Just My Opinion:
A Guide To Sensitivity Reading
By Helen Gould
Hello!
This guide is a public resource for anyone interested in learning more about what a sensitivity reader does. My aim is to be as transparent and clear about my job as possible.
I’m hoping that this document will be useful for:
- people who want to become a sensitivity consultant;
- editors, authors, and publishing houses;
- anyone else who genuinely wants to know more (e.g. journalists).
An important caveat: this document is solely based on my own approach and my personal opinions on the profession (hence the title!). I have no authority over anyone or anything, and you don’t have to do things the way I do. Other sensitivity readers may think or feel differently, and that’s fine!
This document is free to access, but if you find it helpful and would like to show your appreciation, donations are welcome at paypal.me/hrgould.
If you have further questions (or even want to hire me!), you can reach out to me via https://hgwriting.co.uk/contact.
Contents
What is sensitivity reading? 3
For aspiring sensitivity readers 5
Contracts, NDAs, and getting thrown under the bus 8
Self-knowledge and emotional well-being 12
For authors, publishers, and other clients 19
What if I'm too apprehensive to work with a sensitivity reader? 24
I’m sure my book is harmless. Do I still need a sensitivity reader? 24
Introduction
What is sensitivity reading?
To my mind, sensitivity reading is essentially a specialised form of editing. It involves fact-checking, literary analysis, identifying unconscious bias and stereotypes, and conveying feedback to the creator in an easily understandable way.
In recent years, the creative industries (and businesses in general) have become more aware of the existence of unconscious bias/stereotyping and its negative impacts on marginalised groups. They also realise that they may not be able to pick up on these things themselves. Sensitivity readers help them to do this.
We tend to be hired when a creator is working on a project featuring marginalised characters and/or engaging with themes that they do not have first-hand experience with, such as a white author writing about a Black character.
In this case, the author may want the input of a Black sensitivity reader to make sure that their writing isn’t accidentally falling into stereotypes, spreading misinformation through inaccurate representation, or otherwise likely to cause harm.
To be clear: when I say “harm”, I do not mean “offence”. Harm and offence are different things.
When I say “harm”, I mean the fact that creative media can influence our thinking. If a group is always represented in a particular way, people in real life will begin to make assumptions about that group and treat them accordingly.
For example, when Black men are frequently portrayed as being inherently more violent, angry, and/or frightening than other races, people end up unconsciously assuming that Black men in real life are like this. This contributes to things like police brutality, job discrimination, unfair assumptions, etc. These are tangible harms.
How is it done?
In my experience, feedback is usually provided by leaving comments in the margins of the manuscript (or wherever is appropriate for the medium). Sometimes, the client has their own method that they’ll ask the sensitivity reader to use (e.g. a spreadsheet).
Personally, I also give general feedback in a separate document, reserving comments in the manuscript for specific phrases and vocabulary.
As a rule, it is not the job of a sensitivity reader to ‘fix’ a text or directly edit/delete anything. I’ve only had this kind of direct input on projects where I have also been hired in my capacity as a creative writer or copy editor, and always at the request of the original creator/s.
Why is it useful?
Sensitivity readers can help creators to:
- Avoid causing harm to their audience and to marginalised communities through inaccurate or discriminatory stereotypes
- Contribute to a more inclusive environment in the arts (diverse representation often leads to more people being interested in these professions)
- Understand and challenge their own unconscious biases, helping them to grow as a creator
- Improve the authenticity of their characters (e.g. a sensitivity reader can advise on dialects, lived experiences, religious practices, fashion and hairstyles, etc.)
For aspiring sensitivity readers
If you’re reading this section, I assume you’re looking into becoming a sensitivity reader yourself; so, hello and welcome!
This chapter includes pretty broad 101 advice about freelancing and working with clients, the skills and experience that I think are useful for being a sensitivity reader, and a list of resources.
Working and pricing
At time of writing (summer 2024), this is largely a freelance profession, with all the baggage and benefits that come with that. You’ll likely be working from home a lot of the time, with only your own brain for motivation.
