I loved "American Fiction." Writers are still being asked to pretend to be someone else, and publishers deserve to be called on it. Just heard that when Lydia Hawke sent the first of her "Crone Wars" series to traditional publishers, she was asked to change the main character to a thirty-something. That was in 2021! Her series is Indie. This is why Indie is eating publishers' lunch.
A really nuanced piece that holds complexity well, the "yes, and" that we so need to say instead of, hem, black and white thinking. Thank you for wading into this, Brooke. I've yet to see "American Fiction" but will do so now through your industry-knowledgeable eyes.
Thanks for your essay here. After seeing ORIGIN yesterday and having read and studied Isabel Wilkerson's book, isn't it time we reframe the conversation into caste and equity along a variety of structural inequalities? Wasn't it Frantz Fanon and Vincent Crapanzano who suggested the problem is whiteness? Is there no room for white writers who center caste in their stories? Can white writers ignore any longer caste, class, race, gender in their default dominant status as narrators? White guilt is the cloak of caste privilege in this country. The reality is that publishing is a form of privilege and caste determines who and what gets published these days. And why nobody wants to talk about how much it costs authors to publish and how little they recover in their expenses. Who can afford such indentured servitude?
It's a tough conversation because publishing as a business is quite expensive, and there are many ways to get your words into the world. I actually think publishing is more democratic than it's ever been. Some publishing is expensive, yes, but you can also DIY and find ways to do it on the cheap. Platforms like this one we're writing on allow writers a major platform, and to get paid for it. Big Publishing still way overpays its authors and then punishes those who don't earn back their advances. So I agree with you that publishing is a privilege; I don't agree that it's a form of indentured servitude. Writers and authors are at choice around how they enter in, what they want to do, and how much they will spend (if anything).
I agree this platform is a breath of fresh air in building a sustainable literary community and there are more paths to publishing than the big four today than 20 years ago, but the writers who can't afford the graduate degree, writing conferences, consultations, adjunct academic salaries all relegated by CASTE in this country, I think we leave out too many unheard voices. Stephanie Landsman's MAID and CLASS almost the exception to the rule. And thank goodness for Ava Duvernay!
Right on. This is one of the things I love about publishing with She Writes Press. You are at the forefront of discussion and publishing and remind all about what is of merit and what needs to change in the industry.
A very carefully thought out and argued piece, Brooke. I love that you’re taking this on front and center while many sheepishly side step this issue. Thank you!
Thank you for thoughtfully addressing a tough topic and acknowledging there’s some truth to how many people feel, while reminding us why these changes are long overdue. No system is perfect. Hopefully the changes over time will benefit everyone.
So much thinking in the industry is subtractive rather than additive. It's like "we're going to publish 10 books this year, so we'll take away 3 from white writers and give those to BPOC writers" instead of finding ways to make diversity expansive, so it's more like "we're going to publish 12 books and 4 will be by BPOC writers." I don't mean it's supposed to be a numerical formula--I'm just quantifying an attitude.
It is simply hard to be a writer no matter what. It's hard for people of all colors. It's hard for older writers, there's so much ageism out there. It's hard for women, and it's difficult for men too. I'm dreaming of a country where we are treated all equally and in publishing, judged by nothing else but our work.
Excellent piece. You have such a comfortable style, especially when writing about complicated subjects.
American Fiction was such a brilliant high-wire act and possibly the best film about publishing ever.
I loved "American Fiction." Writers are still being asked to pretend to be someone else, and publishers deserve to be called on it. Just heard that when Lydia Hawke sent the first of her "Crone Wars" series to traditional publishers, she was asked to change the main character to a thirty-something. That was in 2021! Her series is Indie. This is why Indie is eating publishers' lunch.
A really nuanced piece that holds complexity well, the "yes, and" that we so need to say instead of, hem, black and white thinking. Thank you for wading into this, Brooke. I've yet to see "American Fiction" but will do so now through your industry-knowledgeable eyes.
Thanks for your essay here. After seeing ORIGIN yesterday and having read and studied Isabel Wilkerson's book, isn't it time we reframe the conversation into caste and equity along a variety of structural inequalities? Wasn't it Frantz Fanon and Vincent Crapanzano who suggested the problem is whiteness? Is there no room for white writers who center caste in their stories? Can white writers ignore any longer caste, class, race, gender in their default dominant status as narrators? White guilt is the cloak of caste privilege in this country. The reality is that publishing is a form of privilege and caste determines who and what gets published these days. And why nobody wants to talk about how much it costs authors to publish and how little they recover in their expenses. Who can afford such indentured servitude?
It's a tough conversation because publishing as a business is quite expensive, and there are many ways to get your words into the world. I actually think publishing is more democratic than it's ever been. Some publishing is expensive, yes, but you can also DIY and find ways to do it on the cheap. Platforms like this one we're writing on allow writers a major platform, and to get paid for it. Big Publishing still way overpays its authors and then punishes those who don't earn back their advances. So I agree with you that publishing is a privilege; I don't agree that it's a form of indentured servitude. Writers and authors are at choice around how they enter in, what they want to do, and how much they will spend (if anything).
I agree this platform is a breath of fresh air in building a sustainable literary community and there are more paths to publishing than the big four today than 20 years ago, but the writers who can't afford the graduate degree, writing conferences, consultations, adjunct academic salaries all relegated by CASTE in this country, I think we leave out too many unheard voices. Stephanie Landsman's MAID and CLASS almost the exception to the rule. And thank goodness for Ava Duvernay!
Right on. This is one of the things I love about publishing with She Writes Press. You are at the forefront of discussion and publishing and remind all about what is of merit and what needs to change in the industry.
A very carefully thought out and argued piece, Brooke. I love that you’re taking this on front and center while many sheepishly side step this issue. Thank you!
Thanks, Lally. ❤️
Thank you for thoughtfully addressing a tough topic and acknowledging there’s some truth to how many people feel, while reminding us why these changes are long overdue. No system is perfect. Hopefully the changes over time will benefit everyone.
You’re saying what needs to be said as only you can!
So much thinking in the industry is subtractive rather than additive. It's like "we're going to publish 10 books this year, so we'll take away 3 from white writers and give those to BPOC writers" instead of finding ways to make diversity expansive, so it's more like "we're going to publish 12 books and 4 will be by BPOC writers." I don't mean it's supposed to be a numerical formula--I'm just quantifying an attitude.
Great essay, Brooke.
Thanks for writing this and acknowledging the (glacial) change in publishing. You’re telling it like it is!
It is simply hard to be a writer no matter what. It's hard for people of all colors. It's hard for older writers, there's so much ageism out there. It's hard for women, and it's difficult for men too. I'm dreaming of a country where we are treated all equally and in publishing, judged by nothing else but our work.
You're right about that!
A great piece that helps give words to what many are feeling with such grace and nuance.
Superb piece, Brooke. As always, your deep analysis gets at the heart of complicated issues. Will be sharing this widely. Thank you.
Excellent , Brooke! A very nuanced piece that makes us all think!