The diversity-in-publishing debate is very much at the root of the outrage when it comes to campaigns like the one against The Black Witch, reflecting larger dissatisfaction with an industry that’s overwhelmingly white at just about every level. The multiyear push for more diverse books has yielded disappointing results — the latest statistics show that authors of color are still underrepresented, even as books about minority characters are on an uptick — and while the loudest critics demanded that The Black Witch be dropped by its publisher, others simply expressed exhaustion at the ubiquity of books like it. In a representative tweet, author L.L. McKinney wrote, “In the fight for racial equality, white people are not the focus. White authors writing books like #TheContinent or #TheBlackWitch, who say it’s an examination of racism in an attempt to dismantle it, you. don’t. have. the. range.” (McKinney did not respond to multiple interview requests.)
Among the book-buying public, though, that parade may be mostly passing unnoticed. The scandals that loom so large on Twitter don’t necessarily interest consumers; instead, the tempest of these controversies remains confined to a handful of internet teapots where a few angry voices can seem thunderously loud. Still, some publishing professionals imagine that the outrage will eventually become powerful enough to rattle the industry. Another agent, who describes himself as devoted to diversity in publishing since before it became a mainstream concern, is ambivalent about the current state of affairs.
“I think we’re in a really ugly part of the process,” he says. “But as we’re trying to encourage a greater diversity of readers and writers, we need to be held accountable for our mistakes. Those books do need to get criticized, so that books which are written more mindfully, respectfully, and diligently become the norm.”
It’s also a process in which tough questions lie ahead — including how callout culture intersects with ordinary criticism, if it does at all. Some feel that condemning a book as “dangerous” is no different from any other review, while others consider it closer to a call for censorship than a literary critique. Francina Simone, for one, falls firmly in the latter category. “People seem to want these books to validate them, and that’s almost completely impossible,” she says. “It would be like me watching The Simpsons and saying, ‘It’s harmful to me, take it off the air.’ It’s baffling. People pretend as if there is no off switch. [The idea] that it shouldn’t be in the public atmosphere — I find it extremely funny that people don’t think that’s censorship.”
But in an interesting twist, the teens who make up the community’s core audience are getting fed up with the constant, largely adult-driven dramas that currently dominate YA. Some have taken to discussing books via backchannels or on teen-exclusive hashtags — or defecting to other platforms, like YouTube or Instagram, which aren’t so given over to mob dynamics. But others are pushing back: Sierra Elmore, a college student and book blogger, expressed her frustration in a tweet thread in January, writing, “[Being] in this community feels like being in high school again. So much. No difference of opinion allowed, people reigning, etc… I and other people I know (mostly teens) are terrified about speaking up in this community. You don’t get a chance to be wrong here.”
Penguin Random House announced the sale of Author Solutions on Tuesday, leading to headlines stating it has exited the self-publishing business and various commentators congratulating it for cleaning house. Unfortunately, neither of those things are true.
Four Penguin Random House-owned vanity presses will remain in operation – Partridge India, Partridge Singapore, Partridge Africa, and MeGustaEscribir – and will be run as Partner Imprints. You can read more about how Partner Imprints work here, but the short version is that Author Solutions will operate these four vanity presses on behalf of Penguin Random House, and PRH’s job will be to provide leads (aka newbie writers), lend its name and brand to the effort, and then sit back and collect its commissions.
This is precisely how Author Solutions operates Archway Publishing on behalf of Simon & Schuster, Westbow for HarperCollins, and Balboa Press for Hay House, among others. In short, Penguin Random…
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…And then there was this last passive aggressive tweet:
How can you tell a librarian she’s not reading enough? Of course I’m reading enough. Which is why I’m angry at the same old diversity problems. The same old ebook pricing problems. The same old rehashed plot ideas problems. I could go on.
It’s not that there aren’t good books being published. Of course there are and I’ve found many. It’s just that the vast majority of what the Big 5 publishers churn out is really disappointing. So disappointing, in fact, that it takes James Patterson giving money back to the places that sell his books (SO HE CAN MAKE MORE MONEY IN AN ENDLESS CYCLE) for the system to function. What the “publishing industry” produces is not enough to keep even an indie book store afloat sometimes.
It’s time to break the James Patterson cycle.