Are Colored Television and Yellowface Trying to Tell BIPoC Writers Something about the Perils of Publishing?

I recently finished reading Colored Television by Danzy Senna. I’m not even going to pretend to be unbiased. I loved it. The book is about a 40-something “mulatto” novelist who gives up her novel writing life to pursue a career in television writing. Except that’s not really what it’s about. The book is about how hard it is to be a writer, how tempting it is to be a sellout, and the complications that race brings to the equation. I just wanted to write a simple gushing review of Colored Television but I can’t help thinking that Colored Television and Yellowface by R.F. Kuang both have similar cautionary messages about today’s publishing industry that can’t be ignored.

My Honest Review of Colored Television

Another great book by Danzy Senna.

I headlined this section, “honest” and I am being honest when I say I loved this book from page 1. To be fair, I have been a Danzy Senna fan since she wrote her first book, Caucasia. In my opinion, Colored Television feels like a sequel to that novel, in the sense that as she did in Caucasia, Senna returns to her dark humor, razor sharp racial commentary and complicated, diverse characters. The cherry on top for me, is that the main character in Colored Television, Jane, is a 40-something writer and a writing professor in academia. In other words, she is very relatable to me personally.

During the course of the novel, we see Jane complete her second novel, a magnum opus about mulattos throughout history. When the book doesn’t succeed, we watch Jane unravel and then try to save herself, her marriage, and her family’s dire financial problems by trying to get a job as a television writer. But without spoiling the fun, Jane goes about entering the world of TV in a slightly underhanded and dishonest way. Hijinx ensue. The book is funny, but it’s also depressing and sad. As we watch Jane struggle to find her footing as a writer, her bougie, Black husband Lenny is stuggling to make his way as a painter. Jane wants the big win, Lenny wants artistic freedom and recognition for his genius. Interspersed with Jane’s professional longing, is her longing for stability for herself and family. Jane and Lenny have two young children.

One reason I really enjoyed this book is that Senna really showed how hard it is to be a writer, working for years on one book, trying to make ends meet with teaching jobs, the jealousy that comes when others find success, and the constant wondering if any of it is worth it. And then of course, when you live in Los Angles, as Jane and Lenny do, there is the seemingly unending temptation to sellout and go for the big money writing for Hollywood, as one of Janes’ good friends does. While I have no idea if Senna’s depictions of what goes on behind closed doors in Hollywood are accurate, it sounds like the stories I’ve heard from friends in the industry and from the latest headlines from Variety and The Hollywood Reporter. And what I’ve heard and read is that Hollywood will chew you up and spit you out with zero remorse.

Another reason I loved Colored Television is because, per usual, Senna has created a diverse cast of multiracial characters to populate these pages. And she knows how to play with race and use it as an additional plot point in all of her stories. From Jane’s own obsession with the mulattos, to the Black male showrunner Jane works for, who reads like an inflated, ego-driven, male Shonda Rhimes, the racial politics in the book are spot on and funny.

Overall, I think anyone who loved Caucasia will love Colored Television. I also think if you enjoyed TV shows like Black-ish, Mixed-ish, and books about writers in contemporary settings, you will definitely enjoy Colored Television. Which brings me to my Yellowface comparison. I think if you liked Yellowface you will definitely like Colored Television. Keep reading to learn why I think both books offer the same message to BIPoC writers.

Colored Television and Yellowface on the Perils of Publishing for BIPoC Writers

Yellowface definitely is a cautionary tale for writers.

As soon as I finished the last page of Senna’s Colored Television, I started thinking about Yellowface. Both books have main characters who are writers struggling to write that dreaded sophomore novel. Both characters resort to “theft” of other people’s work to advance their careers when they can’t produce the work on their own. Both characters are subject to the pitfalls of the publishing industry’s racial politics that both uplift and penalize BIPoC writers when it suits their corporate agenda.

I think these two books should be on the reading list for BIPoC writers wanting to break into mainstream publishing. Jane (Colored Television) and Juniper (Yellowface) both have stories that showcase how the current publishing industry uses BIPoC writers. And both books offer a real behind-the-scenes depiction of the writing life. Yellowface is more about the industry, while Colored Television goes deep into the psychological, financial, and emotional toll of dedicating your life to writing. And while these two protagonists are willing to step across the lines of moral decency to get what they want, their stories provide entertaining cautionary tales on the realities of the writing life for BIPoC writers. Be clear, the message isn’t don’t be a writer. The message is more like, expect the worst but something good is still possible.

If You Liked Colored Television then You Might Also Like…

If you liked Colored Television and you’re looking for another book about a biracial writer struggling to sell that sophomore novel, then you might like Devil is Fine by John Vercher. Devil is Fine’s main character has a similar backstory to Jane in Colored Television. He works in academia and writes about biracial characters, but the crux of the story is areally bout what happens to the main character after his teenage son dies. It’s a good one and includes elements of magic, loss, and family secrets. Happy reading!