The Deepest Cut to Accent Press


, , , , ,

Accent Press have acquired Natalie Flynn’s debut novel THE DEEPEST CUT from Hannah Sheppard at the DHH Literary Agency.

Adam finds himself under the care of a therapist at a local mental health facility when he’s unable to cope with the death of his best friend. Blaming himself for what happened, Adam is unable to talk and has to resort to writing about the events in a notebook. As he details the weeks leading to Jake’s murder the true heartbreak of who is actually responsible for his death is revealed.

Rebecca Lloyd of Accent says:

‘Natalie Flynn’s debut novel, which has grown out of an already successful play on the same subject, tackles the devastating emotional fall-out from knife crime on a group of young people, and one teenage boy in particular. The Accent YA editor squad – a group of keen young readers who check out advance material – were clamouring to read more, drawn in to this difficult subject by the absolute authenticity of the writing and the compelling narrator’s voice. We are hugely excited to have Natalie as part of our new YA list.’

Natalie Flynn says:

‘Accent’s enthusiasm for YA fiction and dedication to working closely with young people as a part of their editor squad is admirable. I’m thrilled and honoured for THE DEEPEST CUT to be published as a part of their new YA list next year.’

Publication is planned for May 2016.


Follow Natalie on twitter: @natwritesstuff

Follow Hannah on twitter: @YA_books




“Writing about a powerful figure like Narendra Modi is always a challenge” by Lance Price


, , , , , , ,

Writing a book with the close cooperation of its subject is always fraught with difficulties. You are asking them to give up valuable time to help with your research and hoping that they will be as open and honest as possible in the process. Not surprisingly they ask themselves, “What’s in it for me?” The challenge for an independent author is to convince them that a balanced, impartial account is in their interests as well as being essential for a good book that the reader can trust. When the subject is a serving Prime Minister that challenge is multiplied many times over.

When I first met the subject of my book, the Indian Prime Minister Narendra Modi, I had to be ready to walk away from the project if my independence wasn’t guaranteed, and I was. Happily he gave me that guarantee and said, “You can criticise me as much as you like”. I flew to India four times during the course of my research and met Modi each time for an hour or more. He was welcoming and very talkative – just what a writer wants! And while he and his staff were naturally curious about how it was going and what I might say, they kept to their word never to tell me what I could or couldn’t write.

When I told them that I‘d be saying in the book that I wouldn’t have supported Modi in the election if I’d had a vote, they didn’t like it one bit. Not for the first or the last time I had to remind them that it was for me and my publishers to decide what went into the book, not them.

Since The Modi Effect came out and it became clear that I’d been lucky enough to get far more access to him than any other foreign journalist and more than most writers in India too, a lot of people have asked how it all came about.

Politics fascinates me, and election campaigns are often the most exciting times in politics. But the idea for a book on Modi’s campaign to become Prime Minister wasn’t mine. I was approached by somebody close enough to know his mind, although not a member of his inner circle. They knew that my politics were far removed from his and that as a former BBC correspondent I prided myself on my independence. But they said they hoped a foreigner would take on the task of assessing the campaign because they wanted it to be better understood outside India. They knew that I’d written well-received books on politics before and recognised that only a genuinely unbiased account would be taken seriously in the West. So that answered the question, “What’s in it for Modi?”

To my astonishment, The Times newspaper recently suggested that I had never heard of Narendra Modi before agreeing to write the book. As a news junkie with a keen interest in foreign affairs, that made me smile. Did they think I’d been hiding under my duvet for the past few months?

More serious was the implication that I had been paid to write a book favourable to its subject, which was equally untrue. For the record, I had a standard publishing contract with Hodder and Stoughton, with whom I’d done a book before. That’s how The Modi Effect was paid for.

When the person who introduced me to the project also offered to support the research financially, I saw no difficulty so long as the red line protecting my independence was never crossed. Research grants are not unusual and many excellent books could never have been written without them. In my case it covered the costs involved in doing the many and various interviews for the book as well as supporting me financially during the time that I was away from home for long periods and deprived of other sources of income. My publishers were aware of the situation and, like me, would never have allowed the arrangement to impinge on the book’s integrity.

