A study on diversity initiatives within publishing industry positions
A study on diversity initiatives within publishing industry positions
Kyi Yin Min Khin
Abstract
The past few years have seen a continued interest in the issue of diversity and inclusion within businesses, particularly in regard to gender and racial identity. Facing increasing pressure to provide more spaces for women and People of Colour (POC) in their operations (Ely and Thomas 2020), a large number of institutions, companies and corporations in the twenty-first century have made the implementation of various Diversity, Equity, and Inclusion (DEI) policies a priority.
The Australian literary industry is not exempt from the call for diversity in its workforce. Although the publishing sector is far from the only industry concerned with the issue of diversity, its position as a creative field puts upon it the onus of representation and inclusivity. According to editor Bridget Caldwell-Bright (2022), literature can be perceived as a means through which one can encounter reflections of the society one lives in; a pathway through which individuals can cultivate a sense of identity and self-esteem. Therefore, there has been an ‘increased appetite’ (Caldwell-Bright 2022) for varied, multicultural stories and narratives—and a corresponding demand for diversity among the parties involved in their production. In this instance, while providing a platform for First Nations and People of Colour (FNPOC) authors is crucial, professionals within the industry have also advocated for more diversity in the teams behind the production of these stories such as editorial (Pham 2020) and marketing (Ho 2016).
This industry analysis report aims to compare and contrast the DEI initiatives taken by publishing houses around the world and examine their effectiveness. By taking a closer look at the challenges and successes publishing houses and professionals face across the world, certain strategies and practices could be implemented in Australia’s own literary sectors.
Diversity in Australian publishing: An overview
When it comes to readers or writers, Australia’s publishing industry does not appear to suffer from a lack of quantity. Close to nine out of ten Australians are regular readers, the number of writers is steadily increasing and the rate of participation in the literary arts is growing more quickly than in the visual or performing arts (Larsen 2020). Additionally, the book industry is incredibly profitable; it has contributed A$1.7 billion to the Australian economy, employs around 3650 people (not including booksellers, authors and freelance editors) and sustains approximately a thousand businesses (Crosby, Throsby & Zwar 2022). However, arts, cultural and nonprofit consultant Kate Larsen describes Australia’s literary world as a conjunction of “‘unmet need’ and ‘unfunded excellence’” (Larsen 2020). Larsen’s statement, though describing the industry as a whole, could also be applied to the nation’s publishing sector’s DEI framework because it does not adequately reflect the racial and cultural diversity of its populace. This can lead to inadequate handling of minority writers’ work—rushed manuscripts, insufficient support and culturally harmful treatment of authors (Larsen 2020).
According to the survey conducted by Publishing Research Quarterly (2023), the Australian publishing industry is still mainly White, with 72.2 per cent of respondents identifying as non-Indigenous Australian, British or Irish (with no non-Anglo background as a first or second identification). This demographic accounts for 58 per cent of the nation of Australia’s population. Meanwhile, less than 1 per cent of publishing professionals are First Nations Australians, compared to the 3.2 per cent they comprise of the national population. Respondents who identified as Asian numbered at 8.5 per cent in comparison to their overall national population count of 17 per cent (Driscoll & Bowen 2023, p. 316). With the numbers presented, it is reasonable to argue that certain races are under-represented in the publishing industry overall.
Social class is also skewed in favour of a privileged class in the publishing industry. 62.5 per cent of participants in the Australian Publishing Industry Workforce Survey revealed that they come from backgrounds that could be described as middle class or upper middle class, when 51 per cent of Australian nationals as a whole define themselves as middle class (Bowen and Driscoll 2022, p. 14).
The importance of having representation within the publishing industry workforce—not only for authors and their stories, but also with editors, publishers, booksellers, and marketing teams—is a matter of concern to literary professionals such as writer and editor Jonno Revanche, who attributes harmful dynamics within literary culture to the lack of racial and gender identity. Revanche (2016) describes the exclusion faced by marginalised writers as, ‘… a sinister blackened hand, picking and choosing who will be made redundant by our culture’s biases, a continual colonising force that punishes anyone who resists’. This haunting condemnation towards how literary and publishing culture treats marginalised authors and editors is far from the first of its kind; Freeman (2009) wrote that, ‘Publishers and their editors occupy powerful positions within the public sphere as arbiters of public taste and determiners of those voices that will be publicly uttered and find a readership and those voices that will remain silenced’ (p. 134). Though nearly a decade apart, both critiques have a common theme—gatekeepers in the literary industry, as the arbitrators of production, influence which works are deemed worthy of publication.
