We represent literary fiction, quality commercial fiction, thrillers, suspense, children and young adult fiction, biographies and a few non fiction works.
We don't represent horror, Sci Fi and poetry. Read more
DGA is a small agency, representing a range of non-fiction and literary fiction. Does not represent any reference, science fiction, fantasy, self-help, teen or children’s books, poetry or collections of short stories.
Send in the first three chapters of your work (or about 50 pages) with a brief synopsis and covering letter. If you would like your manuscript returned, please include the correct postage and packaging. If you would prefer a response from the agency via email then just provide your email address. Does not accept any submissions via email.
Please do not contact the office to check on the status of your submission as they do not keep records of manuscripts received. If your submission is of interest, they will contact you directly.
Founded 1995.
is a small agency, representing a range of non-fiction and literary fiction. Does not represent any reference, science fiction, fantasy, self-help, teen or children’s books, poetry or collections of short stories. Read more
Full-length MSS (home 15%, overseas 20%). Literary and general fiction and non-fiction, popular culture, history, science, teenage fiction. No dramatic scripts, poetry, science fiction or fantasy. No reading fee. Preliminary letter, synopsis, between 5,000 and 10,000 words, ideally the opening chapters and S.A.E essential.
Personally run agency specialising in quality fiction and non-fiction.
Does not represent film scripts, plays, poetry, fantasy, horror or DIY.
If your material does not fit in to one of the categories above please send a letter of introduction together with a brief synopsis and the first chapter (or opening 25 pages). Read more
Commercial and literary full-length fiction and non-fiction. No poetry, plays, science fiction, fantasy, textbooks, illustrated children's or short stories.
Full-length fiction only, especially accessible literary and commercial women's fiction.
No science fiction/fantasy, poetry, short stories or children's.
Approach by letter, not telephone, sending the first 2 chapters and synopsis. Submissions by email cannot be considered. Return postage/sae essential. Editorial advice given; no reading fee. Read more
Specialises in fiction (no science fiction, horror or fantasy), biography, autobiography, show business, personality books, law, crime, politics, world affairs. Full-length MSS (home from 10%, overseas from 15%).
Will suggest revision. No reading fee, but preliminary letter essential.
‘I never planned to be a writer. It is a very odd way to make a living. Just telling lies... I do have a visceral sense of breaking through the shell of something when I walk into my study in the morning. Now I just go and do it.
Recently I have found myself wondering about the prevalence of rough sex in new fiction written by women. It's viscerally present in You Know You Want This, the new short-story collection by Kristen Roupenian (who shot to fame last year with Cat Person, published in the New Yorker): I found some of the scenes so unpalatable that I had to keep putting it down.
In 1988 the 14th novel by a little-known 63-year-old British author was published in New York. The Shell Seekers, the 500-page story of a woman, Penelope Keeling, looking back on her life and loves during the second world war, took the US by storm. Read more
More than 750 people have signed a Society of Authors (SoA) letter demanding the Internet Archive stops its Open Library project lending scanned books online in the UK. Read more
When asked, Marlon James is hard-pressed to name his favorite story. It's admittedly a nearly impossible request to make of anyone, and surely more so of a novelist, whose trade relies so deeply on both intake and telling, however tangled, of tales. Unable to name just one, James improvised. Read more
Christobel Kent is among the English language's finest crime writers-and finest writers, as far as I'm concerned. In poetic, nuanced prose, she constructs powerful stories about misogyny and violence. Read more
Joseph Heller once told The Paris Review that his editor, Robert Gottlieb, thought "it was a shame" that the reader didn't get to a particular chapter until late in Catch-22. Read more
As self-published works grow in popularity, indie authors are increasingly in a position to market their book to foreign publishers or to agents and producers working in film, TV, and theater. But before authors can do that, they need know their rights. Read more
It should come as no surprise that the long literary con of Dan Mallory began with a fake memoir. Fabricating pain for profit is, after all, a time honored publishing tradition. Read more
‘I never planned to be a writer. It is a very odd way to make a living. Just telling lies...
I do have a visceral sense of breaking through the shell of something when I walk into my study in the morning. Now I just go and do it. Sometimes it doesn't go well, but most often, I'll look up and it's time for lunch and I don't know what happened... Read more
"Why am I writing this?"
‘I never planned to be a writer. It is a very odd way to make a living. Just telling lies...
I do have a visceral sense of breaking through the shell of something when I walk into my study in the morning. Now I just go and do it. Sometimes it doesn't go well, but most often, I'll look up and it's time for lunch and I don't know what happened... Read more