The only request from the person who approached me was that he wanted to remain anonymous. He didn’t even want a “thank you” in the acknowledgements. In retrospect maybe I should have insisted, but anyway I’m thanking him now. I’m grateful too for the unstinting support of Hodder and Stoughton (see statement below) and my editor there, Rupert Lancaster. He and I worked together a few years ago fending off the efforts of Tony Blair’s government to dictate what I could write, so we had plenty of useful experience when it came to The Modi Effect.  And for what it’s worth the British government did far more to try influence the contents of my previous book, The Spin Doctor’s Diary, than Modi’s government ever did.

Writing about serving Prime Ministers puts you in the firing line. It goes with the job. But it’s worth it, even if some people worry – wrongly – that you may have got too close to your subject. They are fascinating material for a study in contemporary history and it’s worth taking the flak to try to explain what makes them tick.

Lance Price.


The following statement was made available by Hodder and Stoughton: 

The Modi Effect was written with the cooperation of Narendra Modi and his team, but it is an impartial and objective account of his election campaign from an outsider with a proven track record as an independent political commentator. In some reports it has been stated that Lance Price had never heard of Narendra Modi before embarking on the book.  This is not correct.

A third party offered to finance the research stage of the book and, although they are known to Lance Price, they wished to remain anonymous. Hodder & Stoughton, which  has a publishing relationship with Lance Price,  contracted the book aware of the arrangement and satisfied that as a former BBC Political Correspondent and journalist of integrity, Lance Price would write a book that was entirely objective. From the outset all parties were clear that there would be no restriction at all on what Lance Price could write. There was no financial arrangement between Hodder & Stoughton and the third party.

Reviews of THE MODI EFFECT confirm Lance Price successfully achieved his aim of writing an impartial account of Modi’s campaign to become Prime Minister of India:

‘It’s not a partisan account… It was a calculated risk to give a left of centre political writer so much access…Price’s account is respectful rather than admiring.’ – London Review of Books

‘Price is suitably sceptical about other aspects of Modi’s image…He dissects Modi’s strategic and tactical decisions.’ – Financial Times

‘Unlike most Indian journalists he is not overawed by the man. So whether it is setting aside the apocryphal story about Bal Narendra grappling with a crocodile or indicating the Prime Minister’s undoubted vanity, calling out his exaggeration (that he has been begging for food for the past 40-45 years), Price can be fairly ruthless’ – India Today


The Devil is in the Detail by Mark de Jager


, , , , , , , , , ,

Last week saw the announcement of the acquisition of debut fantasy novel Infernal by Mark de Jager. Mark’s editor, Michael Rowley of Del Rey UK said, ‘written in a style that reminds me of bestselling authors Joe Abercrombie and Peter V. Brett, I was instantly drawn to the character Stratus, an anti-hero set to take the genre by storm and break new ground. Like a magical blend of Jason Bourne and Jack Reacher, he moves through the world as an unstoppable force of nature in this action-packed, dark and violent fantasy thriller. We’re thrilled to have Mark on the Del Rey list.’

You can view the article here in The Bookseller, announcing news of the deal, announcing a ‘bold new voice in fantasy fiction.’

The full press release can be viewed here on the DHH blog.


The past year has proved to me that time is relative. Little over a year ago I was muddling through the second or third draft of my latest manuscript and quite happy with it, toying with the idea that maybe it was in a good enough shape to let someone else read it.

I bit the bullet and sent it off to a few willing and brave friends and then patiently waited, although by patient I mean largely resisting the urge to whatsapp them for an update every 10 minutes. Eventually though, I had my feedback and was surprised to realise how differently some things had been interpreted. One of the problems with living with a story in your head for so long is that you forget that just because you know that X knows the backstory of Y, no one else does!

