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Stop moaning about sensitivity readers – if there was diversity in publishing we wouldn’t need them | Juno Dawson
Since 2011, all my book editors have been white. Why wouldn’t I want another perspective on the characters I invent?
Until a few years ago, only publishing industry insiders would have understood the role of the sensitivity reader. Then came American Dirt. The Jeanine Cummins novel sold to a US publisher for a seven-figure advance, was chosen for Oprah’s Book Club, and was touted as “the new Grapes of Wrath”. On release in 2020, early readers noted that the white author’s depiction of Mexican people was, at best, flawed, inaccurate, and riddled with stereotypes and, at worst, simply racist.
A sensitivity reader is an additional editor who works alongside the publishing house staffer who acquired the rights to your book. This individual will conduct a very specific read of the manuscript, and offer notes on characters from marginalised groups, or elements which may cause offence. The argument goes that if American Dirt had been sufficiently scrutinised by a reader of Mexican heritage, some of the furore could have been avoided.
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