This is one of those awkward questions that has to be addressed.
The demand for particular stories with particular characters is always both activist-driven and reader-driven, which means that a perceived demand does not always translate into the expected financial rewards for publishing houses or writers. That doesn’t mean the books shouldn’t be written, published, and promoted, but it does mean the writing, publishing, and promotion has to be approached with a realistic attitude.
The publishing industry is gradually becoming more inclusive, and the success of books featuring diverse protagonists reflects a changing landscape. Reader appetite for diversity is influencing market trends, pushing publishers to broaden their catalogs with more representative works. While challenges remain, the trajectory points toward a more inclusive future in publishing.
Still, our question taps into a nuanced aspect of the publishing industry, and it’s a valid point of curiosity for any writer or industry observer. The distinction between “activist-driven” and “market-driven” demand is not always clear-cut, as these forces can overlap and influence each other in complex ways.
Activism can play a significant role in highlighting the lack of diversity in literature and the need for more inclusive representation. This can lead to a heightened awareness among readers, publishers, and writers alike. Activist-driven initiatives may pressure publishers to diversify their lists. While this might start as an effort to address underrepresentation, it can also unveil untapped market potentials that were overlooked. At the same time, books featuring diverse characters and stories often receive strong support from communities and organizations advocating for representation. This can boost visibility and sales through word of mouth, social media campaigns, and community events.
Meanwhile, the market-driven demand for these books means a genuine interest and desire for these stories already exists. In particular, there is reader interest in stories that reflect a broader range of experiences and perspectives. When books featuring characters with disabilities, characters who are non-white, characters who identify as LGBTQ+ achieve commercial success, it encourages publishers to invest more in similar titles. The market for books is global, and audiences are diverse. Catering to a wider range of readers can open up new revenue streams and expand the market—something of which publishers are well aware.
With the gay cozy mystery, we have an intersection of activism and market demand.
Activist-driven efforts can reveal market demands that were previously underappreciated or ignored by the industry. Once publishers recognize that diverse books can be commercially successful, market-driven mechanisms take over, with the initial activist push leading to a broader, sustained demand.
That’s no small thing, and it’s not just a hopeful theory. Readers seek quality storytelling and authentic representation. Books that meet these criteria, regardless of what lies behind the initial push for their publication, can succeed on their own merits, indicating that the demand is not solely activist-driven but supported by genuine reader interest.
At this point, it’s challenging to quantify how much of the demand for gay cozies is activist-driven versus market-driven, and I’m not even sure if it matters. It’s clear that both forces contribute to the current landscape. The success of diverse books in the wider market suggests that the demand is not solely driven by activism but by a genuine appetite from readers for stories that reflect a wider array of experiences. Moreover, the publishing industry’s response, including the increased publication and promotion of such books, indicates recognition of their commercial viability.
When I first suggested writing a gay cozy mystery series, I received a fair bit of pushback from both the M/M and gay mystery writing communities. The prevailing idea seemed to be that there was no demand for M/M mystery that did not contain erotic content nor for gay mystery that did not contain sexuality, violence, or, at the very least, political activism. But the Secrets and Scrabble series is now one of my highest selling series (low six figures with no single title earning less than five figures).
There is not as great a demand for cozy mysteries featuring gay protagonists as there is demand for cozy mysteries featuring straight female protagonists. That’s the reality. But that reality doesn’t mean that you can’t be successful writing what you love and what is important to you.
Ultimately, it boils down to the best advice I can give, which is write what you would love to read.
Which brings us to another question—one that’s unique to our particular time and space in the illustrious history of publishing…
