How fast can a dream come true? For Luke Bateman, it took less than thirty days, a smart phone, and a few well-timed TikToks. Seemingly overnight, he built a massive following on BookTok and secured a book deal, before even starting his manuscript. His quick success sparked a lot of conversation online regarding the role of pretty privilege in publishing.
The world has been questioning the ethics behind how publishers choose who gets deals in today’s social media age. Luke Bateman’s journey is just one example of the growing influence of online fame and white privilege in publishing.
Bateman’s deal has also raised questions about pretty privilege in publishing. Would Luke have gotten this fast track if he wasn’t conventionally attractive? Many wondered why Bateman moved quickly while others work much longer and harder for the same chance.
The controversy: how one month led to a book deal
Like many avid readers, Luke Bateman joined BookTok hoping to connect with other book lovers. In his first video, filmed in his truck still in his work clothes, he talked about his love of fantasy and how hard it had been to find like-minded readers. “There’s not a lot of emotional depth in the men around me,” he said, referencing his blue-collar job and rural environment.
He also acknowledged BookTok’s largely female audience and joked, “You all love smut and spice,” adding that he might try reading some. Within days, Bateman had attracted hundreds of thousands of followers and found the audience he had been looking for.
His video, in particular, drew strong engagement from straight women. A quick look at the comments showed the attention wasn’t just about reading. Most top comments had little to do with books at all. Viewers praised his appearance, flirted openly, and many even referred to him “BookTok’s boyfriend.”
It became clear that his appeal wasn’t only about his interest fantasy or curiosity toward “spice.” He stood out as an attractive, emotionally literate man who worked with his hands. He didn’t match the typical image of a male reader but leaned into genres women are often mocked for enjoying.
Bateman continued posting, and just one month later, with only 26 videos on his account and over 170,000 followers, he announced a two-book deal with Atria Australia, a division of Simon & Schuster. The deal, he said, would launch a planned five-book fantasy series. Notably, he also shared that he had not yet written the book or completed a manuscript before signing the deal.
This announcement drew even more attention, especially from outside of his immediate fanbase. Indie authors, women and POC writers, and others in the BookTok space responded with concern. They pointed out how rare it is for a debut author to receive a deal of that size without a finished draft. Some writers shared how publishers frequently ignore them, even after years of work and a proven audience. Bateman’s book deal pushed larger conversations about whether whiteness, attractiveness, and pretty privilege drive opportunities more than merit.
Luke Bateman before BookTok
It’s worth noting that Bateman isn’t completely new to public life. He spent several years as a professional rugby league player in Australia. He played 71 games for the Canberra Raiders from 2015 to 2019 before a knee injury ended his athletic career. After that, he shifted to reality television. In 2023, he appeared on season 11 of The Bachelor Australia.
Before joining BookTok, he had fewer than 10,000 Instagram followers and no TikTok account. So while he had media experience, he wasn’t entering the platform with a built-in audience or book community support. His rise happened almost entirely within the BookTok space.
Pretty privilege in the publishing industry
@grapiedeltaco But that’s just where I’m at right now #booktok ♬ original sound – Grapie
The term pretty privilege refers to the advantages and opportunities given to people who align with widely accepted beauty standards. These standards often prioritize youth, thinness, and Eurocentric features. Pretty privilege thrives on TikTok, where creators who fit the mold tend to gain traction quickly. The algorithm boosts their visibility, which drives engagement and steady follower growth. With the rise of BookTok, it’s clear that publishing is now responding to online metrics.
Publishers prioritize creators who already draw attention. Follower counts and online reach dictate decisions more than ever and reinforce pretty privilege. Writers who don’t fit narrow beauty standards face more obstacles. Their work may match or exceed others in quality, but it rarely gets equal visibility. The gap leaves many marginalized creators feeling excluded, while more “marketable” faces move ahead. The issue encompasses who gets deals, resources, and long-term support.
This issue of pretty privilege in publishing fueled the explosive reactions to Luke Bateman’s book deal. He had no draft, no publishing background, and no track record as a writer. Still, he secured a major opportunity within weeks of joining BookTok.
