Over the past four years, publishing has worked to improve diversity within its ranks. Some measures, like an initiative called “ DVPit ” which matches diverse writers with interested agents, have been an incredible success (albeit one that offers little protection from YA outrage culture. Author Amelie Wen Zhao scored a six-figure book deal after matching with an agent on DVPit , only to self-cancel her novel in January after allegations that it mishandled racial issues.) Others, including the implementation of sensitivity readers whose job it is to review the portrayals of characters who share their racial or religious background, have been polarizing (the concept of "sensitivity reading," with its reductive approach to identity, strikes some critics as fundamentally racist in and of itself.) And it’s worth noting that whatever its pitfalls, #ownvoices has certainly had its high points: Angie Thomas' The Hate U Give, Celeste Ng's Everything I Never Told You, or Duyvis' own novel, On the Edge of Gone all belong under the #ownvoices umbrella, and have all earned well-deserved acclaim.