Identity Policing, Forced Outings, and my Thoughts on Coming Out in Publishing

Growing up as a queer kid in the 90s/00s in Canadian conservative country was, at the best of times, an incredibly isolating experience. There were no Gay Straight Alliances in my schools, many of my peers stayed in the closet longer for fear of rejection, and the bigoted jokes that played on loop across mainstream TV left the impression that I was a queer island in a sea of heteronormativity - separated from kin by thousands of miles. The only thing that helped bridge the seemingly endless distance was fiction - the few published books I could find featuring LGBTQ+ characters, as well as the budding online communities where queer folks could freely gather and share their stories.

I lived in those online queer spaces, but I kept going back to the bookstore, seeking out titles that maybe, just maybe, featured someone who felt like me. Whether the book was excellent or terrible, I found myself flipping to the author bios, searching for some evidence that the author was queer. I was always skeptical, and a little disappointed, when the author appeared to be straight and cis, or there was no indication as to their orientation. It felt like a sort of appropriation, and I was desperate to find the raw authenticity of queer stories told through an author's queer perspective. 

So I get it. I get the queer fans calling for writers to come out. I get the editors and agents who are seeking the security of marginalized authors who write in their lanes. With a limited number of books that can be published in a year, everyone with stock in the game wants to ensure the author they’re betting on is a safe gamble. Everyone wants authenticity. They wants to know: who are you to write this story? 

But do they have a right to know? 

When I entered the world of publishing in the late 2000s, young, bright-eyed and bushy-quilled, the

concept of author brands was gaining traction. As social media took hold, many in the industry quickly recognized the value in an author's "personal brand” and began pushing authors to develop loyal fanbases that would follow them from book to book. Today, this expectation is thrust on authors more than ever. Even when it’s not written directly in contracts, there’s an expectation that authors do a fair amount of their own promotion through social media, turning them into quasi-influencers. 

Over the last ten years, there's also been a growing cultural acceptance of and expectation for LGBTQ+ representation in media. As more queer kids grow up seeking queer stories, publishers quickly realized there was more money to be made appealing to the interests of queerdos than burying any mention of LGBTQ+ characters or themes under vague back jacket blurbs. All of this, in turn, changed how editors and agents evaluated potential clients and acquisitions. Industry professionals began looking for writers whose potential (or already constructed) author brand would align with the target audience's value system, reinforcing a parasocial relationship that would boost sales. #OwnVoices launched with the intention of supporting marginalized creators and connecting fans to the authenticity they were seeking, but was quickly co-opted by industry professionals into a catch-all branding term that identified more "marketable" clients. Fan and writer communities also weaponized the hashtag against marginalized creators to scrutinize their identities, histories, as well as gatekeep communities. (If you want to read more, BitchMedia wrote articles on the pressures on queer authors and authors being forcefully outed by the industry. R29 also wrote on the effects of #OwnVoices on books.)

Despite the retirement of #OwnVoices, this pattern of identity policing shows no signs of slowing down. On the one hand, readers aren't wrong to ask what an author's relationship is to the community they choose to write about. Young readers may do this as they attempt to find the same safety and solidarity from within the book in the real world, so it makes sense they would start with the author of the escapist fantasy that has already comforted them. On the other, the expectation that some of the most sensitive parts of our identity must be integrated into an author brand so we may be "allowed" to publish stories about marginalized communities feels ridiculously authoritarian. Not only does #OwnVoices not guarantee authenticity or credibility (as two people with the same identity may have vastly different experiences and perspectives), but the enforcement of authenticity above all harms and chases away marginalized creators, while limiting an author's career. An author’s consent in disclosing their identity should be prioritized above all, and silence should not be assumed to mean they don’t belong. I do hope more authors reveal more of who they are for the sake of representation, especially for YA and MG authors whose audience are likely looking up to them as role models, but no one should be pressured to build their entire brand—or identity—around a single diversity trait. Maybe by policing author brands, we'll catch the occasional con artist who seeks to insert themselves into marginalized communities to profit off them, but we'll harm a far greater numbers of allies, closeted people, and marginalized creators in the process. 

