GoTyme Bank x TikTok Shop on Empowering Filipino Entrepreneurs

Commuters and cashless payment enthusiasts, rejoice! 

Visa contactless payments are now live at MRT-3 stations, giving over 350,000 daily commuters a faster and more secure way to pay—no more fumbling through your pockets for cash or queuing long lines for tickets! 

Since its start on July 25, 2025, passengers can simply tap their Visa credit, debit, or prepaid card, or any Visa-enabled mobile device, directly at the turnstiles. This new feature is part of Visa’s continued support for open-loop transit systems in the Philippines, in partnership with GCash and the Department of Transportation. 

“We’re proud to bring Visa contactless payments to MRT-3 and help modernize everyday commuting for millions of Filipinos,” said Jeff Navarro, Country Manager for Visa Philippines. “This marks a significant step in building a more connected, cashless future for public transport in the Philippines. Through our partnership with the Department of Transportation and GCash, we’re enabling faster, safer, and more seamless journeys for commuters across Metro Manila.” 

This move seeks to improve commuting experiences for more than 350,000 Filipinos who take the rail line every day. It’s a step forward in modernizing public transport and improving everyday commutes—one tap at a time. 

For more information, visit the Visa Inc. Philippines website, and follow their Facebook, X (formerly Twitter), and Instagram pages. 

In a city as cosmopolitan as Makati, there are only quite a few spaces where one could feel truly romantic — not only in a candlelit setting, but in a way a place could make you feel present, seen, and softly undone. 

Vine Café & Lounge is one of these rare finds, tucked away behind a flower boutique in Salcedo Village, Makati City. In this space, romantic florals and experiential dining offer a serene escape from the city’s usual rush; a space where guests are invited to slow down and bask in intentional beauty. 

At the heart of it all is Jem Tinsay, the visionary behind this concept. For her, emotional storytelling and purposeful planning are essential to crafting spaces that linger in the present. 

Curious to learn more about her vision for Vine Café & Lounge, The Beat Asia sat down with Jem Tinsay to talk about her inspirations, her journey as a newcomer in the F&B industry, and what’s next on her path. 

Before stepping into the world of food and beverage, Jem Tinsay had already lived several lives. She first began as a registered nurse, later transitioned into pharmaceutical sales, and eventually took to the skies; first as a flight attendant, and then (currently) as a private pilot. Each pivot, while seemingly different, shaped her perspective, laying out her hospitality vision for Vine Café & Lounge with care and quiet boldness. 

Alongside Vine Café & Lounge, she and her team currently manage Boxed Blossoms, a luxury flower boutique specializing in fresh and timeless flower arrangements. 

As founder of Vine Café & Lounge, how does this space represent you on a personal level?

Vine Café & Lounge reflects my personal journey — a blend of travel, elegance, and emotion. As a former flight attendant with nine years in the hospitality industry, I was deeply inspired by the comfort and exclusivity of airport lounges. Vine is my attempt to recreate that sense of serenity, while layering it with the romantic and botanical aesthetic that speaks to my soul. It’s a space that feels like me: intimate, thoughtful, and quietly luxurious. 

Your resume sounds very impressive! Can you tell us about your journey and how that led you to creating Vine Café & Lounge? What inspired you to step into the F&B industry? What gaps were you hoping to fill in Manila’s F&B scene?

I’m a registered nurse turned pharmaceutical representative, then became a flight attendant, then a private pilot, and I’m still completing my commercial hours for licensure. But, I’ve always been drawn to building spaces that bring beauty and connection to people’s lives. 

I created Boxed Blossoms to fund my flight school, and through that, discovered the power of branding and emotional storytelling. Vine was born from a desire to offer Manila something different: a café-lounge that isn’t just about food, but about presence, conversation, and artistry. 

I saw a gap in the market for a venue that felt both elevated and deeply personal. 

What’s the story behind blending a café and a lounge for Vine?

The idea came from my years in aviation. Airport lounges always fascinated me — the lighting, the calm, the curated experiences. I wanted to translate that concept into a café, where people could feel at ease yet inspired. 

The “lounge” element brings intimacy and pace; it’s not rushed. It’s about savouring a moment over coffee, wine, or shared stories. Vine is not fast food, it’s [focus is on] slow presence. 

How would you define the essence of Vine, from the vibe to the experience you want to give to your guests?

