Almost every new author asks some version of "which social media should I be on?", usually hoping for a single confident answer. There is not one, because the right platform depends on the book, the reader it is written for, and what the author can realistically keep up. A picture-book author, a business-book author and a thriller writer are not looking for the same audience in the same places.
This guide works through the main platforms in plain terms, what they tend to suit and what they do not, and then sets out a simple way to narrow the choice down to a small, sustainable number rather than trying to be everywhere at once.
Start with the reader, not the platform
Before opening any new account, it helps to be specific about who the book is for. A platform choice made by asking "where do people like this already spend time reading, watching or discussing books like mine?" tends to work better than a choice made by asking "which platform is everyone talking about this year?" The second question changes constantly; the first tends to stay fairly stable for a given genre or subject.
It is also worth being honest that some readerships, particularly older non-fiction and business readers, are not concentrated on any single social platform at all, in which case a website, email list or professional network may matter more than social media generally.
Instagram tends to suit books and authors with something visual to show: covers, illustrations, settings, behind-the-scenes photos of the writing or publishing process, and short video. Fiction, memoir and children’s authors often find it a natural fit for this reason. Its format mix of photos, short video (often called Reels at the time of writing) and Stories gives some flexibility, but check Instagram’s current features before planning content around a specific format, since these change.
TikTok
TikTok has an active books community, sometimes referred to as BookTok, built around short-form video reactions, recommendations and reading content, particularly in fiction genres such as romance, fantasy and thriller. It can occasionally give a book unusually wide reach, but that reach is unpredictable and cannot be planned around or relied upon. It is not a natural fit for every genre or every author’s comfort with being on camera.
Facebook remains useful for reaching an older readership and for community-style groups: local book clubs, genre-specific reader groups, and an author’s own page for slower, more personal updates. It suits authors whose readers are less concentrated on newer, faster-moving platforms.
LinkedIn tends to suit business, professional non-fiction and some memoir authors whose readers overlap with a professional or industry audience. Content that shares ideas from the book, professional experience or commentary on relevant topics generally fits the platform better than book-launch promotion alone.
YouTube
YouTube suits authors willing to make longer-form video: talking through research, writing process, subject-matter explainers or readings. It asks for more production effort than a short post, but content there also tends to stay discoverable through search for longer than a typical social post.
X, Threads and other current platforms
Text-based platforms such as X and Threads can suit authors who enjoy short-form commentary, especially where there is an existing writing or literary community active there. These platforms, and the wider landscape of newer apps, continue to shift in popularity and rules, so check current guidance and community activity before investing significant time in any one of them.
Genre considerations
Genre affects platform fit more than most other factors. A cosy mystery series, a business strategy book, a picture book and a literary memoir are read, discussed and recommended in different places, and it is worth looking at where similar existing books are actually being talked about, rather than guessing.
Business authors
Business and professional non-fiction authors often find LinkedIn, a website and email more productive than platforms built primarily around entertainment content, because their readers are usually there for professional reasons, not for casual browsing.
Children’s authors
Children’s authors are generally marketing to parents, teachers, librarians and gatekeepers rather than to children directly, which points towards Instagram, Facebook groups for parents and teachers, and school or library outreach, rather than platforms aimed at younger users.
Fiction
Fiction, particularly in genres with an active reader community such as romance, fantasy, crime and thriller, often benefits from the visual and video-led platforms where those communities are already active, alongside a website and email list for direct contact with readers.
Memoir
Memoir sits between the two: platforms that suit personal storytelling and behind-the-scenes content, such as Instagram, often work well, alongside more text-led platforms where relevant communities discuss similar books.
Capacity is a real constraint
A platform is only useful if you can keep showing up on it. An author who can realistically manage one or two posts a week on a single platform will usually do better concentrating there than spreading the same effort across four platforms and posting rarely on each. Be honest about the time you actually have, not the time a marketing plan assumes you have.
Content format
Some platforms suit writing that is largely visual or performative, and others suit writing that is largely text-based or idea-led. Choosing a platform whose native format matches what you can comfortably produce, photos, short video, longer video or text, tends to matter more than the platform’s overall size or popularity.
Owned audience versus rented platform
Every social platform is, in effect, rented space: its rules, algorithm and even its existence are decided by the company that runs it, not by the author using it. A website and an email list are the closest things an author has to an owned audience, one that survives a platform changing its policies, its algorithm or disappearing altogether. Social media is worth doing, but it works best alongside, not instead of, a channel you control.
Measuring results
Follower counts are the easiest number to see and the least useful one to act on. More informative signals include whether people are actually engaging with content relevant to the book, whether traffic reaches your website or retail links, and whether your email list is growing from social activity. Platform analytics tools can show some of this, though what is available and how it is presented changes between platforms, so check current features rather than relying on older screenshots or guides.
Choosing two platforms rather than six
A practical way to decide is to shortlist every platform where your likely readers plausibly spend time, then narrow that list to the one or two you can commit to consistently for several months, based on genre fit, content format and your own capacity. It is always possible to add a further platform later if the first two are working and there is room for more; it is much harder to recover from months of inconsistent activity spread too thin.
Common mistakes
- Choosing a platform because it is trending. A platform’s general popularity does not mean it is where your specific readers are, or that its format suits your book.
- Spreading thin effort across too many platforms. Occasional posting on five platforms usually achieves less than consistent posting on one or two.
- Ignoring content format fit. Forcing a text-led book into a video-first platform, or vice versa, tends to feel effortful and show it.
- Treating followers as the only measure of success. Follower counts are visible but do not by themselves show whether the right readers are engaging or acting.
- Building only on rented platforms. Relying entirely on social media, without a website or email list, leaves an author exposed to platform changes outside their control.
Frequently asked questions
Do I need to be on every social media platform?
No. Most authors do better choosing one or two platforms that fit their readers, content style and available time, and using them consistently.
Which platform sells the most books?
There is no single answer; it depends on genre, audience and content fit. No platform can guarantee sales, and treating any of them as a sales channel first, rather than an awareness channel, tends to disappoint.
Should I be on TikTok even if I do not enjoy making video?
Not necessarily. A platform you dislike using rarely produces sustainable content; a platform that suits your comfort and readers’ habits is a better long-term fit.
Is it worth being on a platform with no existing readers there?
Generally not as a priority. It can be worth testing occasionally, but it should not take time away from platforms where your likely readers are already active.