It’s become one of the most important rites of passage in the book-publication process—more meaningful to some writers than a book party or book-cover reveal. For many authors, in fact, no book deal is complete until they’ve posted it.

It is the Publishers Marketplace book-deal social-media post, a screenshot of the charmingly retro-looking blurb from a publishing-industry trade website that announces the details of an author selling their book.

Search for “Publishers Marketplace” on Instagram or X or Threads and you’ll find hundreds upon hundreds of examples. The authors who are sharing deal announcements represent almost every genre: children’s lit, grown-up thrillers, BookTok-influencer bisexual rom-coms, and all points between. Some posts are pretty minimal—the screengrab, a caption, perhaps a touch of winking irony to deflect from appearing too braggy. Others are unabashedly earnest in their enthusiasm, comporting the anachronistic typeface of Publishers Marketplace into new-media forms: dancing around it enthusiastically in a TikTok green screen, posting it alongside baby photos of themselves. (“My entire life has been about reaching my unreachable dreams,” reads one.)

Authors have built their own galaxies of exalted cultural meaning out of the Publishers Marketplace deal-announcement screengrab—perhaps even more now, in an environment where anyone can self-publish independently. A significant number of Americans claim that they someday want to write a book. A commonly cited New York Times opinion piece from 2002 pegs it at upwards of 80 percent; more recent polling found that “more than half” of Americans have an idea for a novel. A deal is irrefutable evidence of the closest thing to employment that a would-be author can achieve. It’s proof that the novel they’ve been working on for years hasn’t just been a hobby; now it’s officially a job (though sometimes a job barely begun—deals can be made on the basis of a sample chapter).

Once the rarefied air of authorial status has been attained, today’s “Publishers Marketplace Official” writers (that’s the going phrase on social media) can safely perform the ad hoc public role of The Author online. Some even share their own Publishers Marketplace–themed fan merch. Custom mugs seem especially popular; at least one publishing company, Avid Reader (a division of Simon & Schuster), offers a Publishers Marketplace–screengrab mug as part of its new-author welcome package.

Social media is ostensibly a form of publicity, a way to generate buzz for a book. But the deal post likely does very little to move copies. David Black, the founder of the eponymous New York literary agency known for representing hundreds of authors across genres, points out that many publication dates are usually years away from deal announcements. “In terms of sales,” he told me, “the impact is not great.” The post, instead, has become the visual icon of the modern literary era, an illustration of the anxieties, expectations, and terminal onlineness of being an author today.

Publishers Marketplace has been in business since the early 2000s, a literary-world counterpart to trade publications such as Variety and The Hollywood Reporter, which have covered film- and TV-industry business dealings for the past century or so. Today, the Bronxville, New York–based book-market site, billed as “essential” daily reading, operates with a modest crew of just five full-time employees. Every year, it announces about 14,000 unique book deals, which can be accessed using a $25-a-month membership model (popular with professionals in the field, such as agents and editors, who use it to monitor the publishing industry in real time), or a $10 “Quick Pass” that lasts 24 hours—ideal for those who just want to access and screenshot their own deal announcement once.  

Every book deal—whether the humblest indie or the industry-shaking eight-figure multibook contract with international rights—is formatted the same way: The book’s title is listed in a large font on top, followed by the name of the author(s), the publisher, and then a single paragraph containing essential information about the book in question, including the names of the agent and acquiring editor. Industry professionals are fluent in its secret language, which can include terms such as good deal and very good deal to indicate the range of dollar amounts offered for each book as an advance payment. As with a tombstone in the mergers-and-acquisitions business, there is an insider lingua franca that casual followers wouldn’t know.  

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For many authors and their social-media followers, such nuances matter less than the fact that a deal was secured at all. In the early days, typically agents with a Publishers Marketplace subscription would take a screenshot and share it with authors, who would place it on Facebook or what was then Twitter. Today, Instagram appears to be the dominant platform (despite Publishers Marketplace itself having no active presence on the app). Michael Cader, who founded Publishers Marketplace, said the staff is aware of the importance the site has gained on social media. In 2020, the company even started offering a ready-made “screengrab” click option that produces a version of a deal-announcement image for posting with a single click. “We know some authors think of it as a mark of arrival,” he told me, “and we are honored to be able to help them memorialize and share their achievements.”

I spoke with multiple writers working in diverse genres about the phenomenon, and they were, let’s just say, a bit reticent about describing posting habits. Asking writers about what they do on social media is like asking someone whether they color their hair or are taking Ozempic—the details can feel embarrassing, even if the behavior itself is commonplace.  

One of the top posts I saw on Instagram for Publishers Marketplace is this one by June CL Tan, an international best-selling author of contemporary young-adult fantasy novels, including Darker by Four. She told me that “Publishers Marketplace Official” really does have meaning as the first time that a book enters the public sphere. Trying to sell a book can take years, and the timing varies from author to author, project to project—and “many, if not most, authors suffer from imposter syndrome,” she said. “Seeing the screengrab or the announcement on Publishers Marketplace does feel more official, as it can act as evidence that the deal is really happening.” The journalist Jason Diamond, who announced the sale of his first novel in April, told me the post also externalizes what otherwise can feel like an isolating endeavor. “I don’t want to sound like a sad bastard,” he told me, “but being a writer can be a very lonely profession.”

Deep down—or not even that deep down—people also see the post as a kind of status symbol, a “club jacket,” as various people told me. “Writing a book is really fucking hard,” Black said. “For some people, this kind of announcement is helpful because it carves out their place in the world.”

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I’m convinced that the website itself, largely unchanged since the early 2000s, is the secret sauce to this whole thing: The naive, disarming, Web 1.0 charm of the Publishers Marketplace screengrab cuts through the ambient friction of our extremely online 21st-century lives, arriving as something rare, authentic, and complete. Though verily the modern publishing industry is changing—and self-publishing on Amazon and other platforms is thriving—many authors are still attached to the markers of success that they remember from the pre-digital era. They’re chasing the feeling they get the first time they see their very own book at the library, in airport bookshops, on newspaper best-seller lists—things that they remember about the books they grew up reading. The post’s old-fashioned look is a dopamine hit to an author’s heart: What could be more tethered to tradition than the act of writing a novel, an art form that first became broadly popular in the 19th century?

The post is, of course, also a utilitarian initiation into what it means to be an author online—that is, self-promotional. Today’s writers are ever more expected to turn themselves into brands. Noah Galuten, a James Beard Award–winning cookbook author (we share an agent), told me that he finds something “very performative” about the post. Yet it’s also, simply, what is required in today’s market. “Cynically, if I see someone posting that, I don’t know—it seems a little thirsty,” Galuten said. “But if I do know you, then I’m happy for you … Like, what else am I supposed to post? A picture of myself cheering or signing a contract like an athlete?” Though the Publishers Marketplace post may not directly correlate to sales, it is a practical place to start the self-marketing journey, to make consumers out of followers.

Which gets at what really makes the post such a big deal: So many people claim to be working on a book, but getting paid for it matters. It’s what turns a writer into an author.

Or so authors like to think. “After you make this post, what then?” Black, the agent, said. “You still have to do the work.” After all, once the deal’s procured, the book must still be edited; sometimes it hasn’t been finished yet. But even if that next great American novel you so cheekily shared via screengrab fails to materialize—well, you might have to pay back the advance. Online, though, you’ll still always be Publishers Marketplace Official.

No surprise, I thought, as I disposed of the 12-volt charging adapter I had purchased for my car. I’d bought the thing on Temu, the Chinese low-cost-shopping app, as part of a larger haul of random other stuff that the app had marketed to me: chargers to plug into my adapter and car-seat gap-filler crumb-catchers to flank them.

The charger cost $2.43 and took weeks to arrive. Because it came from China, I knew I had no hope of returning it, but $2.43 is less than a Diet Coke these days, so who cares? It turned out I cared, because I wanted to use the gadget to charge things. So I felt disappointment, though not affront, when the gizmo’s plastic pins broke loose mere days after arrival, making the device unusable. I should have just bought a Diet Coke instead.

This week, Amazon announced a new store, Amazon Haul, that hopes to compete with Temu, Shein, and other purveyors of such items. When I opened Haul, which is available only on Amazon’s mobile app, it presented me with an array of “unbelievable finds” at “crazy low prices”: a $3.99 table runner; a pair of blue-and-white zebra-printed women’s swim bottoms for $5.99; a barrage of smartphone cases as low as $2.99; a $2.99 set of foundation brushes; a $2.99 silicone sink strainer; two dozen cork-bottomed chair-leg floor protectors for $6.99.

Temu and Shein have been popular for a long time. But Amazon’s entry into this market officially makes it mainstream. The result isn’t just “low cost” shopping, but a different kind of shopping. Now people buy low-quality goods that they don’t necessarily expect to use, and knowing full well that they’re maybe worthless, for the experience of having bought them.

