A comprehensive overview of Russia's book market from 2022 to 2025: market size of 100-110 billion rubles, nonfiction share at 30%, online sales growth exceeding 50%, and recovery of the digital segment. Analysis of trends, key players, and reader behavior.
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Key Market Indicators
According to the Russian Book Chamber, approximately108,000 titleswere published in Russia in 2022—virtually unchanged from the previous year (–0.3%). Total print runs increased slightly to392.4 millioncopies (+0.8% versus 2021). Commercial sales (excluding educational literature), however, declined in volume terms: in 2022,approximately 229 million copies were sold, down 7% from 2021. The market thus faced declining reader demand in unit terms, but growing revenue due to higher book prices. According to estimates from major publishers,total book market revenue(fiction, children's, and nonfiction, excluding textbooks) grew 7–10% in 2022—to approximately100–110 billion rubles. By comparison, in 2021 the market surged roughly 26% following the pandemic slump, reaching an estimated ~95–100 billion rubles annually. Growth continued in 2023: by year-end, the market expanded another 7–10% in value terms and ~5% in unit sales. By early 2024, the Russian book industry had effectively recovered the ground lost during the 2020 crisis.
Below are the key indicators for 2021–2023: books and brochurescopiesof books:
One notable shift in recent years has been the redistribution of market share between fiction and nonfiction. Even before the pandemic, nonfiction was gaining popularity rapidly: asOleg Novikov(co-owner of Eksmo-AST) notes, it seemed that nonfiction's share would exceed 50%, while fiction would drop to around 30%. However, the trend reversed. By the end of 2022,fiction accounted for roughly half the market—49%, whereasnonfiction accounted for just 30%, with children's literature making up roughly 21%. In absolute terms, nonfiction sales declined, giving way to fiction genres as the industry's main growth driver. Experts attribute this to audiences' growing interest inentertainment readingamid the stress of recent years—people have been reading more fiction and comics for emotional relief. Meanwhile, the share of practical and documentary literature (nonfiction) remained tied to current events and lacked standout bestsellers comparable to fiction hits. Nevertheless,do make it into the top sales charts—for instance, the most popular book of 2022.
the weight of the nonfiction segment in 2022–2023 remained below pre-pandemic levels
The E-book Market
The digital segment experienced a turning point during the period under review. Prior to 2022, sales of e-books and audiobooks grew at double-digit rates annually (30% and higher) and served as the "locomotive" driving growth for the entire industry. In 2021, for example, the digital content market grew 34%, reaching approximately11 billion rubles.per year. But in2022, for the first time, there was no growth: total sales ofe-books and audiobooks remained at around 11 billion rubles, showing 0% year-over-year growth. According to LitRes Group's estimates, this is an unprecedented case in the entire history of the segment. Among other things,the audiobook market even contractedin 2022. The main causes were external factors: in the second quarter of 2022, there was a collapse due topayment system restrictions(blocking of Visa/MasterCard, Google Pay, and others), which made it difficult for some users to pay for online purchases. Additionally, there was an impact fromthe exit of major advertising platforms from Russia(Facebook, Instagram, Google), which complicated the promotion of online book services. A third factor was market reshuffling: international service Bookmate left the country (Yandex bought the rights to the technology), and users had to switch to new apps, with some books becoming unavailable due to licensing issues. Despite the stagnation of 2022, already in the first half of 2023the digital market began to recover, returning toprevious growth ratesof around 10%.
According to Sergey Anuryev, CEO of LitRes Group,the digital book marketgrew 11% in the first half of 2023, with full-year growth expected at around 13–15%—reaching approximately 12 billion rubles.In 2023–2024, the digital segment once again became the growth driverand increased its share oftotal book sales(from around 10% to roughly 12%). The self-publishing phenomenon deserves special mention: sales of content by independent authors through platforms grew 10% in 2022, reaching approximately 3 billion rubles.more than a third (33%) of the entire digital book market. And in 2023,for the first time more than halfof sales in the TOP-1000 most popular e-books on LitRes came fromself-published works (52%)– by comparison, in pre-COVID 2019 their share was just 18%. Most of these popular bestsellers are genre fiction (romantic fantasy, portal fiction, etc.), but nonfiction is also increasingly seeingindependent author-driven projects. Other estimates point to even higher growth rates: for example, in 2023 and 2024 the digital book market in Russia grew annually by 19% to 30%.