Cat Tax

As much as the idea of turning yourself into a 'product' still makes me uncomfy as all hell, I've seen a lot of value from building a brand that centers on you. I tend to be a bit of an oxymoron when it comes to self-disclosure. I don't like to talk about myself, but I wear everything on my sleeve, no secrets here. When considering my own brand, both as an author and a freelancer in the industry, I had to seriously consider how much of myself I wanted to place on the internet for public consideration. How to balance privacy and minority representation. How much I wanted to build a community centered around my LGBTQ+ identity vs other aspects of my personhood. How much of my career history I wanted to sacrifice to preserve my privacy. 

Some identities are easy to hide. Some aren't. Some minorities can walk into a room and blend, while others have it literally written on their skin. Being trans lets me exist in a strange reality where I'm both. At a certain point, I will pass enough that most people won't be able to tell that I'm from a minority group. Other times, it is painfully impossible to hide, and I have to put my safety in the hands of strangers in public spaces, hoping my identity doesn't upset those around me. But my personal brand grants me an opportunity: I could delete my blog, let go of my contacts and twitter, and essentially start my brand and business from scratch. It would completely disconnect me from my old name, gender, etc., yet I'd also sacrifice over ten years of work just to keep this part of myself hidden, while also surrendering a chance to provide representation for other transgender individuals. 

When put like that, the answer felt simple. At least for me.

So, hi. I'm Kyle, a transman. Nice to meet you. Come in, take a seat. I’ve got cookies around here

somewhere. 

I've been coming out slowly, tactically, in each new environment, like a solider behind enemy lines, and finally I've come to storm the online trenches. For me, being open about who I am and the changes I’m going through grants me the space to be a more authentic writer, which is why I’m choosing to publicize this change and my thoughts with this blog post, instead of quietly changing over my name and hoping no one notices. During my rebranding, I seriously considered whether I wanted a trans pride flag in my new banner, an easy way for other trans people to recognize the solidarity and connect, if they wanted to. Yet I hesitated, and ultimately chose not to include any identifiers in banners or bios, other than the vague title of "queerdo.” I know I’ll talk about it quite freely, so it will by no means be a secret, but I don’t want to advertise myself based on that feature and build an expectation with my audience that LGBTQ+ rights are a main focus of my art. Cause they are and they aren’t, and I don’t want to pigeon-hole myself artistically or have to publish under multiple pen-names, each with their own authorial branding. 

While coming out in this way works for me, the expectations of author transparency need to change. That disclosure of identity should be treated with respect – as the gift that it is, instead of something we’re entitled to. To help let go of this entitlement, the reigns need to be loosened on who "owns" what stories, and we need to let go of this desperate grab for an imaginary supreme authenticity. I believe very strongly in research, authenticity readers, and seeking to elevate representation of minority groups, but that can be achieved through criticizing the work, not the person. Somehow, in our push for more diversity, we expect marginalized individuals to act more alike than ever: conforming to single narratives about what it means to be gay, lesbian, Indigenous, an immigrant, etc. and labelling others as "bad rep" for not assimilating their own experiences into the dominant narrative. Author consent and autonomy needs to be central if we want to reverse the assimilation trajectory and get back to, you know, actually supporting and celebrating diversity. 

As Alanis Morissette would say, "Isn't it ironic..." 

Too Sensitive for Sensitivity Readers

Quote from Kira Hawke

'Twas the day before Christmas, and all the writers on twitter,

Were snuggled in their jammies, filled with wine and baked fritters.

When a post appeared online that arose such a clatter,

and had writers yelling, "Sensitivity readers matter!"

The New York Times is known for ruffling feathers in the YA community and kid lit with tone-deaf articles based in sensationalism rather than the full picture. Just in time of the holidays, they've gifted us with a new piece called, In An Era of Online Outrage, Do Sensitivity Readers Result in Better Books or Censorship? in which NYT picked and chose their words in a way we might call censorship to make it seem like the white authors who've used sensitivity readers were victims of an oppressive scheme to destroy art. I hate to give articles like this any extra hits but I think it's important to read the other side of the story (hah). Plus, I like knowing the opposing viewpoint, so I figured you would to.

So What Are Sensitivity Readers Anyway?

When an author finishes writing a book, it's not actually finished. Not if that writer has plans to publish it in any way. As said in many acknowledgement sections in books, "writing is a solitary art, but publishing is a group project." When someone writes a story, it is a wholly personal thing, a reflection of what's in their heart, and a testament to their experience. But once that person shares their story with others, it's no longer theirs. Readers are affected by it, and they ascribe their own interpretations and meaning that can change the message actually being conveyed, which makes the whole writing-publishing process a bit trickier. At the end of the day, you are trying to convey a message or story, and you want to do that as clearly as possible without inadvertently having your narrative say something you didn't mean to, such as reinforcing racism. This is where sensitivity readers come into play.

