Pretty Privilege in Publishing: The Book Deal Everyone’s Talking About

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. This sparked a wider discussion about what really shapes opportunities in the book industry and who’s to blame.

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 his immediate fan base. Indie authors, women and POC writers, and others in the BookTok space responded with concern. Many pointed out how rare it is for a debut author to receive a deal that size without a finished draft. Some writers shared how publishers often ignore them, even after years of work and a proven audience. This 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. This culture 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 these online metrics.

Publishers now prioritize creators who already draw attention. Metrics like follower counts and online reach shape decisions more than ever, often reinforcing pretty privilege. Writers who don’t fit narrow beauty standards face more obstacles just to be noticed. Their work may match or exceed others in quality, but it rarely gets equal visibility. That gap leaves many marginalized creators feeling excluded while more “marketable” faces move ahead. The issue isn’t just visibility—it’s also about who gets deals, resources, and long-term support. Pretty privilege plays a major role in that imbalance.

This issue of pretty privilege in publishing shaped the reaction 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 still a business, and Bateman clearly captured interest fast. His appearance, paired with rapid follower growth, made him a marketable figure. But this raises bigger questions about how the industry measures value and talent. Maybe the blame shouldn’t fall only on publishers, but on what readers tend to reward.

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 revealed how race shapes access in publishing. Many 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 often question whether their work will sell. Their stories are sometimes seen as too niche or risky. Even after publication, publishers provide fewer resources and less marketing support. Consequently, they must work harder to receive a fraction of the support given to others.

Publishing also has a history of gatekeeping that favors what feels familiar. Familiarity usually means white, male, and middle class. When Bateman received a fast-track deal, it showed that whiteness still serves as a safe commercial choice. This system prioritizes those who feel easiest to market. The issue is not about Bateman personally. It is about how the industry allows white creators to take more risks. Meanwhile, marginalized authors must arrive fully polished and platformed to gain attention.

Many critics argued that whiteness still acts as 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 some pointed out: Would a black man, a Palestinian, or a queer writer receive a deal like this—or would their stories be dismissed as “too political”?

This is what makes the moment feel particularly bitter for many writers of color: not because Bateman lacks talent, but because publishing continues to reward a specific image of who is worthy, while others with equal skill must 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 now plays a critical role in which books get attention and which authors land deals. Publishers increasingly scout creators with large followings, seeing them as low-risk investments. In this environment, visibility often 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 often cannot. Publishing houses treat audience size like a guarantee of success. This leads to creators landing contracts regardless of experience or completed work. As a result, marketing potential overrides literary merit in many decisions.

This model rewards those who are already favored by social platforms. Attractive white influencers often rise faster in visibility and engagement. Their appearance aligns with what algorithms and audiences respond to. That appeal translates into publishing opportunities others are rarely offered. The industry’s shift toward influencers has made its existing biases even more visible.

Social media fame, pretty privilege, and white privilege now work together 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. This trend reveals less about literary culture and more about who the industry continues to reward.

Final thoughts

Luke Bateman’s book deal sparked buzz because it exposed a bigger issue. Social media platforms and their algorithms favor creators who fit white, Eurocentric beauty standards. This makes it easier for those people to grow popular quickly. Since TikTok drives real book sales now, publishers focus on authors with strong followings, creating pretty privilege in publishing.

These systems don’t just overlap—they feed each other and shape who gets opportunities. It’s not about blaming Bateman or doubting his talent. Instead, it’s about how readers reward familiarity and publishers chase what sells. Writers outside these systems face real barriers, and their frustrations are valid. Their stories deserve attention and fairness too.