The Australian Book Market August 2025: What Writers, Publishers and Literary Agents are Talking About

The Australian Book Market August 2025: What Writers, Publishers and Literary Agents are Talking About

August 19, 2025

L-o-n-g blog post ahead with current (as at August 2025) insights on the Australian book market, book marketing, writing craft, AI, and what literary agents are looking for right now and how to approach them. FYI: The pic is of me on stage interviewing author Todd Ley.

This post is long because, yes, lots to share! The length was aided and abetted by uninterrupted writing time on a flight from Sydney to Tasmania as I flew down early for the Romance Writers of Australia conference.

I’m so not a regular flyer, so nearly didn’t make it as airport security kept finding my Swiss multi-tools, blades, scissors, multiple pens, phones and cables I have stashed everywhere for life and “just in case” moments. FYI: They were lovely about it and I’ll know better next time…helped by the fact all the blades and tools were confiscated so I won’t have them to fly back with.

But, yes, I’m still buzzing after running the Marketing for Authors workshop at Byron Writers Festival 2025 (even though the festival turned to book lover tragedy…more on that later).

Being in a room full of writers is magic (see the Instagram reel here). The creativity, curiosity, intellect, dreaminess, grittiness, hope, fear, optimism and overwhelm creates a vibe like no other. And the stories! Oh the stories!

In the Byron workshop room were writers of romance, memoir, fantasy, children’s books, crime and more. Some were many books in, others working on their debut, and all were forming ideas, words, worlds and books to transport, teach, tempt and intrigue us.

And these authors were in the room because they wanted their books read. They wanted more opportunities for their writing. They wanted to connect with readers. To maximise their book launches. They wanted to get past the author marketing “ick factor”, grow in confidence, and explore doable opportunities that would work for them.

They were heroic in my eyes.

Why? Because being an author prepared to engage in and understand marketing is bold. Very outside the comfort zone.

But it was made blindingly clear during one of the first panels of Byron Writers Festival why being a bold author is so important. Why being bold in your writing and bold in your outreach matters.

“Inside Publishing” featured literary agents Alex Adsett (good cop) and Melanie Ostell (bad cop). The session was chaired by the always funny and insightful Robert Watkins from Ultimo Press (and Chair of Sydney Writers Festival).

Some of the key takeaways:

Book sales are holding their own – but certain genres are propping the industry up

Alex Adsett said according to BookScan, book sales recently had their 4th best year on record, BUT, it is mostly down to romantasy and romcom. These categories are buoying the market and propping up publishers and bookstore sales in other genres. Nearly every other genre except crime is down and non-fiction is struggling.

Australian authors…temper your book sale expectations

Alex said that if you’re an Australian author writing into the Australian landscape (i.e. not writing for the US/Booktok in key genres), you need your expectations lowered.

How many books will I sell?

Melanie offered writers a reality check, acknowledging the industry has been very slow for past 18 months or so. “Books we used to believe would sell 15,000 copies are now selling 6,000 copies….Literary fiction which we all adored are perhaps now selling in the hundreds.” She suggested writers try and get a better sense of where their books might fit in the market and who their readers are. She said commercial fiction and crime are still going strong, but more modest expectations are required in the current book market.

Why writers need to be active participants in the Australian book market

Robert has seen the ups and downs of book sales over 30 years (including when people feared the introduction of the GST would mean people would never buy books again). He made the point that if writers want a flourishing industry in Australia, that we need to play a role in how that works. “If you want to be published in Australia, buy and read Australian books! That’s part of the ecology of the system. Then publishers will invest in creating and buying more books.” Bubbling underneath is the reality that publishers need to make a profit, “Champion Australian books, tell your friends about Australian books…that’s what keeps the industry motoring along”.

How many words should my book be in the current market?

Attention spans are shrinking worldwide and word counts across the world are coming down in length.  15 years ago, 120k word manuscripts were a thing, but now we’d need to see it at 85k words.

How to attract the attention of a literary agent?

  • Pitch at writer’s festival slots where you can be face to face with an agent
  • Follow the guidelines on each agents/publisher guidelines. Must pass that test to get through to the next round.
  • Make sure your comparative titles are reasonable.
  • Ensure you’ve done multiple drafts before you start approaching people.
  • Alex: “I want to be tired and grumpy and pick up a manuscript before bed, late on a Saturday night, and then it’s suddenly 2am and I’ve forgotten I was reading as I’d disappeared into another word.” A fresh and exciting manuscript can do that.
  • Alex also looks for authors who she can personally work with, who get the industry and  understand the friction between beautiful words AND story AND business.
  • Melanie: “Voice! I want to feel the author knows what they’re doing, and they need to establish that from the first page for me to read on.”
  • Melanie says there’s a trend toward more plot-based works (except creative non-fiction), with books becoming more commercially orientated. She looks for a balance between character and plot, narrative and dialogue, irrespective of genre.

How to get on the wrong side of a literary agent?

