The Writer - 01.2020

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digital story collection, History of
Magic in North America, came under
fire for inappropriately comparing
Navajo tradition to magic. More
recently, young adult author Amelie
Wen Zhao postponed the release of her
debut novel, Blood Heir, when other
authors and readers (who had received
advanced copies) highlighted racism
and anti-blackness in the fantasy’s
underlying themes.
Readers are advocating for more
thoughtful writing by using social
media as a tool to get more eyes on
problematic language.
And it’s working.
Last year, YA authors Keira Drake
and Jonah Winter both weighed in on
how social media backlash encouraged
a more thorough examination of repre-
sentation in their work – and these
types of testimonies have helped other
cross-cultural authors understand the
importance of sensitivity readers.
Margaret Owen didn’t second guess
hiring a sensitivity reader for her debut
YA fantasy, The Merciful Crow.
“Working with sensitivity readers
was an obvious and easy choice for me,

and I feel very lucky to have a publisher

that supported that. Even though the

book’s setting isn’t analogous to any one

real-world society, it has some very real

dynamics and power structures. It was

important to all of us that we not harm

readers who have already been hurt by

those dynamics and power structures,”

says Owen.

Once a critical tweet or post goes

viral, it has the potential to bring lots of

negative attention to a manuscript (in

some cases, before the book is even

published). No doubt, this criticism can

jeopardize the author’s career.

But there's an even greater risk of

harming young readers – reason

enough to make hiring a sensitivity

reader, or targeted expert, a fundamen-

tal practice when writing for the chil-

dren’s market.

•••

What’s the best course of action if you

are, indeed, writing outside a lived

experience?

 First, understand this: Characters

should represent the real (and diverse)

world and should not solely be

included in order to satisfy a quota.

Author Justina Ireland, who formerly

maintained the “Writing in the Mar-

gins Sensitivity Reader” database,

believes that “sensitivity reading can be

a valuable tool for authors who have

done the due diligence and have

worked hard to analyze their own

place within systems of oppression.”

 Next, you’ll want to hire an expert

reader who offers lived experience

similar to the characters and themes in

your work. When searching for the

best reader or expert for your project,

request references and clarify rates

(which can range from about $250 to

$600 depending on the manuscript’s

genre, length, and targeted age range).

Be sure to solidify all details in a writ-

ten agreement.

Ebonye Gussine Wilkins, CEO of

Inclusive Media Solutions, suggests

“hiring two to four readers when possi-

ble, as no one reader can represent an

entire group.” Gussine Wilkins is a

social justice writer and multifaceted

sensitivity reader. In addition to pre-

sentations on sensitivity reading with

the Editorial Freelance Association, she

provides method-based coaching (and

a co-written booklet) for those looking

to add sensitivity reading as an editorial

service. Gussine Wilkins has even hired

several sensitivity readers for her own

work. “Each time I’ve hired a sensitivity

reader, I’ve learned something impor-

tant and useful that stays with me. That

knowledge helps me refine my work,”

says Gussine Wilkins.

 After your work has been reviewed,

weigh the sensitivity reader’s sugges-

tions with care and an open mind.

Remember that the advice from sensi-

tivity readers or targeted experts gives

perspective from a marginalized lens.

It’s important to review feedback with-

out further exploiting these voices.

Owen confirms the necessity of hir-

ing a sensitivity reader or targeted

expert. “As for my experience, it was

great! Some feedback was broad, but it

was all heartfelt, insightful, and incred-

ibly helpful. My readers did a wonder-

ful job of not just identifying areas to

work on but also providing extra info

and nuance to consider in other areas.

I know my book is better for it.”

Tonya A bar i is a freelance writer, editor, and

bias/sensitivity consultant. The former class-

room teacher now writes pieces on intersec-

tional parenting, cultural awareness in

curriculum and assessment, and diverse kidlit

book reviews. Her work can be found on plat-

forms like Romper, mater mea, Womanly Maga-

zine, and Business Insider. Tonya enjoys

traveling, unschooling a curious preschooler,

and spending quality time with her spouse. You

can catch her online at tonyaabari.com or on

Instagram.com/iamtabari.

WHERE TO FIND A

SENSITIVITY READER OR

TARGETED EXPERT:

Writing Diversely

writingdiversely.com/directory

Quiet House Editing

quiethouseediting.com/

meetthediversityreaders.html

Inclusive Media Solutions

inclusivemediasolutions.com

Patrice Williams Marks

patricewilliamsmarks.com/sensitivity-

reader-and-reviewer-service-sensitivity-

check-for-authors-writers-corporations-

ad-agencies-gaming-developers/