If you’ve ever wondered what goes on behind the scenes at South Africa’s biggest publishing houses, the Franschhoek Literary Festival offered an all-access pass.

This year’s standout sessions pulled back the curtain, with industry heavyweights like Bridget Impey (Jacana Media), Robert Plummer (Penguin Random House SA), and Sibongile Machika (Jonathan Ball Publishers) breaking down what they look for in a manuscript — and why a great sentence alone won’t seal the deal.

Alongside them, authors Andrea Shaw and Paige Nick shared hard-won lessons from the trenches: the messy, magical, and sometimes maddening road to getting published.

What Publishers Really Want

Forget the romantic notion of an editor falling in love with your manuscript on the first page. Today’s publishing decisions are made by teams who weigh emotion against economics. The core question is always: Will this move a reader — and will it move 2,000 units?

Some publishers, like Penguin’s Marius, have the authority to greenlight a book solo, but most acquisitions involve discussion around diversity, genre balance, and market need. Literary merit matters, but so does the spreadsheet.

Here’s what they’re looking for:

  • Fiction: A distinctive voice, flawless craft, and emotional impact.
  • Non-fiction: Original insights, subject authority, and relevance.
  • All genres: A subject that can sustain a full-length book (not a stretched-out blog post) and an author who can help sell it.

Even in 2025, connections matter. A well-placed introduction can give your submission a boost. Most manuscripts now arrive digitally, via email, referrals, or occasionally through agents. But no matter how it gets there, the work still needs to be delivered.

The Reality of Sales

The publishing landscape has undergone significant changes in recent years, particularly in South Africa. Before the pandemic, a first print run of 5,000 copies was considered standard, the minimum benchmark for a successful title. Today, that number has dropped to around 1,500. For many publishers, that’s enough to cover production costs, reflecting a more cautious yet pragmatic approach to risk and reward.

In this context, selling 1,000 copies of a book is not a failure; it’s the reality for most literary fiction. Only a handful of authors (like Deon Meyer or Zakes Mda) break past that ceiling regularly.

Rising trends

Non-fiction tends to perform better, especially when the author brings a ready-made audience or real-world utility to the table, whether through public speaking, media appearances, or a strong digital presence.

Genre trends continue to evolve. There’s a growing appetite for identity-rich stories, particularly those exploring Indian, Muslim, queer, or diasporic South African perspectives. These narratives reflect a broader shift toward inclusivity and cultural nuance.

At the same time, genres like romantasy (a hybrid of romance and fantasy) are gaining momentum, particularly with younger readers. Young adult fiction, illustrated books, and non-fiction that offer practical value or self-help with substance remain commercially viable across markets.

Digital platforms have also changed the game. TikTok, once considered a fringe distraction, has become a powerful trend forecaster in the publishing world. A single viral video can catapult an unknown book into bestseller territory.

Meanwhile, self-publishing has evolved from a scrappy outsider model into something more akin to a scouting ground. Publishers are increasingly open to acquiring successful self-published authors, treating independent success as proof of concept rather than a threat to the industry.

In short, the numbers may be smaller, but the opportunities are larger than ever, especially for writers who understand the market, know how to position their work, and aren’t afraid to meet readers where they are.

From Draft to Deal

Authors Andrea Shaw and Paige Nick didn’t sugarcoat it when they said that finishing the first draft is barely the beginning. Andrea started over entirely, retreating for a week to rewrite her book from scratch. Paige emphasised treating submissions like job interviews where every pitch must be tailored, error-free, and aligned with the publisher’s expectations.

Across the discussion panel, the message was clear: if you want to be published, you need more than a good manuscript; you need a plan.

Getting from the first draft to the bookshelf is part art, part hustle. You’ll need stamina, structure, and a strategic approach. Here’s how to approach it like a pro:

  • Write forward, edit later. Momentum beats perfectionism in the early stages.
  • Edit professionally. A developmental editor, copy editor, and proofreader are worth every cent.
  • Know your genre. A “bit of everything” manuscript will confuse, not entice.
  • Build a compelling pitch. Include a one-paragraph synopsis, a 10-word hook, “X meets Y” comparisons, and a short author bio with relevant reach or credentials.
  • Track submissions. Stick to each publisher’s guidelines. Respect their process.
  • Choose your path. Agents can offer international access and legal protection, but they take a cut.
  • Treat rejection as data. Look for patterns. Improve and resubmit strategically.
  • Grow your presence. It doesn’t have to be flashy, just consistent and authentic. Outsource if needed.
  • Market creatively. Beyond bookstore tables, think blog tours, live readings, corner-store posters, or even TikTok.
  • Stay accountable. Utilise beta readers and sensitivity readers to refine your work, not only technically, but also culturally.
  • Think in bulk. School orders, corporate gifting, and library placements can significantly boost your sales numbers.

The Bottom Line? Publishing Is Evolving

South Africa’s publishing world is more accessible (and more competitive) than ever. Smaller budgets mean tighter margins, but they also mean publishers are willing to take risks on new voices, hybrid formats, and unexpected ideas.

There’s space on the shelf.

There’s space for you.

But great prose isn’t enough. You’ll need a plan, a platform, and a willingness to adapt to the industry’s evolving needs.

As Franschhoek reminded us, snobs in ivory towers don’t get to gatekeep publishing; it’s a messy, passionate village of readers, writers, editors, and dreamers.

Welcome to the club.