Calling Out a White-Washed Industry: Systemic Racism and Inequity in Book Publishing
The publishing industry has historically exhibited discriminatory and systemic biases that have impacted marginalized individuals for decades, specifically BIPOC (Black, Indigenous, people of color) writers. Racial and cultural partiality heavily influences acquisitions in the literary world, and mainstream book writing and publishing practices have perpetuated stigmas and stereotypes against BIPOC. The underrepresentation, misrepresentation, and lack of access to equal opportunities have contributed to a sense of gatekeeping that makes it difficult for marginalized writers to seek equity. Instead, they’re expected to accept inadequate opportunities that undervalue their assets.
The public has criticized the publishing industry over the years for how its ethics and practices disproportionately affect BIPOC writers. But addressing these barriers and biases requires collective efforts from publishers, agents, readers, and the industry as a whole. Without increased diversity in decision-making roles, conscious efforts to seek out and support diverse voices, mentorship programs, and improved representation in marketing, we can’t foster a more inclusive publishing landscape that elevates the voices and stories of BIPOC.
And while none of this is new news, it’s not old news either. Until there are substantial adjustments to the publishing landscape overall, these types of conversations need to keep happening, and action needs to continue to be taken to bridge the gaps.
In this blog, we’ll cover:
Toni Morrison; Pulitzer Prize for Fiction (1988), Nobel Prize in Literature (1993)
Insufficient BIPOC Representation in Book Publishing Leadership
To put it simply, the industry is completely whitewashed. In 2019, Lee & Low Books did a survey that reported the publishing industry was around 76-79% white. This includes all of the top executive positions like editorial, sales, marketing, and publicity departments along with book reviewers and literary agents. According to a 2020 New York Times article, 85% of acquisitions editors at big publishing houses are white. This indicates a severe lack of racial diversity within leadership roles that determine which books get published.
And the proof is in the pages. In 2020, McGill University professor Richard Jean So and New York Times graphics editor Gus Wezerek did an evaluation of racial diversity among trade authors, analyzing around 8,000 fiction books by close to 4,000 authors published between 1950 and 2018. 95% of those books were written by white authors.
Predominantly white industries making decisions about which books to publish creates a barrier for BIPOC narratives, making the pipeline even more narrow. In the past, publishing houses have drawn from elite networks to maintain personal connections, prolonging inequities of race and class in their executive positions. This type of bias in the hiring process results in limited career advancements for BIPOC. Without financial support or connections to enter the clique, BIPOC people struggle to progress in the publishing industry.
These hiring disparities impact the stories that get told and feed into the cycle of exclusion. Diverse voices in the workforce championing diverse books influence their success in the market. When Toni Morrison worked as an editor at Random House, the number of books written by Black authors increased. Her diligent efforts in hand-selecting and mentoring Black authors helped change the book publishing industry for BIPOC in a major way. But when she left, the number of books written by Black authors declined.
Having BIPOC decision-makers in publishing bridges a huge culture gap, exclusively focusing on identifying market trends that could appeal to BIPOC narratives. The success of a book isn’t just determined by its content, but by the way it's publicized in the market. Without higher-level positions in publishing taken up by BIPOC, the industry struggles to effectively promote and sell diverse titles.
The innovations and efforts of BIPOC leaders in publishing can ensure that the industry remains relevant and responsive to evolving reader and writer preferences. Spearheading more inclusive marketing research and reevaluating promotional budgets can shift the way BIPOC authors gain traction from audiences who want to buy their books. It also challenges unfair power dynamics, promotes BIPOC to advance in the field, and helps marginalized voices become more widely recognized as mainstream.
Despite recent statements of big publishing house efforts to help fill this void, the disproportionate numbers don’t seem to be changing enough to see a shift in the industry overall. According to Pen America, among the Big Five publishing houses, only Penguin Random House and Hachette have publicly disclosed author diversity statistics. Penguin revealed in 2021 that almost 75% of their contributors were white, and only 23% were BIPOC. Hachette reported that 34% of their authors were BIPOC. Hachette showing a higher representation of diverse authors compared to Penguin is a good thing, but it still doesn’t even the playing field.