For me, that’s an absolute blessing; for you, it might not be. Make sure that you can thrive in that environment before committing to this job (or to any freelance work!), and have a look around the internet for advice about what you can expect from the freelance life.
There are some agencies out there that you may find useful for getting regular work, such as:
There will probably be more as time goes on.
Your biggest question is probably around pricing, but I’m afraid that’s something that doesn’t really have a definitive answer. I can only tell you what I do.
I started out at £30 per hour when I went freelance full-time in 2018. I now charge £50 per hour, but with several years of experience and a lot of very positive feedback from clients, it’s likely that I’m undercharging!
There are other ways to charge, like per word or per project. However, because I can’t tell how many notes I might need to make on any given piece of work, I have always charged by the hour. A very problematic 50k book might take me much longer to read and annotate than a 100k book that gets most things right; and obviously, there’s no way for me to tell how difficult a project will be prior to receiving it.
When I was first starting out, here’s what I did to decide how much to charge:
- I figured out how much my basic monthly expenses were, and then what I wanted to earn on top of that for the things I actually live for (like seeing friends). This gave me my desired income.
- I then decided how many hours a month I was willing to work.
- I divided my desired income per month by my desired hours per month. For example, £1500 divided by 50 hours per month is £30; ergo, I had an hourly rate of £30.
But everybody’s situation is different, and you may have all kinds of other considerations. You might have dependents, a car, a part-time job, and so on. The most important thing is that you should always charge an amount that you’re comfortable with. If the client can’t afford it, they’ll tell you.
I am usually open to negotiation in those circumstances (especially if they are a student, on a low income, or some other mitigating factor), but I’ve actually found it to be pretty rare for people to haggle.
Lastly, before you decide to launch a full-time freelance career, I strongly recommend that you save up for a financial cushion that can cover a couple of months’ expenses in case things don’t go well.
It’s probably a good idea to work part-time somewhere (which I’m currently doing!) while doing sensitivity reading in your spare time, so that you have some guaranteed income as you build your client base and acquire testimonials.
Tools
90% of my work is done in Google Docs or Microsoft Word, so I would recommend making sure you have access to these at minimum (or compatible substitutes). The remaining 10% is split between Microsoft Excel/Google Sheets and PDF files. If you want to get really fancy you can invest in a PDF editor, but personally I’ve always found them a bit fiddly when trying to leave comments.
I’d also advise getting your own website, with an explanation of who you are, what kind of projects you want to work on, previous experience, and a contact form. Try to avoid putting your actual email or phone number on your website though, because spam bots often trawl websites for new targets.
You may also find it useful to have some kind of project management or time management application (Windows has a free app called Sticky Notes). Even physical post-it notes might help.
I use a combination of Toggl Track to measure how long I’m working, a Monday - Sunday wall calendar so I know what’s coming up on a weekly basis, and a physical diary for longer deadlines and scheduling upcoming projects.
Other than that, you’ll need a laptop or PC to work on, something to write your notes with, and your own brain.
Expectations
Responses
Most of the time, I get really good feedback from my clients. They’re generally grateful for my input and excited to get on with their edits.
This is probably a self-selection thing. If someone is reaching out to you for sensitivity reading, it usually means they care about what they’re making, they care about their audience, and they are open to constructive criticism. As a result, the vast majority of my clients are wonderful!
Sometimes, a client has disagreed with me. This is usually along the lines of 'this aspect has to be written that way because X'.
Sometimes 'X' is something totally valid that they haven't mentioned before (e.g. 'I'm going to expand on their character in the next book; that's why they aren't very nuanced in this one'); in which case, no worries.
Sometimes it's a bit less convincing (e.g. 'X has to be this way or the plot won’t work’). Depending on the issue and the working relationship, I may make suggestions (e.g. ‘have you thought about doing Y with the plot instead?’), but I won’t push it if it’s clear that a creator doesn’t want to make changes.