The value of representation is a popular topic in literary discourse for good reason. Literature that embraces diversity plays a pivotal role in fostering the social and emotional growth of child readers (Caldwell-Bright 2022). When marginalised authors are not provided the requisite support and spotlight for their writing, both the writer and their work suffer for it. The editorial process alone can greatly affect the authenticity and voice of a text. Regardless of an editor’s technical skill, if they are not equipped to handle cross-cultural dialogue and misunderstandings ensue, cultural insensitivity and censorship can occur (Caldwell-Bright 2022).
Driscoll and Bowen argue that, as an industry with both cultural and commercial goals, there is a twofold rationale behind diversifying the publishing industry: the desire to make an unjust structure equitable and to draw in new audiences and strengthen the company (2023, p. 312–313). The question of how to do so, especially when there are significant barriers that prevent marginalised people from entering the publishing workforce, then arises.
Key challenges and barriers to diversity
Of the significant obstacles aspiring minority publishing professionals face, the issues of socio-economic status, educational requirements, and worker retention appear to be the biggest concerns.
As Pham has observed, many of the barriers that prevent marginalised individuals such as FNPOC and people from lower socio-economic backgrounds are significant and cannot be overcome easily. One major structural barrier is the typical career trajectory into publishing, which involves unpaid internships leading to years of low salaries—a position that FNPOC and those from low-income backgrounds cannot afford to be in (Pham 2020). Revanche is similarly concerned with the reality of being an intern or entry-level employee in an industry that requires a certain level of preset financial stability, stating that a writer who has the financial means to buy three issues of a magazine to study it and become familiar with its style will have an advantage over a writer who is unable to do so (2016).
The pathway into a profession in publishing is also heavily reliant on formal education, which members of marginalised groups may not have access to. The Australian Publishing Industry Workforce Survey on Diversity and Inclusion revealed that respondents have a higher-than-average level of education, being more likely to be privately educated and have a postgraduate degree. Over 85 per cent of respondents reported holding a degree and 51 per cent reported having a postgraduate degree, making those with vocational qualifications or school leavers certificates a stark minority (Bowen & Driscoll 2022). Marginalised racial groups, particularly those who inhabit a lower socio-economic class, cannot afford the tertiary qualification that many publishing roles require (Caldwell-Bright 2022).
Another concern, raised by respondents to the survey Australian Publishing Industry Workforce Survey on Diversity and Inclusion, is the matter of hiring marginalised workers to fulfil a quota only to provide them with insufficient or no support in their workplace. Surveyees suggested there was a need for meaningful inclusion that would effectively foster a safe, healthy, and supportive environment for marginalised authors (Bowen and Driscoll 2022, p. 19). Marginalised employees in publishing houses can experience burnout due to the psychological distress of unfair treatment, microaggressions, subtle exclusion and other such discriminatory actions directed towards them—the ‘blackened hand’ Revanche (2016) speaks of. For minorities in the publishing industry, the pressure to constantly defend themselves and vocalise the problematic behaviours they are facing can be exhausting (Pham 2020).
Diversity and DEI initiatives
A fair number of initiatives have been made to push for more diversity and inclusion in Australia’s publishing circles, to varying degrees of success. Internships appear to be the most common opportunity for FNPOC editors in the making to make a name for themselves in the publishing field.
Australia is home to several active diversity initiatives, including the black&write! editing internship, Magabala publishing cadetship and UQP placement program, which aim to support First Nations editors and publishing professionals (Pham 2020). Penguin Random House AU (PRH AU) holds Diversity 101 training, their Reflect Reconciliation Action Plan (RAP) which they organised in partnership with Aboriginal and Torres Strait Islander-owned consultancy firm, Two Point Co., partnered with Story Factory to raise funds for internships, work experience placements and novella programs and conducted a diversity and inclusion survey (Penguin Random House AU 2023). Additionally, the APA Diversity and Inclusion Working Group has recently developed a Diversity and Inclusion Plan (2024). The Plan’s main areas of focus are implementing publisher recommendations, gathering and disseminating industry data and supporting pertinent initiatives proposed by member organisations (Australian Publishers Association 2024).
