishing Nora Roberts is one of the world’s most popular authors, 200 diverse novels, 500m books Her and many authors allegedly plagiarised by a Brazilian romance novelist called Cristiane Serruya. After being exposed Serruya pulled her books from sale, blaming the overlaps on a ghostwriter she said she’d hired from freelance marketplace Fiverr. It suggested that the market was looking for more and more content faster and faster. “I’m getting one hell of an education on the sick, greedy, opportunistic culture that games Amazon’s absurdly weak system. And everything I learn enrages me,” Roberts wrote on her blog
2.14.2.4. Why Do So Many Bad Books Sell on Amazon? https://www.helpingwritersbecomeauthors.com/why-do-so-many-bad-stories-sell-on-amazon/ “Low-quality” isn’t a judgment about taste, reading level, or genre. Instead books with poor writing, obvious filler, nonexistent characterization, and sometimes entire copy-pasted passages get into the Top 100 of popular categories. Paid advertising is not an option for most authors; it’s a challenge to break even on a $3 product, much less make a profit. Instead, authors have had to rely on Amazon to show their books through also-boughts and category charts. For a while, this worked well. Amazon would show you books you truly wanted to buy, and those books were often more creative or served niches better than traditionally-published books. What they show you in recommendations is mostly based on: 1. How similar something is to books you have already bought. 1. How recently it was published. Amazon actively suppresses the visibility of works more than 90 days old. Even if books sell well and get many good reviews during that period, yhey fall off the cliff on Day 31, 61, or 91. For an author to stay visible, algorithm-gaming has to happen, and that gaming starts at the product level. Currently, the best way to stay visible on Amazon in category fiction, such as YA, mystery, or romance, is to release every 30 days. This is because Amazon promotes new books as rising superstar or hot new trend. But after 30–90 days, your book is kicked from the showroom to the stockroom, where only people who specifically search for it will ever find it. Authors simply can’t write fresh, imaginative, well-crafted novels in 30 days. But authors can manufacture copycat stories with interchangeable parts in 30 days. Some of the most successful genre names are assembly lines of ghostwriters, editors, and trend-scrapers. The thought process goes like this: Shark shifters are popular right now, so let’s bang out a shark-shifter romance and call it Deep Blue Billionaire, and stuff the subtitle with keywords. Just copy the plot from last month’s tiger-shifter billionaire romance, make the girl a maid instead of a personal chef, and change the names and city. A ghostwriter will fill in the outlined plot. It will get a cursory copyedit. A cover designer makes it pretty and clickable at thumbnail-size. And that’s a product. It works… for about 30 days. “The recommendations reward this book-fabrication process. If I buy The French Duke’s Dilemma by bestseller Author A, and they’ll show me The German Prince’s Problem by savvy copycat Author B. The plot points will be exactly the same, perhaps with the covers done by the same designer.” Now, when a book is sold, Amazon can mine 3 different resources: The Books. Amazon gets a commission. Readers. Their data and profiles, to sell them more product. Authors, who must make up for the lack of organic visibility with ads they pay Amazon for. Since authors aren’t generally great marketers, many probably pay more per borrow or sale than they make, but just don’t keep track of it. Cha-ching! People compromise and have poor impulse control—factors marketers exploit regularly. Gaining visibility at a low-enough cost to make a profit on sales is the entire game. Some techniques the author gave to be visible is actually: 1. Serialize Your Fiction: Amazon wants something every 30 days? Fine. Serialize your works. Break them up into 20–30k word installments and publish them every 4 weeks. Is it ideal? Of course not. You’ll get 3-starred by some people for putting out incomplete stories, but that’s better than getting no visibility at all. To test, you can take an old work that’s not selling and chop it up. Don’t change anything, because you’d be putting out multiple versions of the same book and confusing people. Just re-issue the pieces with some new covers and see what happens. Amazon doesn’t care if what you publish is 2,000 words or 200,000 words, as long as it comes every 30 days. 2. Cross-Promote With Other Authors 3. Record Your Own Audiobook 4. Start a Patreon or Other Subscription Site
2.14.3. “Streaming destroys art, and then replaces it with entertainment,” Chew says. “I feel like the conflation of entertainment with art is the most depressing thing that could ever happen.”