In general, I avoid getting into arguments. I am a freelancer who has been paid to give my opinion. It's not really up to me whether they take my advice or not, nor can I control their actions; I can only try to ensure that they’re making informed choices.
This is why, when giving feedback, I make sure that I explain what impact I think the issue might have on a marginalised reader and why. That way, even if the writer doesn't change it, at least they'll be doing so deliberately and can be prepared for potential criticism.
The best thing is just to remain polite and professional (even if the client isn't returning that courtesy). You've done your job, and you won’t be thanked or paid for arguing with someone who won't change their mind. If they want to do something that you consider a mistake, that’s their prerogative. Time to move on.
Contracts, NDAs, and getting paid
I have heard many anecdotal stories of creators/publishers/editors receiving criticism and responding with ‘well, the sensitivity reader told us it was fine’.
It should go without saying, but that is no way to treat a sensitivity reader (or indeed anyone you hire). I extend full solidarity and sympathy to people who have experienced this. Relatedly: if you get exploited by a company, it’s not your fault. It’s the fault of the people who decided to do that to you.
Fortunately, this has never happened to me. I suspect this is largely because, as mentioned above, most of my clientele are good people. Beyond that, I have usually been protected by a contract.
Before reading on, please note that I am not a lawyer, and nothing here should be taken as official legal advice! These are only my personal experiences. Always contact an expert in your area if you have questions about employment law.
Contracts and non-disclosure agreements (NDAs) often sound scary because of the very official legal language they use, and they can sometimes be exploitative. However, when written well, they can protect you as well as your client. A mutual NDA, for example, stops your client from publicly pointing the finger at you as well as preventing you from leaking confidential information.
I usually work with the contracts that my clients have drawn up, but I do have my own template in case they don’t have their own. It includes the following language, much of which I have paraphrased from various similar contracts that I’ve come across over the years:
‘Both the Client and the Consultant agree not to publicly libel or defame the other in any way via any written, visual, or audio medium. This includes social media.
[...]
The Client agrees to request the written consent of the Consultant to name them in any acknowledgements in the manuscript, and to abide by the decision made by the Consultant. This means that if the Consultant does not wish to be named in any acknowledgements, the Client must not do so.
[...]
The Consultant cannot make any guarantees that the manuscript will not receive any backlash or otherwise be viewed unfavourably. Final responsibility for the manuscript remains with the Client.’
In plain English, this basically says ‘Your decisions are your own; leave me out of it unless we’re both okay with me being included’.
Contracts can be negotiated, so you can request for a clause along these lines to be included. If they won’t agree not to defame you, it’s probably best not to work with them.
And of course, if you’re not sure about a contract, get someone else - preferably a lawyer - to look at it.
Getting paid
This is still not a very well-established field, which means that projects can sometimes be few and far between. Be prepared for massive peaks and troughs in your schedule and finances.
Generally you should expect to be paid, on average, within 30 days of sending your invoice. However, some clients (especially larger businesses or public bodies) can take much longer to pay you. The longest I’ve waited to be paid is seven months.
I’ve recently implemented the EU Late Payments Directive on my invoices, so if you’re in the UK/EU, I’d recommend looking it up. My current wording is:
‘Please pay this invoice within 30 calendar days. Late payments will be subject to an additional charge of £40 in accordance with the European Late Payment Directive of 2013.’
Regardless, you’ll probably get messed around a bit at least once when it comes to getting paid. You shouldn’t be - nobody should - but that’s what capitalism is like for freelancers right now.
Stay calm and professional with your client; vent to your friends; and if you can, make sure you have something else to fall back on to help you get by.
Skills and experience
If you want to become a sensitivity reader, you might be unsure about whether you’re qualified enough or if you have the right expertise. I’ll tell you straight up: you might not! Not everyone can do this job, and that’s okay. But before you write yourself off, read through the list below and see if it sounds like you.