Sales Channels and Distribution
A significant shift in book distribution structure occurred in 2020–2022. The pandemic gave a powerful boost toonline book sales, and this trend has taken hold. Whereas previously the bulk of print runs were sold through brick-and-mortar stores, by 2022practically every second book in Russia was being sold online. Online channels (including the Ozon and Wildberries marketplaces, as well as publishers' online stores and mail-order books) reached a44.8% share in 2022, meaning they nearly matched offline sales. According to Eksmo-AST, sales of physical books through online stores grew 18% year-over-year to46.2 billion rublesin 2022. By comparison,specialty bookstores(independent bookshops) accounted for 28.6 billion rubles, whilefederal bookstore chains(Chitai-gorod – Bukvoyed, Labirint, and others) brought in around 18.6 billion.For the first time, online sales exceeded 50% of the print book market. Estimates suggest that in 2024, the online share reached approximately 54% of all book sales in Russia. Marketplaces have become the key driver: they significantly expanded book assortments and attracted new audiences. In 2023, Eksmo-AST representatives noted31% growth in sales through marketplacesyear-over-year. At the same time,traditional bookstores are experiencing declining foot trafficand a reduction in the number of retail locations. From January 2020 to fall 2023, the number of bookstores in Russia decreased by 36%market consolidation: major players are strengthening their positions, while smaller publishers and retailers are leaving the market ormoving into niche sales formats(–1% compared to 2021), while (+17%). Thus, the online channel practically equaled the combined offline retail volume already in 2022. This trend solidified in 2023:10(from ~8,300 to ~5,300) – the pandemic and competition from online led to the closure of many stores, especially independent ones.The number of active publishing houses is also declining: over the same period, their number decreased by ~16% (nearly twice as many closed as opened), with the number of publishing companies dropping from 4,700 to 3,900.
Key Players in the Non-Fiction Segment
Major publishing houses and groups.The Russian mass-market literature sector is highly concentrated: the dominant position is held by the combined publishing groupEksmo-AST, which was formed in 2012 as a result of the de facto merger of two major publishers. The group includes the brandsEksmo and ASTthemselves, as well as numerous imprints and subsidiaries: the publishersMann, Ivanov and Ferber (MIF),Bombora(known for popular nonfiction and popular science titles),Azbuka-Atticus, the magazine and publisher National Geographic Rossiya, and others. In addition, the group owns the combined bookstore chainChitai-gorod — Bukvoyedand the e-book market leaderLitRes. According to the Book Chamber, it is precisely Eksmo and AST that publish and sell the largest print runs in the country. The holding controls a significant market share across all segments – from literary fiction to children's and practical literature. Its influence is such that experts sometimes describe the situation asmonopolistic: independent observers note that the book business is "increasingly resembling a monopoly." Nevertheless, besides the giant Eksmo-AST, other major publishers are actively operating in the nonfiction market. These include:
Alpina Publisher– one of the leading independent publishers specializing in business literature, educational nonfiction bestsellers, and popular science books. Alpina is known for high editorial standards and frequently publishes translations of global releases on management, economics, and science. While its print runs fall short of the giants, it has firmly established its niche in quality business and popular science reading.
Piter– a major St. Petersburg publisher of practical literature. Known for publications in IT and programming, electronics, as well as psychology, parenting, and popular medicine. Many books in the "For Dummies" series were published by Piter. In the practical nonfiction segment, this brand has long been a household name.
Prosveshchenie and related educational publishers– although textbooks fall outside the scope of our main review, it's worth mentioning the Prosveshchenie group, Drofa–Ventana, and others that dominate the educational and methodological literature segment. In 2022–2023, their business underwent restructuring under state auspices (introduction of unified state textbook standards), but they remain the largest players in specialized nonfiction (education).