After another nip and tuck, I was ready to level up and submit it to an agent. Both Liz and I are fortunate in that we’ve been exposed to the industry in one form or the other for some time, initially via the contacts made while running our (now closed) blog, but more handily for me, I had learned my lessons a lot when Liz went through the process with her Blackhart manuscript. My first course of action was to get hold of a copy of the Writer’s Handbook and made a list of agencies who would accept fantasy, but I also approached others who we knew socially to ask them for pointers as to who might be looking. One of those kind people was Hannah Sheppard, who suggested that I add DHH to my list, which I did (and I still owe her a number of drinks for that).

Being a bit of a nerd, I set up a spreadsheet listing the agencies I wanted to approach and then broke each down further to list which agents in particular I should be addressing my cover letter to and what their submission criteria were. The latter is more important than many people realise: ignoring them doesn’t make you a groundbreaking rebel, it just makes you easier to pass over in favour of somebody who can actually follow simple instructions.

There are quite a few dedicated blogs and articles out there about what you should and shouldn’t say in a cover letter, but in the end I just bore it in mind that whether I knew the person I was writing to or not, I was now approaching them in a professional capacity and kept it succinct and neutral-friendly (a description that owes a lot to many years of D&D), again with an eye on their submission guidelines.

For all of the dozens of spellchecks and read-throughs, after I clicked ‘send’ it took me less than 30 seconds to spot the glaring typo on the first page of the extract. Facepalm. I think I might have said something along the lines of “oh golly gosh, what have I done?” *

Three weeks later I received an email from DHH requesting the full manuscript, which I may have read a few times and taken even longer to send a cohesive reply to that wasn’t all in CAPS. A fortnight thereafter I sat down with David Headley and Harry Illingworth and accepted their offer of representation, which felt surreal enough already, let alone that I was talking to people who understood my characters and my world and were so enthusiastic about it. We discussed the structure and character arcs, and I went away and prepared a fresh synopsis charting how I saw the story progressing.

The outline was agreed, and having considered it, I opted to do a full re-write. I knew where the story and characters were going, so it didn’t take anywhere as long as the first draft had. There were a few more revisions, including my first proper full manuscript edit complete with comments and suggestions which I was ludicrously excited about. Eventually it was ready to submit to actual publishers, and away it went, coincidentally accompanied by a spike in the sales of Jura whiskey.

del rey image

Several parties were interested in the manuscript, which was thrilling in itself. Having the DHH team fighting my corner meant that the process was far less fraught than it might have been, the inevitable rejections notwithstanding. Some of these were actually uplifting despite the ‘no’ attached to them- from the perspective of a newbie author, it is still quite a shot in the arm to know that an editor wanted to read your manuscript, and having done so, hasn’t simply replied with ‘are you serious’ or ‘LOL’.

And then I received an email asking me if I would be available to meet with Michael Rowley of Del Rey, as if they really needed to ask. I knew Del Rey, and had in fact raided their stand at Worldcon the year before quite extensively. Michael was as enthusiastic as we were, and had picked up on everything I had been trying to do throughout the manuscript.

He got it, and was keen to take it forward.

Publishing has taught me a lot about patience and managing anxiety, but eventually we received the news that they were making an offer! What a year. It’s been an amazing experience, but wow, it went fast!.

* Not my exact words by a long shot


Infernal will publish as hardback in August 2016.

Follow Mark on twitter: @Gergaroth

Follow David on twitter: @davidhheadley

Follow Harry on twitter: @harryillers



, , , , , , , , , ,

del rey image



Del Rey is delighted to announce the acquisition of Infernal from author Mark de Jager. Michael Rowley, Editorial Director at Del Rey has acquired world all languages rights, including audio, film and TV directly from David Headley (MD) and Harry Illingworth (Associate Agent) at DHH Literary Agency. Del Rey will publish in hardback in August 2016.

Infernal is a bold new fantasy thriller of dark magic, revenge, with a central character like no other. Anti-hero Stratus moves through the world as an unstoppable force of nature after waking up in an unfamiliar place, with nothing but the knowledge that he is not human and with no memories of his past. Possessing great strength and powerful sorcery, he sets out across a landscape torn apart by the ten year war between the Kingdoms of Krandin and Penullin, seeking the truth about what he has become and his unquenchable thirst for vengeance.