2.14.4. “But we can agree that TV is part of the culture, right?” Yap asks in response. “We’re all human. Whether you want to call it entertainment or art, we’re all contributing to the culture.”
2.14.5. “It’s a total homogenization of culture,” Chew says. “Streaming has changed everything. I hope they’re not comparable. I don’t think literature is entertainment.”
2.14.6. Shickmanter notes that, whatever the difference between books and television shows, as far as those trying to get them into the hands of audiences, “they’re all about time, and how time is spent,” adding, “More than we’re serving as a breeding ground for TV or anything, we’re all in competition for how people are spending their time when they’re not at work, or with their family.”
2.14.7. In that space, Yap argues, TV is crushing the book world. “Forty-five million people read more than 11 books a year in America, vs. the 90 million people who read one to 11 books a year, and the rest don’t read any,” he says. “Whereas television is hundreds of millions of people.”
2.14.8. movies
2.14.8.1. The first English-language film adapted from Wattpad was The Kissing Booth.
2.14.8.1.1. Wattpad is well-known for its TV shows in the Phiilipines
2.14.8.1.2. Anna Todd’s After was signed for a movie deal before TKB, but didn’t start casting till TKB had come out
2.14.8.1.3. Written by South Wales teenager Ruth Reekles, The Kissing Booth began was a Wattpad novel written and serialized in2011.
2.14.8.1.4. Wales - “I just wanted a regular high school romance. I’d been looking around and I couldn’t find that kind of thing to read because it was all paranormal stuff and I felt like, ‘Oh, well, I’ll just write it myself.’ I knew what kind of characters I wanted to read about. I knew what kind of themes I wanted to be reading about, and I thought, ‘Well, I’ll just do it myself.’”
2.14.8.1.5. The mid-teenager wrote and published it between May and July 2011
2.14.8.1.6. “I’d be spending my evenings, replying to messages and comments from people who told me how much they loved my story and how they’d think, ‘Oh, this is so great, you should turn it into a film,’” Reekles said. “And I’d just think, ‘Oh yeah, that’s never going to happen, but okay.’”
2.14.8.1.7. Random House contacted her, then a movie deal – it took many years though
2.14.8.1.8. A supernatural thriller by Zoe Aarsen attracted 2.9 million reads on Wattpad, making it a natural choice for a showing on Netflix rival Hulu.
2.14.8.1.9. According to Hollywood Reporter, a 10-episode straight-to-series order was made for Aarsen’s novel Light as a Feather, Stiff as a Board.
2.14.8.1.10. https://thenewpublishingstandard.com/netflix-prepares-stream-one-wattpad-novel-another-snapped-hulu-third-casting/
2.14.8.2. All of this suggests the modern online serial publishing services are getting more recognition and being taken more seriously in mass media. Similar to older serial publishing counter-parts such as Charles Dickens they are being transformed into movies and shows.
2.15. Successes
2.15.1. https://selfpublishingadvice.org/writing-why-nows-a-good-time-to-self-publish-serial-fiction/ Written be a serial publisher herself With the invention of the internet, and specifically e-readers, things began to turn around for the serialized novel. People could write short bits and pieces of their novels and self-publish them: without having to reach a minimum word count without having to go through the gatekeepers of traditional publishing without being rejected because they couldn’t or wouldn’t produce massive tomes of literature the Kindle made it even easier. As self-publishing flourishes, so does the serial. As technology increases, attention spans decrease. Reading as it was is falling by the wayside. The younger generations don’t want to commit to a 400-page book that’s going to take them a week (or a month) to read. They want their entertainment and they want it now. her best-selling series consists of novellas, all under 20,000 words, that follow the story of a single vampire, Jane. My readers devour them faster than I can write them. And my new serial, Space Grease & Pixie Dust, hit #10 on Amazon’s Steampunk list in a just one day. ‘I’ve heard a lot of smack talk about serials, but I think they’re going to be very big in the near future. The penny dreadful is making a comeback. Will we now call it the Dollar Dreadful?'
