I wonder how much of this is changing with digital and self-publishing. A self-published romantasy can become a massive bestseller through TikTok alone, completely bypassing traditional review channels. Its 'reviews' are thousands of fangirling videos, not a write-up in the Guardian. Conversely, a traditionally published literary novel might get stunning critical reviews but flop commercially because it can’t compete in the attention economy. The old pathways to both bestseller and best-reviewed status are fragmenting, which makes the distinction even blurrier and more interesting.
The economic model underpins it all. Bestsellers are the profit engines that subsidize a publisher’s riskier, literary, best-reviewed hopefuls. That massive Patterson or Roberts sale pays for the advance and marketing of the stunning, uncommercial debut novel that might win awards. In that sense, the two lists are symbiotically linked within the industry. One funds the other. So while readers might see them as opposing forces, for publishers, they’re two parts of a necessary ecosystem.
Don’t forget the sheer fun factor. I’ve read bestsellers that were objectively not 'great literature' but provided an absolute blast of an experience—the literary equivalent of a theme park ride. I’ve also read exquisite, best-reviewed literary novels that felt like homework. Enjoyment and artistic merit aren’t the same thing, and the two lists often prioritize one over the other. The bestseller list is heavily weighted toward enjoyment (or at least, addictive consumption). The best-reviewed list is, in theory, weighted toward artistic merit.
The sweet spot, obviously, is finding a book that has both. But they’re rare, and when they happen, they become genuine phenomena.
The author’s career stage is a big factor. For a debut author, landing on a 'best-reviewed' list can be career-making, even if sales are modest. It establishes their credibility. For an established megastar author, not hitting the bestseller list with a new release would be considered a failure, regardless of reviews. Their brand is built on commercial dominance. So the lists serve as different markers of success at different points in a writing career. One is a breakthrough, the other is maintenance of a commercial empire.
Lol my TBR pile is a chaotic mix of both. I’ll have the #1 NYT bestseller sitting on top of a slim poetry collection that got a rave in The Paris Review. My reading mood switches by the hour.
2026-07-25 18:22:25
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