The author of Babel and The Poppy War, Rebecca F Kuang, has said she finds the idea that authors should only write about characters of their own race "deeply frustrating and pretty illogical".
For centuries, fictional narratives have used outer difference to telegraph inner monstrosity. As someone who uses a wheelchair, I've learned you can't just edit out a few slurs or bad words to fix this - it's often baked deep into the story
Publishing houses have set the cat among the pigeons. They have introduced "sensitivity readers". Some authors are claiming this amounts to censorship. But what is the truth of this relatively new practice? Read more
The idea of editing Shakespeare to eliminate doubles entrendres and naughty words to fit in with 19th-century social mores now seems preposterous, although presumably his publishers-Messrs. Longman, Hurst, Rees, Orme, and Brown-thought it was a pretty good idea at the time. Read more
In the fallout following the news that Roald Dahl's books have been sanitised, there has been a puzzling discussion around the meaning of censorship. More than one commentator has stated that Puffin Books and the Roald Dahl Story Company (now owned by Netflix) are not censors because this was a business decision.
Handing down beloved books to your children is one of the best things about being a parent. And so like countless others raised on Willy Wonka's golden ticket and the BFG's jars of dreams, of course I was thrilled to relive the Roald Dahl books with my son all over again. Read more
Under book publishing's trending best practices, historical authenticity can be secondary to appeasing people's sensitivities. I'm qualified to say this based on my recent experience as a literary agent on behalf of a client.
Author Anthony Horowitz has said it's wrong "writers are running scared" due to a fear of offending, elaborating on comments he made earlier this year at Hay Festival.
On 5 July Picador, which is part of the Pan MacmillanOne of largest fiction and non-fiction book publishers in UK; includes imprints of Pan, Picador and Macmillan Children’s Books conglomerate, announced that its publishing director, Philip Gwyn Jones, was stepping down "by mutual agreement" after two years in the role. Gwyn Jones, a respected publisher with long experience, had been criticised for his handling of a row over Kate Clanchy's memoir, Some Kids I Taught and What They Taught Me. Read more
‘I was very aware that because the manuscript has my name on it, people would just publish it, however bad it was, and I wanted honest feedback. I wanted to know that someone believed in the book and I truly enjoyed getting unvarnished feedback through my agent. There was one editor who did not like Strike having a famous father and made that point.
'My theatre background has probably helped me be a braver writer and maybe more rigorous, too: the theatre can sustain bold and abstract ideas, but not slow or sloppy storytelling'
Theatre producer Ellie Keel's debut novel, dark academia thriller The Four was published on 11 April by HQ.
In April of this year, Timothy Garton Ash collected his reward money for winning the prestigious 2024 Lionel Gelber Prize.
Today, in Kyiv, the Oxford University professor presented what he bought with it - a new set of reconnaissance drones for immediate use in the war against Russia.
Acclaimed for her accounts of the darkness and desire found in everyday life, ‘the Canadian Chekhov' has died, having suffered from dementia for more than a decade
Shimmr AI, an artificial intelligence start-up that aims to help publishers promote more of their list, has recruited a host of high-profile advisers from across the books industry, signalling the firm's plans to "deploy globally".
As Little, Brown's SFF imprint Orbit celebrates its 50th anniversary, publisher Anna Jackson reflects on its current record-breaking run and on building the brands of the future.
'In the tale, in the telling, we are all one blood. Take the tale in your teeth, then, and bite till the blood runs, hoping it's not poison; and we will all come to the end together, and even to the beginning: living, as we do, in the middle.'