The concept of #ownvoices writing has gained traction in contemporary publishing as both a genre of reader interest and a focus for debates about authors’ rights to write cross-culturally. This paper examines tensions the #ownvoices movement reveals between the commissioning, publishing, and critical reception of a book, using debate about Craig Silvey’s Honeybee, an Australian novel focalized through a young trans protagonist but written by a straight male author. Drawing on the theory of recognition, it analyzes author and publisher media interviews, social media, and literary reviews in mainstream publications, which are given context through with selected interviews with Australian publishers. Misrepresentation and appropriation are concerns for many readers, while judgements about aesthetic quality vary. Structures within the book industries limit the economic representation of diverse creators which, in turn, has implications for the diversity of experience represented in young adult fiction and its literary quality.

#ownvoices 写作的概念在当代出版界受到了广泛关注，既是读者感兴趣的一种类型，也是关于作者跨文化写作权利的辩论焦点。本文通过关于 Craig Silvey 的Honeybee的辩论，探讨了#ownvoices 运动揭示的一本书的委托、出版和批评接受之间的紧张关系，一部澳大利亚小说，聚焦于一位年轻的跨性别主角，但由一位异性恋男性作家撰写。借鉴认知理论，它分析了主流出版物中的作者和出版商媒体采访、社交媒体和文学评论，并通过对澳大利亚出版商的精选采访给出了背景。歪曲和盗用是许多读者关心的问题，而对审美质量的判断则各不相同。图书行业的结构限制了不同创作者的经济代表性，而这反过来又影响了年轻成人小说所代表的经验多样性及其文学质量。