Alice Walker; Pulitzer Prize for Fiction (1983), National Book Award for Fiction (1983)
Disparities in Book Advances for BIPOC Authors
For the select BIPOCs who are being offered publishing deals, there are ongoing issues with the way publishing houses take advantage of them. BIPOC are not offered the same contracts as white authors, with royalty earnings and book advances significantly biased to one side. The gatekeeping practices of traditional publishers have made it harder for BIPOC writers to access publishing deals and gain mainstream recognition.
The hashtag #PublishingPaidMe called this all out in 2020. Sparked by author L.L. McKinney, it prompted authors to share their book advances to expose the racial gaps within the industry. The results were shocking, revealing significant differences between advances given to Black authors compared to their white colleagues. For example, Roxane Gay, author of Bad Feminist, tweeted that she got a $15K advance for the book. Mandy Len Catron, author of How to Fall in Love with Anyone, transparently tweeted that she received $400K for hers.
The movement got a lot of attention for uncovering the systemic biases within the publishing industry, where authors from marginalized backgrounds face financial inequality and restricted opportunities. It sparked discussions about the need for greater diversity and equity in publishing, both in terms of the stories being published and the compensation authors receive. The goal was to urge publishers and industry professionals to address the disparities and take concrete actions to promote fair compensation and opportunities for authors from all backgrounds.
But whether that’s happening is still to be seen. The problem seems to be that the industry’s interest in amplifying diverse voices often wanes when media coverage of BIPOC dies down. It’s very easy for them to ride a media wave until the coffee talk of it all ends and the next story is trending in the media. That’s why the most irresponsible thing we can do is let the conversation end.
At the end of the day, publishers will go by comparative titles when deciding what books are worthy of publishing. They pay attention to trends and things that are already selling pretty well in the market. (Sort of like how anything that remotely resembles a Colleen Hoover toxic romance novel is popular right now.) This formula hinders the publication of unconventional, diverse works, and overlooks projects that might not yet fit within the established commercial frameworks.
For BIPOC authors, there’s a misconception that their books are a risk to publishers. This completely sets the tone for how BIPOC authors are perceived and treated. Editors often underestimate the potential market and success of books by BIPOC, with an assumption that there’s a finite audience. When publishing houses create their profit and loss statements, they will say that BIPOC narratives don’t sell as well. They then use this ideology to justify the advances they offer to certain authors. Or, why they decide not to publish the work at all.
Either way, there is no recognition of the generalization this reinforces or the way it prevents the exploration of diverse narratives in books and leadership positions. To say that stories outside the mainstream are inherently less marketable is relying on pure assumption, and does not take into account the nuances and distinctiveness of each author’s work. It forces BIPOC authors to believe that if they want to publish work, they must appeal to mainstream (white) readers.
Or, they’re pigeonholed into an identity trap by publishers and agents who expect them to write stories that fit into stereotypical narratives like racism and slavery. If they don’t, they may struggle to find support. It completely undermines the abilities of BIPOC authors and gives the illusion of diversity without actually challenging any existing power structures. It fails to address the larger systemic issues and continues to exclude emerging, innovative BIPOC creatives. Aside from the way this creates a barrier for diverse voices in publishing, it also leads to the erasure and misrepresentation of BIPOC experiences in the literary world.
Jacqueline Woodson; Coretta Scott King Award for Authors (2001), National Book Award for Young People’s Literature (2014)
Misrepresentation of BIPOC in Literature
When BIPOC are not at the forefront of curating, editing, and marketing books by BIPOC, there becomes an inaccurate or distorted portrayal of their lived experiences. Whether intentional or not, white writers and editors perpetuate stigmas and stereotypes about BIPOC through their writing. They’ve done it to women, too, with reductive female characters mirrored by the white male gaze, dominating the narrative with their circumscribed perspectives. But yet, the way this misrepresentation occurs for BIPOC is still in the shadows, and one could argue a far more dangerous slope.
