Simon Whaley chats to Sarah Brooks of the Darley Anderson agency about the resurgence in Regency romance.
Sarah Brooks began her publishing career in 2010 as a rights assistant at Hachette. She spent nine years in Sydney as Hachette Australia and New Zealand’s Head of Rights, Contracts, and International Sales, before joining the Darley Anderson Literary Agency in 2024 as Acting Head of Rights. She’s since become an agent and is now developing her own list.
What do you enjoy most about being a literary agent?
For me, it’s that magical moment when you open a submission and everything clicks. The voice, the premise, the character—and you just know it’s going to be a special read. Getting to experience that thrill as part of my career makes me feel incredibly lucky!
Regency romance is your guilty pleasure. Why?
Regency is my reading comfort food. I grew up watching the 1995 Pride and Prejudice and, as a young adult, I discovered a treasure trove of historical romance; Stephanie Laurens, Lisa Kleypas, and Julia Quinn among others, who cemented my love of the genre. If I ever fall into a reading slump, a little dose of Regency romance will lift me straight back out again!
What common weaknesses do you see in the historical romance submissions you receive?
A tendency toward unoriginality. Sometimes it can feel like I’ve read the manuscript before and therefore it doesn’t feel fresh or original enough. There needs to be something in the voice or in the premise that captures my imagination and makes me unable to put the book down.
What makes historical protagonists, especially heroines, resonate with modern readers?
I think the beauty of historical heroines like Elizabeth Bennett, Sophy (from Heyer’s The Grand Sophy), or Hyacinth Bridgerton, is that they possess a feistiness that is so clearly at odds with the expectations of their time. We’re drawn to women who are inspirational, not because they magically escape their circumstances, but because they achieve against the odds and against the constraints of the times in which they live. I love to read heroines with quiet strength and resilience—characters who understand the room better than anyone else around them and then use that knowledge to survive and gently reshape the world around them.
What are publishers looking for: more Bridgertons or different historical periods?
There was a real sense of historical-romance fever after the release and extraordinary success of the first Bridgerton series, which was wonderful to see. Since then, the initial surge in appetite for Regency has calmed. There’s a growing nostalgia for more recent history. It’s interesting to see the 80s and 90s now being explored through a historical lens. This clearly speaks to how quickly the past can become reframed as history.
Historical fiction remains consistently popular, and I don’t think editors are trying to chase one specific period. Ultimately, it’s that magic combination of heart, voice, character, and story that will win through, no matter the period.
How important is historical accuracy in historical romance?
Historical accuracy is important, but it’s not everything. Readers want to feel transported to the past. The manners, social niceties, and period-specific settings help make that world feel believable.
At the same time, a story can take small liberties with historical facts if it serves the characters, the plot, or the emotional truth—or even to make the story feel more reflective of the world we live in today. A well-told story with fully realised, compelling characters will always resonate, even if a minor detail isn’t strictly accurate.
How well does historical romance sell in foreign markets?
Very well. While trends and preferences in terms of historical period can vary territory to territory; strong characters, a compelling voice, and an engaging story tend to travel well. International editors are always looking for new voices in this genre.
What opportunities are there for TV/film rights?
Historical fiction translates beautifully to screen and has perennially been popular with audiences. The challenge is that period productions can be prohibitively expensive, with costumes, sets, and historical detail driving up costs, so producers often need to secure significant developmental funding to get a project off the ground. That said, for bestsellers and stories that really capture readers’ imaginations, there will always be screen potential.
How important is diversity?
Fiction is fiction for a reason. Historical romance allows us to explore and reimagine the past, and I love that writers and producers are using the genre to reflect today’s desire for a more inclusive and fair society rather than sticking rigidly to historical accuracy. Let’s use this opportunity to reimagine the past the way it could have been. Readers want to see themselves reflected in stories, whether that’s through race, class, gender, sexuality, or ability—and including diverse representation makes the genre richer, more exciting, and far more relevant for today’s audiences.
I’m drawn to submissions that bring fresh perspectives because these stories not only resonate with modern readers but also help the genre evolve in exciting ways.
Sarah Brooks’ Top Tip
Don’t be afraid to take risks; whether that’s through humour, moral dilemmas, or small acts of rebellion that make readers root for your hero or heroine.