Critical thinking
By this, I mean the ability to analyse and dissect a work beyond what it is presenting on the surface. You should be able to come to your own conclusions about how a concept is being expressed and explain how you formed those conclusions. Basically: do you have your own opinion, and can you express it in a way that others can understand?
One way of learning these skills is through academia, particularly the humanities. Subjects that focus on art, literature, film, media, sociology, history, politics, etc. all involve work that can help you develop your proficiency in communication, analysis, persuasion, research, different modes of thinking, various theories, and so on.
It's also perfectly possible to teach yourself these skills, though it may be more difficult. You might consider:
- Starting a journal, blog, vlog, or something similar where you engage with media you enjoy and write about why you enjoy it. You don't necessarily have to make it public (though I would recommend showing it to someone you trust for feedback). The important thing is that you are developing an understanding of how you interact with culture and practising how to express your opinions.
- Joining a book club, film society, or something similar that will regularly expose you to different forms of media and require you to discuss it, or at least listen to how others discuss it.
- Finding out what other people are doing in the field of media criticism. What do people find interesting, and how are they talking about it? You could do this by reading other people's blogs, watching YouTube video essays, listening to podcasts, and so on. I've included some suggestions in the Recommended resources section.
The aim is for you to feel confident that you can not only engage productively with creative work - i.e. figuring out if you like it or not, whether you think it's good/interesting or not, putting your thoughts and feelings into words and identifying why you think that way - but also understand what other people's opinions might be on it and how the work ties in to culture and society on a wider scale (for better or worse).
Empathy and tact
Creators working with any kind of editor often feel anxious or apprehensive about the feedback they are going to receive. This is especially true when that feedback may well be interpreted as a judgement on the creator. Informing a person that something they have made may contribute to oppression is something that can a) easily be taken personally (i.e. 'you're calling me racist') and b) be very difficult to accept.
So, it's important to communicate these things with honesty and firmness, but also with the understanding that the creator is likely to be horrified that they have made such a mistake and may just be ignorant of the issues rather than malicious.
When I'm writing comments and giving feedback, I try to do so with the following assumptions:
- The creator did not intend to make these implications/portray these stereotypes/engage in these assumptions etc.
- The creator will engage with my feedback in good faith
As explained above, 99% of the time I am correct to make these assumptions, because the kind of clients who usually hire a sensitivity reader are doing so sincerely. Even if they weren't, I always want to give a person the benefit of the doubt. If they then make it clear that they did not deserve it, I can disengage later.
In my view, it's really important not to jump to conclusions about a client, and there's no point in trying to figure out any ulterior motives. I know that this can be a lot to ask, especially from people who have been burned by toxic workplaces and developed a habit of trying to read between the lines, but this mindset can torpedo working relationships before they've even started.
You can't read someone else's mind. Don't attempt to, and don't try to act on what you think they want rather than what they've actually said. If you need clarity, ask.
Basically: extend to other people the grace that you would like to receive yourself, and let this inform how you speak to them. Always be polite, even if you’re upset. My approach is always to inform, advise, and challenge; not to rebuke or demand.
In summary, you catch more flies with honey than with vinegar, and your clients are more likely to listen to you if they feel you're coming from a place of understanding rather than anger.
Obviously, some people will read anger and malice into your words no matter what you do; you can't help that. Annoyingly, the best way to deal with that is to remain calm and professional as you inform them that this will be the last time you work with them and that your invoice is on the way. You can rant to your friends later.
Self-knowledge and emotional well-being
This is probably the most important trait to have if you are considering becoming a sensitivity reader, because you need to be able to look after yourself mentally and emotionally.
This means:
- Knowing your boundaries (e.g. you might want to do sensitivity reading for queer experiences, but you might not want to engage with narratives about homophobic families)
- Being able to identify when you are upset or triggered
- Knowing what to do if/when this happens to take care of yourself
- Knowing that you deserve that care and acting on that knowledge
This is important because by becoming a sensitivity reader, you are likely to encounter material that is othering, dehumanising, oppressive, or a reminder of a traumatic experience.
