âThen, with my second novel, I started to receive responses from agents that said âI love what youâre doing here, but I think it needs a stronger narrative structure to take it to the next level.â Of course, this narrative structure was exactly what the book was resisting. More bluntly, I would receive responses that said, âI love what youâre doing here, but the publishing industry is just too conservative.â But how will that ever shift, if these are the people in charge of whose work gets attention. Then there are the editors who echo the same narratives. And, maybe even more jarring, there are the editors who love everything about the manuscript, but then they donât have the power to do their job, and acquire the work they love. And, this happens in both corporate and independent publishing. Then, of course, there are the editors and agents who say something like, âI love what youâre doing here, no one else is doing anything like it, but I just donât find myself relating on a deep enough level, and so I donât think Iâm the right person to truly champion your work, and make sure it receives the attention it deserves.â But if an editor or publisher has to relate to everything they publish, then publishing is only for the people who make these decisions. Things do change over time, sometimes for the better, and sometimes for the worse. We are in a moment right now where certain queer and trans authors are achieving a kind of access that wasnât possible even a decade agoâespecially for trans authors, and queer authors of color. But there was a moment like this in the â90s, when queer work was suddenly allowed on mainstream corporate presses, and people were like: âOh my God, everythingâs changing.â And then the door slammed shut. So, I think thatâs always a danger when we rely on multinational corporations to determine what is considered literature. When the publishing industry decides, our work suffers.â