3. What is serial publishing?
3.1. 'Book serials, on the other hand, have an overarching story line. The characters age and change: like in Harry Potter. Often, they come in episodes or parts shorter than a novel: 80-100 pages long instalments. Episodes (whether novel-sized or chapter sized) are separately published in ebook format and get their own cover. Once a story arc has been finished, the author groups the parts together and publishes it as a novel (often called a ‘season’). The book receives a title, a new ISBN, and usually also appears in print form.'
3.1.1. Book Serials or Series of Books: What's the Difference?
4. Code
4.1. quotes
4.2. reference
4.3. secondary data - statistics
4.4. secondary data - opinions, evaluations, academics
4.5. primary data - statistics
4.6. primary data - opinions, evaluations, academics
4.7. Books, authors, publishing forms
4.8. evaluation
5. Past
5.1. CASE STUDY 2 - J.D. Salinger
5.1.1. Features distinct to this era (20th century)
5.1.2. experience of authors
5.1.2.1. guaranteed audience as authors were signed to newspapers and magazines which fit the tone of their writing of story
5.1.2.1.1. The New Yorker
5.1.3. experience of publishers
5.1.3.1. The New Yorker
5.1.3.1.1. works published
5.1.3.1.2. respects authors
5.1.4. experience of audience
5.1.4.1. On his Wikipedia page I also found that J.D. Salinger’s that due to him often using adolescents in his work that he equally attracts adolescents as an audience, which could be seen as surprising since when he was publicising his works it was the younger generation who were usually swept up in new crazes of technology that drove a market away from reading. This shows how serial publishing can always prevail if it is marketed in an away to impact the correct demographic, such as the growth of fanfiction is popular as it is marketed to those that are the demographic of said celebrities or characters starring in the fanfiction.
5.1.4.1.1. In a contributor's note Salinger gave to Harper's Magazine in 1946, he wrote: "I almost always write about very young people", a statement that has been referred to as his credo.
5.1.4.1.2. Adolescents are featured or appear in all of Salinger's work, from his first published short story, "The Young Folks" (1940), to The Catcher in the Rye and his Glass family stories.
5.1.4.1.3. In 1961, the critic Alfred Kazin explained that Salinger's choice of teenagers as a subject matter was one reason for his appeal to young readers, but another was "a consciousness [among youths] that he speaks for them and virtually to them, in a language that is peculiarly honest and their own, with a vision of things that capture their most secret judgments of the world."
5.1.4.1.4. For this reason, Norman Mailer once remarked that Salinger was "the greatest mind ever to stay in prep school". Salinger's language, especially his energetic, realistically sparse dialogue, was revolutionary at the time his first stories were published and was seen by several critics as "the most distinguishing thing" about his work
5.1.4.1.5. https://en.wikipedia.org/wiki/J._D._Salinger
5.1.5. what books did he serialise?