On being acquired by Del Rey, Mark said ‘I am absolutely delighted to be working with Michael and his team. Their enthusiasm, understanding and support for Infernal has been amazing from the outset.’

David Headley said ‘Mark de Jager is a powerful new voice in epic fantasy fiction, and has created an anti-hero like no other. Infernal is a genre-bending, dark and thunderous read that will appeal to science fiction, fantasy and thriller readers alike. Myself and Harry were blown away by the enthusiasm showed by Michael at Del Rey, and are delighted that Mark will be joining their list.’

Michael Rowley said ‘Written in a style that reminds me of bestselling authors Joe Abercrombie and Peter V. Brett, I was instantly drawn to the character Stratus, an anti-hero set to take the genre by storm and break new ground. Like a magical blend of Jason Bourne and Jack Reacher, he moves through the world as an unstoppable force of nature in this action-packed, dark and violent fantasy thriller. We’re thrilled to have Mark on the Del Rey list.’

Notes for Editors

Infernal by Mark de Jager

Hardback, August 2016, £16.99

World All Languages (including audio/TV/film)

Del Rey is an imprint of Ebury Publishing, a Penguin Random House company


Mark de Jager isn’t sure if his love of writing led to his love of gaming or vice versa, but his earliest memories involve both. He now spends his time trying to find a balance between these and working a full time job in the City, a process made slightly easier by his coffee addiction.

An ex-MP in the South African army, Mark now lives in Kent with his wife Liz (herself a published author) and their lazy dog in a house that is equal parts library and home.

You can follow Mark on Twitter, Instagram (and PSN) as @Gergaroth

For more information please contact Tess Henderson:

Follow Harry on Twitter: @harryillers

Follow David on Twitter: @DavidHHeadley

My First Frankfurt by Harry Illingworth


, , , ,

Before we went to Frankfurt Book Fair everyone kept telling me how big it is. What they didn’t tell me, or at least, what I couldn’t fully appreciate from their remarks, was just how big it really is. It is enormous. London Book Fair pales in comparison (and I still remember how terrified I was the first time I stepped into Earls Court for the first time). I can’t even describe how vast the whole of Frankfurt fair is. For those of you trying to imagine it now, well, there are shuttle buses that help you get around the area. That’s how big it is. Once you do come to terms with this, everything becomes a lot easier.

Then there’s the people. So many people.  So many meetings. But that is one of the reasons why Frankfurt is brilliant. We met with editors and agents from countries ranging from Germany to Korea and each was fascinating in his or hers’ own way. Hearing first hand what is selling in Italy, and what they are looking for. What have been the biggest deals recently in Korea. What is big in Turkey. This is where you realise just how important these meetings are, as nothing beats sitting across the table from someone and hearing all this information first hand. Sometimes all it takes is for one snippet of conversation to be the catalyst for something in the future. Something as simple as remembering that en editor loved a specific book before it comes to be time to submit to them can be the difference between a yes or a no when it comes to your book…

There’s drinks parties and dinners. There’s lots of these, but they’re all with other agents and editors and so you’re constantly meeting yet more new people. And of course there’s also everyone you already know around the place so at times it does feel like a big networking exercise, but fun. We mingled at the ‘Finland’ stand one evening where they were hosting a drinks party and men were walking around serving vodka shots (other countries were hosting their own similar events). And then seemingly every single person in publishing descends upon the Frankfurter Hoff Hotel come night. It’s a great opportunity to see everyone, if you can find them.

Being my first Frankfurt, I had presumed to somewhat find my feet in my own time, however, this was never going to be the case. After Broo Doherty became ill just before we left, our three-man team of David Headley, Broo and myself was already a man down before we’d even begun. Unfortunately, David’s own health was rapidly deteriorating, so much so that by our last day of meetings he was unable to make it in for any meetings. Cue myself, last representative of DHH and first-time attendee of the fair, taking all of our final meetings solo. It’s fair to say I fell in at the deep end, but it makes the whole experience more rewarding and I enjoyed it all. I’ve no doubt that the whole experience was invaluable for me and will only make me a better agent in the years to come. Now, I need to get on the hunt for some new clients, and I’ll look forward to next year.

