As writers, we write to appeal. It's never explicit, and we shouldn't tailor our writing based on appeal, but by definition a prominent writer is prominent because he or she is appealing to a large enough audience. The old divide this created is obvious: That between the high-culture "literary" forms and the mass-market "genre fiction" (but man do I hate those terms).
However, being through the looking glass as we now are, my prediction is that we're headed for a new kind of divide, this time along political lines. Certainly this divide has always existed--I doubt Al Franken was too popular with conservatives even before his time in office--but in the past both parties have always found common ground in some form of another, whether it was in literature, genre fiction, or newspaper. Even to say nothing of the proliferation of fake news and declining relevance of facts in political discourse, it's clear that written media is now more divided than it's ever been, with previously radical left- and right-wing publications such as Jacobin and of course Breitbart being elevated to the status of the more entrenched cornerstones of the industry, and with some of those cornerstones now taking more open and aggressive political stances, like we've seen with The Atlantic. Of course I don't need to mention here the new political power of Steve Bannon and what that means for politics moving forward.
So whereas before a liberal might consent to read a good piece of reporting by a right-leaning publication and vice versa, we've now reached a point of peak factionalism wherein to support one faction is not only to view the other as lower in quality, but to outright disregard them as a source of any credibility at all.
This is going to become a problem for the major publishers, who own imprints that fall on both sides of that divide. Just as The New York Times was faced with the decision of whether or not to use the word "lie," so too will Simon & Schuster have to decide what to do with Threshold after signing Milo Yiannopoulos, which led to a revolt both from bookstores as well as from other S&S authors. All the major houses own conservative imprints, and while not all of these imprints are signing authors as controversial as Milo Yiannopoulos, the widespread alienation of readers remains on the line, and these companies are going to have to choose a side.
It remains to be seen how the major players will play this game, or whether it will lead to a rise in indie presses, but I would not be enormously surprised to see at least a partial reorganizing of the literary scene as a result.