It can be very painful to read a depiction of someone who shares your identity and realise that they are being portrayed as a two-dimensional stereotype, rather than a real human being. It can also be painful to have to engage with that depiction and explain, for what may feel like the millionth time, why it is harmful. Doing this repeatedly can grind you down.
By choosing this work, you are exposing yourself to potential harm. I am lucky in that my particular triggers are very specific and rarely come up. Many people are not in this position, and will need more time and self-care if they want to do this job without causing further harm to themselves.
So, before deciding on this path, ask yourself the following questions:
- Do I know my boundaries, and can I enforce them?
- Do I identify with my work to the extent that refusing projects, asking for deadline extensions, and so on feels like I am failing myself?
- Can I distinguish between content that I don't like, content that makes me personally uncomfortable, content that triggers me, and content that is actively harmful on a wider scale?
- Am I able to recognise these feelings of discomfort and accurately explain why I am feeling them?
- Can I recognise when I need to step away, and am I able to do so? Do I listen to the people around me when they suggest this?
- Can I reliably treat myself with kindness?
- Am I willing to regularly interact with potentially difficult or upsetting material, or is this something that may make me feel worse?
Essentially: do not become a sensitivity reader if you can tell that it would adversely affect your mental health to frequently read potentially harmful material.
Socio-political knowledge
This is potentially a controversial point, depending on who is reading this, but in my view it is vital that sensitivity readers hold a politically progressive stance. I think a sensitivity reader needs to fundamentally believe that:
- Society as it currently stands is not equitable, but it should be
- Change is possible and desirable
- Racism, sexism, homophobia, transphobia, ableism, etc. have not been solved, and in many cases have worsened since the start of this century
- Culture and creative works can have an impact on society as a whole
- Everyone deserves diverse representation - and, just as importantly, they deserve for that representation to be accurate and nuanced
If you don't believe in any one of these principles, I am unsure why you would want to become a sensitivity reader.
In addition, a basic knowledge of political and literary theory is, in my view, essential when it comes to identifying oppressive narratives and themes, and explaining how these things work.
You can find a list of suggested authors, thinkers, texts, and media in the Recommended resources section.
Lived experience
This is the simplest one to explain. If you want to be a sensitivity reader, the area that you choose to specialise in should be something that you have experienced first-hand.
For example, if you are cis and heterosexual, you should not attempt to provide sensitivity reading on queer experiences; if you are Christian, you should not read for Islamophobia; and so on. There are details, dog whistles, and microaggressions that you will not be able to pick up on.
When we talk about ‘lived experience’, what we mean is exactly what it sounds like: you need to have direct, personal experience in whatever area you’re specialising in.
Recommended resources
This is not an exhaustive list - you should always do your own research and reading as well - but these may be useful places to start.
Books and essays
- Black Skin, White Masks, Frantz Fanon (on the psychological effects of racism)
- Chavs: The Demonization of the Working Class, Owen Jones (on classism in Britain)
- Decolonising the Mind, Ngũgĩ wa Thiong'o (on the connection between language, culture, and identity)
- Disability Visibility: First-Person Stories from the Twenty-First Century, edited by Alice Wong (personal essays on disability)
- Eating the Other: Desire and Resistance, bell hooks (on 'othering' and commodification)
- Fearing the Black Body: The Racial Origins of Fatphobia, Sabrina Strings (on fatness, the racialisation of black women's bodies, and the history of beauty standards)
- None of the Above: Reflections on Life Beyond the Binary, Travis Alabanza (on rejecting the gender binary)
- Orientalism, Edward Said (on the impact of stereotyping the countries and people of the middle East)
- The Transgender Issue, Shon Faye (on transphobia and trans experiences)
- Why I'm No Longer Talking to White People About Race, Reni Eddo-Lodge (on discussing race and racism in Britain)
Podcasts
- If Books Could Kill (mostly about non-fiction, but interesting nevertheless in terms of learning how to spot misinformation and bias in writing)
- Just King Things (each episode is a critical examination of a Stephen King book, which may help you learn how texts can be analysed)
- Kill James Bond! (a fun and interesting show about masculinity in action and spy movies, which may help you develop your own socio-political analysis)
- Witch, Please (two academics critique Harry Potter through the lens of various literary theories - really good resource for an overview of all the different ways you can analyse literature, using an IP we’re all very familiar with. They also have a very useful reading list, which you can find here: https://www.ohwitchplease.ca/citationsreading-list)
Self-care advice
- 23 Post Traumatic Growth Worksheets for Therapy
- How to Practice “Radical Acceptance”
- Mental noting (i.e. how to become more aware of your emotions)
- Self-care / Collective-care by Elizabeth Nguyen (Google Doc of advice)
- What does it really mean to sit with your feelings?