For those who rely on literature to establish an understanding of their human experience and the world around them, this misrepresentation creates a wrongful perception of marginalized communities. BIPOC characters are often sidelined to supporting roles with limited development and depth, aiming to serve a white-centered narrative. More often than not, they’re given erroneous labels in the process, whether as the model Asian student, the Latino criminal, or the angry Black woman.
There’s little respect for their cultural complexities. Clothing, language, or rituals associated with these communities are often written without understanding them, essentially typecasting BIPOC and using surface-level descriptions to let the reader know it’s a non-white person. It feeds into BIPOC tokenism as if they’re just a noted presence and not a fully realized individual. In some narratives, white characters are positioned as saviors or heroes who rescue a BIPOC character, reinforcing the power imbalances and centering more whiteness.
The #OwnVoices movement was initiated by author Corinne Duyvis in 2015 and gained traction as a hashtag used by marginalized authors to highlight their works that depict their own identities and experiences. It focused on the importance of authentic representation in literature, challenging the notion that marginalized authors need validation or approval from privileged voices to tell their own stories.
The movement advocated for diverse literature that is authentic and respectful of the complexity and nuances of different identities and experiences to avoid appropriation and misrepresentation. It encouraged publishers, readers, and the industry as a whole to recognize and value the unique perspectives and contributions of BIPOC experiences in writing.
The misrepresentation of BIPOC in literature has far-reaching consequences, especially for young people who need to see stories and characters that accurately reflect their own racial and cultural backgrounds. It continues to extend cultural invisibility, denying young BIPOC access to their history, cultural dynamics, and contributions to society as a whole. It erodes BIPOC’s sense of identity, self-worth, and belonging, sending a message that their experiences and voices are not valued or worthy of being told.
After hearing that BookCon 2014 had a lineup of all-white male panelists in the children’s author genre, Ellen Oh, Malinda Lo, and other authors and publishers started using the hashtag #WeNeedDiverseBooks to raise awareness about the need for inclusive representation in children’s literature. The hashtag popularized quickly, calling on publishers to prioritize diversity in their offerings. The campaign highlighted the underrepresentation of marginalized communities, including BIPOC, LGBTQ+, and disabled people, in children’s literature.
The movement has since turned into a 501c3 nonprofit organization that produces and promotes books featuring diverse characters. The organization also has publishing internship programs for BIPOC to obtain valuable industry experience and offers educational programs for educators and parents to incorporate diversity in educational settings. Their advocacy continues to call for systemic changes and increased representation of BIPOC in publishing.
Literature fosters empathy and understanding by exposing readers to diverse perspectives. When BIPOC voices are silenced or distorted, it hampers the potential for meaningful dialogue and mutual understanding. It reiterates limited Eurocentric worldviews and skewed educational opportunities that negate global customs and identities. Upholding stereotypes and biases about BIPOC communities reinforces existing prejudices and misconceptions that continue their marginalization and stigmatization.
Angie Thomas; Audie Award for Young Adult (2018)
“Diverse Books Don’t Sell” is a Farce
Spoiler Alert: Most books don’t sell, regardless of the cultural or racial background of the author. The average book sells about 500 copies in its lifetime. Without prioritizing a substantial and equitable marketplace, it’s impossible to say books by BIPOC authors won’t sell over other titles. For publishing leaders to generalize the value and importance of BIPOC narratives in this way makes a mockery of BIPOC authors who are tired of seeking validation and proving their worthiness in storytelling.
