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A pair of acclaimed New Zealand authors have had their works disqualified from consideration for the nation's esteemed literary prize because of the utilization of artificial intelligence in designing their book covers.

Disqualification Details

Stephanie Johnson's story compilation "Obligate Carnivore" and Elizabeth Smither's novella collection "Angel Train" were submitted for the 2026 Ockham literary prizes and its NZ$65,000 novel award in the tenth month, but were disqualified the following thirty days due to recently introduced rules concerning AI usage.

The publisher of both books, Quentin Wilson, explained that the awards committee amended the guidelines in the eighth month, by which point the covers for all entered title would have previously been finalized.

“It was, therefore, far too late for any publisher to have taken this clause into account in their design briefs,” Wilson noted.

Authors' Reactions

Johnson expressed understanding for the prize organizers, stating she shares deep concerns about artificial intelligence in artistic fields, but was disappointed by the decision.

“I’d be lying if I said I wasn’t sad about it,” she commented. “It’s my 22nd book, and it is my fourth collection of short stories. These stories … were written over a sort of 20 year period, so for me, it’s quite an important book.”

Johnson added that authors typically have little involvement in cover design and was did not know AI had been used for her book cover, which features a cat with human dentition.

“I just thought it was a photograph of a real cat and the teeth had been superimposed, but apparently it wasn’t,” Johnson said, noting that unlike more tech-savvy generations, she finds it difficult to identify computer-created images.

The writer feared that the public might assume she employed AI to compose her book, which she emphatically did not do.

“Rather than discussing my book's themes and inspirations, we're focused on this AI issue, which I despise.”

In a comment, Smither said that the artists spent hours crafting her book's art, which features a locomotive and an angel “half-obscured in the smoke”, inspired by painter Marc Chagall's figures.

“My primary concern is for the designers: their careful, detailed work … is not being respected,” she remarked.

Prize Committee's Position

The trust chair, head of the award foundation that administers the prizes, said the trust takes a “firm stance on the use of AI in publications.”

“We do not make such a decision lightly, one that bars the newest works by two of New Zealand's most respected authors from the 2026 prize,” Legat said.

“However, the criteria apply to all entrants, regardless of their mana [status], and must be consistently applied to all.”

The move to revise the AI guidelines was driven by a desire to protect the creative and copyright interests of the country's authors and illustrators, she added.

“With artificial intelligence advancing, the trust may need to review and refine these criteria in the future.”

Industry Reflections

The publisher noted that publishers and writers often use software like Grammarly and image editors, which incorporate AI, and this incident highlighted the urgent requirement for well-defined policies.

“As an industry, we must work together to ensure that this situation does not happen again.”

Both Elizabeth Smither and Stephanie Johnson have previously been jurors for sections of the prizes, and both emphasized that cover designs get little consideration during evaluation.

“The contents and the close reading were everything,” Smither concluded.

The use of AI in creative sectors has faced growing scrutiny as the tech progresses, with some organizations creating ways to address its impact.