Sensitivity readers are a part of a book's editing stage, and are similar to beta readers. What makes them different is they are specifically looking for how a minority group is portrayed on the page, looking for accuracy, and to get rid of things that might be offensive. When writers write outside their cultural experience, they can sometimes get it wrong. No matter how much research one does-- and writers often have to research non-stop while writing-- when writing about a different way of life, tiny inaccuracies can pull readers out of books, can cause readers to put it down, or just plain offend someone. (Think of the marine biologist getting so worked up over Jaws inaccuracies, then imagine POC and minorities feel that except x100000). Sensitivity readers are people with the same experience or background as the characters, who can (hopefully) pick out the things that would be culturally insensitive or inaccurate. That way we could avoid the whole cycle of people getting mad on the internet and poorly worded apologies and conveniently trying to forget that book is a thing.

Notes from sensitivity readers hold no more power than a beta reader or your mom's opinion ("Oh sweetie, your characters shouldn't use so many naughty words") and though major publishing houses are starting to hire them, most sensitivity readers are unpaid, unofficial, and just trying to help out their fellow writers. Though some people's reactions have been harsh, sensitivity reads are a voluntary thing for writers, and many do seek them out. Because at the end of the day, this is a craft issue. Characterization is a major component of good writing and this is just another side to writing characters. For decades, publishing has, and most media as well, assumed the only experience out there is white, able-bodied, straight, with westernized views and a Christian background. That any other experience is considered 'niche,' 'specialized,' and in a 'significant minority,' and most people have the same experience in life. Slowly, we're realizing the opposite is true. Each of our experience is so varied and our culture hugely affects how systems and people react to us, that we can't paint all people in one brush. That even the experience of walking down the street is hugely different if you're white, compared to black or Muslim. Now that we're realizing that, we are striving to make each character's experience wholly accurate, and sensitivity readers, or input from people in the same shoes as your character, is vastly helping writers improve their craft. We're taking characterization to a new, better level. We're bringing our literature to eye level with reality, so we can more accurately express what it's like to be alive in this world.

The NYT article really said it best in the article with: "Like fact checkers or copy editors, sensitivity readers can provide a quality-control backstop to avoid embarrassing mistakes, but they specialize in the more fraught and subjective realm of guarding against potentially offensive portrayals of minority groups, in everything from picture books to science fiction and fantasy novels."

Oh yeah, fact checkers handling some seriously subjective subject matter. Which is probably why things are getting a little explosive.

The "Outrage"

I hate how the word "outrage" has been used lately. It's thrown out as a demeaning phrase used to devalue legitimate concerns, often raised by people of colour. Adding "online" seems to knock it down another peg, insinuating that because it's done online it has less merit somehow. It's not people marching in the streets, so it must not matter. Which is utterly ridiculous.

Minorities and people of colour have for decades felt this level of outrage for misrepresentation in

Black people protesting Birth of a Nation in 1915

media. Sometimes, before the days of the internet, they took to the streets to express their disgust at the level of harmful misrepresentation. Now that we have the internet, there is a public platform for minorities and POC to voice their concerns-- allowing publishers to easily see it and respond. Which makes it so much harder on the part of publishers, producers, creators, everyone, not to take responsibility for these things. If you know better, you do better. Or isn't that what we expect of each other? Publishing is beginning to listen to these concerns and is responding with sensitivity readers, especially children's publishers. As they publish content for the most vulnerable and impressionable, they need to ensure their representation is accurate. More than just making POC kids feel bad about themselves, books with stereotyped characters and cultures can indoctrinate white kids (or those unfamiliar with that culture) with inaccurate and harmful information, which perpetuates the racist and white supremacist systems in our society.

For most writers, this all seems pretty simple. Writing about a major medical incident? Get a doctor to read over your manuscript. Writing about Victorian London? Consult a historian. Writing about Navajos living on the reserve? Maybe you should talk to a Navajo living on the reserve.