Although the APA’s plan is undoubtedly a necessary first step in what may turn out to be a drawn-out process, it is unclear at this point if it will be enough to remove the obstacles to entry that editors and other publishing professionals of marginalised identities must overcome. For instance, members of marginalised racial groups who cannot afford unpaid internships or low-salary entry-level positions, and do not have the tertiary education required for many publishing roles, may not ever be able to apply for the APA’s internship program and Residential Editorial Program in the first place.
Doubts about the potential efficacy of the APA’s Diversity and Inclusion Plan are not unfounded when past criticisms and anxieties regarding established DEI initiatives already exist. Black&write! editor Grace Lucas-Pennington believes that the costs of ‘economic and reputational … inaction’ will only continue to grow for publishers (Pham 2020). Finding feedback and hard data on the long-term success of these diversity initiatives has proven difficult as well. Though there are success stories, such as Lucas-Pennington whose entry-level editing internship at black&write! opened a route for her to become an established professional in the field, some who simply cannot afford to undertake the requisite unpaid or underpaid internships or the five to ten-year internship and editorial assistant period required to receive a wage higher than A$50,000 per year (Ibrahim & Lucas-Pennington 2018). Though internships and placement programs are certainly a boon, there is always the issue of those who cannot enter the field at even the most basic level.
Diversity and DEI initiatives in the publishing industry on a global scale
Case study 1: The United Kingdom
The publishing industry in the United Kingdom is perhaps most similar to Australia’s in terms of workforce demographics and representation, and comparative studies between the two were the most common. According to the 2019 Publishers Association Workforce Survey, 13 per cent of participants identified as BAME (Black, Asian and minority ethnic). The UK demographic population is 14 per cent BAME, which makes the publishing industry appear fairly representative until one takes into account the fact that most of the industry is based in London, where the population is comprised of 40.2 per cent BAME individuals (Saha and van Lente 2020, p. 8). Much like Australia’s, in the UK’s publishing sector, socio-economic class is also disproportionately represented. Almost half of the respondents’ parents or guardians had higher managerial and professional occupations and nearly one out of five respondents attended independent or fee-paying schools—almost three times the UK average (Saha and van Lente, p. 8).
Both major and small publishers have launched initiatives aimed towards improving the DEI status of their field. These initiatives include hiring more broadly, which appears to be effective—the output of publishers is becoming more diverse at a rapid rate. Two recent examples of this are the establishment of Dialogue Books, from within the large publishing group Hachette, and Knights Of, a standalone independent, which can be placed alongisde more established literary businesses like Jacaranda Books, Hope Road, Peepal Tree Press and the work of publisher Margaret Busby, which spans thirty years (Saha and van Lente, p. 7).
In the report Rethinking ‘diversity’ in publishing, Drs Saha and van Lente have pointed out that one major barrier to implementing DEI initiatives in publishing is the fear of breaking away from traditional moulds. The industry as it is now is set up to cater to white and middle class readers. Like any other kind of cultural production, publishing is by its very nature an unpredictable industry. The fierce competition in publishing leads to a tendency toward risk aversion rather than risk-taking, especially among major publishers. In this context, writers of colour are perceived as especially risky investments, which has an impact on their acquisition and marketing (Saha and van Lente, p. 9 ).
Saha and van Lente also noted that to make publishing more inclusive, the audience must first be diversified. They recommend looking beyond traditional spaces to find fresh talent from under-represented backgrounds and providing them with the time and space to grow (Saha & van Lente, p. 35). For example, literary festivals and public author events can be an effectual way to attract new audiences since they tend to appeal to individuals who do not feel welcome or represented in the spaces of traditional bookstores (Saha & van Lente, p. 27).
One reason why audiences who otherwise might have been open to consuming BAME works end up alienated may be due to outdated promotional tactics. Communication departments continue to rely on traditional media channels—such as national newspapers and BBC Radio 4—for marketing, and these channels are only used by a small division of the UK population. Publishers tend to perceive digital media as a supplement to marketing campaigns, rather than a staple (Saha and van Lente, p. 3). Saha and van Lente argue that publishers and retailers should abandon the notion that traditional media is the only media that matters, and genuinely connect with the new media that is now available (p. 36).
Radhiah Chowdhury (2019–2020) surveyed the first participants of the Fresh Chapters BAME traineeship at Hachette UK, noting largely negative reviews. Applicants cited a lack of mentorship and support, ill-prepared teams and poor timing due to the BAME program, which took twelve months, overlapping with a shorter, two-month internship. This timing issue led to internship recipients taking available entry-level positions, leaving no opportunities for BAME trainees. Although Hachette made changes based on feedback, there’s no data on the program’s current success. Hachette appears to have taken the feedback from trainees into consideration and implemented changes where necessary, since the Fresh Chapters program is still running; however, Chowdhury has no data on its current rate of success (p. 34).
