Laura Williams started at Greene & Heaton as an agent in 2018, having worked at PFD from 2011 after studying Classics at Oxford. Always looking for new and exciting talent, her list includes Bath Novel Award shortlisted Catherine Barter (Troublemakers and We Played With Fire, Andersen Press 2017, 2021) as well as 2024 winner Ben Reeves.

Thank you for judging 2025’s prize. What do you hope to find in the opening 5,000 words of extracts?

I’d want to be fully drawn into the story by this stage – on a technical level, I need to be pulled into the story by whatever inciting incident has kicked off the narrative, and to see clearly what the narrative is driving towards. On a passion level, I’d want to be impressed by writing, excited by the potential in the plot, and invested in whichever character or characters are my eyes and ears. Whatever the genre, by 5,000 words in, it should feel unputdownable!

Any first page tips?

Because authors naturally agonise over the first page, there can be a tendency to overwrite or overwork. Try to say what you want to say without getting too bogged down in drawing attention to the writing.

When reading agency submissions, what do you look for in a synopsis and do you read the extract or synopsis first?

The synopsis is a technical document which should tell me the main threads of the story, including the ending. It doesn’t have to include every subplot and every secondary character, and it should really be a page or a page and a half at the outside. Usually I would take a look at the extract before the synopsis, to see how it reads, and then if I’m excited by the writing the synopsis is there to show me the shape of the story as a whole before I request the full manuscript.

How perfect will a manuscript need to be to win?

Not very! I’m often most excited by a manuscript when I see a rough diamond that I know just how to polish up. I just need to see potential in it and feel that the writer has the ability to get it where it needs to be. No one can write a perfect finished book all by themselves!

How do you feel about judging blind?

I’m excited by this – it’s unusual to dive into a novel without context, and to focus entirely on the book itself.

Could a novel in a genre you don’t currently represent still win?

Absolutely. My list is pretty broad anyway, but I’ll be focusing on quality and commercial potential across all genres.

How and why did you become a literary agent?

I thought I wanted to work in editorial, but after I did a temp job at an agency, I realised that being a literary agent was the job I really wanted. I do lots of editing and brainstorming with authors to develop projects, and I love representing authors within the industry and being their first and most enthusiastic cheerleader.

What do you love most about agenting?

What could be more joyful than the moment you get to call someone and tell them they’re going to be published, and their dreams are coming true? I live and die by my authors’ work, and their triumphs are my triumphs too. It’s the most wonderful feeling to know you’ve helped someone talented and deserving to achieve their goals.

How do you work editorially with new authors?

It depends on what each specific project needs, and can vary from working with authors to solve big picture problems, or just tweaking smaller aspects of the story to get it ready for submission to editors.

Any other advice for entrants?

Be brave, and if you’re reading this, get your entry in! You’ll never know how you would have done if you don’t take the leap and get it sent in, even if you’re feeling like it still needs lots of work. Good luck to everyone!