New Writing North has launched The Bee, a UK-wide initiative tackling the lack of working-class voices in writing and publishing. But is this the start of real change or is the industry too entrenched in its old ways?
I did not grow up with a glamorous home library stacked with classics nor family friends who worked in the media and could put in a good word. I have been aware of the ‘Class Ceiling’ for as long as I can remember — seen in the subtle ways opportunity and access are shaped by background. The books that resonate most with me tend to reflect real life: written by authors from a range of cultural and class backgrounds. However, in the publishing industry, that diversity is still the exception.
Once I graduated from University, and started applying for entry-level roles in publishing, I was hopeful to find a pathway in. However, rejection after rejection made it painfully clear: passion, eagerness to learn and relevant experience are not always enough to break into an industry still dominated by invisible privilege.
Lack of feedback on applications, paired with the rising challenges in the UK job market resulted in increasing fear for the future and imposter syndrome. For working-class creatives, the path into publishing is not just difficult — it often feels as if it doesn’t exist at all. Low representation, unconscious bias and geographic barriers are just a few of the hurdles that make it difficult to break into the field.
The Bee editor— Richard Benson — reveals that a mere 10% of authors and writers are from a working-class origin. Unpaid internships, cultural barriers and the influence of nepotism have created an industry that often reflects just one slice of society.
Now, initiatives like The Bee — a new national project by New Writing North designed to elevate working-class voices — are asking whether this change is finally possible. The question remains: does this platform reflect a genuine shift, or is it another short-term solution?
It is fair to say that some major publishing houses are beginning to show signs of change. For example, Penguin Random House — the largest trade book publisher in the world — has made an effort to remove CVs from entry-level applications, create initiatives like ‘The Scheme’, and advertise jobs on platforms like Creative Access to reach more diverse applicants.
These are promising shifts indeed, and they do set a precedent — but they fail to touch upon the core issues. Financial insecurity, unpaid internships and London-centric hiring still alienate those without a safety net. When entry-level roles still expect you to live in one of the most expensive cities in the world or undertake unpaid placements, it begs the question of how much progress has been made?
In April 2025, I attended ‘An Introduction to Publishing’ online course led by Heather O’Connell. Professionals across the industry were open to sharing advice and expertise for those trying to break into the field. It was a hopeful moment, and I have taken their advice on board when applying for roles. However, without initiatives like these, access for underrepresented individuals remains a postcode lottery.
Dave O’Brien reveals data that highlights the class problem in the industry. He says “Since 2019, there has consistently been more than 60% proportions of middle-class origin people in publishing occupations. In the same period, working-class origin proportions have never been above 20%”. This is proof that real reform requires more than just good intentions and isolated schemes. Rather, actual change demands paid opportunities, straightforward recruitment, and publishing staff who reflect the range of communities they are trying to reach.
Launched in May 2025, The Bee is an editorially independent platform created to amplify working-class writers across the UK. Hosted by the charity—New Writing North—it includes a digital magazine, podcast and website, offering a space for creative work and professional development. The project publishes “fiction, non-fiction, interviews, photography, and commentary that will both entertain, stimulate and provoke debate” with a clear mission: “To fight the increasing marginalisation of working-class writers, and of working-class people in publishing”.
The Bee offers a rare space where these voices are not only welcome but celebrated. Author and journalist Richard Benson, who edits the magazine, put it simply in The Bee’s launch press release: “Much of the important writing being done today, and so many of the best-loved stories come from ordinary working people. So often, it’s stories from the working classes that express what’s really happening in the world.” Benson emphasises that working-class writing is not rare — but is often overlooked. The need for such a platform underlines how deeply ingrained the structural barriers are.
The lack of working-class representation is not solely a problem for writers, but it is also a problem for readers. When the industry consists of stories told from a narrow cultural lens, the result is a publishing landscape that feels creatively and socially limited, and ultimately unreflective of the diversity within the UK.
Hence, The Bee is more than just a platform — it is a catalyst for systemic change. Its very existence spotlights the long overdue need for class equity in the Arts. As News To Date states, “The Bee is proving that equity in the arts calls for infrastructure, dedication, and a readiness to rethink who gets to share the stories that mould our planet”.
Real change will only come through long-term commitment from major publishers, structural reform and a genuine shift in hiring culture. The Bee shows what is possible. Now, it is up to the industry to follow its example.
Words by Grace (Culhane) Rodulfo
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