'There was an apprehension that the book might be deemed "too Black"'
Embarking on the exhilarating yet nerve-wracking journey of self-publishing my very first children's book was a defining moment in my life. The process was daunting, but I was resolute in my mission to share my story with the world. Little did I anticipate that the hurdles ahead would extend far beyond the realms of writing and editing.
I had poured my heart and soul into creating a beautiful children's book with a Black girl as the main character, proudly sporting her big, beautiful afro. I was eager to introduce her to young readers who, like her, deserved to see themselves reflected in the pages of a book. However, my excitement soon turned to shock and disappointment when I received feedback suggesting that my book wouldn't sell because "there wasn't a market" for it.
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This experience exposed the systemic biases that Black authors encounter within the realm of publishing. It wasn't just my story; I had heard numerous similar accounts from fellow authors who were told that literary agents and publishers already had their "quota" of black authors. This implicit belief perpetuated the myth that one black author sufficed for diversity, a concept that has long hindered genuine representation in literature.
Another obstacle was the apprehension that Black authors' work might be deemed "too Black." This fear stemmed from the unfounded assumption that predominantly white readers couldn't connect with our narratives. Such a notion underestimates the curiosity and empathy of readers. Literature, after all, serves as a conduit to understanding diverse experiences and perspectives.
Perhaps even more vexing was the suggestion many had around diluting manuscripts to make them more universally appealing. The pressure to conform to a perceived mainstream mold often robs the narrative of its authenticity, erasing the cultural nuances that render it unique and powerful.
Even more vexing was the suggestion many had around diluting manuscripts to make them more universally appealing
Notwithstanding these disheartening setbacks, Black authors like me remain steadfast in our resolve to overcome barriers and share our stories. But these experiences are not an isolated occurrence; it mirrors the broader challenges of diversity and representation within the publishing industry.
I remain somewhat skeptical about the publishing industry having made substantial progress in diversifying its catalogs and promoting underrepresented voices, even after the commitments made during the Black Lives Matter (BLM) movement. While some publishers may have initiated initial efforts to address this issue, the core problems within the industry persist.
The publishing industry has a history of gatekeeping, with decisions about which books are published and promoted often made by a predominantly homogenous group of decision-makers. This lack of diversity at the executive and editorial levels can hinder the industry's ability to genuinely embrace and represent diverse voices.
Systemic issues such as bias, discrimination, and unequal opportunities still persist in the industry. Authors from marginalised communities continue to grapple with obstacles in having their work recognised and published. The distribution, marketing, and promotion of books by underrepresented voices remain inadequate, limiting their reach and impact.
Furthermore, the industry's commitment to diversity and inclusion often appears performative, with publishers making symbolic gestures to improve their public image rather than initiating substantial change. This can lead to tokenism, where a few select authors from underrepresented groups are elevated, but the overall structure and culture of the industry remain unchanged. While some publishers may have made surface-level commitments to diversify their offerings and amplify underrepresented voices, enduring and substantial transformation within the industry has been slow to materialize.
Change is not just desirable; it is imperative. The demand for diverse voices and narratives is growing, and readers are increasingly seeking stories that mirror the complexity of the real world. This is why I founded the Black British Book Festival. The Black British Book Festival was established to address these challenges by celebrating and promoting Black authors. This festival serves as a powerful platform that recognises the rich and diverse literary voices within the Black community. It provides a space for these voices to shine and encourages the broader world to engage with their stories and perspectives.
This annual event serves as a vital response to the biases and barriers that have long plagued the publishing industry. By celebrating Black authors, the festival not only showcases the immense talent and creativity within the community but also challenges the existing narratives and standards that have held back underrepresented voices.
The Black British Book Festival champions inclusivity and seeks to bridge the gap between the diverse array of stories and experiences and the readers who crave them. It serves as a reminder that literature is a dynamic, ever-evolving landscape that thrives on the multitude of voices contributing to it.
What is promising is that publishers such as Pan Macmillan, Penguin, Simon and Schuster, Hachette, and Sage support the Black British Book Festival, and they are all committed to the long-term effort to address the deeply ingrained issues of diversity and representation in the world of publishing.
As a Black author and the founder of the Black British Book Festival, I am committed to challenging the status quo and promoting diversity in literature. These efforts remind us that stories are universal, and it's high time for the publishing industry to recognise that diversity is not just a trend but a necessity. It's a journey that must be embraced for the betterment of our literary world and, ultimately, our society.
The Black British Book Festival 2023 will be at the Southbank Centre, 27-28 October