5.1.5.1. "Go See Eddie" (1940, republished in Fiction: Form & Experience, ed. William M. Jones, 1969 and in Three Early Stories, 2014)
5.1.5.2. "The Young Folks" (1940, republished in Three Early Stories, 2014)
5.1.5.3. "The Hang of It" (1941, republished in The Kit Book for Soldiers, Sailors and Marines, 1943)
5.1.5.4. "The Long Debut of Lois Taggett" (1942, republished in Stories: The Fiction of the Forties, ed. Whit Burnett, 1949)
5.1.5.5. "Once a Week Won't Kill You" (1944, republished in Three Early Stories, 2014)
5.1.5.6. "A Boy in France" (1945, republished in Post Stories 1942–45, ed. Ben Hibbs, 1946 and July/August 2010 issue of Saturday Evening Post magazine)
5.1.5.7. "This Sandwich Has No Mayonnaise" (1945, republished in The Armchair Esquire, ed. L. Rust Hills, 1959)
5.1.5.8. "Slight Rebellion off Madison" (1946, republished in Wonderful Town: New York Stories from The New Yorker, ed. David Remnick, 2000)
5.1.5.9. "A Girl I Knew" (1948, republished in Best American Short Stories 1949, ed. Martha Foley, 1949)
5.1.5.10. Nine Stories (1953)
5.1.5.11. o "A Perfect Day for Bananafish" (1948)
5.1.5.12. o "Uncle Wiggily in Connecticut" (1948)
5.1.5.13. o "Just Before the War with the Eskimos" (1948)
5.1.5.14. o "The Laughing Man" (1949)
5.1.5.15. o "Down at the Dinghy" (1949)
5.1.5.16. o "For Esmé—with Love and Squalor" (1950)
5.1.5.17. o "Pretty Mouth and Green My Eyes" (1951)
5.1.5.18. o "De Daumier-Smith's Blue Period" (1952)
5.1.5.19. o "Teddy" (1953)
5.1.5.20. Franny and Zooey (1961)
5.1.5.21. o "Franny" (1955)
5.1.5.22. o "Zooey" (1957)
5.1.5.23. Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963)
5.1.5.24. o "Raise High the Roof-Beam, Carpenters" (1955)
5.1.5.25. o "Seymour: An Introduction" (1959)
5.1.5.26. Three Early Stories (2014)
5.1.5.27. o "The Young Folks" (1940)
5.1.5.28. o "Go See Eddie" (1940)
5.1.6. Where did he serialise
5.1.6.1. Salinger’s relationship with this magazine began in 1941, when he first started submitting short stories. The first to be published in our pages was “Slight Rebellion off Madison,” which he would later expand into “The Catcher in the Rye.” His final published work, a novella entitled “Hapworth 16, 1924,” appeared in the issue of June 19th, 1965.
5.1.6.1.1. https://www.newyorker.com/books/page-turner/salinger-in-our-archives
5.1.6.2. "Go See Eddie" (1940, republished in Fiction: Form & Experience, ed. William M. Jones, 1969 and in Three Early Stories, 2014)
5.1.6.3. "The Young Folks" (1940, republished in Three Early Stories, 2014)
5.1.6.4. "The Hang of It" (1941, republished in The Kit Book for Soldiers, Sailors and Marines, 1943)
5.1.6.5. "The Long Debut of Lois Taggett" (1942, republished in Stories: The Fiction of the Forties, ed. Whit Burnett, 1949)
5.1.6.6. "Once a Week Won't Kill You" (1944, republished in Three Early Stories, 2014)
5.1.6.7. "A Boy in France" (1945, republished in Post Stories 1942–45, ed. Ben Hibbs, 1946 and July/August 2010 issue of Saturday Evening Post magazine)
5.1.6.8. "This Sandwich Has No Mayonnaise" (1945, republished in The Armchair Esquire, ed. L. Rust Hills, 1959)
5.1.6.9. "Slight Rebellion off Madison" (1946, republished in Wonderful Town: New York Stories from The New Yorker, ed. David Remnick, 2000)
5.1.6.10. "A Girl I Knew" (1948, republished in Best American Short Stories 1949, ed. Martha Foley, 1949)
5.1.6.11. Harper's
5.1.6.11.1. Down at the Dinghy
5.1.7. why did he publish them like this, and why this format?