Vine’s essence is a romantic refuge. I want our guests to feel like they’ve stepped into a secret garden in the middle of the city where time slows down, beauty is intentional, and every detail whispers care. From the music to the plating, everything is designed to create a sense of emotional connection and sensory harmony. 

The name “Vine” seems to evoke something organic, rooted, and growing. At the same time, it’s a nod to the Boxed Blossoms brand. How does that spirit of growth translate to the brand?

Exactly, “Vine” is about life unfolding. It symbolizes quiet resilience, femininity, and growth, which are also values deeply embedded in Boxed Blossoms. As a brand, Vine is a branch that grew from the same root: love for detail, elevated aesthetics, and making people feel something real. 

Both brands are anchored in emotional storytelling and visual artistry. 

F&B in Manila is both lively and competitive. What have been the biggest challenges in running Vine, especially when the trends and tastes in the metro change and evolve quickly?

Manila’s F&B scene is fast-paced and trend-sensitive. One challenge is balancing staying relevant with staying authentic. We don’t want to chase every trend, but we also can’t be rigid. 

Staffing, rising overhead costs, and customer unpredictability — especially post-pandemic — have also been real hurdles. But they’ve pushed us to be more creative and lean in how we operate. With my partner John Eriguel’s marketing company, Facts and Fables, he is able to catapult our brand forward for more visibility and reach greater heights. 

Food trends usually change from one day to the next. How do you decide on the trends you embrace at Vine? Is it usually more data-driven, or do you collaborate with your team?

It’s a mix of intuition, experience, and collaboration. We do look at what people are gravitating toward on social media or in the market, but we also sit down with our team, especially with our chefs, to align with what feels on-brand. We ask ourselves: Does this still feel like Vine? Trends are just tools — we use them to tell our story, not replace it. 

Are there any exciting trends that you wish to incorporate in Vine Café & Lounge?

Absolutely. We’re drawn to experiential dining — interactive elements like bouquet bars, edible florals, or customizable tasting menus. We’d also love to bring in more functional drinks, wellness pairings, and intimate chef-led experiences. It’s about making dining both sensory and memorable. 

How involved are you in curating the menu of Vine Café & Lounge?

I’m very much involved. While I’m not a chef, I work closely with our kitchen team to ensure the menu reflects the identity and mood of the brand. We focus on presentation, emotional storytelling, and how each dish fits into the larger Vine experience. From the cutlery to the garnish, everything has to align. 

Juggling a floral boutique, a café-lounge, and being a private pilot seems really busy? How do you stay grounded while running all of these at the same time?

Honestly, it’s not always easy. But I stay grounded by remembering why I started — these businesses aren’t just ventures; they’re pieces of my soul. I prioritize structure, lean on a good team, and carve out moments of stillness when I can. 

Flying, ironically, is also my therapy. It teaches me discipline, clarity, and altitude – literally and emotionally. 

As you continue growing the brand of Vine Café & Lounge, what’s your vision for Vine Café and how can it contribute to the local community? To the cultural and creative spaces?

My vision for Vine is to become a cultural anchor — more than a café, a sanctuary where ideas, art, and beauty come to life. I’d love for it to support local creatives, host intimate gatherings, and serve as a canvas for collaboration. 

If we can’t inspire others to pause, dream, and create, then we’ve done something meaningful. We also envision Vine to grow multiple branches and become not just a café, but an overall culinary, art, and lifestyle hub. 

To learn more about Vine Café & Lounge, follow its Facebook and Instagram pages. You can follow Jem Tinsay on her Instagram page. 

Singer, songwriter, host, and live music correspondent Isabella “Bey” Pascua can be considered a jack of all trades. 

Born in Los Angeles, Bey grew up surrounded by the entertainment industry with her mother, Rhiza Pascua, the Managing Director of Live Nation Philippines, a US multinational entertainment company that promotes live entertainment here in the country. A true trailblazer in the music and live concert scene, Rhiza’s influence on her daughter started as early as age four when Bey began helping out her mom in selling merchandise and putting wristbands on concertgoers at events. Bey witnessed the joy that her mom’s hard work brought to so many people, which encouraged her to pursue a career in live entertainment.  

