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Ask a Literary Consultant
I
’m writing this month’s article while in New York and it’s too good an
opportunity not to share with you what agents are telling me: what’s
hot and what’s not right now in the US. As I make my way to agent
meetings, skyscrapers glint and glitter, rising up to the bluest of skies,
and steam rises from the vents on the street as chic New Yorkers weave
their way through the crowds against the backdrop of the steady thrum
of yellow cabs and car horns.
I’m here to check in with some leading agents alongside my US
managing editor, Michele Rubin, and what strikes me most is how warm
and friendly the agents are – so full of zest and enthusiasm for a fresh
story and, luckily for us, the debut writer. The agents ooze industry
experience and their literary successes coat the office walls – it really is
a feast for the eyes – and I begin to dream of seeing one of our authors
lined up next to the greats.
Most of the novels I’m presenting are historical: one about a gay
Jewish painter in Nazi Germany, a Girl with a Pearl Earring-esque novel
set in Holland in 1620, one children’s fantasy set in the Viking times
in Scotland, and a British satire that makes me chuckle a lot. Michele,
however, has one high middle-grade novel with a thread of magic realism
and a wildlife memoir about living off the grid in the West. Michele was
a senior agent at Writers House for 25 years so she has a fair idea of what
will sell and we’ve had some authors who’ve hit the bestseller lists recently
so I feel like we’re on a strong footing, or at least I hope so.
One might ask, what are the author benefits for one of our EU
authors (not all live in the UK) being placed with a US agent? Of
course, I’m also presenting to our lovely, brilliant UK agents but for me,
it’s all about finding the right fit. If an agent falls upon a book with a
passion and the author clicks with that agent and neither of them mind
being on separate continents then it can work well. The US is still the
largest market so a book can get a significant US primary deal and then
be sold to the UK. Being able to bridge the markets is one of the main
reasons I opened up an arm in the US, and frankly any excuse to be in
New York.
What I’m hearing on the ground is this: for the majority, it’s the
same as the UK in that they want upmarket, book club, escapist fiction.
For non-fiction, writers need a platform and a following – that is thefirst question any agent and publisher will ask. Genres that remain
strong are wellness, food and dieting, and any kind of exposé of inner
establishment sanctums. For children’s, New Adult is defunct and has
moved back into YA. Sex and romance still sell, along with issue-driven
#OwnVoices writing. For younger children’s MG: social issues that
explore with heart one’s uniqueness and are all about empathy building,
and funny books that will appeal to boys – girls will read books for boys
but rarely do boys read books for girls. Still selling well is historical,
women’s crime novels, #OwnVoices fiction, and voice-driven off-beat
narrative non-fiction. As always, agents are looking for high concept
thrillers – although less The Girl on the Train and female protagonists
with baggage. Instead, stories with empowered female leads, beautiful
writing and distinctive settings (think: Where the Crawdads Sing) are on
the uptick.
How did we fare with our slate? The British satire and the Viking
children’s fantasy had a couple of agents very interested but most felt
it’s probably more for the UK market. The woman in the cabin and my
two historical novels pretty much had 100% interest. Now, I just need
to send them the material and wait and see. If more than one agent is
interested in one book it will be down to the author and agent to decide
if the fit is right. In terms of timing it’s good in that Frankfurt’s just
around the corner but then again all the agents’ schedules are rammed.
While autumn is a good time to submit your work – everyone’s back at
their desks – it’s also possibly the busiest. We shall see and I hope you
see your genre in my above list.What’s hot in the New York publishing world? What are Stateside agents and
publishers looking for? Helen Corner-Bryant reports from the Big AppleDevelopmental editing
and mentoring
Copyediting and proofreading
Scouts for literary agentsCall Helen Corner-Bryant +44 (0) 1308 897374 http://www.cornerstones.co.uk
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I wanted to say how helpful Cornerstones's Jonathan Eyers has been. Such a great idea to
work with a mentor like that; it really helped move me on in my writing, not just for this
book but for future ones. (I hope!) His advice has been invaluable and so constructive; I've
really enjoyed working with him. Many thanks for pointing me his way— thanks to his
help, I got shortlisted for the Bridport Prize, then got an agent and now a book deal!
Eve Smith, e Waiting Rooms (Orenda Books, July 2020)