5.1.7.1. J.D. Salingers serialised works are distinct from Dickens as his were finished short stories or tales, around the same size as a Dickens chapter, which would later be collected into an anthology of short stories (Nine Stories)
5.1.8. the reception of his works
5.1.8.1. With the rise of broadcast—both radio and television series—in the first half of the 20th century, printed periodical fiction began a slow decline as newspapers and magazines shifted their focus from entertainment to information and news. However, some serialization of novels in periodicals continued, with mixed success – mainly having a readership in the higher classes and educated. Also his distinct style of writing birthed from New York was well suited to the magazines he was published in - giving still great but with especially high concentrated local success
5.1.9. Did this book later lead to a traditional book deal - where the book was published in full? And how long after did it take to be published
5.1.9.1. Nine Stories
5.1.9.1.1. "A Perfect Day for Bananafish" (1948)
5.1.9.1.2. "Uncle Wiggily in Connecticut" (1948)
5.1.9.1.3. "Just Before the War with the Eskimos" (1948)
5.1.9.1.4. "The Laughing Man" (1949)
5.1.9.1.5. "Down at the Dinghy" (1949)
5.1.9.1.6. "For Esmé—with Love and Squalor" (1950)
5.1.9.1.7. "Pretty Mouth and Green My Eyes" (1951)
5.1.9.1.8. "De Daumier-Smith's Blue Period" (1952)
5.1.9.1.9. "Teddy" (1953)
5.1.9.1.10. Traditional Book deal
5.1.9.2. Franny and Zooey
5.1.9.2.1. serialised
5.1.9.2.2. traditional book deal
5.1.9.3. Raise High the Roof Beam, Carpenters and Seymour: An Introduction
5.1.9.3.1. serialisation
5.1.9.3.2. traditional book deal
5.1.10. Sales of his books
5.1.10.1. Catcher in The Rye
5.1.10.1.1. Since it was first published in 1951, more than 65 million copies of The Catcher in the Rye have been sold.
5.1.10.1.2. - Various older stories by Salinger contain characters similar to those in The Catcher in the Rye. While at Columbia University, Salinger wrote a short story called "The Young Folks" in Whit Burnett's class; one character from this story has been described as a "thinly penciled prototype of Sally Hayes". In November 1941 he sold the story "Slight Rebellion off Madison", which featured Holden Caulfield, to The New Yorker, but it wasn't published until December 21, 1946, due to World War II. The story "I'm Crazy", which was published in the December 22, 1945 issue of Collier's, contained material that was later used in The Catcher in the Rye. - In 1946, The New Yorker accepted a 90-page manuscript about Holden Caulfield for publication, but Salinger later withdrew it. - https://books.google.co.uk/books?id=ic6NhqIcWhQC&pg=PA3&redir_esc=y#v=onepage&q&f=false - This makes it different from many of his works that were published in the magazine - I can compare this to his other books sales
5.1.10.1.3. - I can compare this to his other books salesThe first to be published in our pages was “Slight Rebellion off Madison,” which he would later expand into “The Catcher in the Rye.” -
5.1.11. How did the sales of this book (which had been previously serialised) compare to another book which was published traditionally straight away? (with a risk factor – the circumstances surrounding the book, subject matter, audience, and whether he was already a well-established author when it was released)
5.1.11.1. New Yorker Redership
5.1.11.1.1. 3 percent of its circulation in the top 10 U.S. metropolitan areas
5.1.12. Have people heard of him? Have people heard of his serialised books? Have people heard of his non-serialised books? Have they heard about where they were published? (found through primary data)
5.1.12.1. Survey Monkey
5.1.12.2. But the only book I’ve read three times (or more) on paper is J. D. Salinger’s “Nine Stories.” It helped me understand what a story collection was, and should be. “De Daumier-Smith’s Blue Period” was my favorite story the first time I read the book: the narrator looking back on his ghastly younger self, narcissistic and miserable and teaching a correspondence art class from Montreal. It was a story about desperate loneliness that made me laugh, which seemed a hard trick to pull off. “For Esmé—with Love and Squalor” was charming and lovely but already overfamiliar, because of other people’s attachment to it. Later, I became partial to the odd and quasi-supernatural “Teddy,” and to the way “Pretty Mouth and Green My Eyes” changes as you read it: the way it turns. The last time I read the book, my favorite story was “The Laughing Man,” a story I had barely remembered from before, about love and storytelling and baseball. I’m pretty sure that “A Perfect Day for Bananafish,” the opening story, will never be my favorite, but who knows? The collection reminds me of those pencil marks on the wall, recording childhood height: a way to measure how we become different people, over time.
