Muh diversity = no writing

The sacred publishing industry will shoot themselves in the foot before admitting that their push for diversity is doing exactly what I always said it would do. Drive people apart.

The end result of this “cultural appropriation” craze is that there’s no place for a white writer. I’ve been told by several editors to change names so that it has a “more diverse representation”. In essence, I’m told that I can’t put in a western civilization caucasian culture through names (of course, as a Hispanic writer, I may be culturally appropriating that now that I think about it…). If you can’t write that, and you can’t write other cultures, the logical conclusion is you’re NOT ALLOWED TO WRITE.

This is crazy in the land of the free, censoring what can be said and told only by certain segments of the population. It’s gotten so far out of hand that I’m to the point where I’ve advocated against gatekeepers before: but I think it’s high time writers write-off all traditional publishing. If this is the end result, you cannot create what you want, you cannot think the way you think, you cannot have been unfortunate to be born with a certain skin color, you cannot worship God and be outspoken about it, you cannot vote the wrong way and have it be known. That’s a lot of cannots! And that mentality is squashing the pool of artistic talent out there, as well as killing sales. Readers don’t want to be told what’s appropriate for them to read either.

Write what we want and stick to the narrative. Otherwise you have committed wrong think and shall be expelled!

I’ve heard of white writers being forced to change their name. Particularly male authors. For women who love claiming muh oppression for not getting published or for PoC doing the same, there are an awful lot of white males using female pen names to get published these days. And it works. The link above for this article talks about it.

If you’re white and male, don’t bother with traditional publishers. Don’t give worth to their constant need for validation. And don’t ever let them clarify your own.

4 thoughts on “Muh diversity = no writing

  1. True story: I had a flash of creative inspiration for a young adult sci-fi series that would span at least four novels. A teenager finds malware on his computer that leads him to a team of maverick billionaires in the desert building a rocket to the Moon. Through the course of the series, the teenager would grow up and experience a life of discovery and independence in a society changed by commercialized space travel.

    I drew a visual story map for the story and the characters. I wrote a single-page series outline, then went overboard writing a 50-page (!) story treatment of the first novel in the series. “It’s so cinematic and unlike anything else available for kids to read today,” I told myself. “This could be big!”

    But I realized that my three of my main characters were white American males. So, I re-wrote everything I had to make the lead character female and gave her a Latina best friend rather than a little sister. To appeal to international audiences, I made the richest billionaire Chinese. Then I made the youngest billionaire a handsome Saudi prince with no overt religious leanings and part of a love triangle for the lead. “I gotta add diversity,” I told myself. “If my novel doesn’t have a diverse cast then no real publisher will look at me.”

    As I looked for tips on writing forums on how to get in touch with publishers, the term “cultural appropriation” kept coming up. Maybe publishers wouldn’t object to my novel’s lead character being a female because I was male, but it was obvious that other writers–and a large contingent of people on Twitter–would *loudly* object. How could I possibly write strong female characters with any credibility? I was a white male with a day job in a corporate office. It was obvious that only a female writer could sell this female-driven young adult novel to a publisher.

    The daughter of a family friend was starting her first year at a New York college to study acting, so I told her that I would pay her 50% of the profits if she would put her name/face on my novel, pretend she wrote it, and shop it to local publishers. “You could be the next J.K. Rowling and Suzanne Collins rolled into one!” I told the young actress. She agreed the lost interest after about a week of me fleshing out the 50-page story treatment.

    “Forget it,” I finally said. “Realistically, nobody was going to ever publish this book; let alone read it.”

    That was two years ago. I’m sure it’s only gotten worse.

  2. I’m just finishing a new novel myself, and I have serious doubts as to whether or not I’ll even try mainstream publishing. Luckily the AFA gives a platform to its members.

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