All of the non-fiction proposals I’ve worked on have since sold (yay!), and I have a wealth of experience in fiction editorial across multiple genres, and the children’s space.
My favourite things to work on include; dark women’s fiction with bite (anything dark and twisty at all for that matter - clearly never let go of my emo phase), fantasy and sci-fi, magical realism (a la Ruth Ozeki), book club fiction, crime and thriller, horror (a good example of my taste in that area beyond the obvious Stephen King is Imaginary Friend by Stephen Chbosky - masterful), narrative non-fiction, talent led crossover non-fiction projects, middle-grade and YA. I can be a bit of a magpie though, anything with a strong emotional hook and nuanced characters, and you're likely to pique my interest! The only thing that may not be my speed is extremely sophisticated or experimental literary fiction - I admire it greatly, but wouldn't trust myself to know how to help shape it as it's not an area I've worked in a lot.
I think the foundation for a great editorial relationship isn't dissimilar to the foundation of any great personal relationship - it's based on trust, clicking with that person, and being able to enjoy your time with them. To that end, I'm an open book - ask me anything about my process, nothing is off limits, and if we ultimately don't feel that special creative connection, then I'm more than happy to be your cheerleader instead and give any advice I can so that you can find the right fit. At the end of the day, editorial is about YOU and getting your project to where you need it to go.
At WME, I began as an assistant to a partner in the literary department, and after he left the agency, I started to build my own list and co-agent a number of US clients. My day-to-day responsibilities included signing and working with my own clients in the UK, co-agenting US clients, selling UK audio rights, building proposals for crossover clients from other areas of the business, editorial work (for the department as well as my own clients), and selling serial rights. I like to represent clients across all genres and so at WME gained experience in selling an extremely broad range of projects in fiction, non-fiction and children’s, and also I became something of an in house editor for the agency, with one head of department describing me as 'the best we have' in editorial.
At Abner Stein I began as an assistant to two agents, and by the time I left I assisted three. When one of my bosses went on maternity leave I was able to take on more responsibility for several months, covering ongoing projects and managing the inbox. At Abner Stein my main responsibilities included writing pitch letters and submission lists, drawing up deal memos / pre-contract acceptance letters, tracking payments, and drawing up invoice. I also worked as the reversions and permissions manager and worked closely with the agent handling all audio rights.
Anna has 1 review