Today, Bey works on stage and behind the scenes as an artist under Universal Records Philippines and the Operations Manager at Live Nation PH. Having started as an assistant to the former COO (Chief of Operations) at then MMI Live, Bey worked up the ladder and actively engaged with all the departments, performing various tasks from research and data analysis to budgeting and tax filing, to gain a better understanding of how the business is run in the Philippines. 

She also recently finished her master’s degree in business administration at the University of Notre Dame as the Magna Cum Laude, and was recognized at the Maxx Promos' Women of Worth Awards in Whittier, California for her Excellence in Academics, as an Emerging Leader in the Music Industry, and 10 Most Beautiful Filipinas. Truly, she’s a Gen Z professional redefining what it means to balance ambition and authenticity. 

The Beat Asia sat down with the talented artist to get a glimpse of what a day in the life of an Operations Manager looks like, the challenges and rewards of her job, as well as the goals she hopes to achieve for Live Nation Philippines in the years to come. 

Hi, Bey! Can you tell us a bit about your journey in becoming the Operations Manager at Live Nation Philippines?

Growing up in Los Angeles, I visited the Philippines at least once a year with my mom. It took some time for me to understand why most of the parents would drive to get to work, and only my mom would fly out for hours to work and then make a quick turnaround after a day or two. 

I was 4 [years old] when I started helping her at work by selling merchandise and putting wristbands on people. I also took on the role of a data analyst by sharing my thoughts on which acts would do well in the territory. 

As I got older, I witnessed the joy that my mom's hard work brought to so many people, which made me realize that I wanted to help her out when I grew up. In junior high, I explored extracurricular activities related to her business and asked if there were any jobs I could take on or people I could shadow to gain more experience. I became too excited to start working that I worked my hardest to accelerate college by two years. After graduating in 2019, I finally became an official employee of the then-MMI Live, but it never felt like a sudden change. It always seemed as though I had been a part of the company for a long time. Not only have I known my co-workers all my life, but I was also already familiar with how to perform various tasks, was confident enough to ask questions, and wanted to learn new things constantly. 

What was the role you first took on when you officially became part of the company?

At the time, my goal was to just learn as much as possible, but my official title was Assistant to the COO. Under our previous COO, I was able to work with and under all the departments. Coming from the United States, I practically knew nothing about how businesses were run in the Philippines, but I was ready to learn, starting from the basics. And yes, I did start from the bottom. 

Can you tell us a bit about your typical day as an Operations Manager at Live Nation?

Each day is unique, which is one of the main reasons I love my job. It never feels like a tedious responsibility I have to complete. Instead, I wake up excited, knowing there are various tasks to accomplish beyond desk work and emails. My responsibilities include researching which artists to bring in, doing studies, data analysis, meeting with our suppliers, contacting our sponsors, etc.

I also conduct market analysis for artists, communicate with agents or LN touring to provide offers, coordinate with venue, production, and show staff, and act as project manager for certain shows, which involves filing for permits and necessary visas, coordinating with local government units, and managing the touring party, among other things. 

How do you ensure that all aspects of a concert event, from planning to execution, are handled effectively and efficiently?

It all comes down to experience. While each show is unique, the foundation we build upon is generally consistent. Perfecting this process is not something that can be achieved in one attempt. I still make mistakes from time to time, but it's crucial to remain flexible. Since I enjoy the "production" part the most, when you can see your preparation come to life, it's crucial to be able to take care of multiple things at once. You run around a lot, but I enjoy it.

When it comes to overall operations, how do you manage unexpected challenges that arise during a concert?

I rely on my ability to think on my feet, stay calm and focused under pressure, and communicate effectively with my team to come up with creative solutions that minimize disruptions and deliver a seamless experience for the audience.

What would you say are the most important qualities an Operations Manager in your field should embody?

To excel in operations, it's essential to be flexible, a quick learner, and resilient under stress. To me, operations involve having a broad understanding of various departments and their functions, knowing what needs to be done, and identifying ways to enhance efficiency and effectiveness. 

I began my journey by shadowing different departments and working in each one. Before this experience, I had been filing taxes, learning how to create budgets, and managing our social media accounts. 

Are there any unique inputs you’ve applied to your role that have made operations smoother or more meaningful for the artists and audience?

Understanding both sides of the industry makes me more empathetic. I grasp why artist management makes certain decisions and why promoters, producers, and event teams make theirs. Both sides play essential parts in making live events happen, and both put in their fair share of work to prepare for them. I think no side is easier than the other. 

