In a world where AI is reshaping industries left and right, it’s no surprise that the literary world is grappling with its own AI dilemmas. NaNoWriMo, the nonprofit that runs the famed month-long novel-writing challenge, has found itself in hot water over its stance on AI. Rather than outright condemning the use of AI-generated content in their challenge, they took a neutral stance, sparking a heated debate among writers who view this as a slippery slope for the craft of writing.

As someone who thrives on innovation and pushing boundaries, I believe AI has its place in the creative process—but let’s be clear, it needs to be tagged. If AI is used to assist with writing, it should be labeled as AI-generated, allowing transparency and clarity. Creators have every right to experiment with tools that help them, but the work still needs to be distinguished from purely human-crafted stories. It’s about protecting both the craft and the creative process.

NaNoWriMo’s position—that condemning AI would be “classist and ableist”—brings up valid concerns about accessibility, but I think the issue here isn’t whether AI should be allowed, but rather how it’s used and how clearly it’s defined. Labeling AI-generated work gives readers a choice and preserves the integrity of the human creative experience.

Prominent writers like Daniel José Older, who stepped down from the organization, see this as a fundamental threat to writing. The response has been swift, with both writers and sponsors pulling out in protest. But here’s where I stand: AI can be part of the equation, but not without transparency. Tagging AI-generated content ensures that the playing field stays level and that the essence of writing—human creativity—isn’t quietly sidelined.

Let’s embrace innovation, sure. But let’s also respect the craft and keep the lines clear.

Eric Akoto

Eric Akoto is the founder of Litro Magazine, where new writing meets the world, and The Sphere Initiative, a platform protecting creative rights globally. A writer and editor, he champions diverse voices and experimental storytelling. His work spans publishing, cultural programming, and advocacy at the intersection of literature and technology.