The True Cost of Breaking In: Working Class & Northern Barriers

Posted on October 19, 2026 in INTO, North

Publishing is a London-centric industry, dominated by the middle class. This is documented by a Publishers’ Association survey, stating that 65% of respondents came from a professional, or middle-class background. 

For those of us who are not middle class or from the capital, our background can pose challenges to breaking in; from financial costs, to cultural differences when networking, to prejudice. But why? And how are these barriers being addressed?

Why is Class Still an Issue?

In 2026, you’d think that this wouldn’t be a problem. But this issue has a long history. 

Reading was once a privilege only the middle and upper-classes had. Railways and other distribution networks allowed books to reach them, locking out those who couldn’t afford an education. The UK once had a diverse ecosystem of independent publishers, such as Faber and Collins. But the 1970s and 80s saw mergers that swallowed up independent presses, leading to the rise of the ‘Big 5’. 

Assumed poverty and lack of education is prevalent in traditional publishing, meaning many that are published resort to stereotypes, countering southern, middle-class norms. Most major publishers based themselves in the South to align editorial power with these values. Today, 19.8% of publishing professionals grew up in the South East, with Londoners making up 15.1%. The North West, where I’m from, makes up 4.9% of the industry. 

I wasn’t surprised. I’ve hardly seen anyone Northern in publishing except other committee members, let alone from the North West. And I haven’t known many who have discussed financial barriers. 

Finances

Finances play a big role in entering publishing. There’s expectations to take on unpaid work, such as through internships and volunteering. Even if you get an entry level role, it often means living in London, which is expensive. As a result, those who break in tend to be those who can afford it.

During my internship at Cambridge University Press (CUP), I was lucky that my department covered my accommodation and travel costs. It was down to them that I could fully throw myself into the role. But this isn’t the case for everyone. These costs can add up, making it harder for those not already in the South to start their careers.

But things are changing. Since the pandemic, more publishers are going ‘hybrid’, meaning that if you’re from the North, you don’t have to move for work. Many of the ‘Big 5’ now have regional offices, such as HarperNorth in Manchester and Hachette in Sheffield. Hachette have implemented minimum internal salaries, above-minimum intern pay (above the London Living Wage), and policies like rental deposit loans. Other groups, e.g Faber and Faber have committed to paying at least the London Living Wage across all roles, lessening the burden on early career professionals. 

Whilst there’s lots of work to be done, I believe that things are heading in the right direction. But there are other problems that those who are northern or working class face when breaking into publishing.

Networking

In an industry where ‘who you know’ is important, if you don’t have London connections, it can be harder to get started. Before I was at CUP, I lacked connections beyond ex-classmates and SYP committee members, making job-searching difficult. 

My distance from London played a part in this, with others like me also lacking industry contacts. The time and cost of travelling for networking events can be significant, making it more difficult for those not already in London.

SYP North plays a big role in helping aspiring professionals make connections, with events like online panels, socials, mentorship schemes and volunteering on the committee. I’ve met so many lovely people whilst being with SYP, and my involvement has boosted my confidence. But LinkedIn has helped me most. Connecting with people 1-2 stages ahead of you, asking genuine questions and showing enthusiasm, will make them more willing to help you.

Events such as literary festivals and publishing fairs are another great way to network. With the Northern Publishers’ Fair being in Manchester, you can connect with publishers and learn about what’s available. What’s the worst that can happen? 

Even when you get a job, many working class professionals can sometimes feel a sense of ‘otherness’, as you can’t disguise where you’re from. 

Discrimination/Prejudice

Sometimes, those who are working class feel the need to hide their background due to discrimination. How can we publish authentic stories if people aren’t themselves? According to a 2019 survey, 78% of working-class respondents said their background had hindered their career, whether due to confidence issues or being overlooked.

Aberdeen-born novelist Kerry Hudson, in a 2019 Guardian article said that, ‘the skewed regional makeup of publishers meant that they “may well have an unconscious bias towards work that reflects their own lives”.’ Northern narratives and dialects are seen as too niche, or the same as working class narratives, often conforming to poverty tropes and caricatures.

But things are changing. The rise of indie presses such as Dead Ink and Northodox, alongside the Northern Fiction Alliance, ensure that northern and working class stories are heard, and challenge London’s dominance. However, more work needs to be done to address class and regional barriers in opportunity access and publishing diverse stories. If they only reflect the mainstream, then you miss out on stories that reflect the diversity of our region.

Major publishers, such as Macmillan, Penguin Random House and Hachette, are committed to this, through the Publishers Association’s Publishing Inclusion Pledge – a framework targeting equity, belonging, and socio-economic demographic balancing.

That’s not all. Ten trade and academic publishers have partnered with Creative Access to sponsor mid-level freelancers from underrepresented socio-economic backgrounds through programs like the Thrive career development initiative, aiming to prevent the “brain drain” of working-class talent.

Conclusion

The challenges are there, and they are real. It can be hard to see yourself in an industry when you can’t see others like you. Whilst there has been a shift, with major publishers decentralising from London, this is happening slowly. We need diverse professionals to get these stories out there, and in senior leadership positions- not to tick boxes, but so aspiring publishers can feel seen.