Hattie Grünewald studied creative writing at university and soon realised the pressure to write killed any joy she took from writing. After securing an internship at the Blake Friedmann agency, she then worked her way up to the role of literary agent. She joined The Blair Partnership in 2019 and her authors include Catherine Miller, Sue Fortin, Clare Leslie Hall, and Lizzie Dent.
What do you enjoy about being a literary agent?
I think the best part of my job is working with authors. As a child, I thought they were the most exciting celebrities, so to work so closely with them is a real privilege. I find our discussions incredibly creatively and intellectually fulfilling.
What specific qualities do you look for in Book Club Fiction?
Book club fiction needs to be the perfect mix between feeling accessible and familiar—so as to bring in a wide audience of different types of readers—but also new and different enough to prompt discussion. I’m looking for fiction that balances common tropes—like a mystery or a love story—but also surprises me, either with its voice, its structure, or the way it handles its themes.
Book Club Fiction often crosses genres. How can writers successfully navigate these hybrid spaces?
I think with the recent rise in popularity of fantasy fiction, anything with a speculative or magical twist can work well, particularly if there’s also a romantic element. Historical mysteries are doing well, as well as grounded science fiction and horror—think The Midnight Library or movies like Get Out!. I think publishing as a whole is much more genre fluid than it was a few years ago, and people are interested in reading anything that sits between markets.
What current Book Club Fiction trends should writers be aware of?
In the wake of the pandemic, and even just before, we were seeing a lot of “uplit”—novels deliberately written to feel life-affirming and uplifting. That seems to be losing popularity, as readers tend to want something with a bit more grit and substance to it. There’s been a shift towards stories that feel grander and more epic—love stories across the ages, like One Day, for example—rather than smaller, community-based stories.
What common weaknesses do you see in the Book Club Fiction submissions you receive?
First and foremost it’s characters that feel like they are tropes or vehicles for a theme rather than fully realised people. If I don’t believe in your characters, it’s impossible to root for them, and the whole novel falls flat. They don’t have to be likeable, but they have to be believable. I also think there’s been a trend in recent years for introspective, quiet novels that are more character study than story. But I love a good plot, and I quickly lose patience with a novel which is lacking in action or narrative drive.
How well does book club fiction sell to foreign markets?
This is the number one genre my foreign rights team is asking me for! Books like Lessons in Chemistry or Fresh Water for Flowershave been massive international successes. Broken Country, by my author Clare Leslie Hall, has sold in 33 territories and counting. If you’re writing this kind of fiction, it’s imperative that you find an agent who will really maximise these rights sales, because book club fiction is currently selling much better abroad than in the UK!
What are the opportunities for film/tv rights?
Huge. From blockbuster movies like Where The Crawdads Sing to unmissable TV dramas like Big Little Lies, loads of the biggest hits of the last few years have originated as books. The important thing is to have a strong central hook, as well as universal themes, and the kind of central characters that will attract a talented cast. Historical fiction can prove costly to make, so contemporary settings tend to do better. And in TV, producers are also looking for “returnable” ideas that have multi-season potential, rather than one-off stories.
How important is diversity in the Book Club Fiction market today?
It’s vital. It’s important that novels reflect the world as it is—and that readers can see themselves in the stories they read. Without diversity, you’re massively limiting your readership, especially among younger generations who see novels that lack diversity as old-fashioned. And I think with the current political landscape, it’s really important that we use literature to stand up for what’s right—whether that’s inclusive politics, a woman’s right to choose, protection of artistic freedom in the face of AI, or any campaign that feels authentic to an author’s identity.
Hattie Grünewald’s Top Tip
When you’ve pinned down your plotting and characters, think hard about structure. Start your story in the right place. Elements like multiple voices or timelines can work wonders to maintain pace and momentum. Ask yourself if there are details you can hold back to present readers with a shocking twist. A good structure can be the difference between a run-of-the-mill premise and a groundbreaking one.