In your experience, how do you measure the success of a concert event?

Overall satisfaction is significantly influenced by a combination of factors, including the quality of the performance, the social experience, and the overall event environment. Most people look for artists and performances that will be well worth the money they spend. Our team makes sure to display this through service quality, which can be anything from accessibility to customer service. On top of that, the connection and shared experience among patrons contribute to a sense of well-being, giving attendees a moment to relax from everyday matters and self-reflect. 

All of these factors play a part in creating happiness for everyone involved, as they motivate us to look forward to more moments like these and make us feel part of a bigger cause.

Speaking of what people look for in performances, what important things do you consider in choosing artists for a concert or a music festival lineup?

Out of the many aspects to look at, I think it’s crucial to look at the impact the artist has on the market — how big is the impact, and how consistent is it? These are important things to consider before choosing which artists to offer. 

Live Nation has gotten some criticism over some of the events it handled in the past. How is the company working on improving its processes and operations?

This is an ongoing process. We recognize that there will always be areas requiring improvement, and we strive to address them as effectively as possible. Some changes can be implemented quickly, while others may take more time to adapt.

Is there anything can we expect from Live Nation in terms of elevating our concert experiences?

Our company is dedicated to ensuring that shows provide value to fans and ticket holders. We strive to offer as many benefits as possible, maximize seating availability, and prioritize a fan-centric experience throughout the process.

You’re both a musician and a concert organizer, so you’ve been on stage and behind the scenes. Would you say one is more difficult than the other?

For me, being on stage is much more challenging than working behind the scenes. As a performer, it feels like you have only one chance to get everything right, and everyone is watching you closely. People can easily notice when you make mistakes, especially in today’s digital age where everyone records everything.

What do you love most about your job?

Over time, I’ve grown to love how hectic the job can be. I love having to tend to multiple tasks at a time and knowing that the work we do makes so many people happy. Making things happen is one thing, but seeing people get happiness from our events is one of the best feelings in the world. This comes first before getting perks like watching the shows and being able to work with such talented people.

As Live Nation’s Operations Manager, is there anything you hope to achieve in the near future?

One big thing I want to be able to do is bring back our “In the Mix” festivals. I really think we had great lineups for this event, and they were enjoyed by so many people. 

Another thing I want to be able to do is find viable ways to bring smaller artists here to the Philippines. Nowadays, the venue rental and production fees for small shows are incredibly high, so most promoters tend to focus on bigger venues. Due to this, a lot of amazing up-and-coming talents aren’t able to come here to grow their market. I hope we can find a way to do that without it being super expensive, as that would mean unrealistically high ticket prices. I also hope we are able to build our own venue soon.

To know more about Bey Pascua, you can follow her on Instagram and TikTok. Also, stay tuned to Live Nation Philippines on Facebook, X (Formerly Twitter), Instagram, and TikTok for updates on all the latest concerts and tours landing in the Philippines. 

In the age of advanced technology and increased access to the internet, the publishing industry is constantly evolving, adjusting to new tech and adapting to shifting consumer demands. According to Publishing State, 2025 will push the industry towards uncharted territory as the key trends we see today, such as digital publishing, social media, and niche markets, continue to gain momentum, transforming the overall publishing landscape. 

In the Philippines, publishing is mainly run by traditional publishing houses, so if you’re a Filipino author hoping to get your works out there, you will have to find publishers that are accepting submissions, which usually involves a long waiting period. With the rise of digital publishing, many authors have dipped their toes into self-publishing — taking matters into their own hands when it comes to marketing their books. But this path requires a certain level of consistency and dedication to work, which some authors fail to maintain. Long story short, it’s a tough path to do everything alone without professional help, especially if you’re a first-time author without a built-in readership.

This is what Cindy Wong wanted to address when she founded 8Letters Publishing House, a hybrid publisher and boutique bookstore dedicated to supporting Filipino writers.

“I started 8Letters in my bedroom with a vision to market Filipino books, including my own title,” Cindy told The Beat Asia. “At the time, indie books were largely absent from mainstream bookstores, so I aimed to distribute a curated selection in local cafes. We successfully partnered with several cafes to showcase our books. As we gained traction, more authors approached us for assistance in marketing their work, which led to our evolution into a full-fledged publishing house.”

