Our 2026 judge is AMANDA HARRIS. Amanda is Literary Agent of the Year and the founder of Maven Literary Management. She has worked in publishing at houses including Macmillan, Simon & Schuster and Hachette. She founded two imprints and has edited and published an eclectic list of high-profile, award-winning and bestselling authors. She has been an agent for six years, and has represented more than 50 Sunday Times bestsellers. With her long career in publishing and agenting, Amanda is passionate about demystifying the publishing process for authors, breaking down the ivory towers of the industry and ensuring her clients’ interests are at the heart of every publishing decision.

What do you hope to find in the opening chapters of a novel?

I’m looking for confident and purposeful opening chapters, ones that instil trust in the narrative to come. I want those first pages to make me feel, to connect and to care.

Any first page tips?

Don’t wait. Don’t delay. A strong first page can quickly establish a novel’s tone and authorial voice, and its immediacy can often anchor the reader in a moment they can visualise. I would also caution against overthinking or overcomplicating Page 1, even if a more descriptive style of prose is preferred throughout the novel. Clarity and simplicity always cut through and, most importantly, encourage the reader to turn to Page Two.

What do you look for in a synopsis?

Clarity again, no adjectives or descriptive language. The discipline of writing a strong synopsis is also a great way for authors to showcase their writing confidence and their novel’s narrative strength. Less is more, the synopsis is a map and not a marketing pitch.

How perfect will a full manuscript need to be to win?

Perfection is wholly subjective, like most editorial judgement. A manuscript can have some rough edges, that’s to be expected, but it must have a beating heart, a compelling narrative, a sense of scope and of ambition. But to win, a manuscript must already be delivering something exceptional ahead of any editorial feedback from an agent or editor or prize judge.

Is there a common thread that links the novels you represent?

I’m drawn to fiction that explores the human condition and connects with the human heart. It’s everything to me because I pitch and sell from the heart. I can’t sell what I don’t believe in.

You hopped the fence from publisher to literary agent. What drew you to agenting?

Agenting felt like the natural next step in my career. I had published many #1 bestsellers, launched two imprints, and realised the element of my publishing career I loved most was working closely with my authors – developing ideas with them, and advocating for them inhouse. It’s a privilege to do that now, solely for their interests. My aim is to empower my authors with industry insights and writing confidence. I find this incredibly energising.

You won The Bookseller’s Literary Agent of the Year in 2025, for your commercial success and outstanding author care. What do you love most about being an agent?

One of my authors recently commented that I was the wind beneath their (authorial) wings. It was the most generous compliment and exactly what I love about being an agent. There is nothing more rewarding than discovering an author and helping them step into their writing power. I love connecting them with a publisher who will then challenge them further to be their best, then help them find their global readers. I also love negotiating and deal making too. Love it.

Are there any subjects, settings or genres you’d especially like to find?

My reading choices have never been led or limited by genre and this is reflected in the eclectic list of clients I work with. So, rather than considering genre, settings or subjects, I’m looking for stories that make us feel – happy or sad, I don’t mind. Connection is everything.

How do you work editorially with debut authors?

Editorial work is one of my favourite parts of the job, I roll up my sleeves and dive in. This does mean I am mindful of the number of debuts I sign. Beyond the editorial work, the submissions process itself can be head-spinningly fast or very slow indeed, so debut writers need support through the wait, and beyond. It’s not easy.

How do you feel about judging blind?

It’s essential. Directives that move the industry closer to levelling the creative playing field are vital. As an industry, publishing still has a lot of work to do.

Lastly, do you have any advice for entrants? 

Understand the WHY of your novel – what’s the narrative behind the narrative? – and why only you can write your story. When you send the manuscript, I would advise entrants to send in the draft you’re most proud of. Most importantly, every bestselling author was once an unpublished novelist with hope. Tune out any doom and gloom in the industry or indeed in your Whatsapp chats – humans connect through stories and publishers need to publish books. The very best of them will always rise and I can’t wait to read yours! Good luck and happy writing to all entrants.