(on that closing note, you can see what kind of books I’m looking for here, and I’m eagerly awaiting your submission)

Follow Harry on twitter: @harryillers

Synchronicity & Serendipity: Why it might be simple timing that helps you find an agent by Hannah Sheppard


, , , ,

There’s nothing I like better than hitting the right book at the right time. There’s something magical about the feeling when the book, location and situation all fall into place to create something of an experience.

I’m still haunted by the memory of what was technically a fairly average train journey from Liverpool to London – but because I was reading Helen Dunmore’s The Siege it took on epic and harrowing proportions. The train was delayed in the depths of winter, the heating wasn’t brilliant so I was sat huddled in my coat, gloves and scarf, and, due to staff shortages, they couldn’t open the buffet car. As Anna Levin queued for rations in freezing cold Leningrad, I shivered and shared her hunger. I’m still slightly emotionally scarred – that train journey and the horror of Anna’s situation have blurred in my mind to the point that I now can’t get on a train without buying food first (even if the train is mid afternoon, I’ve already had lunch and will arrive at my destination before dinner) – it’s like a survival instinct kicks in.

There’s a certain synchronicity needed when looking at my submission pile too.

Yes I want to fall in love with a novel and sometimes, if it’s truly outstanding, that can be enough.

But there are so many steps on the path from finding a book I fall in love with to getting that author a publishing deal, and any little synchronicities that can add to the magic help immeasurably.

The last book I signed, a modern gothic, landed on my desk the day after an editor had told me over coffee that she was desperate for a modern gothic for her list. Did I love the writing and the characters? 100%. But did I take it that little bit more seriously because I already knew of an editor who might be interested. Definitely.

I realise this may seem frustrating. As an author looking to submit you can’t engineer these synchronicities – you can’t create that sort of luck (although, you can make sure you’ve followed submission guidelines perfectly)… so I guess the positive I’m trying to put across is that a rejection isn’t always about your book not being good enough.

Keep trying until you hit the right agent at the right time…hold on for serendipity.

Guardian Faber Acquire Mrs Moreau’s Warbler: How Birds Got Their Names By Stephen Moss


, , , , , ,

Guardian Faber are delighted to announce the acquisition of Mrs Moreau’s Warbler: How Birds Got Their Names by Stephen Moss, to be published in Autumn 2017

Peregrine and Ptarmigan, Hobby and Hoopoe, Montagu’s Harrier and Mrs Moreau’s Warbler – every one of the world’s ten thousand or so species of bird has its own unique name. But what do they mean, and where did they come from? Naturalist & Guardian columnist, Stephen Moss, will combine detective work, natural history, folklore and first hand observations to explore how birds got their names and our long and eventful relationship with the natural world.

‘A wonderful work of natural history. Expect polar explorers, eccentric ornithologists and Victorian con-artists with first-rate writing of the birds on the wing.’ Laura Hassan, Editorial Director

STEPHEN MOSS is one of Britain’s leading nature writers, broadcasters and wildlife television producers. His TV credits include the BAFTA award-winning Springwatch, Big Cat Diary, The Nature of Britain and Birds Britannia. He has written a number of books on the natural world, including A Bird in the Bush: A Social History of Birdwatching (Aurum 2004), Wild Hares and Hummingbirds: the Natural History of an English Village (Square Peg, 2011), and Tweet of the Day (Saltyard Books, 2014). For more than twenty years he has written the monthly Birdwatch column for the Guardian, and he also regularly contributes to the Daily Mail, BBC Wildlife Magazine and BBC Radio Four. Since 2011 he has been a Visiting Professor in the School of History at the University of Nottingham. He is on twitter as @stephenmoss_tv

Laura Hassan acquired World English rights from Broo Doherty at DHH Literary Agency.