Labeling diverse books as unsellable overlooks the complex dynamics at play within the publishing industry. Publishers often claim they have difficulty attaining quality work by BIPOC authors, saying that the work is “too commercial.” This deceptive terminology implies the work lacks depth, originality, or artistic merit. While commercial books are known to attend to popular genres and entertainment over experimental elements of literature, a BIPOC narrative having mass appeal sounds like an easy job for a marketing department that has no idea how to sell a diverse book. Not only does this excuse downplay the book’s potential cultural significance, but contradicts the idea that they won’t be able to get copies into readers’ hands.
The argument also fails to consider the structural barriers faced by marginalized communities. Disparities in education, mentorship, and access to guidance create significant hurdles for BIPOC authors to develop their craft, understand the industry, and gain exposure. Access to information, resources, and quality education is not evenly distributed. Networks in the industry have been dominated by white voices, leaving BIPOC with fewer opportunities to find mentors who understand their unique experiences.
The lack of diversity in publishing leadership further exacerbates these issues, as gatekeepers may feel more inclined to prioritize narratives that align with their own experiences and perspectives. This could mean their perception of quality is influenced by dominant cultural norms and values. Editors and agents who struggle to relate to stories that deviate from their own backgrounds and experiences might deem a book unsellable without recognizing their ignorance or inherent biases. It’s not that diverse books don’t sell, it’s just that the industry is too white-washed to allow those narratives at the forefront.
Kacen Callender; National Book Award for Young People’s Literature (2020), Stonewall Book Award (2021)
LGBTQ+ Narratives in Literature & Book Publishing
There is not enough research to disclose the lack of representation and misrepresentation of the LGBTQ+ community in the publishing industry itself, but it’s sensical to assume it’s also a prominent issue. The fact that there’s not enough research says enough.
But in good news, the literary market has seen a massive surge in LGBTQ+ fiction books sold, especially in the YA categories. In 2021, almost five million LGBTQ+ fiction books were sold in the United States alone. This does offer some evidence for an increase in inclusivity for the LGBTQ+ community in literature.
However, one of the biggest issues impacting the continued growth of this type of inclusivity is the rise of book bans. Close to 50% of the books challenged in 2021 were either about or written by LGBTQ+ people. Those are alarming numbers, opening up fear over how long young people will even have access to the surge of books being written to represent these communities. While on one hand, the industry is finally catching up to queer stories, book bans are making it more difficult for these books to make their way into mainstream YA readers’ hands—and we could arguably say they’re the ones who need them most.
It’s important to note the impact these book bans have on BIPOC literature, too, as they are a massive target of this movement. Though LGBTQ+ book bans are statistically higher, they’re not far off. 41% of book bans in 2021 represented protagonists or secondary characters of color. This continues to perpetuate the systemic erasure of Black history in a big way, as books like Beloved by Toni Morrison and The Hate u Give by Angie Thomas are challenged. On top of there being massive barriers for BIPOC to enter the industry, those who have broken those barriers are being erased from bookshelves.
Jesmyn Ward; National Book Award for Fiction (2011, 2017)
Closing the Marginalization Gap in Book Publishing
With the increase of discourse around systemic biases in book publishing, many independent publishers and organizations are working to take the stand that the Big Five aren’t. More Black-owned and operated publishing houses have been formed in efforts to offer more opportunities to Black authors who feel shadowbanned by the larger framework of the industry. Many literary agents have been openly prioritizing diverse titles and authors over other works hoping to increase the visibility of BIPOC literature.
Organizations like Latinx in Publishing, Asian American Writers’ Workshop, Cava Canem, The Harlem Writer’s Guild, and more are all dedicated to advocating for systemic changes within the publishing industry to address the barriers faced by BIPOC individuals. Grassroots groups like these are calling to light the confining representation in leadership positions and biases in the acquisition and promotion of BIPOC-authored books.