A Writing Chance, another talent development program aimed towards aspiring writers from under-represented backgrounds and supporting UK publishers and editors to make space for a more diverse range of narratives, was launched in June 2021 (Shaw 2023, p. 1). Inspired by the anthology Common people (2018), a collection of working-class British writing aiming to amplify new working-class voices in the literary industry, A Writing Chance also sought to address the lack of working-class representation in literature. This task united a wide range of organisations with the objective of advancing DEI in the creative industries of the UK and forming new policies to address the issue of diversity. The program offered GB£1500 scholarships, mentoring, broadcasting and publication opportunities, successfully diversifying its applicant pool and providing positive mentoring experiences for 81 per cent of participants (Shaw, p. 4).
Mentors, many of whom reported thinking about how much the literary industry’s entry pathways had changed since they first began their careers, were motivated by empathy. The program's collaboration resulted in more diverse entries and strong, ‘tailored’, longer-term mentor-mentee relationships (Shaw, p. 9–10). In addition, the mentors discussed the significance and value of giving their time freely, as opposed to being told to participate by an employer or paired with a mentee they ‘could not bring value to’ (Shaw, p. 9).
However, respondents in the Publishers Association Workforce Survey and participants of A Writing Chance expressed concerns about limited resources, which led to suggestions for partnerships between publishers and grassroots organisations to better engage under-represented communities. Literature development organisations, which have the trust and attention of their local communities and have formed long-lasting relationships with them, could be a valuable asset. Mutually beneficial partnerships between a literature development and a publisher, or an alliance of publishers, built on commitment and an understanding of inequalities could work together to draw in potential writers, editors, and booksellers from communities that have otherwise been alienated from the literary industry (Saha and van Lente, p. 39).
Overall, an examination of the UK’s publishing industry structure—which bears many similarities to Australia’s—and DEI initiatives points to a need for long-term investment and commitment to diversity policies, engaging the appropriate and relevant media channels, establishing writer development programs while taking participants’ feedback into account and forging new partnerships with existing advocacy and development groups.
As of 31 January 2023, the UK’s Publishers Association has launched the Inclusivity Action Plan, which consists of ten commitments for publishing companies to fulfil between 2023 and 2026. This will include a new method of data collection—a survey conducted every two years (Pinkney 2023). Only time will tell what results the various DEI policies and strategies set forth by the country’s publishing teams and literary development organisations will yield.
Case study 2: Canada
Much like the UK and Australia, Canada also has a flawed demographic alignment relative to its population in its publishing sector. In the 2020–2021 study conducted by the Writers’ Union of Canada, about 81 per cent of participants survey participants identified as White and 19 per cent as Black, Indigenous, and People of Colour (BIPOC). Given that roughly 27 per cent of Canada’s actual population is BIPOC, minority community members in the Canadian publishing sector appear to be under-represented (Chong and Tregebov 2022, p. 8).
The demographic of Canada’s publishing industry does appear to be turning increasingly diverse. A study over approximately two months presented that respondents who identified as members of non-dominant demographic groups, such as BIPOC, LGBTQ2+, disabled and women have entered the publishing sector in greater numbers than dominant majority demographics (Chong and Tregebov, p. 4).
The report’s recommendations do not vary greatly from those of Australia’s literary experts. Respondents in the survey stated, ‘There’s no shortage of diverse authors, but there is a shortage of diverse publishers, agents, and editors. We need better representation in those fields so that authors from all walks of life can be better supported’ (Chong and Tregebov, p. 4).
Other recommendations highlighted in the report include: supporting small presses with grants and residency programs; promoting books and authors more widely; reviewing the creation of new prizes; re-evaluating prize, residency and grant opportunities that set arbitrary barriers authors encounter which might suspend publication (such as age limits) and making DEI training for employees mandatory (Chong and Tregebov, p. 23).
While author Sarah Raughley (2022) does agree with the suggestions outlined in the article, she also recommends that publishing leave its microcosm and explore different spaces. Says Raughley, ‘… along with the practical material support of funding and residency opportunities, there needs to be pedagogical support in changing minds and transforming ideologies’ (2022). Essentially, Raughley believes that community outreach programs, cooperation with artistic activists, national academic lecture series and workshops and career guidance programs for K–12 and college students are necessary to educate younger demographics on the importance of diversity (2022).