Established in 2016, 8Letters aims to promote independent writers in the Philippines who struggle to showcase their art in a very saturated market. The publishing house was named in such a way to describe how letters make up words and the infinite number of stories that can be made with them. This aspect is represented by the number “8” which, when turned sideways, is the infinite symbol. Currently, the publisher has over 400 titles on their shelves, which are sold on their webstore and by local and international book retailers. 

But what exactly is a hybrid publisher? And how does this model increase an author’s chances of success with their respective titles? 

A Collaborative Approach

It takes more than a good story to sell a book. In fact, the success mostly lies in how one markets their book and the exposure it gets. According to their website, 8Letters “strives to create a safe and nurturing space for writers” and to be able to support them in their creative journey. The keyword here is support, as 8Letters is not in the business of simply profiting from their authors, but also to assist them in all aspects of their publishing journey. 

Cindy, who is also the Creative Director of the publishing house, explained, “In a traditional publishing model, the publishing house covers all expenses related to producing a book, allowing the author to focus solely on writing with minimal involvement in marketing. In contrast, self-publishing requires the author to handle every aspect of the process independently, from production to promotion.”

“A hybrid publishing model, however, represents a collaborative approach between the author and the publishing house. Both parties contribute to key areas such as the manuscript, cover design, layout, marketing, and distribution. This collaboration allows the author to invest less upfront while still benefiting from professional support, ultimately leading to a higher percentage of sales revenue. This model combines the best of both worlds, providing authors with guidance and resources while maintaining a degree of creative control.”

Being an author herself, Cindy understands the struggles of rookie authors who are trying to catch their big break. She discovered early on that it was easier to persuade establishments to carry her title when she had a broader selection to offer. This was how 8Letters shaped itself to become a community-based publishing house. 

“I was happy to assist other authors because I recognized a genuine gap in the market. I believe in a mindset where collaboration leads to mutual success, allowing more people to thrive together,” she said.

Many authors start without a built-in readership or fan base, and one of the toughest challenges they’d have to face in indie publishing is getting people to notice their books, considering the number of titles that are published every year, not just in the Philippines but the rest of the world.

Cindy stated, “Being part of a community of writers really helps. When you support each other by reading, reviewing, and promoting one another’s books, it makes a big difference. This way, you can help those who might not be familiar with your work start to take notice. It’s all about lifting each other up!”

Looking at their social media handles, the publishing house has gained a lot of traction with over 24k followers on Facebook and another thousand or so on Instagram. The publisher regularly organizes and takes part in book events, which is one of the ways they provide their authors with the exposure they need. They also publish a quarterly literary magazine, “Circles Mag,” which features poems, short stories, and essays from contemporary Filipino writers. Subscriptions are priced at P580, with a premium quarterly subscription of P780 that includes a tote bag, journals, and other bookish goodies. 

When it comes to the publishing aspect, 8Letters is prepared to guide you every step of the way. You can simply visit their website and peruse the range of self-publishing services they offer, ranging from manuscript editing and book formatting and design to book printing, distribution, and ISBN (International Standard Book Number) registration. 

If you’re a writer planning to put your work out there, it’s important to note that all types of publishing have their own pros and cons, so you should carefully think about which path would take you where you want to be in your writing career. One main advantage of publishing with a hybrid publisher like 8Letters is retaining your copyright and creative control. Their model combines self-publishing with some elements from the traditional path, such as providing authors with the resources they need. One of these resources is the 8Letters Publishing University, which is a series of workshops Cindy and her team started a few years back that offers courses on self-publishing, writing romance, poetry, horror, mystery, non-fiction, and author branding. The company is currently refining the courses and is hoping to relaunch soon. 

“The publishing landscape in the Philippines is constantly evolving. Currently, there’s a significant shift from traditional publishing to self-publishing, as many authors are recognizing the benefits of taking control of their work. However, not everyone will make the switch, as self-publishing requires considerable effort and dedication. This is where publishing houses like ours play a vital role, providing the support and resources authors need to navigate this transition successfully.”