Publishing is ultimately a business, and Bateman captured interest fast. His appearance, paired with rapid follower growth, made him a marketable figure. Maybe the blame shouldn’t fall only on publishers, but on what readers gravitate toward.
White privilege and accessibility in publishing
@blondejeff Congrats to Luke Batman on the two-book deal that’s no small feat. But let’s not ignore what this moment reveals. A publishing deal without a manuscript isn’t just about talent it’s about who the industry is willing to take a chance on. Meanwhile, Black, women, and gender-diverse authors with powerful, finished work are still being overlooked. That’s not a coincidence. It’s privilege at play.
♬ original sound – SHOTTAWORLD🌍🩸
Bateman’s book deal reveals how race can determine access in publishing. Numerous responses noted that a writer of color would rarely get a similar offer without a manuscript or platform. Writers of color face higher barriers at every step. Agents and editors may question whether their work will sell. Their stories are frequently deemed to be too niche or risky. Even after publication, publishers provide fewer resources and less marketing support. Consequently, authors of color must work harder to garner a fraction of the support given to others.
Publishing has a history of gatekeeping that favors familiarity (usually white, male, and middle class). Bateman’s a fast-track deal underscores that whiteness endures as a safe commercial choice. The system prioritizes those who feel easiest to market. Meanwhile, marginalized authors must arrive fully polished and platformed to gain attention.
Critics argue that whiteness remains a powerful currency in the industry—one that grants visibility, praise, and opportunity more freely to white creators, even when others have equal or greater talent. It’s not just about who gets a chance, but how easily that chance is offered. As commenters speculated, would a black man, a Palestinian, or a queer writer receive a deal like this—or would their stories be dismissed as “too political”?
That encapsulates why the deal stung for writers of color: not because Bateman lacks talent, but because publishing continues to reward a specific image of worthiness, forcing others with equal skill to work twice as hard just to be taken seriously.
The bigger picture: what this says about influencer publishing
The rise of BookTok has shifted the publishing industry’s priorities. Social media influence plays a critical role in which books blow up and which authors land deals. Publishers increasingly scout creators with large followings, seeing them as low-risk investments. In this environment, visibility outweighs writing ability. Fame, not craft, becomes the deciding factor.
Influencer-driven publishing has blurred the line between content creation and authorship. A viral presence can open doors that years of writing cannot. Publishing houses treat audience size like a guarantee of success, and creators land contracts without experience or completed work. As a result, marketing potential overrides literary merit in countless decisions.
This model rewards those who are already favored by social platforms. Attractive white influencers gain followers from visibility and engagement. Their appearance aligns with what algorithms and audiences respond to, and that appeal translates into publishing opportunities. The industry’s shift toward influencers has thrown existing biases into sharper relief.
Social media fame, pretty privilege, and white privilege coalesce in ways that reinforce each other. Influencers like Luke Bateman benefit from all three. His success illustrates how publishing still favors a narrow image of desirability.
Final thoughts
Luke Bateman’s book deal ignited buzz because it exposed a bigger issue. Social media platforms and their algorithms lean toward creators who fit white, Eurocentric beauty standards. Since TikTok drives real book sales, publishers focus on authors with strong followings, baking pretty privilege into publishing.
The systems don’t just overlap—they feed each other and govern who receives opportunities. It’s not about blaming Bateman or doubting his talent. Instead, it’s about how readers praise familiarity and publishers chase what sells. Writers on the fringes face real barriers, and their frustrations are valid. Their stories deserve the same attention and opportunities.
Jamie Sellers
July 4, 2025 at 11:38 am
The phenomena of giving attractive people fiction book deals based upon looks has gone on for well over 20 years: do we think Katie Price, Kerry Katona, Louise Pentland, Millie Bobby Brown got book deals because of their writing? What about female POC and Love Island contestant Amber Gill, who was recently signed to ‘write novels’ for HQ? This article is expressly highlighting a rare exception, in that the author in this example is male, and being penalised for that.
As such, this piece is a brilliant example of the everyday misandry that now exists in the publishing workforce, and why the industry isnt able to attract male talent, as they no longer feel welcome.
We have to call out double standards, and factual errors to provide factual accuracy.