Exploring the Rise and Fall of Subscription Publishing and the Birth of Mass Media
In the history of the invention of the typesetting machine and the consequent birth of mass media, Mark Twain is the Zelig of our tale, returning frequently as a typesetter in his brother’s ratty newspaper; as a tramp printer witnessing an explosion of progress in printing technology; as the bankrupted investor in the failed Paige Compositor, a competitor to the successful Linotype; as an early best-selling author and cultural celebrity; and as a publisher trying to invent a business model for books as an industry.
Now that their machinery could produce volume, publishers needed ways to sell at scale, to build the modern phenomenon of the best-seller. The problem: In 1859, only 1,090 bookstores dotted America. By 1914, there were still only 3,501. So if readers couldn’t find books, books had to find their readers. For certain authors and publishers, including Twain, that was accomplished through subscription publishing, with door-to-door canvassers taking orders for books before they were printed. Until the end of the nineteenth century, three quarters of books in the U.S. were sold this way.
In 1874, the New York Tribune estimated that 50,000 agents were employed by subscription publishers. What a wonderful fictional character it would be to imagine the itinerant peddler pitching not pots or patent medicines but literature and literacy, foot in door after door, blurbing Twain with a few dozen sample pages and illustrations to whet curiosity and demand.
Twain valued these readers as they valued him. They freed him from the expectations of high culture and its critics. And he was certain they’d make him rich.
Subscription publishing brought advantages. By collecting orders for books before printing, publishers knew how many copies to produce. Publishers could use customers’ capital to finance production—not unlike a content producer today raising money via Kickstarter or Patreon. Subscription publishing’s cross to bear was snobbery. William Dean Howells dismissed subscription books, carving out a caveat only for his friend Twain: “No book of literary quality was made to go by subscription except Mr. Clemens’s books, and I think these went because the subscription public never knew what good literature they were.”
The regular trade carped that subscription publishers “flood the country with worthless books, poorly written, poorly printed and bound, containing a small amount of matter in large type and with wide margins to the page, for a large price.” Elisha Bliss, Twain’s publisher, defended the trade to the Tribune: “Instead of injuring the regular book business I think we create a thirst for knowledge and thus increase the sale of all kinds of books. In the little town where there are no bookstores the book agent induces people to buy.”
Twain valued these readers as they valued him. They freed him from the expectations of high culture and its critics. And he was certain they’d make him rich. “Harper publishes very high-class books,” he wrote to a friend, “and they go to people who are accustomed to read. That class are surfeited. But there is a vast class that isn’t—the factory hands and the farmers. They never go to a bookstore; they have to be hunted down by the canvasser.”
Twain knew that a new, mass audience had to be corralled, one door knocked after another. As he wrote to London critic Andrew Lang: “The thin top crust of humanity—the cultivated—are worth pacifying, worth pleasing, worth coddling, worth nourishing and preserving with dainties and delicacies, it is true; but to cater to that little faction is of no very dignified or valuable occupation, it seems to me; it is merely feeding the over-fed, and there must be small satisfaction in that.” He sought instead to entertain “the mighty mass of the uncultivated who are underneath….I have never tried in even one single instance, to help cultivate the cultivated classes. I was not equipped for that, either by native gifts or training. And I never had any ambition in that direction, but always hunted for bigger game—the masses.”
In 1866, Twain nabbed the assignment of a dream: sailing to the Sandwich Islands (now Hawaii) to send back reports to the Sacramento Union. Upon his return to San Francisco, he launched a side gig as a lecturer, amusing ever-larger audiences with his travel tales and humor. “He wouldn’t be a cloistered writer so much as a showman, a public personality, a professional crowd-pleaser. In short, a celebrity,” wrote Ron Chernow. Next, Twain reported for the Alta California about a journey Back East. Then he issued his first book, The Celebrated Jumping Frog of Calaveras County and Other Sketches, which debuted to good reviews and established Twain’s reputation as a wry humorist. The book was published by Twain’s friend Charles Henry Webb, whom he soon dumped, complaining—as would become his habit—about sales.
