How to Be an American Writer in 2017

The American novel is dying in the publishing world.

Publishers are scrambling to find novelists who are not white men, who have no college degrees, and who are also not Jewish, black, Asian, or Hispanic.

The result is a glut of work from the underrepresented groups.

One-third of the books published in 2016 were by nonwhite authors, up from about two-thirds in 2015.

In the last year, more than 1,100 white writers were killed in America, according to the Anti-Defamation League.

But this year’s wave of white-authored novels was not just a statistical anomaly.

It was a sign that the American novel has lost its appeal to the American public, and it speaks to a deep and troubling truth about America.

White writers have traditionally been seen as the underdogs in American publishing.

White men dominate publishing in the United States.

This is a reality that has been documented for decades, and that many American authors have struggled with.

But it’s also a reality we have only recently begun to grapple with.

The last decade has seen a seismic shift in the composition of the literary world, as the number of nonwhite writers in publishing skyrocketed.

In 2017, white authors accounted for nearly half of all book sales in the US, according the New York Times Book Review.

As recently as 2009, white men comprised less than 2 percent of book buyers.

As a result, publishers have begun to turn to nonwhite and black writers to fill their bookstores, to promote new works and to bring new voices to the marketplace.

But, as The Washington Post’s Ryan McCaffrey points out, it is not clear how these efforts will translate into a market that is overwhelmingly white and male.

According to the 2017 book Review, there are only 12 published books from African-American authors published in 2017.

There are no published books by women of color.

According a 2017 book review from the National Book Foundation, “It is a time when publishers are trying to create a market where nonwhite, female writers are writing more books, even if they are not writing white books.”

The fact that this trend is occurring at all is a testament to the challenges facing authors and their writing communities.

The New York Review of Books has described the changing publishing landscape as “a race war.”

“Publishers are finding themselves in a race war, as they compete with the publishers of both Black and White authors for the limited space available for black writers and the lack of opportunities for writers of color,” the review states.

In other words, there is an expectation that Black writers will produce more books that will sell more copies.

“In an increasingly competitive marketplace, books from underrepresented and underrepresented authors are competing for the same space and readership,” the book review continues.

“It makes the race war more complicated, but the stakes are high.”

White authors have been a major beneficiary of this new marketplace, and now they are also being hit by the consequences.

According the American Library Association, the percentage of books published by white authors has risen to about 6 percent, and the number who are women of colour has risen from 1.5 percent to 2.6 percent.

In a recent study, researchers from the University of Texas found that the number in the U.S. writing for Black, Asian and Hispanic readers has increased from 11 percent in 2015 to 23 percent in 2017— a huge increase.

In addition, there were a number of other changes in the literary landscape, from the growing popularity of new genres of fiction, to the growing number of Black and Latino writers.

These changes are impacting both the publishers and the readers of fiction.

“We’re seeing an explosion of new work from nonwhite voices in literary fiction, with books from people of color that have never been published before,” says the book reviews of the New Yorker and The Washington Times.

“This is a sign of a larger trend, that we have a long way to go, but that we are moving in the right direction.

It’s a sign there are more diverse voices and more diverse stories.”

As the number and diversity of writers grows, so too does the pressure on publishers to diversify their writing offerings.

“There are still white writers writing for the Black and Hispanic markets,” McCaffray writes.

“But the publishing industry has begun to look more and more at the work of African-Americans, and to consider books from other communities.”

This trend will continue as more and a more diverse pool of writers appear in publishing, and as authors of color continue to get the same opportunities for visibility as white writers.

It is a trend that is taking place as the writers of Color have increasingly found themselves in the same boat.

But as McCaffery points out in his article, there’s a solution: a better way to break down the barriers and ensure the success of white writers and their books.

The problem with diversity in publishing is that it is a product of white supremacy.

It cannot be addressed by creating more opportunities for people

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