Into the Queerosphere: Resources for Finding Your Next LGBTQ Read

To anyone that’s been paying attention to recent trends in young adult (YA) over the last four or five years, the line-up of books slated for 2019 is both timely and highly anticipated. With the push for diversity in literature and media still going as strong as ever (perhaps even stronger than ever), it seems that publishers have finally started to seriously answer the call. Young adult (and middle grade) lists are heavy with POC leads, and the number of books about LGBTQ characters has doubled since the last few publishing seasons (and that’s just looking at books coming out—pun intended—between January and April! The list for May through June is even longer!). This is extra important when you consider that as recently as 2012, just over 1 percent of YA books had any LGBTQ content at all.

Personally, I’m delighted by this statistic, not only because I’m excited to read all the sweet, sweet diversity of POC and LGTBQ content (especially when they happen in the same book), but also because the mere existence of these books confirms a tangible change in the publishing industry. Publishing is a notoriously (and glacially) slow process, so it’s exciting to finally see the response of publishers to the public outcry for more diverse representation, which has been an ongoing social conversation since, well, forever. Or so it feels.

Of particular interest to me are books that feature protagonists who identify as part of the gorgeous rainbow spectrum that is the LGBTQ community. Not only is 2019 chock-full of queer content, but it’s also filling in some gaps in representation from years before, with a happy increase in trans characters compared to the almost nonexistent quantity from 2018, as well as another welcome increase in aro/ace characters. It is, in short, going to be a blissful year of reading for book-loving queers and queer-loving readers.

Still, with of all this new content (on top of all of the great and fabulous content from the last few years), how is a reader supposed to find the books they’re truly interested in without reading the back cover copy of a million books? Fortunately for everyone, there are several great places to start looking for all this good queer content.

Databases of Books with LGBTQ Characters and Themes

  • Rainbow Books List: An annual list created by the Rainbow List Committee of the Gay, Lesbian, Bisexual, and Transgender Round Table of the American Library Association presented as a “bibliography of quality books with significant and authentic GLBTQ content,” catered to kids aged birth to eighteen.
  • LGBTQ Reads: Perhaps the most comprehensive database, LGBTQ Reads has lists for everything. They’ve broken down the LGBTQ diaspora into genre and then subdivided it several times over for unique searchability. The YA section is broken down by subgenre, pairing, setting, state/province, trope/theme, and YAs with queer parents.
  • YA Pride: (Previously Gay YA) This organization has compiled a series of masterlists organized alphabetically by author. They have lists for seven broad categories within LGBTQ representation: gay, lesbian, bisexual/pansexual/polysexual, transgender (including nonbinary identities), intersex, asexual, and aromantic.

Preliminary Reading Lists for 2019 (Please enjoy the irony of me making a list of lists)

“Straight” from the Source

Great news for anyone with unpublished LGBTQ content! There are many publishers that cater specifically to LGBTQ authors and books with LGBTQ characters and themes. Below are five of said publishers. Another more comprehensive list lives here.

  • Bella Books: The largest lesbian-owned press publishing books written by, for, and about women who love women.
  • Bold Strokes Books: Accepting general and genre fiction, BSB offers a wide selection of LGBTQ content in every conceivable genre and subgenre.
  • Dreamspinner Press: Publishes gay male romances that end in gay or gay polyamorous relationships.
  • Interlude Press: Publishes well-crafted LGBTQ-focused titles ranging from short stories to novels and encourages submissions from authors of all backgrounds.
  • Riptide Publishing: Has three distinct imprints, including Riptide Publishing (adult genre fiction with a romantic or erotic focus), Triton Books (YA genre and literary fiction), and Anglerfish Press (literary fiction with little to no romantic or erotic focus).

Normalizing Queerness: Tips on Inclusive Editing for the LGBTQ Community

The role of an editor is to ensure throughout each stage of the editing process that the writer communicates their view of the world to the reader in the best way possible. With such a responsibility, editors should look at the ways in which the language and manuscripts they edit affect the world around them. Editors should look at how the representation of life and people on the page shape and change society’s understanding of real people in the real world. To gain further distance on the path towards impartial inclusion, here are some tips for inclusive and mindful editing in regards to the LGBTQ community:

  1. Ask members of that group how they would like to be referred to. Having someone in a position of privilege assign a name or term to a minority group can lead to further misunderstanding and misrepresentation. No one knows how to better represent and write about a group than a member of that group and hearing their real-world experiences will only deepen the authenticity of the story.
  2. Look for manuscripts that show structures other than the typical male-female relationship. The existing representations of gay and lesbian relationship in literature is a step in the right direction but simply not enough to truly represent the depth and range of human sexuality. Editors can look for manuscripts that don’t just normalize homo-sexual relationships but bisexual, transgender, intersexual, asexual, and pansexual relationships as well (to name a few).
  3. Look for manuscripts that don’t solely focus on a character’s sexual identity or how other characters are not accepting of it. If the story focuses on a gay male character’s career, the editor can make sure that the author talks about his sexuality in a way that does not make the reader assume his gayness as a detriment to his career. Unless the manuscript specifically discusses the horrors of sexual prejudice or historical homophobia, editors should look to ensure that the character’s gender identity or sexuality is discussed in a way that does not label it as abnormal.
  4. Try not to assume heterosexuality when not specified. When writing queries to the author or making suggestions in the manuscript, the editor can reference the character’s “partner” or “sexual relationship” as opposed to their “boyfriend” for a female character or “girlfriend” for a male character. This way of normalizing the homosexual and de-normalizing the hetero- will place the terms on a level playing field that does not assume one as superior to the other.
  5. Avoid terms such as “the opposite sex.” This assumes the gender binary of male/female and excludes the multitude of other gender identities that do not fall under the strict male/female understanding.
  6. Employ the use of gender-neutral pronouns. By using the singular “they/their/them” in place of the traditional he/she, the reader will not automatically assume the gender of a character, allowing space for the author to include genders that fall outside the male/female binary.
  7. Avoid referring to transgender peoples in terms of pre- and post-operation and only mention any sort of operation when absolutely pertinent to the story. Again, ask how transgender peoples want to be referred to, and use that name and pronoun. Note that this is usually the post-transition name, even when talking about the person before the transition. Taking this into consideration, editors will want to avoid reducing the transgender experience to a single surgery, as the process takes months if not years, as opposed to the commonly-misconstrued notion of it happening overnight.
  8. Turn the focus from a person’s appearance as the primary indicator of gender or sexual identity. Don’t reduce the character to their appearance and whether they dress as a “typical male” or “typical female.” Instead, writers and editors should allow space for persons to define themselves through behavior and personality as opposed to appearance.