Conclusion
Comparative analysis of DEI initiatives between Australia and other countries
The UK’s Publishers Association has numerous DEI initiatives underway, including apprenticeships such as the Cambridge University Press Apprenticeship program, Faber & Faber’s bursary for a twenty-week BAME internship, Hatchett UK’s Fresh Chapters program and HarperCollins UK’s BAME traineeship, among others (Publishers Association, n.d.).
The Writers’ Union of Canada hosts virtual conferences for BIPOC writers to connect with, facilitate mentorship with, join workshops on, engage in industry panel discussions and network with industry professionals and fellow writers. They also offer community outreach for school visits through the Writers-in-the-Schools program (The Writers’ Union of Canada n.d.).
The Australian Publishers Association has a Diversity and Inclusion Plan that includes data collection and synthesis, educational resources such as cultural competency training, the Residential Editorial Program for First Nations editors and an ongoing project by Diversity and Inclusion Working Group to focus on intersectionality in publishing (Australian Publishers Association 2024).
In total, the UK and Australia appear to be the most active in terms of nationwide DEI strategy implementation in the publishing sector.
Summary of key findings
A close examination of the status of diversity in Australia, the UK and Canada has unfortunately revealed a complicated truth: that diversity is diverse. Though there are many initiatives in place and many suggested approaches, the development of opportunities for minority demographics continues to grow at a sluggish rate.
Firstly, there seems to be a push for universities to be proactive in recruiting students into the publishing industry. A research article that surveyed members of organisations affiliated with scholarly publishing concluded that the onus for diversifying the publishing industry is on university press and commercial scholarly publishing firms in particular (Greco, et al. 2016, p. 100). Greco, et al. saw undergraduate and graduate students as a pool of under-represented communities who could potentially take positions in the publishing sectors (p. 100).
Another method to attract potential publishing employees who might otherwise be apprehensive about joining an industry they perceive as hostile to them is to educate and engage in conversations about difficult topics, according to Radhiah Chowdhury (p. 51). Chowdhury claims that the Australian literary community tends to shy away from important but uncomfortable discussions about appropriation and exploitation, and publishers and authors need to have conversations on such matters (p. 51).
A third area of focus is in the marketing of marginalised writers’ works. Hannah Ehrlich, director of marketing and publicity at Lee & Low Books, states that to market multicultural books, forming connections with influencers who can be ‘evangelists’ from the communities the book is about is important (Ho 2016). Ehrlich claims that educators and librarians have always supported diverse books before they were trending, and that the trade market is only ‘beginning to catch up’ (Ho 2016).
The final, recurring recommendation, and perhaps the most important, is community—both in terms of internal development and community outreach. Publishing professionals, consultants, and activists alike call for increased community outreach via workshops with students from every level of education, collaboration with local grassroots and activist organisations, improved staff support systems and transparent, in-depth communication between booksellers and publishers to gain a better understanding of target audiences and building a more welcoming environment for historically excluded demographics.
As stated in Rethinking 'diversity’, the UK market is just beginning to implement this type of publisher-bookseller consulting. Given that there are fewer participants in the bookseller industry to involve in discussions regarding inclusivity and accessibility, Australia’s smaller market may actually be advantageous in this situation. Publishers can also collaborate with the thriving public library sector to promote diverse authors and foster inclusive reading communities, as Ehrlich has suggested (Ho 2016).
Though the currently minimal existence of marginalised publishing employees in the Australian publishing industry may seem disheartening to prospective writers, editors, publishers and agents, one should keep the words of Phillip Jones in his introduction to Rethinking ‘diversity’ in mind: ‘Late though it arrives, we should not ignore progress when it occurs’ (Saha & van Lente, p. 7). Or, as Radhiah Chowdhury succinctly puts it, ‘It’s not all fire and brimstone, doom and gloom’ (p. 55). Though the Australian literary scene may appear hostile to FNPOC individuals, an increasing number of marginalised individuals are finding a foothold in the industry (Chowdhury, p. 55). The ongoing DEI initiatives and strategies, and the workplace demographic studies being methodically carried out in response to them, show that with consistent advocacy and action, the industry will continue to evolve.
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Kyi Yin Min Khin (she/her) is an aspiring writer/editor from Yangon, Burma. She writes about history, culture and social justice. With her recent migration to Melbourne, Yin’s work now explores the intersection of communities, heritage and modern challenges.
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