What Does it Mean to be Cancelled in Book Publishing?

In today’s climate—a lot.

You may have heard a publishing story circulating in the media: Bloom Books, an imprint of Sourcebooks, has canceled romance author Sophie Lark’s upcoming book, “Sparrow and Vine,” due to content that offended readers who received advance copies. The book centers on a woman who enters a marriage of convenience to save her family’s winery and contains lines that refer to immigrant workers in a derogatory manner. Additionally, it mentions Elon Musk, currently viewed as Enemy Number One in the U.S. According to media reports, the book’s editor suggested that the author remove the controversial sections; however, the author declined. “Sparrow and Vine” was intended to launch a new series, which Bloom Books has also canceled.

Often, people confuse a publisher’s right to cancel a book with an infringement on freedom of speech, but this belief is misplaced. When a publisher cancels a book, it makes a business decision, similar to the choice to acquire certain titles. If a book is canceled, the author is typically free to publish it elsewhere, depending on their contract. I have some experience with canceled books—and therefore, canceled authors—because I have worked on a few. When Hachette canceled Woody Allen’s memoir, my previous employer quickly acquired it. When Norton released Blake Bailey from his contract and decided not to print or continue distributing his biography of Philip Roth, my previous employer obtained the rights. When publishing distanced itself from Garrison Keillor, my previous employer published his memoir and novel.

You might wonder, “Why did she agree to work on those books?” Here’s the thing: I liked my previous job and remain friends with some of my former colleagues. Did I always agree with what was published? No, but that is true of almost every publisher where I worked. Did I need my job for the income? Yes, absolutely. That said, I want to discuss what canceling a book means—or doesn’t mean. It is never a light decision to cancel a book. The publisher understands that the cancellation will become public and must be prepared for the backlash from those who advocate for free speech. Conversely, when a publisher acquires a controversial book (and trust me, they know when it is controversial), they must be ready for pushback from employees and readers. Many oppose publishers with conservative imprints and, while I understand why, it should not be regarded as a personal affront. It is a business decision. Although I might disagree with conservative politics, I am not a consumer of those books. Does that mean they shouldn’t be published? Well, that is up for debate, especially in this moment of political discourse. However, I have always believed that consumers should decide whether to buy a book. The decision, in most cases, shouldn’t be made for them. Sometimes, it is prudent for a publisher to cancel a book because the company will suffer reputational damage if the book reaches the marketplace. There is a risk of consumer boycotts, which can gain traction. I understand boycotts, but I also know that the people outside the C-Suite who work for publishers are generally good. They are trying to do their jobs and are not paid enough. Boycotts can hurt them.

None of this suggests that authors and publishers should not be cautious about the content they create, acquire, and publish. Authors should heed an editor’s advice if they recommend removing problematic content. We live in a time when we must question whether mentioning Elon Musk, even in a conversation with a fictional character, is worthwhile. What does mentioning him add to the character’s dialogue? My guess is not much. The same applies to any language concerning immigrant stereotypes. Why address these issues if they are unnecessary? It hurts rather than helps. This has less to do with freedom of speech and more to do with exercising common sense during the most divisive time in the U.S. that I have ever experienced (I’m 52).

Furthermore, publishers are not in the business of taking a hard line regarding what authors can or cannot write, so it is up to writers to make good choices. Most consumers don’t want to read about Musk, even in fiction. (Side note: I hope examples of him running Tesla are removed from MBA textbooks—unless they use him as an example of what not to do).

Moreover, most consumers prefer not to encounter negative stereotypes about immigrants. Certain narratives may be compelling in fiction and facilitate a character’s development. A skilled editor will inform them if a writer’s work fails to accomplish this.

As much as publishers make business decisions about canceling books, authors must reflect on the material they are writing and ask themselves if it is worth digging their heels in to keep it. Indeed, authors can always find another home for their work, but at what cost to their reputation? It would be naïve to think readers won’t be reactive and even more naïve to think sales won’t suffer, no matter who the author finds to publish their canceled book.

END NOTES:

What I’m Watching: I am still going through “Selling Sunset” on Netflix. It is making me want to get my real estate license!

What I’m Listening To: I created a playlist, “Maybe We Should Break Up.” It’s here on Spotify.

What I’m Reading: Emails in my unruly inbox!