Simon Whaley chats to Sarah Hornsley of PFD about breaking into the historical fiction market.
After graduating from Durham University with a First Class Honours in History, Sarah Hornley’s publishing career began at the publishers Orion in 2012, before a brief spell working in script development. She became a literary agent in 2015 and appeared on The Bookseller’s Rising Star list in 2019. Sarah joined PFD in 2021, and her client list includes Anstey Harris, Tim Sullivan, Emma Heatherington, Russ Thomas, and Lucy Spraggan.
Hodder & Stoughton will publish Sarah’s debut psychological crime thriller, Bad Blood, in March 2025. Her agent, Juliet Mushens at Mushens Entertainment, has already sold German and Romanian rights, with Penguin securing the German rights following a four-publisher auction involving a six-figure deal.
As an agent, Sarah is particularly interested in adult commercial and book club fiction, twisty thrillers, women’s fiction and romantic fiction. Following this month’s (February 2025) publication of Nephthys, the debut of her client Rachel Louise Driscoll, Sarah is keen to represent more smart, atmospheric female-led historical fiction.
What made you switch from working for a publisher (Orion) to becoming a literary agent?
For me, I was fascinated by the idea of finding someone in the slush pile and being involved in their publication journey right from the very beginning. I also liked how proactive and editorially involved the job of an agent is, even at the most junior levels.
What is it that you enjoy about being a literary agent?
So much! I always say if I won the lottery, I’d still choose to work as a literary agent. I love being editorially involved as much as I love negotiating with editors. That’s something I find really fun about the job—you get to be both creative as well as business-minded. The best part of the job, though, is calling an author to tell them their book has sold.
What is it about historical fiction that appeals to you?
Well, I studied history at university, so it’s something that has always appealed to me. I think, if I had to pinpoint what fascinates me about the genre so much, it’s that when it’s done well, it completely transports you and opens up a whole new world for you to inhabit.
What are you (and the publishing industry) looking for in historical fiction submissions?
We’re looking for fresh perspectives; whether that’s telling a well-known historical event from an angle and character we haven’t seen before or uncovering new stories. We want evocative settings that are enjoyable and interesting to spend time in.
How well does historical fiction translate into foreign markets?
That’s a hard question to answer because so much comes down to the specific story and the individual foreign markets (which all differ in what they’re looking for!). But overall, we’re seeing nice US deals and deals in translation in this area of the market.
What common mistakes do historical fiction authors make in their submissions to you?
They prioritise getting in as many historical details as possible and it overshadows all the other parts which are crucial to a compelling and engaging story—like characterisation and pace! Yes, we want world building and authenticity, but it still needs to be a satisfying read, just like any other book. The historical details aren’t instead of everything else—they are just alongside them.
How important is accuracy in historical fiction?
It’s important that the world is authentic and believable. A lot of people choose to read this genre because they want to learn something and find those details interesting. But, as I say above, historical accuracy can’t be at the expense of strong storytelling. At the end of the day, we aren’t judging your accuracy. We’re looking for a story we can’t forget.
Are there any particular historical periods where the market is over-saturated, or underrepresented at present?
There are a lot of myth retellings currently, and whilst these are excellent and have performed really well, they now feel familiar and we’re looking for something else to really make them stand out. Whether that be a really interesting perspective from that time period, a high stakes concept within it, or a different setting to we normally see, it doesn’t matter—it just needs to bring something new to the table.
Sarah Hornsley’s Top Tip
The historical fiction part doesn’t do the hard work for you. You still need to think about the hook of the story within that genre and write characters who we root for regardless of what time period they come from. It’s all about balance.
Further Information
For more information about Sarah’s current requirements and how to get in touch with her visit: https://petersfraserdunlop.com/agent/sarah-hornsley/.
You can find details of PFDs submission requirements at: https://petersfraserdunlop.com/submissions/books/.