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 U.S. publisher for a seven-figure advance, was chosen for Oprah's Book Club, and was touted as “the new Grapes of Wrath”. On the book's 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.
The publishing industry is split over the increased usage of sensitivity readers. Lionel Shriver said she would rather quit writing than have her work scrutinised. John Boyne tweeted: “No serious writer would ever allow their work to be so sanitised.” Kate Clanchy claimed sensitivity readers “sullied my memoir to suit their agenda”, and parted ways with the publisher who employed such professionals. [...]
When writing my forthcoming adult debut, Her Majesty's Royal Coven, I created a character called Leonie, a mixed-race woman from Leeds. [...]
There were elements of Leonie that were very familiar to me. Like her, I'm from Yorkshire, I'm queer, and I am ambitious. Unlike Leonie, I am white.
So, to the surprise of my UK publisher, I petitioned to get a sensitivity reader. If I was to include Leonie in my book, I wanted to know I had done her, and myself, justice. My publishers agreed so I sent my manuscript to a sensitivity reader, herself a mixed-race woman, and I waited to hear her thoughts.