One of the examples from the article really hit home the importance of sensitivity readers, especially for me, as someone who works with kids in foster care and who are in adoption processes. Kate Milford received feedback from sensitivity readers for her middle grade novel Ghosts of Greenglass House, who, like her character, were also adopted internationally by white American families. "In one small but meaningful change that a sensitivity reader suggested, she stopped referring to Milo’s mother and father as his adoptive parents, and simply called them his parents." This, to an adopted child, is a huge change they would've definitely noticed. They are often highly sensitive to the concept of "real" families and belonging. So reading this book, it may be a trigger for them to see a distinction between "my adoptive mom" and just "my mom" normalized in a published book. That word sticking out there reaffirms that they're outside the norm which can have damaging effects to their self-esteem over the long run.

So where's the problem? Sensitivity reading seems to do a lot of good. But the article, as well as some writers, seem to suggest this is all censorship.

Censorship? 

Cries of censorship echo all across the writing world, flying hand-in-hand with sensitivity readers. Yet I have trouble seeing the issue, especially when the process of sensitivity reading is the same as beta reading but with a different focus, and we didn't see cries of censorship there. Some writers (primarily white) are feeling afraid in this climate to "write outside their lane" as they fear getting it wrong and the inevitable backlash. Some are even claiming that they don't feel they can write about people of other backgrounds anymore, which doesn't make any sense to me. The whole point of sensitivity readers is to allow writers (primarily white) to write outside their own lane and do it successfully. The NYT article claims this is leading us to more homogeneous literature, when really the scrutiny towards accurate representation will allow us to write wider and write better. Instead of relying on internalized stereotypes and assumptions, we can get the inside scoop to allow writers to improve their craft and connect better with readers. Some critics are claiming that sensitivity readers are only one voice of a minority, and one black person can't speak to how all black people will feel. And while I agree wholeheartedly, it is still better to get the opinion of a few black people rather than none, is it not?

Criticism hurts at any point. It sucks to be told that the writing you've poured your heart into is bad, but that's all part of the process. If you want to improve, you have to take a hard look at your faults. If you want to publish, you have to be aware of your impact.

Shades of Magic series

Real censorship is awful, but criticism isn't censorship. Censorship is what happened to author VE Schwab. Her fantasy series, Shades of Magic, contains a gay relationship which was redacted from the Russian publication of the series without her permission. The contract stipulated that the plotline would remain, but the Russian publisher breached the contract to keep in line with the Russian "gay propaganda" law. Censorship comes without your knowledge or your consent. Censorship is the suppression or elimination of information. Sensitivity reading is the improvement of your content so you can tell the story you want. Sounds like the opposite of censorship to me.

People who take up arms against sensitivity reading don't have a lot of answers to the concerns POC raise about the lack of diversity in publishing. Nor do they really care. The way publishing Has Always Been benefits and suits them, and it can be difficult to engage people who can't see problems outside their own experience. So they claim that those who "don't like what's being published" should go off and "start their own" publishing houses/imprints/magazines/etc/etc. Aside from how difficult that is for people who don't come from rich backgrounds, POC have been starting their own houses/imprints/magazines/etc/etc for decades now. They've put in the work, building everything from the ground up just to publish works with accurate representation, and are still outpaced by big publishing houses who continue to publish books with harmful representation. Segregating publishing does nothing to address the problematic books being published all across the board.

The Core of It

Why is all of this such a big deal? Why should we even have to bother with sensitivity readers? At the end of the day, the need for sensitivity readers reflects the lack of diversity in the publishing industry. Where are the black editors? The Muslim agents? The Asian-American immigrant book reviewers for major publications? The more diversity we have within the industry itself, the less we'll have to reach out to sensitivity readers working unappreciated on the fringes. We're already asking for these people's input, and it's about time we put them in places where they can use their input to influence publishing. Not only will that open the door to more unique voices, but it will help to build sensitivity reading into the foundations of publishing itself, which is something we're long overdue for.

As it stands now, most of the gatekeepers within the publishing industry are of that white, straight, able-bodied, westernized, Christian background, and so don't have the experience to culturally vet so widely. That is also why we have more of a focus on white experiences. This is also why it's so much easier for white people to publish books about POC than for POC to publish books about POC. The expectation is (because the industry is mostly white) that the audience will also be mostly white. So even when books on POC are published, it needs to be through the viewpoint of a white person to make it more appealing to the "general" audience. And once that "Book about POC" slot is filled on a house's list (and because the assumption is the audience majority is white, there usually is only one or two slots a year for books about POC), most other submissions are shit outta luck until next year. So even when publishing about POC, white people still have the advantage to get those coveted spots of POC books to be published that year.