A Successful Weekend at CrimeFest for DHH Literary Agency by Harry Illingworth


, , , , , , , , , , , , , ,

DHH Literary Agency has just had a very exciting weekend at CrimeFest in Bristol…

Not only was it a fantastic weekend filled with fun, as we’ve come to expect every time we visit CrimeFest, but one of our authors, Len Tyler, won the Goldsboro Books Last Laugh Award which is awarded to the Best Humorous Crime Novel of 2014 for his brilliant novel Crooked Herring (published by Allison & Busby).

We are absolutely delighted for Len, and there couldn’t be a worthier winner. These novels really are hilarious, and we of course recommend that you pick up a copy immediately!

Buy Crooked Herring in paperback here.

Follow Len on twitter: @lenctyler

Len Tyler award

Photo by Len Tyler

And then, to top off what was a most successful weekend for the agency, we received the phenomenal news that Ragnar Jónasson, author of the outstanding novel Snowblind (published by Orenda Books and translated by Quentin Bates, who has done a very fine job indeed), managed to rise so sharply up the rankings of the Amazon UK Kindle Store that it hit the number 1 spot for all eBooks in the UK! And yes, we really do mean this, it managed to knock the worldwide bestseller The Girl on the Train off its top spot for the weekend, a position that had been held for a great many months.

We couldn’t have been more thrilled, especially as the timing was just so brilliant with Ragnar being over with us in the UK for CrimeFest. A toast was raised, and we hope that Snowblind will go on to great things, as both author and publisher alike deserve all the success in the world. The book isn’t even officially published yet, but already has numerous fans including some very big name authors. If you don’t believe me, you can see below none other than Lee Child with his copy of Snowblind that he picked up over the weekend… Snowblind is also currently book of the month at Goldsboro Books where you can pick up exclusive signed and numbered hardbacks.

Lee child and Snowblind

Photo by Karen Sullivan

Praise for Snowblind:

‘Ragnar Jónasson writes with a chilling, poetic beauty… a must-read’ – Peter James

‘Seductive… Ragnar does claustrophobia beautifully’ – Ann Cleeves

‘As dazzling as its title implies’ – William Ryan

‘A stunning murder mystery by one of the country’s finest crime writers’ – Yrsa Sigurdardóttir

‘Is King Arnaldur [Indridason] looking to his laurels? There is a young pretender beavering away, his eye on the crown: Ragnar Jonasson’ -Barry Forshaw

‘A truly chilling debut’ – Eva Dolan

Buy the Snowblind eBook on Amazon here.

Follow Ragnar on twitter: @Ragnarjo

Crime Fighters to Crime Writers by RC Bridgestock


, , , , , , , , , , , , ,

God works in mysterious ways, as Bob and I know only too well… Writing a book was never on our ‘bucket list’ – never mind writing a series of crime books, together!

As a husband and wife team we notched up 47 years working for West Yorkshire Police, the fourth largest police force in the country. Bob retired in 2003 at the rank of Detective Superintendent and the same day I too walked away from my desk at the station. The day after, we moved to the Isle of Wight, a place we had holidayed for over ten years. The plan was a life of peace and tranquility; away from all things police related, or so we thought.

In the last three years of his thirty year career Bob took charge of twenty-six murder enquiries, twenty-three major incidents and over fifty suspicious deaths, as well as numerous sexual assaults; to cap it all he was an on-call negotiator for suicide intervention, hostage negotiation, terrorism and firearms incidents. Why? Well, that’s one of the questions that readers of the DI Dylan series get answered when we unmask the real detective – in our fictional stories. How did he know how many enquiries he led in the latter part of his career? Because the government introduced the need for statistics.