Next came another enviable gig and a reputation-setting assignment from Alta California, to report from a five-month cruise to the Holy Land on the Quaker City. His letters ran in the paper and were picked up in others across the country. He returned home to a letter from Elisha Bliss of Hartford’s American Publishing Company, soliciting a book on the adventure, which became The Innocents Abroad.
Twain received negotiating advice from famed minister Henry Ward Beecher, who had inspired the Holy Land trip but didn’t go along. In Twain’s telling, Beecher offered a prophetic warning: “Now here—you are one of the talented men of the age—nobody is going to deny that—but in matters of business, I don’t suppose you know more than enough to come in when it rains.” Twain reported to his family, “I listened well, and then came up here and made a splendid contract for a Quaker City book of 5 or 600 large pages, with illustrations….But I had my mind made up to one thing—I wasn’t going to touch a book unless there was money in it, and a good deal of it.” He soon complained this was a bad deal.
Subscription books were fancy and rich in illustration, not so much elegant as tarted up. Buyers had the choice of various bindings as upgrades. The average price of Innocents was $4 (almost $100 today). Readers bought them to display their erudition to visitors: every book a coffee-table book. The Innocents Abroad was received well, favorably reviewed in The Atlantic Monthly by Howells, who noted its length—“in compliance with one of the main conditions of a subscription book’s success, bigness namely”; praised its drollery five times, its irony three times, and its impudence twice; applauded the “amount of pure human nature in the book, that rarely gets into literature”; and counted Twain among America’s humorists, “quite worthy of the company of the best.” Twain’s head swelled sufficiently to accept the praise: “It was quite generally conceded that I was a valuable asset to the American nation and to the great ranks of literature.”
In a year and a half, Innocents sold 82,524 copies, nowhere near Uncle Tom’s Cabin’s 300,000 in its first year, but a success nonetheless. Twain had negotiated well, for he rejected a $10,000 flat payment from Bliss in favor of the 5-percent royalty, which added up to $16,504—about $400,000 today. During his lifetime, no book of Twain’s sold as well as quickly, fueling his chronic grievances with publishers.
Twain wrote a next book for Bliss, about his life Out West, this time demanding half of the profits after manufacturing costs, equaling a royalty of 7.5 percent. Twain told Bliss, “We shall sell 90,000 copies in the first 12 months. I haven’t even a shadow of doubt of that.” Published in 1872, it sold 65,000 in the first year—again, respectable.
Twain and Warren joined to write The Gilded Age, published by Bliss for a 10-percent royalty. The book sold 50,000 copies in its first year. Twain thought he would be a better publisher. He would soon try.
He released The Adventures of Tom Sawyer in 1876, selling only 23,600 copies in its first year. He blamed Bliss for mistiming its release. He next published A Tramp Abroad in 1880. Walter A. Friedman provided an accounting: American Publishing sold 62,000 copies in the first year at $3.50 each for a total of $218,000. Just over half of that went to sales agents, who paid their canvassers. The company kept $106,000, out of which it spent $41,540 on printing, leaving a profit of $64,460, of which Twain received $32,000—nearly $1 million today.
The mechanization and industrialization of media—begun with the steam-powered press and culminating with the Linotype—spawned a business and cultural obsession with scale.
As Twain was writing The Prince and the Pauper, Bliss died. He shifted publication of The Prince to his friend James Osgood. This time, Twain funded the book’s publication—complaining that he was out $65,000 before the first copy was printed. Instead of receiving a royalty, he paid Osgood 7.5 percent of sales. Neither was experienced in subscription sales, and of a first printing of 25,000, 5,000 remained in their warehouses after two years. He repeated the mistake with the publication of Life on the Mississippi, which lured only 30,000 orders, far from the 100,000 Twain hoped for. Osgood’s company ended in bankruptcy in 1885. This might have discouraged a sensible man from deciding to become a publisher. Not Twain.
Twain established his own publishing house, giving it the name of his general manager and dogsbody, Charles L. Webster & Co. The aim was to publish only Twain’s books. The first was his masterpiece, Huckleberry Finn, in 1885. Infamously, an engraver subverted the publication by endowing Uncle Silas Phelps with an erect penis, necessitating the scissoring of the offending image from thousands of copies and delaying publication past prime Christmas season. Nonetheless, the Webster Company’s agents sold 60,000 copies, rewarding the author with a check for $54,000. “Once more I experienced a new birth,” Twain wrote. “I have been born more times than anybody except Krishna, I suppose.”
