Five Ways Politics Will Disrupt the Publishing Industry in 2025

Welcome to Five On Fridays, my weekly straight-no-chaser newsletter where I help demystify the publishing industry for new writers and early-career authors. Let’s jump right in.

Despite some voices on TikTok lamenting “bringing politics” into books, most writers and readers I know share NYT bestselling author Jodi Picoult’s view on the topic, understanding that politics and publishing are intrinsically connected. Whether you’re writing mystery or magical realism, science fiction or suspense, politics have always played a role in how stories are told and who gets to tell them. And 2025 will be no different. Here are the five ways I think politics will shape the publishing industry this year.  

The battle over book banning will intensify

In 2023, the American Library Association reported that over 4,240 book titles had been targeted for censorship, a 92% increase over the previous year. Of these targeted books, 47% were by Black, Indigenous, and other authors of color (BIPOC), and LGBTQIA+ authors. Soft banning, where books are bought but their lending is restricted, is also an issue. And, sometimes, to avoid conflict (including threats against librarians), some books have been preemptively removed from libraries or never purchased at all. And this was before Project 2025 and the new administration’s promise to reshape what and how America reads.

What this may mean for writers: In an already risk-averse industry, it might be more difficult for people who write from and about certain identities and experiences to become traditionally published. If publishers and authors fear backlash for the stories they choose to create and share, then this already risk-averse industry might become even more so. That said, vocal advocates for voices from historically marginalized and underrepresented communities exist, and, in keeping with the history of creatives around the world, many writers and editors refuse to be silenced.

More conservative imprints and titles at the Big 5

Two days after the 2024 US presidential election, Hachette Book Group announced it was adding a new conservative imprint to its portfolio. Basic Liberty is described as a “conservative imprint that will publish serious works of cultural, social, and political analysis by conservative writers of original thought." It will be led by Thomas Spence, a visiting fellow at the conservative think tank the Heritage Foundation, one of the major architects of Project 2025.

What this may mean for writers: It's unclear how most mainstream publishers will respond to a resurgence of conservative thought and movement in this new administration. During Trump’s first presidency, the publishing industry responded by releasing tell-alls about the administration and books about the resistance. This time around, early indicators are that readers want dystopian fiction: The Handmaid’s Tale hit Amazon’s and Barnes and Noble’s best-seller lists following the election (and remains there). Over at The Cut, author Emily Gould shares that inside the industry, many are hoping to see fiction thrive as people seek escapism from the real world. Others believe there’ll be increased interest in self-help and self-care books. As writers, we’ll have to do what we’ve always had to do in this business—keep writing as we wait and see.

Goodbye DEI?

Fearing public backlash and anti-DEI (Diversity, Equity, and Inclusion) shareholder sentiment, some corporations are preemptively axing their DEI initiatives. Will this new anti-DEI stance make its way to publishing? Has it already? Over the past few years, several Black acquisitions editors have quit publishing, others have been let go. And the most recent Lee & Low Diversity Baseline Survey shows that the industry remains predominantly white, straight, and female, and the books it chooses to publish reflect that. 

What this may mean for writers: The more things change, the more they stay the same. Becoming traditionally published has always been an uphill battle for all authors, but the hill will remain steeper and more difficult to navigate for some. Publishing has made promises before. After the killing of George Floyd, the writing community watched as the industry pledged to address its lack of diversity in staffing and authors it published. More than four years later, the needle has only moved a little. But just yesterday, Publishers Weekly reported two new ventures: Jenna Bush Hager’s joint venture with Random House to promote emerging writers, noting that “emerging” was not dependent on age, and the launch of Storehouse Voices, a new Crown imprint created to empower Black Authors. Time will tell how many in the industry push back against the anti-DEI narrative and champion an industry that more closely resembles the depth and breadth of American society.

In the meantime, we understand that none of us who choose publishing do so because we believe the road will be an easy one. And while we can’t choose how the industry responds to us, we can choose how we respond to it. Which leads me to my final two takes of the week.

A greater spotlight on small and micro-presses

A small press is defined as a publisher that makes less than $50 million annually, while a micro-press puts out fewer than 10 books per year. While getting published at one of the “The Big Five” has long been the dream for many writers, more authors are realizing the benefits of working with independent presses: Indie presses will often work with unagented authors, and these authors may have more say in the creative process; The smaller size of indie presses allows for shorter publishing cycles; And indie presses have long been known for taking bigger risks and being more inclusive. 

What this may mean for writers: More opportunities to be traditionally published, have more say in the publishing process, and to publish the kinds of stories they want to tell.

A boon for creativity

Iron sharpens iron and pressure turns coal into diamonds. From authors to artists, readers to reviewers, creatives thrive during times of uncertainty. Hybrid careers—where authors have both traditional publishing deals and self-publish—are on the rise. Platforms that help authors share and monetize stories are growing. And, despite data showing that reading is down in the US, audiobook listening is up. In the US alone, audiobook sales hit $2 billion in 2024.

What this may mean for writers: More than any other time in history, there will be opportunities to create and share our stories with the world the way we want to. This will mean thinking outside the box. It means abandoning old (often ableist) attitudes about what “real” books and “real” reading entails. This new generation of readers consumes stories differently than we (I’m Gen X) and our parents did. Our grandparents and great-grandparents passed on stories via oral traditions; our kids and grandkids do the same and use Tik-Tok and their phones to boot. Writers who want to thrive will have to reimagine storytelling and how they get these stories to the people who want to read them. This will mean lots of trial and error and committing to pursuing writing and storytelling, imperfectly and without knowing all the answers from the start. It will mean not only accepting failure but embracing it as a part of the publishing process. 

That wraps up my first Five On Fridays. Thank you for subscribing and reading. If you found this newsletter helpful, please share it on social media and forward it to your writer friends. Happy writing!

-Grace