8Letters Publishing has gathered an impressive roster of talents in the last nine years in both popular and emerging genres. Some of their bestselling titles include the works of Gerome Nicolas Dela Peña, such as “SUÓNG! Mga Aporismo ng Paglusong at Pagsulong,” which was a National Book Award finalist; the fantasy novel “Silence” by Che De Leon; and their Pinoy Science Fiction title, “Fate of a Distant Future” by Renato Tranquilino. 

When asked about the kinds of books that currently sell in the local market, Cindy replied, “Pinoy Sci-Fi is an emerging genre that has garnered significant attention in recent years. We showcased this selection at the Frankfurt Book Fair last year and even hosted a PinoySciFiCon at Fully Booked. Our publication features a substantial number of fantasy novels, making that one of our best-selling categories. Additionally, Filipinos have a strong appreciation for short reads, particularly in romance and self-love poetry, which also perform well in the market. We’ve recently ventured into the children’s book genre and are eager to learn more about this exciting market.”

Cindy also mentioned that one other element affecting a book’s salability is cover design, proving that indeed, people do judge books by their covers. 

It’s evident that 8Letters Publishing is working towards helping indie authors be more seen, but at the end of the day, it’s still a business. When asked about the challenges she faces in running the company, she answered, “I'd say managing authors' expectations and educating or shifting their mindsets. I've mentioned that being a hybrid publishing house requires collaborative effort, and most of the time, authors would have certain expectations that the books will sell like pancakes. However, that's not always the case. It's a long game!”

Cindy also shared that 8Letters Publishing aims to be a highly efficient company and is working towards refining its internal systems and enhancing its distribution methods to ensure a smoother process for their authors and readers. The creative director also understands the weight of their responsibility to their authors, and promises to continuously adapt to shifting consumer demands as well as accommodate authors on their preferences in terms of the direction they want their writing careers to take. 

“I have a dedicated team supporting me in managing hundreds of authors in our database. We’re continuously learning and adapting, and one of the key elements to our success is strong teamwork and collaboration. As the creative director, my responsibility is to empower both our authors and my team, ensuring that together we provide the support our writers need to thrive in their careers.” 

You can check out 8Letters Publishing's fantastic lineup of works and authors on their website or follow them on Facebook, X (Formerly Twitter), and Instagram for updates on new releases and upcoming book events. 

It’s a known fact that romance and poetry are two of the most popular genres in the Philippine literature scene, but did you know that there’s a genre that has the potential to make it big in the next few years?

Science Fiction (Sci-Fi or SF) has gained traction in recent years with the release of dystopian-themed novels and shows about robots and aliens. In an article from The Statesman, Claire Gehlic stated that due to the renewed interest in cutting-edge technology such as Artificial Intelligence (AI) and increased Internet access, “people’s desire for escapism has reached new heights, resulting in the increased production of books, television series, and films in the genre.”

If we were to look at the numbers, there is a steady rise in terms of profits for the genre. According to statistics from Wordsrated, Sci-Fi and Fantasy earned US$590 million in revenue in the United States alone in 2023. In the world of comic books, sci-fi sales grew by 8.3% in 2021 compared to 2020, and the genre ranks within the top 10 on Amazon’s most competitive categories list.

In the Philippines, the SF genre began in the 1940s with the release of novels such as “Doktor Satan” by Mateo Cruz Cornelio, which was an R. L. Stevenson-inspired story about a medical doctor searching for a cure for his mother’s terminal illness. Apart from a couple of novels from this time, the genre was only ever read in comic books with most being in the pulp variety. 

We don’t know about you, but we’re seeing a lot of untapped potential for Pinoy Sci-Fi considering its global demand. And this is what Sci-Fi and urban fantasy author Renato Tranquilino intends to do as he spreads more awareness for the genre to revive Pinoy Sci-Fi to its former glory. 

But what exactly is Pinoy Sci-Fi? We asked the author himself. 

“Pinoy Sci-Fi is a genre that attempts to combine Philippine myths and creatures with advanced tech and weaponry. Think Riddick or the Dragonriders of Pern. Then when you think of the universe I created, think of Raymond E. Feist's ‘The Riftworld Saga.’ My recent book available on Amazon is ‘The Culling in Proxima,’ and this book shows how I see the Philippines, combining the world of mysticism and science.”

Renato embarked on his writing journey in 2019 when he wrote his first novel, “The Merovingian,” which also had a comic book version called “The Rise of the Filipino Merovingian.” Currently, the Filipino-Australian has four books under his belt, including “The Hong Kong Connection” and “Fate of a Distant Future,” which was featured at the Hong Kong Book Fair and Frankfurt Book Fair to represent Pinoy Sci-Fi. 