Other notable nonfiction publishers:Corpus(an imprint for quality prose and documentary literature, part of the AST group),Williams(formerly strong in IT literature, now part of Eksmo),Dialektika(translated business literature),Tsentrpoligraf(history, memoirs),Ripol Classic(a wide range, from esoterica to popular science), and others. A significant player is the publishing houseNauka(Russian Academy of Sciences), which publishes academic monographs; in recent years it has even begun using crowdfunding to publish select works.
Major players shape the market's main agenda, commanding the resources to acquire rights to foreign titles (though 2022 sanctions sharply curtailed offerings from Western rights holders), marketing, and wide distribution. Before 2022, foreign authors accounted for 40–90% of large publishers' portfolios, and after many Western partners withdrew, these companies had to urgently seek new content suppliers in friendly countries. The largest managed to partially reorient themselves—for example, Eksmo-AST signed new contracts with Spanish and French-language publishers (Penguin Random House's Spanish division, France's Gallimard), securing rights to popular fantasy authors (Leigh Bardugo, Shelby Mahurin, and others). In this way, major players are trying to compensate for the loss of English-language releases. However, such maneuvers are often beyond the reach of small publishers.
Independent and Small Nonfiction Publishers
In contrast to publishing "majors," Russia has a multitude ofindependent small publishers, often specializing in intellectual and niche literature. Despite more modest resources, these enthusiast-driven projects frequently bring new topics and formats to the market that large corporations are hesitant to tackle. The independent sector is more flexible and closer to reader demand, though recent years of printing crises and censorship restrictions have hit it hardest of all. Virtually allsmall-run publisherstoday survive thanks to direct support from readers and communities, developing direct sales, pre-orders, and crowdfunding campaigns.
Independent publishers have brought many vibrant books to the Russian market—from reportage on regional life and social issues to reissues of forgotten classics and bold artistic experiments.Flexibility and attentiveness to reader trendsfavorably distinguish small teams from large "unwieldy holdings."
Demand Trends and Reader Behavior in Digital Nonfiction
The e-book segment, particularly in nonfiction, exhibits its own specific tendencies.Digital Platformshave become the primary way many readers access literature, including nonfiction. Let's examine the key aspects: growth or decline in demand for digital nonfiction, main distribution platforms, and the role of crowdfunding and marketplaces.
Recovery in demand and growth of online readers.As already noted, the digital market experienced a pause in 2022—paid e-book downloads showed virtually no growth for the first time in many years. However, it's important to understand the context: the first months of 2022 actually saw a decline, but by year's end the indicators had stabilized. Readers adapted to new payment methods (many switched toMIR, SberPay, Qiwiand others), while services established alternative payment gateways. In 2023, there wasdelayed demand growth: the e-book market essentially made up for lost ground, increasing 13–15% in ruble terms. According to LitRes estimates, the number of transactions is also growing confidently, and theonline audience is expanding again. Particularly notable is the growth of thesubscription modelfor reading: the MyBook service (part of LitRes Group) and competitors are attracting users with unlimited library access for a fixed monthly fee. Many readers accustomed to streaming services are choosing subscriptions instead of purchasing individual books. According to some data, the subscription segment grew 62% in 2023. This indicatesa shift in consumption patterns: readers are willing to pay for convenience and variety rather than for owning every book.
Genre and subject preferences.In digital format, readers have historically shown a preference for genre fiction—detective stories, fantasy, romance novels—due to their mass appeal and relative affordability. However,nonfictionalso accounts for a significant share of digital consumption. First, many practical-minded readers value the ability to quickly obtain an electronic version of a business book or self-study guide (say, on finance or programming) and immediately put it into practice. Second, devices (tablets, e-readers) are convenient for reading hefty popular science titles—no need to hold a heavy volume. According to search query data, popular digital genres includepsychologyand applied literature. For instance, in the top search queries in Runet during the first half of 2022, "psychology" appeared alongside science fiction and fantasy. This signals consistently high demand forpopular psychology and self-help—a genre where digital format is convenient (you can immediately highlight quotes and take notes). Moreover, digital nonfiction has an advantage in subjects requiring currency: books on health, new technologies, and business trends become outdated within a couple of years, and publishers promptly update electronic editions. It's no coincidence that market operators have noted that nonfiction is closely tied to current affairs and responds to them faster than print books. Case in point—the e-books on remote work, working from home, and the psychology of isolation that instantly appeared in 2020–21. In 2022–2023, interest similarly grew in books on self-development, stress management, and military-historical research (against the backdrop of the news agenda). Although the exact share of nonfiction in digital sales isn't reported, one can assume it's close to 30% of total volume (as with the market overall). Moreover,nonfiction appears among digital bestsellers more often than in print, since the price of the digital version is usually lower, which stimulates purchases. Examples include the aforementioned book by Olga Primachenko, "K sebe nezhno" (Gently Toward Yourself), which became the year's best-selling e-book, or Mark Manson's self-help bestsellers, which consistently rank in the top sales on LitRes.