  • Alex: Don’t say “it’s like no other book out there”, as it shows you don’t know the market.
  • Melanie: “The cover letter…I don’t want to work with someone who compares themselves to Nabokov.”
  • Alex: “Do not submit under the toilet cubicle door or ask me to come to your AirBNB to read your manuscript. Ie: do not be creepy!”

More tips if submitting to literary agents

  • Decide if you’re going to try for an agent before you start submitting to publishers as otherwise you will limit the potential for the agent to take you on.
  • It can work, or it can backfire: but some authors have handed over scented business cards, (such as peppermint for a fantasy world where the ocean smelt of peppermint), or sent in a manuscript in a box scented with rose petals, or the old favourite…making contact with blocks of chocolate.
  • Check to see when the literary agent’s portal for submissions open
  • Use Query Tracker

How to get your manuscript ready for submission to agents and publishers

  • Robert: “Before sending your manuscript off, make sure you’ve had someone read it in a critical manner, because if you haven’t, it’s probably not ready.” He says, if you’re thinking “when they get to chapter 5 they’re really going to love this book”, you’ll be disappointed. “Agents and publishers need to invest in the first few pages, they don’t have the time or energy to read more.”
  • Alex agrees, she receives 500-600 manuscripts a year and “within 3 pages I can tell if it’s not for me”.

Preparing pitches for literary agents and publishers

Alex: “As authors if you’re getting ready to pitch, prep a one sentence pitch, a one paragraph pitch and a one page pitch. Then, if you bump into an agent at a writers’ festival coffee line, you can pitch the one sentence in a non-rambly, conscise and snappy way. If our eyes glaze over,,, walk away, but if you are asked to tell them more…share the non-rambly paragraph. Then, if they ask to see your one-page synopsis you’ll be ready to send it by email.”

Current book market insights

  • Alex: It’s almost impossible to sell urban fantasy at the moment.
  • Robert: Ultimo Press is opening for subs in September 2025 (first time in almost 2 years)!

What exactly does a literary agent do for a writer?

  • Alex: “Match the right manuscript with the right publisher (not necessarily the biggest publisher, but the one that could make for a long term, meaningful career for the author. And then negotiate the contract and strategically manage the author’s career.” (FYI: Alex is known as a great networker).
  • Melanie: “A literary agent is the author’s advocate and economic representative, we’re strategists to help make you money, including through book and film rights. (FYI: Melanie is known for doing a lot of editorial work with her clients).

How important is an online presence for fiction and non-fiction authors?

  • Alex: “In fiction, it’s not as necessary, it’s more about the book. But you need enough of a presence if I Google you that I will find you. Obviously I don’t want to see vitriol at other authors on social media! It does help if you’re very marketable. But it’s critical in non-fiction to have a platform on social media as that can be what makes or breaks a submission at the acquisitions meeting. I want to see engagement in your niche.”
  • Melanie: “I still believe the book is THE thing. An online presence isn’t essential for all fiction, but is very helpful for commercial fiction.
  • Melanie counselled that Instagram and Tiktok presence are largely driven from America so it’s difficult to get overseas book deals. She advises “Your main market is in Australia and this is where your principle market will be. Anything that comes from O/S rights sales is a bonus”.

Australian authors and BookTok/Tiktok

  • Alex gave the example of Stacey McEwan as a great example of an Australian who was lined up to self-publish, broke through on Tiktok and signed a trad deal. (Anna’s note: if you get to see Stacey in person, do – she’s so fun, informed and informing!).
  • However, Alex advised that due to the Tik Tok algorithms favouring US-authors, it’s almost impossible to breakthrough, though Instagram and Facebook can drive engagement.

Engaging with the writing community

Alex: “Social media is not make or break, but as an agent it helps to see you’re engaging with the writing community and you’re going to events and writing conferences, and buying books from independent book stores. There’s a community out there and we want to see you’re a good team player.”

Romantasy and book trends

  • Robert asked if everyone should just drop the manuscript their working on a write about dragons and fairies.
  • Alex: “Never write to trends. If you start writing to a trend chances are it will be over before you finish. If you’re not doing it because you love it/know it, it won’t be authentic.
  • Romantasy is the hottest trend at the moment: it’s driven by American authors or Australian authors who have published straight into the States.”
  • Melanie: “You want to get out at the front of the wave not the end of the wave. It’s good to be someone who’s doing something new and different.”
  • Melanie mentioned the example that no one’s looking for rural noir any more.
  • Melanie: “As an agent I’m very careful not to cannibalise on my existing authors by representing people in the exact same space.  I’m loving doing some more weird stuff, such as Jock Serong’s Cherrywood which is a little bit magical, timeslip. I find that space exciting. Books with a different lens to look through.”

What are the challenges and opportunities for Australian authors in the market?

Alex: “The negatives are we’re facing encroachment of American algorithms on Booktok, and Amazon which is such a dominant force in the US and UK is becoming stronger in Australia. But the positives are that we have a thriving, dynamic, supportive industry of authors who get behind each other. There’s also increasing diversity, and I’m proud to represent more First Nations authors. I’m not seeing the same stories being told again and again now.”