Video essayists
- Big Joel
- F.D. Signifier
- Jack Saint
- Jessie Gender
- Philosophy Tube
- Pop Culture Detective
- Princess Weekes
- Renegade Cut
- Sarah Z
- Shaun
- T1J
The process
Every sensitivity reader’s process is different; we’re all individuals, and as mentioned previously, there are currently no set courses or qualifications. However, I’ve written up this section to explain how I do it, in case that is helpful to people starting out in this field.
As with everything else, this is just my own process and thoughts. If you read it and think "God I'd do literally the opposite of all of this", well, at least I've helped you understand what you won't do!
Getting started
Before doing anything, make sure you and your client are both clear about deadlines, expectations, and costs. Misunderstandings and miscommunication can destroy professional relationships (and non-professional ones too).
Once that's sorted, the next thing I do is look at how many pages are in the manuscript. Then I give myself a number of pages to read each working day that will make sure I'll finish reading by the deadline. Usually this is between 20 and 40 pages, which I can usually do within an hour or two.
Ideally, l also include a day for double-checking my comments and writing up my overall notes into an honest but tactful summary, then another day for editing those notes. Then I send it all back to my client.
Some people might prefer to assign a couple of entire work days to one project; some might do alternate days; whatever suits you. The point is to measure your time appropriately and give yourself leeway if you need it.
Making comments
When something - a phrase, a word, a description - catches my eye as I'm reading, I'll pause and identify what has made me take notice of it.
Sometimes this is very quick and simple ("Yikes, I don't think they know that's a slur") and sometimes it takes a couple of minutes ("Oh, this Black character is being described in a way that really emphasises their sexuality; this might contribute to hypersexualisation or fetishisation").
Sometimes I have to sit with the feeling for a long time before I can put it into words, often because it's a larger issue than just a phrase or two (e.g. "This character that just died for the benefit of the white protagonist hasn't done anything in the book other than sacrifice themselves, and the protagonist has never reciprocated or acknowledged this").
Once I know what the problem is, I'll explain it in the comment, often with links to more information. I usually also include suggestions or questions to get the author thinking about ways they could change it if they want to.
As mentioned previously, I always try to phrase things in a way that is helpful and informational, not remonstrative. Even if it's something that's been frustrating me or which I think is particularly bad, I will take care to stay polite. Sometimes I will express my emotions - usually along the lines of "this feels very uncomfortable" or "this is quite upsetting" - but not often, as my work is not just about me.
Where it's appropriate, I'll often include links to the political theory, literary analysis, or social phenomena that I'm drawing on (some of which I've included in the recommended resources list above).
If there is a recurring or thematic issue - like the treatment of a character, the portrayal of a setting, or a plot point - I will make detailed, separate notes. Then, every time I see an example of the issue, I make a note of the page reference and how it contributes to the problem. This helps me to build a well-reasoned and evidenced explanation of what the issue is and where the author might want to concentrate in the text.
I then divide this separate feedback into relevant headings (usually I have to include one called "Miscellaneous" as well) so that all the relevant comments are grouped together.
