Simon Whaley chats to Madeleine Milburn, one of the UK’s leading literary agents, about the literary fiction genre
Madeleine Milburn taught English in Germany after graduating from St Andrews University. However, after a chance connection with a woman running a small independent publishing company, she changed jobs and learned all about the Frankfurt Book Fair and translation rights. After working for A P Watt, the UK’s oldest literary agency, she established the Madeleine Milburn Agency in 2012.
What do you enjoy most about being a literary agent?
Talent spotting is one of the most exciting parts of the role; being the first to recognise new talent and work with a writer to help shape their manuscript before matching them with publishers all over the world. I also love negotiating and fighting for my clients! Working with authors, book after book, to turn them into bestselling brands is the most satisfying part. I’ll never forget the 1am call from the US publisher of Eleanor Oliphant is Completely Fine to squeal down the phone that it was No.1 on the New York Timesbestseller list.
Gail Honeyman’s Eleanor Oliphant is Completely Fine is classified as literary or upmarket fiction. How do you define this genre?
It’s a genre that appeals to both commercial fiction readers and literary readers. I’d define it as smarter ‘conversation-starting’ fiction, a novel that lends itself to being discussed in book clubs. A thought-provoking story that is relatable and has a compelling plot.
What challenges do authors of literary/upmarket fiction face when seeking publication?
Like with any creative industry, competition is the biggest challenge. The market has become saturated with upmarket fiction, so the first challenge is finding a publisher that will ensure it stands out amongst the rest, and whose marketing and publicity teams prioritise the book so that it gets the most opportunities. A unique pitch or a strong hook helps the story to stand out.
Literary/upmarket fiction sometimes crosses genres. Does this make it easier or more difficult when approaching publishers?
Genre-bending books have become really popular, romance taking on a note of fantasy, thrillers with an otherworldly feel, upmarket fiction with a speculative edge, as by blending genres they’re doing something different which makes them stand out in the market even more.
How important are foreign rights for the success of literary/upmarket fiction novels?
International rights are at the heart of our agency as we w