At the end of the day, sensitivity is nothing to be afraid of. If you want to write about black people, don't you want to get it right? If you're publishing anything at all, don't you want to make sure you put your best work forward?

And if your major concern is that there's too much focus on diversity, and we need less of it? Well then you can go fuck right off. Because we all deserve a voice. And it's about time we all learned to share the spotlight.

Books That Fight Hate

The world can be a scary place sometimes.

No matter how loud hate shrieks, love is louder. No matter how much evil there is in the world, there is ten times the amount of goodness behind that.

Since the American election, there has been a lot of fear and anxiety. As a Canadian, the whole situation has left me feeling heartbroken and helpless. I want to march along the streets and #resist, but I know this isn't my battle to fight. Supporting those who are hurting is my duty as a human, however, and something I will gladly do. On Twitter after the election, Justina Ireland, author of Promise of Shadows and Vengeance Bound, started a hashtag on Twitter called #BooksFightHate to promote diverse books written by marginalized authors.

People have since jumped on board to tweet out their favorite books that not only promote diversity, but that fight prejudice. I absolutely love the idea, and while there are a lot of lists out there promoting #BooksFightHate, I wanted to take it one step forward to include a short bio with each title to help people find the books they really connect with.

Most of the recs below are YA, MG, and some adult in the fantasy/sci-fi range. As publishing is constantly moving towards diversity, there will be more titles to add to this list. So if you see something I've missed, make sure to comment below and I'll add it. There has never been a more important time to support and spread the love for marginalized authors.

Books That Fight Hate 

1. Something in Between by Melissa de la Cruz

Goodreads Amazon

Jasmine is an overachiever with her whole future ahead of her- until she discovers her family's visas expired years ago. Now not only are her college prospects in jeopardy, but her family could be deported if they're discovered. Featuring a Filipino MC and deals with immigrant struggles. 

2. The Absolutely True Story of a Part-Time Indian by Sherman Alexie 

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Junior, a budding cartoonist, decides to take his destiny into his own hands as he leaves the reservation to attend school in an all-white community. Featuring a Native American MC, this book highlights the harsh reality for a lot of Natives living on reservations in North America, from Fetal Alcohol Spectrum and racism. 

3. Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Saenz 

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The story of friendship between Ari, who doesn't understand why he's so angry, and Dante, a quirky know-it-all. This is a coming of age story about friendship, family, and identity. Features a subtle, gay relationship between the two characters. 

4. The Hate U Give by Angie Thomas 

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Starr balances life between the poor neighborhood she grew up in and the fancy prep school she attends. But when she witnesses her unarmed friend shot by police, her entire world becomes upended. Inspired by the Black Lives Matter movement. 

5. When I Was the Greatest by Jason Reynolds 

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Ali has never been interested in the violence and drugs in his neighborhood, but his best friend, Noodles, is a ticking time bomb. Features a black MC and dealing with life in a rough neighborhood. 

6. A Wish After Midnight by Zetta Elliott

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Genna lives in a drug-infested world of poverty, but she's planning an escape to a different life. Until the night she makes a wish and is transported back to Civil-era Brooklyn, where she has to fight through a time still rife with slavery. Features a black MC, and her boyfriend from Jamaica takes time to make Genna appreciate her black skin and curly hair, which is really lovely to see. 

7. Time Keeper by Tara Sim

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Danny is a mechanic that fixes not only clocks, but time. After moving to a new town, he finds himself falling in love with his assigned apprentice-- who also happens to be the spirit of the tower's clock. Gay romance here. (I'm drooling over this one, not going to lie.) 

8. The Girl from Everywhere by Heidi Helig 

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Nix spends her days traveling everywhere on her father's ship-- if they have a map of it, real or imagined, they can go there. But the one map her father wants more than anything-- the one that will lead him to his love and Nix's mom-- could threaten to erase her existence. Plethora of diversity here, from Nix being half-Chinese, to loads of ethnic culture, as well as LGBT characters. 

9. Written in the Stars by Aisha Saeed

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When Naila breaks her family's rule by falling in love with a boy, they take her back to Pakistan to reacquaint her with her roots-- as well as to introduce her to the husband they have picked out for her. Featuring a Pakistani main character, this book focuses a lot on arranged and forced marriages and Pakistani culture. 