When I've finished reading, I go back through all my comments and notes to make sure I still agree with everything I've said and that I'd be confident discussing it with the author if they wanted to talk to me about it. Then I send it!
Different mediums
The above method works best on books and other media that can be put into Word or a Google Doc; but this isn't the only kind of creative work that sensitivity consultants are asked to handle.
I have also looked at:
- video games where the provided content is primarily artwork and gameplay, not a script
- illustrations and artwork
- graphic novels and comics
In these instances, I have generally ended up producing my own document of chronological detailed feedback. Each time I want to raise something, I'll give a page reference or timestamp, and a full explanation of the issue as I've explained above.
I might also include an introduction that summarises the issues, the scale of them (i.e. is it a matter of changing a character's hairstyle or a complete redesign?), and gives some overall recommendations.
For authors, publishers, and other clients
If you're reading this section, I'm assuming that you're interested in hiring a sensitivity reader. Below you will find information on what sensitivity readers can and cannot do, when it's best to hire us, reasons to work with us, and how to be a good client.
If you have more specific questions, my contact details are available on the first page of this document.
What we can and can't do
A sensitivity reader can:
- Fact-check and identify areas for improvement in the depiction of marginalised groups or specific lived experiences
- Work with a creator to provide resources and suggestions they may find useful
- Improve the creator’s awareness of common stereotypes and biases, and recommend ways to avoid perpetuating them
A sensitivity reader cannot:
- Indemnify you against any and all criticism
- Guarantee that nobody at all will be upset by the work
- Speak for everyone in their group
When to work with us
If you want to work with a sensitivity reader, you should generally bring us on board when you have a first draft and enough time to make changes if needed. Don't leave it until the last minute.
I recommend that you allow three to four weeks for your sensitivity reader to get back to you with their thoughts (or longer, if it’s a big project). On top of that, you should allow enough time on your end to make any appropriate changes and ask any further questions.
If you are working on a project that will address a lot of sensitive issues or contain multiple characters with different marginalised identities to the creator/s, the best approach is to bring on additional creators, editors, illustrators etc. from these groups and make a diverse team from the start. We exist and we are available!
If it’s particularly complex, you might still want to get sensitivity readers involved to double-check things. In this case, you should probably liaise with them several times: at the conceptual stage, so they can catch anything big and warn about pitfalls; at first draft, so they can see how you’re executing it and give feedback; and then at the final draft for any last comments.
If you are working on a highly complex project, but you are just one person and likely to remain so, I would respectfully ask you to reflect on why this story is something you are interested in.
Can your perspective really add to the topic, or would it be best left to people who have actually experienced it? What assumptions are you making about your characters’ lives? Are there similar existing works from marginalised creators, and are they already fulfilling this niche?
Professor Sunny Singh has a good list of questions to consider which you can find here. That is a link to Twitter, so in case that website falls apart by the time I release this, here’s a screenshot:
If you’re already halfway through a project and suddenly realise that you want a sensitivity reader, you can still hire one. Identify what exactly is making you feel out of your depth or uneasy about your work, and look for someone who specialises in that topic. If it’s multiple things, you may need multiple people.
Lastly, as I have said on record several times, I advise against trying to use sensitivity readers after something has already been released. In my opinion, the best thing to do in these cases is to add a foreword or disclaimer acknowledging the issues with the book and offering further resources that the audience may find helpful.
Reasons to work with us
Ideally, you will want to work with us because:
- You care about the impact of your work and are aware that you could be getting things wrong
- You want your portrayals of different cultures, marginalised people, and lived experiences to be realistic
- You value the perspectives of others and are willing to change things based on those perspectives
- You want to avoid causing harm to your potential audience
- You are keen to learn about others, and are aware that this is a life-long process
- You want to contribute to a more equitable and representative industry and society
You should not work with us if:
- You have no intention of changing anything
- You don’t have enough time to make meaningful changes
- You are just taking part in a tick box exercise and don’t have the power to do anything
- You don’t trust anyone other than yourself with your work
- You think that hiring us is where your responsibility ends
- You don’t think there could possibly be any issues with your work (because if we find some, you probably won’t like it)
Being a good client
Firstly, I’m sure you already adhere to what I think of as the unofficial codes of conduct for being a good client to a freelancer (any freelancer, not just sensitivity readers). If you’re unsure, these can be summed up as:
- If you have a strict budget that can’t be adjusted, say so before asking about rates
- Be polite, even if you are frustrated; they’re a person too
- Once you’ve settled on an acceptable deadline, don’t rush them
- Pay your freelancer on time; even better, pay them as soon as possible
- If they did well, recommend them to others
However, in my view, there are a few extra things to keep in mind when working specifically with sensitivity readers.
