Books on BookTok: 'I did feel like I had finally made it' – content creators and early proofs

This week BookTok creators reflected on whether receiving early proofs or advanced reader copies (ARCs) of highly anticipated books denotes status within the community.  

For India (@indiareadsalot; 3,815 followers) and Sanziana-Dana (@sanzireads; 3,378 followers) it “can feel like receiving proofs for high-profile books is a status symbol”. India added: “When I first received my high-profile proof, I did feel like I had finally ‘made it’. You feel validated as a creator to know that the publishers have seen you and want to send you something of major importance, so it does slowly form into a status symbol.” When other creators of a similar following do not receive the same proof copies as their peers “it can sometimes create tensions within the book-creator space that are not spoken about openly”, noted Sanziana-Dana. She continued: “When publishers seem to follow a given pattern for who they’re distributing proofs to and sending event invites and other perks to, that status symbol can be reinforced over and over again.” Mohsin (@mohsinreads4; 713 followers) concurred that “highly sought-after proofs tend to go to well established creators… so I do believe they are sometimes akin to a status symbol”.

Busayo (@compulsivebookbuyers; 26,900 followers) agrees that receiving high-profile proofs is mark of status. “I think it has started working on popularity basis because publishers know if they nourish the relationship of those with massive followings it will help them in return… Generally, those creators with huge fan bases are prioritised for marketing campaigns, exclusive influencer events and ARCs, so it feeds into the creator’s status.” India has found that receiving proofs does “make you feel legitimised”.

Some creators have noticed that publishers are beginning to “allow smaller creators to have similar opportunities as creators with larger followings”. Busayo explained that “some publishers aim to prioritise smaller creators because they know they’re not as swamped as bigger creators and they’re technically more ‘appreciative’ because they don’t get as many ARCs”. Mohsin and Evie (@eviemaddaloni; 4,124 followers) believe that ARCs mailings have “become fairer” with the advent of influencer mailing lists and prize opportunities to win proofs. “Publishers have also begun to contact certain influencers who they know will love and uplift the proofs, regardless of follower status.”  

Brittany (@whatbritreads; 58,400 followers) does not see receiving high-profile proofs as “a big deal”. “I have no idea which exclusive ARCs other creators have in their collection, and I don’t often share mine unless I’m talking about the book in question and I don’t have a finished copy.” She added that she likes having ARCs for her “collection and takes personal pride in owning them, but I don’t think my followers or other creators particularly care”. For Lewis (@achilleanshelves; 18,400 followers), initially receiving proofs felt “very exciting and exclusive” but believes that creators can become disillusioned with the process: “Once you’re in those circles and on those waiting lists it becomes much clearer how it actually works and just how many people get copies too.”

However, there has been a relationship “breakdown between reviewers and publishers as a result of things like exclusive ARCs being sold online”, said Brittany.

The Bookseller has seen eBay listings for a proof of Dani Francis’ Silver Elite (Del Rey) for over £450 and an advanced copy of Hazel McBride’s A Fate Forged in Fire (Renegade Books) for nearly £300. A proof of Callie Hart’s Quicksilver (Hodderscape) was sold for $4,200 Australian dollars, equating to nearly £2,500.

Brittany has noticed that some proof copies are now numbered, “so it can be tracked down to me if I were to sell it”. She added that selling them “exploits readers who missed out on their chance of getting an ARC”, while Mohsin believes selling proofs is “such a ridiculous and unfair thing to do… It’s unfair to the authors, publishers and readers alike”.

Most of the content creators agreed that reviewers who sell proofs should be “blacklisted from receiving further proofs” or “maybe even from the publisher entirely”, added Brittany. “I think it’s fair that a publisher shouldn’t trust you again.” Sanziana-Dana explained: “There are so many reasons why selling ARCs shouldn’t be condoned. Anyone who uses the free perks of being a creator to make money in that way is essentially abusing their power in the creator space.”

India agrees that selling proofs “destroys your relationship with the publisher”, especially if the proof is being sold for “an insane amount of money”. During Waterstones BookFest 2024, Busayo said “it was clear that one of the creators invited put all of their ARCs they were given on Vinted”. She continued: “But the conversation that arose wasn’t about the consequences that could come from selling ARCs, it was more about how somebody would have loved to give that book a home, but it was given to somebody that doesn’t appreciate it.”

In a similar vein, Lewis said he does not see “any harm in trying to sell proofs to someone who may value it more”. For Busayo, the labelling on ARCs is “not as strict as it could be about the consequences of selling them or even the problems that could arise from selling one”. This is “why I feel like some people are able to give them out without remorse”.

Most of the creators believe receiving proofs is a “perk” of being a BookToker rather than a requirement. Brittany said that while receiving a proof is “exciting”, her “online content wouldn’t change” without them. India agreed: “You can easily create amazing and super engaging content without proofs, but it is a nice perk to have.” For Sanziana-Dana, ARCs are “only a requirement in so far as reviewing them can help you get more”. She asserted, however, that proofs are definitely “a bonus of being a creator”. For Mohsin it is an “honour and a perk” to receive an advanced reader copy that allows a “wholesome” relationship to develop between the content creator and publisher.

Busayo took a slightly different approach: “I used to see them as a perk, but now I sort of see it as a requirement. Of course, content creators can make content on the books they have bought… but publishers need creators as much as creators need publishers. If you want to create semi-organic buzz around a book, you need the readers excited to receive an ARC and get the chance to read the coveted book earlier than anyone else.”