With the advent of social media, it must be said, the world of emerging literature has changed. The first element that must be considered is the advent of editorial "freedom", a media phenomenon that is not easy to read: that immense mass of people who "write" on the network, attempting editorial and literary communication without the filter of third parties.
In fact, in social media, the author no longer needs to obtain the "favorable" opinion of a publisher, or to pass through the caudine forks of an editor who "distorts" his text to make it conform to the needs of the readers, nor give account to their responsible director. The usual canons of the publishing world such as presenting a manuscript to a literary agent or editor, waiting for reading times, editing, signing editions, waiting for publication, are skipped. Or at least, they remain a normal procedure for those who want to continue on the path of traditional publication.
As we can see today, the author can show himself directly to the public. This is the first innovative element. It is no longer the literary critic, the expert, the editor, who advises or decides how and when to show a poet or a writer to the public, but it is the author himself who presents himself to the audience, who decides whether to accept or not the literary work, decreeing its success or failure. The author must only overcome the reasonable modesty of showing himself and having, of course, a good ability to self-analysis of his work, otherwise the results of his editorial action on the web, how to publish poetry, reviews, stories, essays, may have effects for him nefarious.
Let us say that this freedom to communicate is revolutionary in itself. The preconceived schemes are skipped, each author can publish and launch his writing on a large scale giving the possibility to millions of users of the network to read, download text or video files. But the real publishing revolution, especially in the field of new authors, is the introduction of equal opportunity, a term that can be used today, not only in the field of the sociology of work, but also within that immense reservoir of poets. , writers, essayists, World Wide literary critics who, finally, can publish their writings without undergoing the passing of steps in an editorial system increasingly oriented to packaging editorial products. On the web and on social media "equal opportunities for publication" means having the same degree of theoretical visibility.
In theory, and only in theory, both the great writer, when the amateur poet, regardless of their bargaining power with the public and their literary skills, can be reached by a user from anywhere in the world with the exact same degree of theoretical visibility.
In practice: if you do not pay in social media, the sponsored content of your page, apart from a small part of your contacts, does not see anyone. The effect of posting a post with a poem, a literary text, a short story and having feedback, apart from some of your friends, is an illusion. Network providers and social media have every interest in making poets and writers and users in general believe that opening a blog or a social page can interact on the network and be read anywhere in the world with just a click. This is true only in theory because the element that makes visible a text or a post in the immense tangle of internet nodes is the promotion and advertising (law to which no digital system and communication can escape) and this is paid, Dear.
A well-profiled post linked to your page of texts, be it a website, a blog or a social page, can cost from 10 to 20 cents per contact, but also more. A deal? It depends. If we want to get a few hundred contacts in our local area, friends, family etc. it could also be fine. But if we want to make a "serious" promotion, for example we want to propose our book to 100 thousand users we have to spend from 10 to 20 thousand euros, a madness. A huge cost of contact, especially if linked to a consumer product such as literature. This explains why thousands of blogs and websites, after the initial blaze, remain at the bar and die of "loneliness". But also because book publishers, traditionally, do not invest in social media.