Our work can roughly be split into two types: analytical work (i.e. thinking through the artistic intentions and impacts of the work) and emotional work (i.e. recognising where something might be harmful, potentially because it is similar to harm the reader has already experienced).
This emotional work is the part that makes sensitivity reading so different to other forms of editing. Your reader might be interacting with things in your work that have previously hurt them. Though in my view they shouldn’t be doing this work if they are likely to be re-traumatised by it, this is still difficult and stressful to do.
For an easily understandable example: let’s say that you have never been sexually assaulted, but you want to write a book that includes a rape scene from the perspective of the character being attacked. Because this is a delicate topic, you get a sensitivity reader who specialises in issues of PTSD, sexual assault, and trauma.
It should be clear from this description that engaging with your narrative may well take a toll on this reader. Even though it’s a toll that they are willing to impose on themselves in order to help you, it can still be very tough to be reminded of trauma.
As I’ve said, sensitivity readers consent to work on these projects and should be trusted to know their limits; but reminders of negative experiences can’t always be easily shrugged off.
So, an additional three rules that I would add to the bullet point list above are:
- Let your sensitivity reader know if the content of your work is particularly graphic or detailed so that they can prepare themselves for it
- Either be flexible with deadlines if they ask you for more time, or build in extra time from the start
- Keep in mind that the work they are doing is not just reading and making notes; there may be a lot of internal work going on to keep themselves well. Act accordingly.
FAQs
Isn’t this censorship?
No. You can choose to work with a sensitivity reader or not. You can then choose whether or not to take their advice.
Censorship is where someone - usually the government - is forcing you to change or remove your words, or punishing you with imprisonment, violence, and even death for what you have said.
If you are genuinely concerned about censorship, you might want to look into the following organisations:
International Network of Civil Liberties Organisations (INCLO)
Liberty (UK based)
What if I'm too apprehensive to work with a sensitivity reader?
If you’re particularly nervous, you might want to work through an intermediary, whether it's an editor, a co-writer, or just a friend. They can give you distance from the sensitivity reader while still receiving and passing on their feedback.
However, if you want to work in the creative arts, you should already be aware that you will receive criticism. This can range from purely negative feedback from someone who was never going to like your work to detailed and articulate constructive critique from a professional reviewer.
With a good sensitivity reader, it should be measured feedback with the intent of making your work better. They're not out to attack you; they're just providing a service.
Further, you need to accept that if you're going to show the public your work, then the public is going to have lots of opinions about it. That's not inherently a bad thing. It's just part of putting yourself out there, but that can be scary. The best thing to do is probably to decide what your boundaries are in advance and stick to them. It's very easy to fall into a rabbit hole of nasty comments from strangers.
I’m sure my book is harmless. Do I still need a sensitivity reader?
Honestly? Maybe not! If it's a picture book about happy animals having a tea party, you're probably fine.
In general, you or your editor will know if you need a sensitivity reader. If you find yourself uncertain, uncomfortable, or second-guessing yourself about your work, then there's no harm in getting a second opinion. It's just another form of research and editorial insight.
However, the opposite can also be true: if you've written about experiences and identities that are not your own and you think you've definitely gotten everything 100% right the first time, you should probably get a sensitivity reader. Overconfidence is a big sign that you might have done something harmful without realising it.