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Which is one of those things that sounds like a good idea at the time, but usually isn’t.ĭiversity in fiction isn’t about tokenism, filling up imaginary “affirmative fiction” quotas, or embarking on a PC quest to be “inclusive.” It’s about respecting our readers.

Putting a sushi or taco bar in the school cafeteria.

Conducting a find-and-replace in Word to change Breanna and Chad to Belicia and Chen.

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Including a non-white character whose only real difference from the white characters is the color of his skin and/or his snappy catch phrases.

I mean, I love Fresh Prince as much as anyone, because Parents Just Don’t Understand, but no-that doesn’t count.

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Sneaking in a few non-white celebrity guest appearances on a poster, an iPod, or a character’s favorite TV show.

Like, a Rod Stewart concert, or maybe a deer hunt).

Slotting in a random person of color for no other reason than to break up the whiteness (especially if you’re writing about a place that is mostly white.

In fact, as a general rule, writers seeking inspiration solely from Starbucks menus probably need to dial down the caffeine.

Giving a character almond-shaped eyes or coffee-mocha-latte-chocolate-hazelnut-caramel-cappuccino-colored skin.

One Café, Hold The Au Lait: A Primer for White AuthorsĪctively diversifying our fiction does not mean any of the following: Which means that in addition to fist and foremost supporting authors of color by reading and buying their books, white authors can also change the face of bookshelves by actively diversifying the stuff we’re writing, and by doing so in authentic, meaningful ways.

So when you look at the sea of white stretching on forever along the shores of YA literature, know that white authors are by and large the ones putting it out there. But the discussion glosses over another obvious problem: white authors.ĭemographically speaking, Caucasians comprise the majority of young adult authors (according to Zetta Elliot’s 2011 interview with author Jacqueline Woodson, people of color make up less than 5 percent of children’s book authors published in the U.S. Which came first-the chicken, the egg, or the egg white omelet-I don’t know. So consumers aren’t demanding and buying it…” So the publishing industry isn’t actively seeking, acquiring, and publishing it (with covers and flap copy that appropriately reflect the characters and story). So booksellers aren’t stocking and promoting it. Discussions about the issue focus on a trifecta of economic challenges doused in fiction, assumptions, and racial politics: “consumers aren’t demanding and buying diverse fiction. Plenty of YA authors of color are writing about diverse characters, often struggling to get those books out into the world and into the hands of readers. The scenario isn’t entirely unlike my high school graduation, but it’s no longer the world I see (or want to see) when I look out the window. White authors, white characters, white faces, white girls. I spy with my little eye something… white. When I scan the YA bookshelves-whether my own or the extensive store displays-the issue is clear: Like the title states, race in YA isn’t a new problem, nor is it going away. for Grownups, The Atlantic Wire posted an article exploring The Ongoing Problem of Race in YA.