October 2026 | In this issue: binging TV, the duology surge, and how to identify scammer publishers
Musing of the Month
Be honest: when was the last time you thought, “I’m happy to wait a week for the next episode of Ted Lasso.”
Since 2020, if not earlier, we’ve societally acclimated to binging television as a normal activity. It’s even celebrated. Hearing a friend proclaim, “OMG! Widow’s Bay was so good, I binged it in, like, a day,” is an incredible compliment to the quality of this (undeniably A++) AppleTV release. Even when there are release schedules that resist this new norm, releasing weekly episodes, I know viewers who plan their watching—whether for a new show or an awaited new season—for when all episodes will be available. As consumers, we’re uncomfortable with the friction of waiting for the next installment.
The reality of publishing is that it is a consumer industry. Books flourish because people read them and, more specifically, people buy them.
On September 26, I posted on Instagram some of the trends in new deals (a.k.a. the book is not yet released, merely acquired and announced). In this carousel, I highlighted that there were 2x more duologies acquired from June 1st to August 31st than trilogies. I should clarify: this is across the fantasy and sci-fi markets, which has been long dominated by trilogies or longer series.
But this is financially and, in my opinion, creatively unsustainable, and has been for a while. Publishers need to have completed manuscripts to move books to market, and writers need time to, well, write. I don’t think we’ll ever see the completion of George R.R. Martin’s A Song of Fire and Ice, now that HBO has delivered a (controversial) ending to the series into the zeitgeist with Game of Thrones. And if you’re on BookTok or Bookstagram this month, you’re probably aware of the marathon-effort by readers of Sarah J. Maas’ ACOTAR to remember what happens in books 1-5 before Book 6 launches on the 27th.
Regardless of whether the publisher is trying to bring the book out fast enough (or at all) to sustain reader interest, odds are high they have already paid substantial fees for the unwritten manuscripts. Until those books are published, the publisher is losing money.
And if the publisher is losing money, then they’re likely pushing for the author to produce faster (and so is the agent). From a purely speculative stance, I think this is the reason behind both Rebecca Yarros’ declared break after releasing Onyx Storm (her third book of over 500 pages in 18 months) and the reason for the related collection Threshing Day released at the end of September. The publisher needed to keep the audience engaged while waiting for Empyrean Book 4.
Now, there is a natural uptick in book sales when a new book is announced. And I’d be surprised if Martin’s publisher is actually pressed about the incomplete Game of Thrones series. The television adaptation (and spin offs) sustains sales for the books already out. And the upcoming ACOTAR 6 and 7 releases will spur new readers and sales.
So the question that many ask is whether publishers are willing to take on new, incomplete series of 3 or more books.
To which I reply: “Do readers even have an appetite for long series?”
Before the outrage begins, of course they do. But perhaps not as obviously as readers did before.
I don’t think it’s a stretch to argue that duologies or completed series should be more interesting to publishers right now for the reasons that they’re a BOGO of benefits: less financial risk plus more consumer-friendly production schedules.
…other reads to sink into…
🔗 Apple TV Wins, HBO Humbled, Netflix at No. 3: Emmys Expose Streaming’s Divide, The Ankler, Link
I originally saw their Instagram post highlighting how Apple spent less on fewer productions than Netflix and HBO, while taking home the most Emmy wins.
🔗 EXCLUSIVE: Author Jerry Falade Reflects on Losing His Book Deal and Being Accused of Using A.I., Publishing Confidential, Link
If you’re tired of fearing the A.I. witch-hunts, particularly when it comes to authors being accused of A.I. use and if it could happen to you, read this today. It puts privilege into even more stark perspective (and that’s saying something for an industry already fully inundated).
🔗 I Made $721,509 Self-Publishing My Books. Here’s What Traditional Publishing Paid Me, Cara Alwill’s Substack, Link
If the title doesn’t sell you on the revelations this essay holds, please know that Alwill’s numbers reflect success across both models, as someone who has worked in both lanes and consults authors regularly.
Client Celebrations
Congratulations to Foreword Lit author Jane Myers for her Modern Love story, published in The New York Times. Linked here.
Book Your Foreword 60
This 60-minute individualized strategy call focuses on: your publishing goals, your overall progress to date, and your truest path to achieving them…all while debunking those pesky publishing myths along the way. After the call, you’ll receive an original, multi-page strategy document built for your book and your book alone. (Usually around 15 pages.) Limited spots per month.
This is a $300.00 investment transferrable to any larger Submission Toolkit or 3-month retainer contract.
Free Resource!
How to Identify Fraudulent Publisher Interest
Just this September, I put a callout on LinkedIn seeking support for a fiction self-publishing project. I wanted to make a vetted referral in my network, so I thought: why not put out an open call to my LinkedIn connections?
Instead, I was hounded by several suspicious cold calling “publishers.” They were so numerous that first day that I ended up turning off my phone to slow their interest.
Which is why I’m pleased to share (once again) my 3-Step Guide to Identifying Fraudulent Publisher Interest.