Huck’s success emboldened Twain and Webster to expand as a full-fledged publishing house. Twain worked diligently to solicit the memoirs of Ulysses S. Grant. Twain offered Grant an astounding 70 percent of profits. He told Webster to hire veterans as canvassers, have them wear their Grand Army regalia, and deliver his script: “I presume it is simply a question with you of your choice of bindings, as no American will want to have it said that he has not read General Grant’s book, a work that will descend to your children and will increase in value with every generation.” The memoirs were a stupendous best-seller, 10,000 door-to-door canvassers selling 325,000 two-volume sets in 1886, earning the general’s widow and children as much as $15 million in today’s dollars.
It was downhill from there for Twain and Webster, their record studded with poor choices of books by a half-dozen Civil War generals or their widows, the king of Hawaii, and Pope Leo XIII (“’Twas kind of a fizzle,” recalled Twain’s maid Katy Leary). Twain signed Henry Ward Beecher to write his memoirs, but the minister died before setting pen to paper. Twain was inspired to publish the ambitious Library of American Literature with 1,700 selections by 500 authors in eleven volumes, but failed to grasp the perilous economics of selling such a gargantuan series by subscription. Readers paid a three-dollar down-payment, but Webster & Co. would not collect the rest of its thirty-three-dollar price until after paying the printers thirteen dollars, on top of twelve dollars to sales agents, with Twain carrying that debt in the meantime. The company needed capital to tide itself over, but where was Twain’s—and his wife’s—money? Sunk into the Paige Compositor. The business analysis was not complicated. His maid understood it: “Mr. Clemens was all deep in the typesetting machine, and he was putting all his money in that so he didn’t have much left to help out the publishing company. That was the beginning of the end of that venture.”
Even without their bad business decisions, Twain’s venture was likely doomed, along with the subscription publishing industry, for books were getting radically cheaper, with ever-more competition. The number of titles published in the U.S. more than doubled, from 4,559 in 1890 to 12,010 in 1914. In 1895, The Bookman began publishing the first lists of most-popular books according to store sales. The term “best-seller” came into general use around 1910, according to historian of publishing Frank Luther Mott, who set the bar for “best-seller” at “one percent of the total population of continental United States for the decade in which the book was published.” To meet Mott’s benchmark, books today would need to sell 3.4 million copies. For comparison, Kristen McLean, a lead industry analyst at NPD BookScan, reported that in 2022, of 45,571 titles released by just the top ten publishers, only 163 books or 0.36 percent sold more than 100,000 copies in a year.
In our age of mass media, we have developed a skewed definition of big—a presumption that many means most. To sell 100,000 books—and congratulations if you do!—is to speak to 0.03 percent of the nation, hardly a resounding expression of the cultural zeitgeist. The blockbuster economics of media—in film, television, music, and books—depends on a few best-sellers to make up for the vast number of lesser bets. But that eternal quest for blockbusters gives the impression that anything called a best-seller is widely influential, while all else is dismissed. Whether selling entertainment to an audience or an audience to advertisers, the mechanization and industrialization of media—begun with the steam-powered press and culminating with the Linotype—spawned a business and cultural obsession with scale.
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From Hot Type: The Magnificent Machine That Gave Birth to Mass Media and Drove Mark Twain Mad by Jeff Jarvis. Copyright © 2026. Available from Bloomsbury Academic, an imprint of Bloomsbury Publishing.
Jeff Jarvis
Jeff Jarvis is the Emeritus Leonard Tow Professor of Journalism Innovation at the City University of New York’s Craig Newmark Graduate School of Journalism, a visiting professor at Stony Brook University, and a fellow at Montclair State University's Center for Cooperative Media. He was the creator and founding managing editor of Entertainment Weekly, TV critic for TV Guide and People, Sunday editor of the New York Daily News, a media columnist for The Guardian, and president and creative director of Advance.net. He blogs at Buzzmachine.com and cohosts the podcasts AI Inside, Intelligent Machines, and Breaking the News. He is the author of six books, including The Gutenberg Parenthesis (2023) and Magazine (2023), both published by Bloomsbury.