Distribution Platforms and New Players
The e-book distribution landscape in Russia is fairly concentrated.The undisputed leaderis the LitRes ecosystem, which brings together the largest e-book store Litres.ru, a publishing distributor of the same name, a self-publishing platform, and the subscription serviceMyBook. According to the company's own estimates,the LitRes group's share reached 68% of the digital market in 2022. In effect, two-thirds of all legal downloads go through their channels. The remainder is divided among several categories of players:11
Multi-functional marketplaces:Ozon and Wildberries, already leaders in physical book sales, are gradually expanding their e-book catalogs as well. Ozon launched a digital books section in 2022 and integrated it with its assortment of e-readers and tablets. Wildberries is also developing its own book service as of 2024. Nevertheless, their share remains small for now, and they often partner with the same LitRes (distributing content through partnerships).
Telecom operators and major IT players:Recognizing the potential of content, in 2022МТСlaunched a book platform called«Строки»—an app where users can both purchase individual books and subscribe. Moreover, МТС created its own publishing division focused on exclusives for the service. Specifically for the «Строки» project, they brought in expert Mikhail Ivanov (co-founder of МИФ) to select foreign non-fiction bestsellers, the rights to which МТС acquires for exclusive release in Russia. The plan is ambitious—by 2024, «Строки» aims to capture up to 30% of the digital book market. Of course, achieving this immediately is challenging, but the emergence of amajor new playerstimulates competition. Another example is«Яндекс», which, having acquired Bookmate's technology, could integrate books into theЯндекс.Плюсecosystem (though little has been reported about this so far).VK Group(which owns the VKontakte social network and the SberZvuk audiobook service) also has distribution channels for literature—for instance, audiobooks are integrated into the VK subscription. In other words, consolidation is underway: major IT ecosystems view books as part of their content offering alongside music and video.
Independent book apps:after Bookmate's exit, domestic startups attempted to fill the niche for compact apps—for example,LiveLib(the largest book community, which launched a purchasing feature), orReadero. However, they struggle to compete with the giants. Among notable niche players isGitBook(for IT literature and documentation).
Overall,the availability of e-books has increased significantly. You can buy or start reading a nonfiction book in literally a couple of clicks—via smartphone, tablet, or e-reader. Readers appreciatesynchronization across devices, instant text search, and integration of dictionaries and annotations. Nonfiction audiences in particular (businesspeople, students, academics) appreciate being able to carry a large library with them at all times and make excerpts. According to surveys, 43% of Russians now read books online, and about a quarter of them regularly pay for content. These numbers continue to grow as internet access expands and younger generations migrate to the online environment.
The Role of Self-Publishing and User-Generated Content
For digitalnonfiction, another interesting trend is emerging–some educational content is shifting to alternative formats: blogs, podcasts, YouTube lectures. Many experts prefer to build an online audience first, then publish a book later. Nevertheless,the popularity of self-publishing platforms(such as LitRes: Samizdat, Author.Today, Proza.ru) has shown that both fiction and nonfiction works by amateur authors can find wide audiences and generate revenue. For example, on the LitRes: Samizdat platform, around 35,000 authors were actively working by 2023 – primarily producing mass-market genre literature, but also including opinion pieces, memoirs, and popular science from young researchers. Some successful self-published authors later sign contracts with publishing houses and release their works in print. This "incubator" model is gaining momentum: online platforms allow demand to be tested – if a manuscript attracts thousands of readers, publishers are happy to print it.Crowdfundingalso plays a role: an author can first run a fundraising campaign for a book, thereby confirming audience interest, and then a publisher can join in for additional print runs. Ultimately, the digital environment has created more opportunities fordirect interaction between author and readerwithout intermediaries. This increases the diversity of available nonfiction, including highly niche topics.