The power of books:

  • Alex: “The power of a great book to change the world. All we can do in the dark times and gloom of the world is keep making art.”
  •  Melanie: I’ve been in the industry for decades, I wouldn’t still be in it if I didn’t believe in it. I believe in the power of books to change lives. They absolutely, magically alter things inside your DNA.

What are these literary agents and publishers looking for right now?

  • Melanie is looking for manuscripts that transport her. Take her somewhere she hasn’t been before.
  • Alex thinks the romantasy bubble is soon to burst but is still open to it. She’s also looking for great RomCom and great crime.
  • Robert at Ultimo/Pantera Press is looking for fiction and non-fiction books that are talking to ‘now’. Books that speak to contemporary audience about things they are worried about.

Should authors use or avoid AI?

  • Robert: Work is being stolen from artists to feed a machine. Data processing is taking all the water to run those machines. It’s hard to see positive in that.  (Ultimo has a clause in the contract about no use of AI).
  • Melanie: Please don’t use AI with anything that is meant to be a creative endeavour. She has author agreements that they haven’t used AI in the creation of the manuscript and believes it’s certainly imperative for all fiction.
  • Alex: If the first 10 pages are fine and solid, I’d normally read another 5 pages to see if I’m interested. But it makes me question: Is it good, or is it solid and smooth because it’s been helped by AI? I want to see the real human, the authenticity.

“Convince me not to self publish”

After hearing the stats and the hurdles from the panel, the first question from the audience was from a man who stood up and asked, “With all that’s going on in the industry, convince me not to self-publish.” I thought it was handled well by the panel and responses included:

  • It’s hard to do it well.
  • It’s dependent on your expertise.
  • It’s hard to get the message out there, to cut through
  • When you’re with a legitimate publisher you have a whole team helping to make your book better, so you don’t need to do it all on your own.
  • It requires an investment of money and you may never earn that money back.
  • There was also acknowledgement that some savvy indie authors were making plenty of money.

More on traditional, indie and hybrid publishing models

Alex, Melanie and Robert are incredibly knowledgeable, helpful and generous – they live and breathe authors and books and you’d be lucky to work with them – unfortunately the session ran out of time. That’s why I’d also like to add:

  • Different models can work for different authors and manuscripts at different times
  • To be signed by a traditional publisher, authors will likely have needed to invest in professional manuscript edits and development prior to submitting their work.
  • The bulk of traditionally-published authors don’t make a reasonable about of money for their efforts
  • Authors are being called on to support (with time and financially) more of the marketing efforts for their books
  • More authors are becoming “hybrid” authors, in that they work within both the traditional and indie publishing models. For example, they choose what rights to sell for what works, so they may sign a deal for a certain book or series, while retaining rights to other books.
  • Indie authors CAN have a team supporting them, and they get to choose who’s on it.
  • The bulk of manuscripts being worked on right now won’t find a traditional publisher because the book is niche, or “it’s not what’s selling right now”, or it won’t return the publisher the money required to keep the train on the tracks.
  • For a list of more reasons not to self-publish, as well as a list of why being an indie author might work for you (and how to go about it!), borrow Look-It’s Your Book! from your local library or get yourself a copy.

Byron Writers Festival – washed out but still creating wonder

And now…back to where this post began. After my workshop and a brilliant opening night event where authors and members of the Byron Writers Festival swapped stories and literary love, we arrived for Day One of the festival.

Early morning, it started pouring. I sat in the car, rain opaquing the windscreen and watched as headlights after headlights arrived, welcomed and waved into spots at Bangalow Showground by amazing, sodden volunteers.

Heading to the festival’s green room, I centred myself over a relaxing tea for my in-conversation with indie author Todd Ley. Todd is a former world number one junior tennis player and author of SMASHED, a controversial memoir about the exploitation of children in the global tennis scene. We took to the stage, and post our chat, it was incredible to see the support Todd received as multiple people came up to him to share their own alcoholism and sobriety stories. That sharing of stories and solidarity would not have happened if he had never sat down to write. If he had never published.

Devastatingly, the rain closed in on the huge crowds and the forecast for the rest of the weekend led to the cancellation of the remaining days. There was grief for all the ideas we didn’t get to mull, the beautiful turns of phrase we wouldn’t hear direct from authors’ lips, and the wonderful sense of community Byron Writers creates. Hundreds of Australian authors, including Anne Gately (the author of Sunburnt), missed their chance to share their stories, entertain and inspire. And it was a huge loss to the incredible organisers and volunteers, and the fab folks at The Book Room Collective who was the festival bookseller (they have stores in Byron Bay and Lennox Head you must visit when you’re in the area!).

But the rain couldn’t wash away the obvious desire for humans to connect through storytelling. For humans to learn, to delve, to question, to grow. To connect. To write.

Go on, get back to your manuscript!

Know that there are many ways to publish and to reach readers with your words. But you need to write them first. Here if you need me.

Key links from this post: