Learnings from SelfPubCon 2026

26 October 2026

This journal entry is in progress as I go through the conferences at my own pace, so maybe come back later for more thoughts, haha ;)

Entering European Markets: Reader Expectations, Risks, and Reality

Speaker: Michail Kollewijn

I was highly interested in this one because, as you may know, I’m a French-speaker living in Belgium (Europe). My book sales are from all over the world but especially in the US market, because I write and publish in English. Interestingly, the second market in which I sell the most is… Germany. As I prioritize in-person events, I thought I could get some insights on how to increase my sales in the European markets. You know, Germany and France are neighboring countries, haha.

Things I’ve learned:

• Fixed-price enforcement are tightening in Europe. I guess before setting a price for European markets, it’s always good to know that so the books are not overpriced. I understood you need one price for everything, and that the price needs to be on the barcode.
• If your book has been translated with AI, even Deepl, even if four native-speakers have also worked on it and the original translation is gone, you have to disclose it.
• Germany is the third largest market after China and the US.
• France is usually not looked at as a market because it’s long been considered a trad pub market more than an indie one. But the indie publishing landscape has grown over the past years.
• If you write dark romance, you’ll probably do very well in France. It’s a current trend but move fast because trad publishers are signing authors now in that genre and it might overflow the market in a few months.
• Spain is the only market who can show a growth for twelve years in a row. It is also the only market in which you have to disclose that you are a self-publisher by law.
• In Italy, what really works is fantasy and romantasy. Do avoid mafia romance though.
• Translation doesn’t equal visibility, and I’ve seen it first hand with the French translation of The Londoners. More on that below or this line is gonna be super long.
• Audiobooks are growing fast in those four countries, and the audiobook platforms are a mean for discovery.
• Local social proof is required for visibility, so that means reviews in the native language.
• Germany has a huge bloggers ecosystem for marketing, but it’s becoming saturated.

About translation doesn’t equal visibility, I just wanted to add that if it weren’t for my mum, the French translation of The Londoners wouldn’t have broken even. She single-handedly sold most of the copies I had. And that’s because I wasn’t marketing in French at all. That’s why, moving forward, I’m gonna try to find a traditional publisher for the translations. Because translations are time-consuming, time I should spend writing the next book.

What kills international expansion:

• Underinvesting in the quality of your translations. It can allienate readers if the translation isn’t top quality. So don’t skip editors and proofreaders.
• Going to market with no clear release strategy. That was my pitfall for the French translation of The Londoners, haha.
• Translating without localizing your manuscript.
• Ignoring fixed-price laws.
• Treating AI disclosure as optional. EU AI Act is in effect.
• Translating too early in your career, before you have a proven, editable backlist to localize, is not advisable. Family wanted The Londoners in French, but honestly I shouldn’t have translated it. Not myself anyway.

Why Local Marketing is the Indie Author’s Newest Advantage

Speaker: Penny C. Sansevieri

Things I’ve noted:

• Local isn’t small, it’s concentrated. Local visibility creates momentum that can travel.
• Media, libraries, bookstores are more willing to help an author if they’re local.
• You have more than one local market: where you live, where you’re from, where your book lives and where your people are.
• Access to existing audiences: bookshops, libraries, local media, festivals, fairs, local events, but also schools, universities, book clubs, specialty retailers, community organisations.
• Anything you’re gonna go after involves a pitch. The book isn’t the pitch, the opportunity is.
• A pitch should mention: why you, why this place or this community, why should they care, what are you proposiing, what will they gain. Make it as easy for them as possible.
• Bookshops don’t need another author asking for shelf space. You’ve got to tell them why they should care about your book and what you bring to the table (ordering info, ISBN, price, reviews or endorsements, specific event idea). You can also tell them that you’ll promote the shop to your audience, bring in people, support the event on social media and newsletter, and also offer signed copies.
• Library: bring a program, not a request. So you should probably tell them about the value to the audience, the format of your event (talk, workshopm reading, panel, Q&A, bok club visit, childre’s program).
• Depending on your genre, you could also pitch specialty retailers. For example, if you write romance, you could get your book to a florist or a wine bar. If you write for kids, you could advertise your book at an ice cream shop or family fair.
• A local business is more likely to say yes when the idea helps them too.
• Book clubs don’t just read books, they also recommend them.
• School visits: you can organise classroom readings, storytime visits, assembliesm writing workshops, literacy events, library visits, book fairs, virtual author visits. They are looking for an author who’ll connect with children, who’s bringing educational value with a clear format.
• Don’t leave an event with book sales only. Get pictures, videos. Get people to subscribe to your newsletter.
• Always send a thank you note after the event, preferably handwritten.