Marketplaces and e-commerce in nonfiction
The concept of a marketplace in the context of e-books has its own specifics. In fact,the largest book marketplaces are digital platforms themselves (LitRes, MyBook). But speaking more broadly, marketplaces like Ozon integrate digital products as well. The advantage for readers is the ability to purchase abundle: for example, a print book and immediately an electronic version at a discount. Publishers are experimenting with such sales: when purchasing a print copy through an online store, they provide a code for the electronic version. This hasn't yet become widespread, but it's already technically feasible. Another interesting trend isknowledge marketplaces. Platforms have emerged where authors sell not a book as such, but access to knowledge: these can be video courses, subscriptions to updated content, consultations, plus text materials. For nonfiction authors (business coaches, psychologists), this format is even more profitable than a one-time book sale. Nevertheless, traditional e-books remain in demand thanks to their convenience and familiarity.
Reader behavior and reviews
The digital era has also brought changes to how readers choose and discuss books. Social networks and messengers have become the primary space for recommendations. In 2022, Russia sawthe boom in themed communities and book bloggerson Telegram, VK and even TikTok (BookTok). Many young readers discover new nonfiction titles through YouTube reviews or posts from prominent entrepreneurs on Telegram sharing what they've read. As a result,promotional channelshave shifted: whereas press reviews and word-of-mouth on professional forums used to matter most for nonfiction, now online reviews, LiveLib ratings, and marketplace feedback play a critical role. Readers have become moreselective: before buying an e-book, many read comments and check ratings. On the positive side—digital formats are encouraging reading: according toMediascope data, 43% of Russians now read online, and a quarter of them pay for it. Meanwhile, 33% listen to audiobooks. This points to a gradual expansion of the readership willing to consume content legally in new formats. Subscription models are making the habit of reading books (including nonfiction) comparable to the habit of watching series or listening to music. Essentially,reading is coming back into fashion, including among young people, but now in digital form. According to RBC surveys, in 2023 40% of respondents had purchased a book in the previous six months—a fairly high figure indicating a return of interest in reading after a period of decline.
To sum up the state of digital nonfiction: in 2022–2025, demand for it, having weathered short-term difficulties,has been growing steadily, as has demand for digital books overall. The major platforms—LitRes (the market leader) and new players like MTS Stroki—are actively filling their catalogs with nonfiction content, including exclusive rights to foreign releases. Readers appreciate the convenience of digital format for practical literature, while publishers value the ability to deliver timely ideas quickly.Crowdfundingand self-publishing have played their part in expanding the digital nonfiction catalog, allowing books to appear that traditional publishers might not have taken a chance on.Marketplaceshave simplified access to books by integrating their purchase into everyday online shopping. As a result, the digital segment is no longer just a supplement—it has become an independent and integral part of the book market, especially for the sophisticated audience that consumes nonfiction.
Conclusion
The period from 2022 to 2025 became a time of challenges and restructuring for the Russian book market, but the industry demonstrated flexibility and capacity for growth.Key quantitative indicatorsshow that the market held firm: output of new books declined only slightly, while sales revenue actually increased alongside rising prices.The nonfiction segment, while losing share to fiction, nevertheless remains a significant part of the market (~30%) and is gradually recovering, responding to society's demand for quality, relevant information.Independent publishers, despite economic pressures, continue to bring diversity and new perspectives—their contribution far exceeds their market share. Supporting this sector requires either public-private partnership mechanisms or, at the very least, a stable legal framework. For now, small publishers must rely on enthusiasm and direct connections with readers.
It's encouraging that by the end of 2023–2024,books in Russia are trending again—sales have grown both in revenue and in copies sold, and reading has become fashionable among the most diverse population groups. Russia's book market has always been more than just business—it's a cultural ecosystem. And the experience of 2022–2025 has shown that even under unfavorable conditions, this ecosystem is capable of sustainable development if readers' interests and freedom of knowledge distribution remain at its core.