The value of independent presses and organizations catering to diverse writers cannot be overlooked at this time. More independent publishers means more opportunities to pave the way for how books are read and sold. It offers more chances for diverse people to have a seat at the heads of tables the Big Five are not prioritizing. It gives literature the chance to be part of the community again, rather than a mass market profitable industry.
Nikole Hannah-Jones; MacArthur Fellowship (2017), Pulitzer Prize for Commentary (2020)
Final Opinions
There’s a war on diverse literature that is just one part of a larger agenda of systemic oppression and erasure. The displacement of BIPOC voices in publishing is the erasure of BIPOC voices in society. It’s another step toward censoring and confining the narratives of our history from its truth. The whole truth.
This is especially true for women of color. From opportunities to accolades, women of color have been the prominent target and victim of the obviously intentional lack of diversity in publishing. Take the National Book Awards, for example; one of the most well-known book awards in the world. Between 1950-2010, they offered awards to 59 writers, only 15 of them were female and only four of them were of color. Alice Walker was the first woman of color to win this award in 1983, over 30 years after the NBA was founded.
I’ll be bold in saying I think the most significant form of advocacy that can be done is for white writers, industry leaders, and organizations to step up. White authors should not only be prioritizing diverse characters, but putting in the work to research, understand, and respect the cultural dynamics of those they’re writing about. White individuals who work in publishing should be advocating for diverse titles and authors in every room to which they have a seat at the table. White writers, professionals, and organizations in publishing and literature who have access and ability should be considering launching independent endeavors that promote diverse titles and authors.
Literature is a vital record of our collective human experience throughout history. It captures the essence of cultures, beliefs, and societal norms. It’s how future generations get insights into the past, and how we grow to empathize with the struggles, triumphs, and emotions of people from different periods and backgrounds. Literature has always been an essential way to obtain a deeper understanding of humanity’s journey across time. To limit our access, to erase certain pieces, to filter that which does not appeal to one side, is of immense detriment to all cultures and their history.
As a white woman with the privilege of owning an independently operated platform for writers, it is of utmost importance for me to continue bridging the gaps between gender and race in the publishing landscape. For Our Galaxy Publishing, we have found our landing place in being an educational platform for aspiring writers of diverse backgrounds to get the knowledge and tools they need to navigate the publishing landscape with confidence.
To continue our efforts in ensuring women-identifying BIPOC writers have the opportunities and access they need and deserve, Our Galaxy offers 10% off all of our services and workshops to BIPOC writers. It is our goal to use our platform to amplify diverse voices and be part of the change we know needs to be seen in this industry.
We can take the power back. We just have to do more than talk about it. We’ve got to write about it. Publish it. Share it. Connect through it. And keep the doors open for diversity and inclusivity in everything we do. Our stories won’t matter until all stories do.
Want to Read More Books by BIPOC Authors?
We’ve got a category on our blog specifically for books by women of color. If you want some specific reads, try this:
120 Years of Poetry: 16 Influential Black Poets from Then to Now
Are you an aspiring author? Our Galaxy Publishing Wants to Help You Publish a Book
Our Galaxy Publishing is an all-in-one solution for aspiring authors, offering them the education, tools, and resources they need to write, edit, publish, design, and market their books. We assist authors at all levels of their publishing journey, whether they’re looking for a literary agent to traditionally publish, are going all-in on their self-publishing venture, or are unsure of which book publishing path to take. We are a service-based platform, meaning all the creative power stays in the writers’ hands. No long-term agreements or contracts, no splitting royalties, and no sharing of your intellectual property. You tell us your aspirations and goals, and we’ll guide you to making them happen through our publishing services and author workshops.
Are you a woman-identifying BIPOC writer or author?
We recognize the disparities in the publishing landscape, from the inequity of opportunities to the misrepresentation of marginalized communities in literature. As part of our initiative to support the amplification of diverse voices in literature and publishing, we offer 10% off of our services to all women-identifying BIPOC writers. Your story, both your personal one and the one you've written, deserves to be at the forefront.