5.1.12.2.1. https://www.newyorker.com/books/page-turner/nine-stories-j-d-salinger
5.1.13. Prominence
5.1.13.1. -Salinger's writing has influenced several prominent writers, prompting Harold Brodkey (himself an O. Henry Award-winning author) to state in 1991: "His is the most influential body of work in English prose by anyone since Hemingway."
5.1.13.1.1. https://www.nytimes.com/1991/04/27/style/chronicle-967791.html
5.1.13.2. -Of the writers in Salinger's generation, Pulitzer Prize-winning novelist John Updike attested that "the short stories of J. D. Salinger really opened my eyes as to how you can weave fiction out of a set of events that seem almost unconnected, or very lightly connected ... [Reading Salinger] stick[s] in my mind as really having moved me a step up, as it were, toward knowing how to handle my own material."
5.1.13.2.1. https://www.nationalbook.org/authorsguide_jupdike.html
5.1.13.3. - The critic Louis Menand has observed that the early stories of Pulitzer Prize-winner Philip Roth were affected by "Salinger's voice and comic timing".
5.1.13.3.1. https://web.archive.org/web/20070807224322/http://homepage.mac.com/mseffie/assignments/catcher/HoldenatFifty.pdf
5.1.13.4. In 2001, Louis Menand wrote in The New Yorker that "Catcher in the Rye rewrites" among each new generation had become "a literary genre all its own".
5.1.13.4.1. https://web.archive.org/web/20070807224322/http://homepage.mac.com/mseffie/assignments/catcher/HoldenatFifty.pdf
5.1.13.5. He classed among them Sylvia Plath's The Bell Jar (1963), Hunter S. Thompson's Fear and Loathing in Las Vegas (1971), Jay McInerney's Bright Lights, Big City (1984), and Dave Eggers's A Heartbreaking Work of Staggering Genius (2000). Writer Aimee Bender was struggling with her first short stories when a friend gave her a copy of Nine Stories; inspired, she later described Salinger's effect on writers, explaining: "[I]t feels like Salinger wrote The Catcher in the Rye in a day, and that incredible feeling of ease inspires writing. Inspires the pursuit of voice. Not his voice. My voice. Your voice."
5.1.13.5.1. https://books.google.co.uk/books?id=nUlbAAAAMAAJ&q=isbn:9780767907996&dq=isbn:9780767907996&hl=en&sa=X&ved=0ahUKEwj9mdzN4PXjAhUFYsAKHUz8B44Q6AEIKjAA
5.2. 20th Century
5.2.1. The article supplied information about 1920s serial publishing. Pulp fiction has profited from the serialisation form, since the dime store novel, and the 1920s-era Stratemeyer Syndicate further improved on the model with ghost-written series like Nancy Drew, the Bobsey Twins, and the Hardy Boys. These books promoted earlier stories at the front of the book and often ended with previews teasing the title of the next instalment — and the syndicate even instructed writers to end chapters and even pages mid-scene.
5.3. CASE STUDY 1 - Charles Dickens
5.3.1. experience of authors
5.3.1.1. 'Publishing works in serialized form gave authors a much wider readership'
5.3.1.2. 'periodical magazines provided steady income for authors.'