Of course, people have always shopped just to shop: to hang out at the mall, to experience the relief of retail therapy, to adopt the identity of a label or a style, to pass the time between events. But the internet changed shopping. First, e-commerce made it more standardized and efficient. Instead of fingering through the garments on a rack or rummaging through a discount bin, shoppers clicked product images set against stark white backgrounds. They searched for keywords, which assumed that shopping was driven by need rather than desire. Shopping became more rational, more structured.

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It consolidated, too. Amazon.com became a so-called everything store, and others, including Walmart.com, followed suit. They offered consumers, well, everything; people no longer needed to visit specialized websites. Then online sellers deployed algorithmic recommendations to steer shoppers toward goods that might benefit the sellers or that might lead buyers to buy more. Slowly, over years, online shopping became disorienting. When I recently searched Amazon for a 16x16 gold picture mat, I was shown a family of products, none of which was a 16x16 gold picture mat. The one I finally bought took forever to arrive—it was not eligible for Prime shipping—and was damaged in transit. I wish I’d made different choices, but which ones? I couldn’t find this product in a local store, and I wasn’t willing to pay for a custom-made one from a specialty shop. This experience is now commonplace. I buy things online that I fully expect to be unfit for purpose, necessitating their return (which has become its own kind of hell). Now shopping neither satisfies a need nor sates a desire. It burns up time and moves money around.

Haul is the perfect name for a habit that contributes to this feeling. On early YouTube, circa the mid-aughts, beauty vloggers seeking topics for vlogging started sharing the goods they had recently purchased, online or in person. They produced what became known as “haul videos.” Eventually, as vloggers gave way to influencers on YouTube, Instagram, and elsewhere, direct sponsorships, feed advertisements, and other incentives drove haul or haul-adjacent content: People would make money for posting it.

Shein started recruiting these influencers to promote its service in the West. The products it sold were so cheap, it didn’t really matter if they were any good. One decent fast-fashion top or accessory out of a $20 haul was still cheaper than Abercrombie or American Eagle. Soon enough, you couldn’t even go to those stores anyway, because of pandemic lockdowns; by 2022, Shein accounted for half of fast-fashion sales in the United States. Shopping became a kind of gambling: Roll the dice and hope that you come out a winner, whatever that would mean.

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Showing off has always been a part of shopping, but hauls set use aside entirely, replacing it with exhibition. For the YouTuber or Instagram influencer, it wasn’t important if the clothing or skin-care products were useful or even used, just that they afforded the content creator an opportunity to create content—and, potentially, to get paid by sponsors to do so. Not everyone is an influencer, but lots of people wished to be, and dressing for the job you wanted started to entail hauling as a way of life. Shein, Temu, and now Amazon Haul encourage bulk purchases to justify low costs and minimize freight, while slipping in under the $800 threshold of U.S. import tax. These shops made the haul a basic unit of commerce.

At the same time, Chinese sellers—including some that appear to sell the very same goods found on Shein, Temu, Alibaba, and more—began to dominate Amazon’s third-party-seller platform, known as Marketplace. By 2023, Amazon acknowledged that nearly half of the top 100,000 Marketplace sellers were based in China. If you’ve ever searched for goods and been presented with weird, nonsense-name brands like RECUTMS (it’s “Record Your Times,” not the other thing), these are likely China-based Marketplace sellers. For some time now, cheap products of questionable quality and dubious fitness for purpose have dominated Amazon search results—especially because those sellers can also pay for sponsored ads on Amazon to hawk their wares.  

Amazon Haul closes the gap between normal e-commerce and the haul retail that social-media influencers popularized. Now ordinary people can get maybe-useful, maybe-garbage goods purchased for little money in bulk.

Great to have the choice, perhaps. But likely also irritating, because the phone case, table runner, or makeup brush you might purchase that way are probably garbage. Nobody is hiding this fact—thus Amazon’s carefully chosen language of “unbelievable finds” and “crazy low prices,” and not “high-quality goods.” And consumers are now ready to expect crap anyway, having spent years buying random wares from Instagram ads, TikTok shops, Shein, or the discount manufacturers that dominate Amazon itself. When I open a box that arrives at my door, I don’t really expect delight anymore. Instead, I hope that what’s inside might surprise me by bearing any value at all.

Haul might sound like the latest curiosity of concern only to the very online, but it could be an omen. Over time, Amazon has devolved from an everything store that sold stuff I liked and wanted into a venue for bad things that don’t meet my needs. Haul is just one way to shop, not the only way. But that was also true of Marketplace, which slowly took over Amazon’s listings. For now, you can still buy what you want or think you do. But eventually, hauls could take over entirely, and all shopping could become a novelty-store, mystery-grab-bag experience.