The latest Reflecting Realities report reveals a troubling, though unsurprising trend for many: the decline in racially-minoritised characters in children’s books—an outcome that racially-minoritised creators have both feared and predicted. This backslide suggests diversity in children’s publishing may have been treated as a checkbox rather than a sustained commitment.

Industry responses to the demand for representative books have too often been reactive, resulting in tokenistic portrayals that fail to capture the nuanced spectrum of racially-minoritised experiences. My research for BookTrust Represents highlights the structural barriers that racially-minoritised creators face, from financial insecurity to limited marketing support. These constraints restrict the depth and authenticity of representative stories, undercutting their potential impact.

Representation’s decline also points to the risk of viewing diversity as a business decision. The notion that recent progress is “sufficient” threatens to erode hard-won gains by advocates and creators who have tirelessly pushed for inclusivity. Many creators express frustrations that the industry’s commitment to diversity remains shallow. Racially-minoritised creators frequently describe being restricted to identity-bound narratives, limiting the range of stories available to young readers and their own artistic freedom. Many worry publishers still only value diverse stories that focus on trauma, reinforcing stereotypes.

Racially-minoritised creators should not bear the entire burden of driving change: industry-wide transformation is overdue

The industry’s tendency to treat diversity as a passing trend is echoed in creators’ testimonies. During the start of the Black Lives Matter movement in the UK, support for Black creators surged. Yet, author Sharna Jackson noted: “When it becomes no longer a good business decision, I think people will start quietly being dropped.” This sentiment is common, with creators (rightly) concerned that the current focus on diversity will fade, leaving them in an even more precarious position. Writer E L Norry observes: “Often the process feels rushed, clearly to capitalise on a moment or movement.” This haste can compromise both quality and longevity, resulting in “cookie-cutter” books that are—in author-illustrator Dapo Adeola’s words—ultimately “filler”. When profit is prioritised over genuine inclusion, there’s a risk of alienating the very audiences publishers aim to serve.

Systemic inequities in contract terms and marketing investment persist. Many creators have noted disparities in pay between racially-minoritised creators and their white counterparts. One of the most disappointing aspects of the publishing industry’s superficial push toward diversity is the tendency for publishers to performatively announce new diverse acquisitions but then fail to provide adequate investment in marketing, publicity and sales. This creates a self-defeating cycle where underperforming titles are set up to fail, giving publishers an excuse to further disinvest in diverse representation. For these books to succeed, equal investment in marketing is essential to make them visible to mainstream audiences. 

As the landscape evolves, it’s crucial to remember the tremendous gains of the past seven years, with the emergence of brilliant and exciting racially-minoritised voices in children’s publishing. Though racially-minoritised creators have long existed, they have rarely been given the opportunity to build sustainable careers in the industry. Moreover, this lack of support takes a toll, with racially-minoritised creators often facing racism and microaggressions that detract from their ability to focus on their craft. Jackson aptly states: “The system is not broken; the system is designed the way it’s designed, and it needs to be changed.” Racially-minoritised creators should not bear the entire burden of driving change: industry-wide transformation is overdue.

To ensure that diversity in children’s literature is more than a temporary trend, the industry must adopt a sustainable, long-term vision. Genuine investment in racially-minoritised authors and illustrators is essential. While initiatives like the Jhalak and Megaphone prizes provide invaluable support, they alone cannot carry the responsibility for representation.

The current publishing model does not adequately serve racially-minoritised creators. To tackle this issue, publishers must develop new ways to support these creators and their work. Creating inclusive environments requires addressing discriminatory practices, hiring decision-makers who truly value inclusion and maintaining a sector-wide commitment to systemic change. This includes re-evaluating the overinvestment in celebrities. Instead, publishers should prioritise voices that authentically reshape the literary landscape.

Rigorous research demonstrates the need for publishers to confront uncomfortable truths about their practices and business models. As one creator says: “People in children’s books really are nice... but they all feel that the problem is everybody else’s. They have not internalised that they are part of the problem.” Lasting change requires internalising this message and committing to a publishing landscape where all voices are genuinely heard, valued and supported.

A single year’s decline in representation may seem minor, but it’s a critical reminder that without vigilance, progress can easily slip away.

Read more responses to the CLPE Reflecting Realities report here.