So this obviously sucks but is also emblematic of a bigger problem I find in demands for diversity: When a non-Black “expert” is societally pressured to work with Black people they don’t do a good job. This pic by an amateur is way better than this cover for Vogue. https://twitter.com/yesimhotinthis/status/1281649726526386176

In publishing this is analogous to white agents suddenly deciding to rep more Black clients and white editors acquiring books by Black writers in support of BLM. It all gets a big yikes to me.

The best gymnast in the world should trust that the world famous photographer will find the right light. But that didn’t happen. So can the Black writers trust that these editors and agents can now relate to Black characters and edit/advocate for Black storytelling?

Before y’all get your knickers in a bunch I’m not saying white agents/editors CANNOT work with Black writers effectively, I’m just saying I would like to see it. Show me your work.

(Many have noted that this is just the photographer’s style, not an error or poor work. I would counter that rigid adherence to your style rather than adjusting to what flatter/enhance the Black person you’re working with is indeed poor work.)

Experts who were trained using white supremacist canon are esp susceptible to this idea that there is a singular correct way to create art and all who seek to enter must contort to it. Publishing with, its formats and genres and pg counts and templates is stuck in it.

How many times did white copyeditors overrule the Black writers and change a capitalized Black to lowercase before style guides update last month?

How many Latinx writers in kidlit and YA especially had to forward @djolder’s video to make their editor stop italicising their Spanish?

Anyway. I’m just killing time to avoid brainfreeze while eating this froyo. So while you may be an expert in your predominantly white field, working with people of color in a substantive way will require you to stretch beyond your routine and perhaps learn new skills.