5.3.1.2.1. Book Serials or Series of Books: What's the Difference?
5.3.1.3. According to the Scribner’s Monthly, only the best writers were able to secure a spot in a magazine; second and third rate writers had to resort to publishing a novel.
5.3.1.4. authors could be receptive to readers and criticism and mould stories to most publicly desirable
5.3.2. experience of publishers
5.3.2.1. 'Publishers of course enjoyed the corresponding greater profits.'
5.3.2.1.1. The Serial Novel: A Brief History with 30 Examples [Infographic]
5.3.3. experience of public
5.3.3.1. 'even poorer readers could afford short volumes'
5.3.3.2. Illustrations were also an important feature of serial novels and Victorian artists, like John Everett Millais, were well known for their illustrations for serial fiction. Advertising also appeared in magazines and newspapers and in monthly part issues.
5.3.3.2.1. https://www.uvic.ca/library/featured/collections/serials/VictorianSerialNovels.php
5.3.4. Books that were serialised
5.3.4.1. Posthumous Papers of Pitwick Papers
5.3.4.1.1. The wild success of Charles Dickens's The Pickwick Papers, first published in 1836, is widely considered to have established the viability and appeal of the serialized format within periodical literature.
5.3.4.2. Martin Chuzzlewit (Jan. 1843-Jul. 1844), Dombey and Son (Oct. 1846-Apr. 1848), David Copperfield (May 1849-Nov. 1850), Little Dorrit (Dec. 1855-Jun. 1857) and Our Mutual Friend (May 1864-Nov. 1865).
5.3.5. Where did he publicise this?
5.3.5.1. Chapman & Hall
5.3.5.1.1. https://www.charlesdickensinfo.com/novels/complete-works/
5.3.5.1.2. Chapman & Hall is an imprint owned by CRC Press, originally founded as a British publishing house in London in the first half of the 19th century by Edward Chapman and William Hall.
5.3.5.1.3. From 1902 to 1930 the company's managing director was Arthur Waugh. In the 1930s the company merged with Methuen, a merger which, in 1955, participated in forming the Associated Book Publishers. The latter was acquired by The Thomson Corporation in 1987.
5.3.5.1.4. Chapman & Hall was sold again in 1998 as part of Thomson Scientific and Professional to Wolters Kluwer, who sold on its well-regarded mathematics and statistics list to CRC Press. Today the name of Chapman & Hall/CRC is used as an imprint for science and technology books by Taylor and Francis, part of the Informa group since 2004.
5.3.5.1.5. Most notably, the company were publishers for Charles Dickens (from 1840 until 1844 and again from 1858 until 1870), William Thackeray, Elizabeth Barrett Browning, Anthony Trollope, Eadweard Muybridge and Evelyn Waugh. They continued to publish previously unpublished Dickens material well into the 20th century. Another popular author on the books in the 1880s was Henry Hawley Smart.
5.3.6. Why did he publish them like this, and why this format?
5.3.6.1. rise of literacy
5.3.6.1.1. Book Serials or Series of Books: What's the Difference?
5.3.6.1.2. From a historical perspective, literacy levels for the world population have risen drastically in the last couple of centuries. While only 12% of the people in the world could read and write in 1820, today the share has reversed: only 17% of the world population remains illiterate. Over the last 65 years the global literacy rate increased by 4% every 5 years – from 42% in 1960 to 86% in 2015.1
5.3.6.1.3. Literacy
5.3.6.2. technological advances in printing
5.3.6.3. improved economics of distribution
5.3.6.3.1. Most monthly part issues sold for about one shilling, meaning the cost of a novel could be spread out over a year and a half. Magazines and newspapers were even more affordable and many offered two or more novels running concurrently.
5.3.6.4. interest among all classes
5.3.7. The reception/readership of his books
5.3.7.1. Pickwick was not well-received until the fourth issue when sales soared to 40,000 in one month.
5.3.7.1.1. https://www.uvic.ca/library/featured/collections/serials/VictorianSerialNovels.php
5.3.7.2. Dickens's literary success began with the 1836 serial publication of The Pickwick Papers. Within a few years he had become an international literary celebrity, famous for his humour, satire, and keen observation of character and society.
