In today’s interconnected world, fiction writers are increasingly inspired by people, places, and traditions outside their own backgrounds.
Whether it’s a novelist weaving a story set in rural India while living in New York, or a fantasy author borrowing from Chinese mythology, writing across cultures has become both a common artistic practice and a hot-button issue.
Once willing to embrace foreign cultures and global narratives, the publishing world is now treading more cautiously as questions about cultural ownership, authenticity, and representation take center stage.
So, what does the publishing industry really say about fiction writers tackling cultures that aren’t their own? The answer is layered, often contradictory, and still evolving.
A CHANGING CLIMATE
For decades, publishing celebrated cross-cultural storytelling—especially when it brought lesser-known settings or traditions to Western audiences. From Memoirs of a Geisha to The Kite Runner, stories about other cultures found willing readers and generous marketing budgets. In many cases, the authors were writing outside their own cultural identities.
But the last decade has ushered in a different sensibility. Movements like #OwnVoices and the broader push for diversity in publishing have highlighted the inequities in whose stories are told—and who gets to tell them.
A key criticism is that writers from dominant cultural groups often receive more opportunities and resources to write about marginalized cultures than people from those cultures themselves.
One notable moment came with the release of American Dirt by Jeanine Cummins in 2020. Marketed as a definitive novel on the Mexican migrant experience—written by a non-Mexican author—the book sparked intense backlash from Latinx authors and readers. Critics pointed to stereotypical portrayals, lack of tone, and the publishing industry's tendency to develop outsider voices over insiders. The controversy pushed the industry to take a look at its practices around cultural storytelling.
THE ROLE OF PUBLISHERS
In response to growing scrutiny, many publishing houses have made public commitments to diversity, equity, and inclusion. This commitment includes hiring more diverse editors, creating dedicated imprints for underrepresented voices, and prioritizing manuscripts by authors writing from lived experience. Some publishers now conduct “sensitivity reads” to catch cultural inaccuracies or offensive content before a book goes to print.
At the same time, there is no official industry-wide guideline that says authors can’t write about other cultures. Publishers remain open to cross-cultural fiction—but with conditions.
Writers are increasingly expected to show evidence of serious research, community engagement, and respect for the culture they’re portraying. Sloppy or stereotypical writing won’t fly in today’s climate, and publishers know that poorly handled cultural content can lead to reputational and financial fallout.
Agents are also paying closer attention. Many ask writers about their relationship to the cultures they portray, and some explicitly prioritize authors writing from within their own cultural contexts. Still, most agents maintain that imagination and empathy remain vital parts of fiction, and they’re not looking to shut down all cross-cultural storytelling. They’re just striving to raise the bar.
RISK AND REWARD
For writers, the message from the industry is clear: proceed with care. Writing fiction across cultures is not inherently problematic but comes with responsibilities. The rewards can be great—richer narratives, wider readerships, and meaningful cultural bridges. However, the risks are real, especially if the story relies on clichés or glosses over nuance.
The industry response varies depending on the execution. Books like Homegoing by Yaa Gyasi or The Night Tiger by Yangsze Choo have been praised for their thoughtful engagement with complex cultural histories, even when elements fall outside the author’s direct experience.
What sets successful cross-cultural books apart is their attention to depth, specificity, and emotional truth.
In contrast, projects that lean on a single cultural trope or fail to reflect a genuine connection often face criticism or rejection—both before and after publication. Editors today are asking harder questions: Why this story, and why you?
WHAT ABOUT SELF-PUBLISHING AUTHORS?
Self-publishing authors should use the same advice and standards the writing industry is working toward. Don’t write it if you don’t feel you can do the culture justice. Leave it to an author within that culture.
Years ago, a Chinese writer from one of my writing groups gave me an ancient Chinese tale. He wasn’t a children’s writer but wanted to see the story with a modern spin, so he gave it to me to rewrite.
I did a lot of research, including online, books, and movies, and had the writer to bounce things off of, like character names and typical foods, adding authenticity to the story. And as it’s based on an ancient tale, it wasn’t likely I’d get criticism for it. I rewrote it into a children’s chapter book, Walking Through Walls, and a small publisher took it on.
I’ve since gotten my rights back and am in the process of self-publishing it.
TAKING A LOOK AT ACADEMIA’S VIEWPOINT
In academic circles, the debate over writing across cultures is not new. Scholars from various disciplines have long struggled with questions of authorship and representation. The work of theorists like Edward Said (Orientalism) and Gayatri Chakravorty Spivak (Can the Subaltern Speak?) has laid the groundwork for understanding how narratives can reinforce or resist power hierarchies.
This understanding became evident to me when I helped my high school grandson (taking college courses) write an essay on AI and historical archiving. How a story is interpreted, told, and archived can change viewpoints and actual history.
From this perspective, it’s not simply a question of whether one can write about another culture—but how. Is the work informed, respectful, and aware of historical and social context? Does it amplify marginalized voices or overwrite them? Does it reflect the author’s commitment to getting it right?
Scholars may criticize poorly executed cultural portrayals, but they are also more likely to defend thoughtful, well-researched attempts at cross-cultural storytelling. Some even argue that insisting authors only write from their own cultural backgrounds risks a kind of literary segregation that ultimately narrows the artistic landscape.
PRACTICAL ADVICE FOR WRITERS
Here are some generally accepted principles for ethical cross-cultural writing:
1. Do the Work: Extensive research is non-negotiable. Immerse yourself in books, films, and firsthand accounts from within the culture.
This work includes reading works by authors from the culture in question, conducting interviews when appropriate, and understanding cultural nuances beyond surface-level traits.
2. Get Input: If possible, connect with members of the culture you’re writing about and be open to feedback. Their insights can help avoid harmful clichés and deepen the narrative.
3. Acknowledge Your Position: Writers benefit from being transparent—whether in the book itself, an author’s note, or public statements—about their relationship to the culture they're depicting.
4. Use Sensitivity Readers – A sensitivity reader can catch blind spots and suggest improvements, especially in dialogue, setting, and character dynamics.
5. Avoid Stereotypes: Avoid presenting one character or story as representative of an entire culture. Every character should be specific, complex, and human.
LOOKING AHEAD AND SUMMING IT UP
As the publishing world continues to struggle with issues of equity and representation, one thing remains true: fiction thrives on curiosity, imagination, and empathy. But with the freedom to explore comes a responsibility to do so with care. Writing across cultures is not off-limits, but it’s not a free pass, either.
What publishers ultimately want are stories that resonate, challenge, and reflect the complexity of human experience. When cross-cultural fiction does that with honesty and respect, the industry is still willing to listen—and publish.
I’m a working children’s ghostwriter, rewriter, and coach. I can help turn your story into a book you’ll be proud to be the author of, one that’s publishable and marketable.