10. Tiger Moon by Antonia Michaelis

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In this fantastical Indian fairy tale, Farhad, master of disguises, sets out on a journey with his talking tiger to rescue a princess from marrying a demon king. Rich with Indian culture and myths, this is a true treasure to read. 

11. Run by Kody Keplinger 

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Bo is known for being a delinquent from a delinquent family. Agnes is legally blind and has never stepped farther than the end of her parents' leash. Together, they form an unbreakable friendship. So when Bo asks her to run, Agnes doesn't even question it. Featuring a blind MC and a bisexual MC (woo disability lit!) 

12. Gabi, A Girl In Pieces by Isabel Quintero 

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Gabi's final year of high school will be epic, if she can survive her best friend coming out gay, her other best friend's pregnancy, rape, slut-shaming, and reconciling her "Mexicanness" with her "Whiteness." What can I say about this one? Mexican MC, LGBT, feminism, oh my!

13. Sorcerer to the Crown by Zen Cho 

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In an alternate history of Britain, the sorcerer royal, Zacharias, ventures to the border of Fairyland to find out why the magic reserves are drying up. On his way he encounters a school for Gentlewitches, where young women have the magic stomped out of them, and meets Prunella, a young woman with a wealth of magical ability. In this book, Zacharias is a freed-slave turned sorcerer and faces a lot of issues with oppression and institutionalized racism. 

14. Not Your Sidekick by CB Lee

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For Jess, the best way to spite her superhero parents was to take the internship with the local super villain. As a perk, she gets to work alongside her crush, who may just be hiding secrets of her own. Featuring a MC who is half-Chinese, half-Vietnamese, and doesn't feel accepted with either. Also: BISEXUAL REP!!

15. The Education of Margot Sanchez by Lilliam Rivera

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Margot has spent years denying her culture and her family in order to fit in at her prep school. But after stealing her father's credit card, she's forced to work in her family's deli to work off the debt. Featuring a Latina MC. 

16. We Were Here by Matt de la Pena 

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After it happened, Miguel was sent to juvi and then to a group home, which he was grateful for. It was better than living at home, where his mother couldn't even look at him. With a plan to head to Mexico, Miguel breaks out and runs for the border, hoping to start over. Featuring a Latino MC, and also deals with a lot of guilt, self-punishment, and hitting rock bottom. It's also nice to get a glimpse of the social services systems. 

17. When The Moon Was Ours by Anna-Marie McLemore 

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Sam and Miel are best friends and as odd as they come. Roses grow from Miel's wrists while Sam paints moons in the trees. A group of witches sets their sites on the roses growing from Miel's wrist, believing their scent can make anyone fall in love, and intend to use Sam's secrets to get them. Featuring: Latina and Italian-Pakistani MCs, also, TRANS REP! 

18. The Memory of Light by Francisco X Stork

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After a suicide attempt lands her in the hospital, Vicky finds her strength through the other kids she meets in the psych ward. But when a crisis splits them up and Vicky must return back to the situation that made her suicidal, she has to find her own source of strength. This novel is all about mental health representation, and does an excellent job of shining a light down the dark hallway of depression. 

19. The Grace of Kings by Ken Liu

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Two rebels become friends during the overthrowing of a tyranny. But after the dust settles, they find themselves leaders of opposite factions with very different ideals of how the world should be run. Features a lot of Asian and Middle Eastern mythologies with a culture built on Ancient China. 

20. Juliet Takes a Breath by Gabby Rivera 

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After coming out to her mother, who she is sure will never talk to her again, Juliet leaves the Bronx to spend a summer in Portland interning under her favorite feminist author. Featuring a Puerto Rican lesbian MC, and lots of feminist goodness. 

21. God Help the Child by Toni Morrison

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Bride's blue-black skin was the reason her light-skinned mother denied her any love, but it doesn't stop her from finding love, success, and confidence. This novel focuses a lot on racism, but also features a survivor of child sexual abuse and shows how it affects their life. 

22. Under the Udala Trees by Chinelo Okaparanta
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Inspired by Nigerian folktales and war, Ijeoma, a young Nigerian child, is sent away to escape the civil war where she meets a girl from another ethnic community. The pair quickly fall in love, but must hide their relationship if they hope to survive. Features a lesbian romance, feminism, African characters, as well as looks at religion and homosexuality.