5.3.7.2.1. https://en.wikipedia.org/wiki/Charles_Dickens
5.3.8. Did this book later lead to a traditional book deal/ And how long after did it take to be published
5.3.8.1. The Pitwick Papers: Serialised March 1836 – November 1837; book format 1837.
5.3.8.2. Oliver Twist: Serialised 1837–1839; book form 1839
5.3.8.3. Nicholas Nickleby: Serialised March 1838 -October 1839; book format 1839
5.3.8.4. The Old Curiosity Shop: Serialised April 1840 – November 1841; book format 1841
5.3.8.5. Barnaby Rudge: Serialised: February–November 1841; as a book 1841
5.3.8.6. Martin Chuzzlewit: Serialised: 31 December 1842 – July 1844; as a book 1844
5.3.9. The readership and sales of the book
5.3.10. How did the sales of this book (which had been previously serialised) compare to another book which was published traditionally straight away? (with a risk factor – the circumstances surrounding the book, subject matter, audience, and whether he was already a well- established author when it was released)
5.3.10.1. new novel usually cost 31s 6d (in 1880, say, roughly a startling £138 in today’s money – more than the average weekly industrial wage, at that time)
5.3.10.1.1. https://www.bl.uk/romantics-and-victorians/articles/victorian-readers
5.3.10.1.2. people were much more likely to be able to and want to buy serials
5.3.11. Have people heard of him? Have people heard of his serialised books? Have people heard of his non-serialised books? Have they heard about where they were published?
5.3.11.1. Secondary Data
5.3.11.2. Primary Data
5.3.12. Prominence/ Reception at the time
5.3.12.1. During that era, the line between "quality" and "commercial" literature was not distinct and during the late 19th century, those that were considered the best American writers first published their work in serial form and then only later in a completed volume form and the consumption of fiction during that time was different than in the 20th century. Instead of being read in a single volume, a novel would often be consumed by readers in instalments over a period as long as a year, with the authors and periodicals often responding to audience reaction.
5.3.12.1.1. Serial (literature) - Wikipedia
5.3.12.1.2. interaction with the audiences
5.3.13. Prominence now
5.3.14. evalutation
5.3.14.1. pros
5.3.14.1.1. the quality of literature
5.3.14.2. cons
5.3.14.2.1. plot holes
5.3.14.2.2. if the authors let the novel evolve with each part, not writing the novel before hand, ithings such as illness
5.4. Evaluation
5.4.1. Primary Data
5.4.2. Success
5.4.2.1. high quality content
5.4.2.1.1. Serialization affected the form of the English novel. Each chapter had to engage the reader as a single unit as well as working within the context of the whole novel.
5.4.3. its rise
5.4.3.1. IT ALLOWED COMMUNAL AND EASILY ACCESSIBLE EXPERIENCE EVEN IN 1836
5.4.3.2. THOSE WHO COULDN’T READ FOR THEMSELVES JOINED READING CLUBS OR PUBLIC READINGS
5.4.3.3. READING BECAME SELF-CONTAINED AND INTERIOR
5.4.3.4. SHOWING, EVEN EARLY ON THE EFFECT THAT SERIAL PUBLISHING CAN HAVE ON A READER
5.4.4. its fall
5.4.4.1. 19th century
5.4.4.1.1. Part issues eventually fell out of favour as magazines became the preferred format and inexpensive one-volume reprints of original novels became available.
5.4.4.2. WHEN BOOK PRODUCTION BECAME CHEAPER AND LITERACY MORE WIDESPREAD DID THE SERIAL NOVEL LOSE OUT ON COMPLETED NOVELS
5.4.4.3. 20th century
5.4.4.3.1. (radio and TV broadcasting)