How a book becomes a ‘bestseller (and it’s not what you think)

A book labelled a ‘bestseller’ carries the weight of authority and mass approval, yet the reality behind that status is far less straightforward. From opaque ranking systems and strategic sales tactics to the power of visibility and institutional endorsement, the bestseller book is shaped as much by industry mechanics as by reader enthusiasm, discovers Milosh Zezelj

We use the word ‘bestseller’ with such confidence that it appears self-evident. Yet, when looked at more closely, the term itself is far more unstable, contested, and culturally constructed than industry shorthand suggests.

In popular imagination, a bestseller simply means ‘a book that sells a lot of copies.’ But as my research into bestseller lists demonstrates, the definition is considerably more complex. Scholars have proposed multiple approaches to defining bestsellers: some emphasise quantifiable metrics, i.e. sales numbers and ranking positions, while others focus on the mystique surrounding bestseller lists, critiquing the opacity of selection processes and the role of marketing in constructing bestseller status.

At first glance, this quantifiable approach strikes as straightforward: sales volume. Ranking position. Market performance. Case closed. But the issue quickly becomes more complex. Some industry experts outline that bestseller status is culturally constructed. It is shaped by institutional validation rather than pure market demand. This, then, plainly translates into: visibility is curated. Prestige is mediated. Recognition is granted. This, however, complicates the assumption that bestseller status is merely democratic proof of reader preference. In fact, social validation assumes a crucial role. This aligns with research on social validation mechanisms, which shows that audience perception and expert endorsements considerably influence market success. Yet, another strand of research complicates matters further: this perspective contrasts with other experts’ findings, which highlight the self-sustaining nature of bestseller lists, in which visibility generates constant demand. This, then, simply means: visibility produces more visibility. Demand produces more demand. Bestseller lists do not simply reflect success; they amplify it.

Still, market forces are not entirely organic. While these perspectives illustrate the socio-cultural aspects of bestsellers, they overlook how some publishers (and authors) have reportedly manipulated rankings through bulk purchases, targeted pre-orders, and release tactics. It is this tension between social construction, market forces, and economic intervention that spotlights the complexity of bestseller dynamics, requiring a theoretical approach which combines structural influences with strategic communication.

With this in mind, the ‘bestseller’ is therefore neither purely manufactured nor performance-driven. It ‘sits’ at the intersection of commerce, culture, and strategy. Bestseller lists selectively legitimise certain books by increasing their visibility and shaping public perception through curated recognition. And once legitimised, the process becomes cyclical. Further research indicates that bestseller status develops through a self-sustaining cycle, in which early visibility leads to ongoing sales and enduring cultural relevance rather than serving as a direct reflection of reader demand. Ultimately, all these perspectives underscore that literary value is fundamentally subjective.

This raises an essential philosophical question: if literary value is subjective, then what does ‘bestseller’ truly measure? In such a subjective industry, I theorise a ‘bestseller’ as a work that combines commercial success with personal impact and universal themes that create deep connections for me as a reader. This perception shifts the conversation from market mechanics to meaning-making. This perspective is consistent with reader reception theory, which holds that literary meaning and success arise from the interaction between texts and their audiences rather than external rankings. By accentuating ‘meaning-making’ as an interactive process between the text and the reader, I highlight both the market mechanics and the interpretive practices through which books attain and sustain their bestseller status.

Yet, even on a purely practical level, the label itself is not as clear-cut as many assume. For instance, a book is labelled a New York Times bestseller if it appears on the NYTBL for at least one week. To reach Number 1 on the NYTBL, it has been suggested that a book needs to sell between 5,000 and 10,000 copies in that time. This figure, however, fluctuates based on competition from other titles released that same week, as well as the specific category in which the book is listed. Because the NYTBL uses a proprietary methodology, which is not made public, it then proves difficult to determine the exact number of copies required for Number 1 bestseller status.

Several researchers have attempted to formalise this phenomenon using mathematics. Even without an official cutoff number for achieving Number 1 status, researchers have sought to model the NYTBL’s underlying patterns, offering a mathematical framework that quantitatively defines a ‘bestseller’ based on three primary mechanisms:

• Fitness (λ): Captures a book’s inherent appeal, indicating that a higher λ correlates with stronger reader resonance and exponential sales growth.

• Preferential Attachment: Suggests that books with initial sales success attract further buyers through mechanisms such as word-of-mouth and media coverage.

• Ageing: Accounts for the natural decline in sales over time as a book becomes less novel.

And yet, despite formulas, algorithms, and predictive modelling, uncertainty persists. So what, then, is a bestseller? It is not simply a number. Not purely a ranking. Not simply a sales spike. It is a cultural construct, an institutional validation, a cycle of visibility and reinforcement, and a site of negotiation between industry and audience.

And perhaps, most importantly, it is a mirror displaying not only what sells, but what is amplified, legitimised, and positioned as culturally significant. The term ‘bestseller’ appears simple. Its reality, however, is anything but.

Milosh Zezelj is a Swiss author with international publication experience and exposure to the European book fair circuit. He works in communications and branding, speaks multiple languages and operates across several European markets. As European Books & Culture Correspondent for The European, he contributes editorial on books, publishing and cultural trends across the continent, including new titles, cross-border literary movements and developments shaping Europe’s contemporary cultural landscape.

READ MORE: ‘The Reese Witherspoon effect: how celebrity book clubs are rewriting the rules of publishing‘. A single Instagram pick from a celebrity like Reese Witherspoon can turn an unknown novel into a global bestseller overnight. Here, Milosh Zezelj, our European Books & Culture Correspondent, unpacks how celebrity book clubs have become one of publishing’s most potent sales machines.

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