23. The Sun is Also a Star by Nicola Yoon
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Natasha meets Daniel the day before her family was going to be deported to Jamaica. But one day is all it takes to find love. Features a Jamaican and Asian MC, as well as tackles issues of deportation and displacement.

24. Lies We Tell Ourselves by Robin Talley 
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In 1959, Sarah is one of the first black students to attend an all-white Jefferson High. Linda is the daughter of the town's most vocal opponents to school integration. Lesbian couples! Mixed race relationship! Plus heavy on racism and segregation.

25. Fat Kid Rules the World by KL Going 
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Troy, an obese teenager, befriends Curt McCrae, local punk star and homeless drug addict. Together, their friendship ends up saving them both in ways they didn't know they needed. This book is definite on the fat acceptance.

26. Shadowshaper by Daniel Jose Older 

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After a zombie crashes her friend's party, Sierra learns she's part of a community of shadowshapers-- those that connect with spirits through paintings, music, and storytelling. Featuring an Afro-Latina MC with Caribbean-based folklore. Also features a very diverse cast including LGBT characters.

27. Simon and the Homo Sapiens Agenda by Becky Albertalli 
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When an email falls into the wrong hands, Simon finds himself as wingman to the class clown Martin, under threat that his secret will be exposed. Or worse, the pen name of the boy he's been flirting with over email could be compromised. Featuring a gay romance, black love interest.

28. Dumplin' by Julie Murphy 
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Self-proclaimed fat girl Willow has always been comfortable with her size, until the day she starts a relationship with a handsome jock, and she begins to doubt herself. To regain her confidence, she enters the city's beauty pageant to prove she deserves to be up there as much as any other girl. Features a lot of fat positivity.

29. More Happy Than Not by Adam Silvera
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After his father's suicide, Aaron struggles to find happiness again with the help of his girlfriend and hard-working mom. But when a new guy enters the picture, who makes Aaron feel things he never thought possible, he considers following through with a memory-altering procedure to fix himself. Features suicide, depression, mental health, and deals with homophobia. 

30. Americanah by Chimamanda Ngozi Adichie 
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Ifemelu and Obinze are teenagers living in Nigeria under a military dictatorship. While Ifemelu managed to immigrate to America, post 9/11 politics prevents Obinze from following. After years, they find themselves reunited in their homeland and their love, and come to face the toughest decisions of their lives. Featuring Nigerian MCs, written by a Nigerian author, and tackles a lot of race issues.

31. Santa Meurte by Cynthia Pelayo
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Life is quiet for Ariana until her father, a federal investigator from Mexico targeting criminal organizations, arrives on her doorstep. After he's involved in a car accident, Ariana begins seeing a veiled skeletal figure asking for her father. Featuring a Latina MC and plenty of Mexican folklore.

32. Lailah's Lunchbox by Reem Faruqi 
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The adorable story of Lailah, a 10-year-old Muslim who is very excited to join her family in her first Ramadan. She just needs to figure out how to explain it to her non-Muslim classmates. Such a cute story featuring a Muslim MC and discusses Islam and Ramadan. This is a picture book, but worth the read.

33. The Story of Maha by Sumayya Lee
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After her parents are killed during a political rally, Maha goes to live with her Indian grandparents. She learns how to wind around the strict boundaries of her Muslim community as she develops into a rebellious teenager. Book is set in a South African Indian Muslim community, and features an Indian MC.

34. Alif the Unseen by G Willow Wilson 
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In the Middle East, a young Arab-Indian hacker by the alias of Alif shields his clients from surveillance groups and tries to stay out of trouble. But when the woman he loves begins courting the head of the state's security, Alif's computer is compromised and he flees underground for his own, and his client's, safety. A POC MC and features Islam in a positive light, also showcasing some Islamic myths and folklore.

35. The Moor's Account by Laila Lalami
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An alternative history account of the Narvaez expedition which would leave only four survivors, one of which was Mustafa al-Zamori, a Moroccan slave and the first black explorer of America. POC MC and written by a Moroccan author.

36. The Unintentional Time Traveler by Everett Maroon
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Jack agrees to try an experimental clinical trial to cure his epilepsy, but instead finds himself in the body of a girl--Jacqueline-- from 1920s era. Disability rep, as well as tackles identity and how much our gender affects who we are.

37. Homegoing by Yaa Gyasi 
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Effia and Esi, sisters born in separate villages, end up leading very different lives. While Effia is married to a slaver and lives in luxury, Esi works as a slave in the palace dungeon beneath her, before being shipped off as a slave to America. This novel follows the sisters' descendants 300 years and illustrates how slavery and colonialism shaped America and Ghana. The author was born in Ghana as well.

