There's a thriving field of self-published stuff in, particularly, black fiction. I don't know that other groups of people of color have that same recourse.
Interpretation
The quote highlights the flourishing nature of self-published black fiction, contrasting it with other communities of color that may not have the same opportunities.
N. K. Jemisin points out the vibrant and growing landscape of self-publishing within the black fiction community, indicating that many black authors are finding success and voice outside traditional publishing avenues. She suggests that this phenomenon may not be replicated in the same way among other people of color, hinting at disparities in access to resources and platforms, and speaking to the importance of representation and agency in literature.
In practice
During a panel discussion on diversity in literature, this quote might be shared to illustrate the importance of self-publishing for underrepresented voices.
Magic is the mysteries into which not everyone is so lucky, or unlucky, as to be initiated. It can be affected by belief, the whims of the unseen, harsh language. And it is not. Supposed. To make. Sense. In fact, I think it's coolest when it doesn't.
I don't really understand why so many fantasy writers choose to focus on worlds that just seem strangely denuded. But to them, I guess it doesn't seem strange. And I guess that's their privilege. It isn't mine.
I write what feels real. I write things that are informed both by my own experience and by actual history.
Reactionary movements can't sustain themselves unless they find something new to catch and burn on.
Fantasy is fantasy. It's fiction. It's not meant to be a textbook. I don't believe in letting research overwhelm the fiction. That's a danger of science fiction in particular, as opposed to fantasy. A lot of writers forget that what they're doing is supposed to be art.
I've always believed that as an artist, as a writer, you need a lot of contact with other people to make your art good.
That the question of likability even exists in literary conversations is odd. It implies that we are engaging in a courtship. When characters are unlikable, they don’t meet our mutable, varying standards. Certainly we can find kinship in fiction, but literary merit shouldn’t be dictated by whether we want to be friends or lovers with those about whom we read.
There might be a different model for a literary community that's quicker, more real-time, and involves more spontaneity.
People without hope not only don't write novels, but what is more to the point, they don't read them.
Literature is an investment of genius which pays dividends to all subsequent times.
Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.
Nobody reads a mystery to get to the middle. They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book.
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