Publishing a crime novel online

The genre is built for serialisation. Every chapter already ends on a question somebody wants answered.

Crime fiction serialises better than almost any other form, because the structure it already uses is the structure serialisation needs.

A chapter page with a readable column, chapter number and next-chapter link.
A chapter page with a readable column, chapter number and next-chapter link.

Why the genre suits it

A chapter of crime writing ends with something unresolved: a body nobody has explained, an alibi that does not hold, a person who was not where they said.

That is the same device a serial needs to bring a reader back. You do not have to add anything; you have to stop publishing at the right moment, which the draft probably already does.

Split by existing chapter breaks first and only reconsider where a chapter runs past a single sitting.

What a reading page needs

Very little, and the little matters.

Element Setting
Column width 60-75 characters
Body size 18-20px
Line spacing 1.6-1.75
Contrast Dark grey on off-white
Everything else Absent

A sidebar, a share bar and a pop-up are three reasons to stop reading. A reading page is a column of text, a chapter number, and a link to the next chapter.

Structure

One page per chapter, each with its own address.

That matters because a reader who wants to send a chapter to somebody sends that chapter, not the whole book with an instruction to scroll.

A contents page lists every chapter and is the address you publish everywhere else. It is the front door, and it is where a new reader decides whether to start.

A contents page listing chapters, with the next release date and an email field.
A contents page listing chapters, with the next release date and an email field.

Publishing rhythm

Pick an interval and keep it. Weekly works; fortnightly works. Irregular does not, because a reader cannot form a habit around it.

Say on the contents page when the next chapter appears. A date visible on the page does more for returning readers than any amount of promotion, because it converts a hope into an appointment.

The email list

Readers who finish a chapter will not remember to come back. The ones who leave an address will be told.

Put a single field at the end of each chapter and on the contents page. One line: leave an address and I will send the next chapter. No form, no categories.

That list is the asset. Everything else is traffic.

Two neighbouring cases are worth a look: How to publish a novel online and How to publish a thriller.

Put it at an address

One page per chapter, chapters short enough for one sitting, stop on the open question, a contents page as the front door, and an email field where people finish reading.

Questions people ask

Does serialising work for crime?

Better than for most genres. The form already ends chapters on unresolved questions, which is exactly what brings a reader back next week.

How long should a chapter be?

Two to four thousand words reads well in one sitting. Longer is fine in print and loses people on a phone.

One page or one page per chapter?

One page per chapter, with a contents page linking them. Each chapter gets its own address, which is what people share.

Does publishing online stop me selling it later?

Some publishers treat prior publication as a consideration. Many serialised books have been picked up afterwards, so it is a question to ask rather than a rule.

How do readers know when the next one is up?

Collect email addresses on the contents page. A list of people who asked to be told is worth more than any other number you can measure.

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