38. Does My Head Look Big in This by Randa Abdel-Fattah
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Everyone has a reaction when Amal decides to wear the hijab full-time. Dodging prejudice and fending questions from her friends and teachers, she still intends to attract the cutest boy at school. Islam rep! Also, love how it tackles stereotypes and misconceptions.

39. Girl Mans Up by M-e Girard 

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All Pen wants is to be the kind of girl she wants to be, but for some reason everyone thinks the way she looks and acts means she wants to be a boy. Portuguese MC, lesbian MC, and tackles a lot about gender identity. I can't wait to read this one!

40. If I Was Your Girl by Meredith Russo 
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Amanda transferred schools to get a new life, but when she begins to fall for Grant, she fears how he'll react when he learns of her past... and that her name used to be Andrew. Trans rep!! Also, #ownvoices

41. Songs that Sound Like Blood by Jared Thomas 
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Roxy heads to the big city for a new start and to study music. Singing for her dinner is soul crushing, but her newfound crush on Ana might make it worth it. Indigenous and Maori MCs, as well as a lesbian romance.

42. On The Edge of Gone by Corrine Duyvis 
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Denise, her mother, and her sister are supposed to head for a shelter to wait out an incoming comet blast. On the way they encounter a generation ship leaving to colonize new worlds, but all passengers must have a skill to contribute, and Denise fears her autism may hold them back. Very diverse cast with half-black autistic MC, lesbian, Muslim, bisexual trans, and Jewish characters, to name a few.

43. Sister Mine by Nalo Hopkinson 
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Conjoined twins Abby and Makeda were separated by surgery that left Abby with a limp and Makeda cut off from the magic her sister possesses. Makeda moves on to start a new life of her own, but she must reconcile with her sister after her father disappears in order to save him. Urban fantasy with Caribbean mythology written by a Caribbean author.

44. All We Have Left by Wendy Mills
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Jesse finds herself caught up in the wrong crowd after her brother passes away in the September 11 attacks, and one momentary hate-filled decision turns her life upside down. Alia is a proud Muslim who finds herself in the Two Towers when the plane hits. Trapped inside the burning building, Alia meets a boy who changes her life. An authentic Muslim character, and presents the hatred and prejudice that Muslims have faced since 9/11.

45. Throne of the Crescent Moon by Saladin Ahmed 
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In the midst of a brewing rebellion, supernatural murders cause unrest through the Crescent Moon Kingdoms. Doctor Adoulla Makhslood, “the last real ghul hunter in the great city of Dhamsawaat,” his young assistant, and a woman with the power of the lion-shape set out to learn the truth behind the killings.  Set in the Middle East during the Islamic Golden Age.

46. George by Alex Gino  
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When people look at George, they see a boy, but she knows she's a girl. She just has to find a way to show everyone else that, too. Middle grade book featuring a trans MC! A must have!

47. Labyrinth Lost by Zoraida Cordova 
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Alex is a bruja, one of the most powerful witches in her generation, and hates it. While attempting a spell to rid herself of her powers, it backfires and her family vanishes, and she must travel to Los Lagos, an in-between land, to save them. Latinx culture and folklore, cast of POC characters, and an #ownvoices book featuring a writer born in Ecuador.

48. Radio Silence by Alice Oseman 
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Frances has always been a study machine with one goal-- elite university. But when she meets Aled, the shy boy behind her favourite podcast, he reveals a side to Frances that she thought she'd locked away. Bisexual and biracial MC!

49. Behold the Dreamers by Imbolo Mbue
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Jende has come to America to provide a better life for his family, and can't believe his luck ending up as a chauffeur for the Lehman Brothers. But the cracks in the American dream begin to show when the company goes under. Featuring the Jonga family, who are West African, and features the immigrant struggle as they struggle to become citizens.

50. It Ain't So Awful, Falafel by Firoozeh Dumas
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Zomorod is the new kid on the block, for the fourth time. With a new school, she plans to change her name to Cindy to fit in. But it's the mid-70s, and Iran is making headlines with protests, revolution, and hostage takings, and the anti-Iran sentiments are making it difficult to feel at home in her own country. Featuring an Iranian MC and examines prejudice through a middle grade lens.