There’s no doubt the genre provides escapism that audiences crave and has many thrilling subjects and premises that have yet to be explored. But the question still stands: Is Pinoy Sci-Fi a profitable genre to write in? 

“Online-streaming studios are hungry for new content,” Renato explained. “That's why they started to do a lot more things like Netflix's ‘Black Mirror’ or Apple's ‘Severance.’  But they also started to get more Asian content, like the ones from Thailand, and of course, ‘Trese.’ Half the world’s population is in Asia!”

The SF author also added that there’s a global interest in diverse Sci-Fi stories, which encourages publishers to produce more books that feature stories beyond the West. In turn, production companies and streaming platforms are releasing more shows and movies in the genre, with books being one of their top source materials. This proves that financial opportunities go beyond book sales and can expand to film, TV, and eventually merchandise. 

“It’s new and it has not been commercially available for over 20 years,” Renato told The Beat Asia as he explained that Pinoy Sci-Fi lacks recognition of being classed as literature in the Philippines. It was even removed as a genre from the Palanca Awards in 2006, the country’s most prestigious literary award for writers. The author also voiced that due to this, there is a lack of commercial support from most educational institutions except the NBDB (National Book Development Board). 

“Apart from something new, I think the financial reward that this genre will bring to the country is what makes it an exciting genre to pursue.”

Monetizing Strategies for Authors

If you’re a budding writer looking to get your foot in the door, the first step is to have an actual book to sell. Renato gave a fascinating talk during the Philippine Book Festival last month about how to make money from Pinoy Sci-Fi, and how authors can profit from their writing careers.

Renato emphasized that a book is a product, and that for it to be able to sell well, authors must make sure it’s ready. Books usually undergo a long process of proofing, editing, and research. One must know their target audiences and prepare their online pages, such as a website or social media handles, to have a space to display their work. 

When it comes to getting published, Renato explained that there are three paths one can take: Traditional, Self-Publishing, and the Literary Agent route. 

Traditional Publishing

• Pro: You won’t have to pay anything.
• Pro: Marketing is handled by the publisher.
• Con: All rights belong to the publisher.

Self-Publishing 

• Pro: All rights belong to the writer, including for film and merchandise.
• Con: You will have to pay for all costs and handle everything, including marketing, negotiations, and publicity.

Literary Agent

• Pro: They will negotiate terms with the publisher.
• Pro: They will market your work and get the publicity it deserves.
• Pro: Agents can get you published by bigger or international publishers, thus you’ll have a wider audience reach.
• Con: Agents get a 20% cut or more of your earnings.
• Con: Agents know best, so you must comply with all their plans for your book.
• Con: You will need to query and find an agent interested in representing your work.

All paths have their advantages and disadvantages, but when it comes to making the most out of your work, Renato suggested, “Get a literary agent. I have tried both, and getting an agent is best because they will connect you with the right publisher who will pay your story's worth.”

Renato also explained in his talk how a huge part of being a writer is marketing your work, which can be done in several ways, including:

• Maintaining and creating content on your social media pages. This also includes regularly posting purchase links for your books and setting up giveaways.
• Doing talks at schools and universities.
• Attending book events for exposure and networking opportunities.
• Entering competitions to gain recognition and awards.
• Working with a PR (Public Relations) person for guestings.

The author also mentioned the importance of getting connected with NBDB as the organization offers Philippine authors the chance to gain more exposure for their work such as sending writers to represent the country in international book fairs, providing grants for book translations, and getting you connected with all the right people in the global publishing industry. 

If you’re planning to self-publish or don’t have a traditional publisher yet, Renato encourages you to sign up with the organization to utilize their services and opportunities. You can register here. 

Currently, Renato is taking the agented route and has just released the sequel to “The Merovigian,” as well as two other books entitled "Eden” and “Proxima.” Advanced copies are now available on Amazon or via direct order from the author. 

If you’re interested in checking out his other works, you can purchase them from Amazon, Waterstones, Barnes & Noble, 8Letters Bookstore and Publishing, Fully Booked, and Lazada.

You can also follow the author on Facebook for more updates on his latest releases and book events.