I, on the other hand worked in the admin department for seventeen years – saw man’s inhumanity to man from the safety of my office but also felt the frustrations as the partner of the man in charge of the latest high profile investigation that had just broken. For my sins I was often left high and dry in all sorts of places including family gatherings, supermarkets, restaurants, cinema’s and even on holiday when the unforgiving bleeper summoned him. Did I ever want to take the batteries out? Too right I did. Why would anyone put up with being married to someone who lived for the job? Need you ask. Not just for the obvious reason of it being what Bob did for a job but because I loved him and I also knew that if, god forbid, I was ever in the position of the victim of serious crime, or the victims families, there was no other I would want in my corner but Bob Bridgestock; his twenty-six commendations from high court judges and chief constables for a job well done confirm I’m not the only one who thinks that.

Once we had put pen to paper, brought about oddly enough by becoming volunteers for the local hospice and a talk we’d been asked to give and a short writing course at the local college, in 2007 our first novel was completed. We decided to self-publish Deadly Focus, which has since become the first in the DI Jack Dylan series. It was either publish ourselves we thought, after a few rejection letters from publishers, or it might remain on the top of the wardrobe forever. Here is where fate leant its first hand. After giving a few copies to family and friends we gave book to three hospices to sell and hoped they might raise a few pounds with them. Low and behold these books sold out in no time at all and people were asking for the next.

Bob and I had enjoyed the experience of writing a book together – Bob writes the crime story from start to finish and then I put the ‘flesh on the bones’ with the back story of the victim and what is now DI Dylan and Jen’s family saga. ‘Consequences’ was born. Due to the fact the 1500 copies of Deadly Focus had sold out, we had gained quite a bit of media publicity and had written a second book. We found a London agent who didn’t take us on at that time, but did give us advice. Relatively quickly after that we found a publisher who loved the books as much as we enjoyed writing them. Darren E Laws is the CEO of Caffeine Nights Publishing. He suggested there may be a good argument for re-publishing Deadly Focus, which he did. The rest as they say is history, with Deadly Focus now being optioned for TV by The Gate Films March 2015 and the 6th book in the Dylan series about to be published in June 2015.

Fate took a second hand during the launching of White Lilies (our 3rd book in the Dylan series). We were interviewed by Victoria Mason for the Halifax Evening Courier. At the interview at the Courier Offices in Halifax she told us she had just interviewed scriptwriter Sally Wainwright. As it happened I attended Sowerby Bridge Grammar School as did Sally Wainwright, but Sally is a few years younger than me so our paths had never crossed. Within a few days Sally was on the phone asking if we’d go and meet her and the team at Red Productions. Our part in the BAFTA winning BBC series ‘Happy Valley’ was established. From this working relationship we were also asked to work on ITV’s award winning Scott & Bailey series 4 and became consultants to Red Productions for other work. Because of the contracts for this we needed a literary agent and for the past year, until her agency closed on the 31st March 2015 Brie Burkeman picked up whence we had left after giving us advice with Consequences.

Our journey so far has been exciting and taken us into the world of TV and film but negotiations, rights, contracts, need far more expertise and knowledge than we care to take time to get our head around or indeed would want to. So, with a TV option by The Gate Films secured in March 2015 we knew we couldn’t manage without another literary agent, but to find the perfect agent for us the question was what did we really want/need from a literary agent?

We know what a Literary Agent job description says. He/she sits between an author and a publisher. They handle the business side of things. They know the market. But to us a literary agent has to be so much more, we need someone who is friendly, honest and highly experienced – we, after all are only eight years into this writing game. We need someone who will look after us, nurture us, help us move forward. We want someone who loves our work as much as we love writing about Dylan, and his partner Jen who live in our hearts and our heads and in the eyes of our readership.

David Headley is a first class agent. We know from those who work with him and for him that he is extremely hard-working. They tell us no one knows the book trade better than David and they also say he is a lovely guy… Now, that’s what we want from an agent!

We are ‘proud as punch’ (he’s also a Yorkshireman by birth), to be signed by David at D H H Literary Agency Ltd. For those of our readers who don’t know much about David, you soon will. Not only is he a literary agent but he is also the managing director of Goldsboro Books in London. They specialise in signed books and first editions and when the likes of Lee Child, Bernard Cornwell and William Boyd talk about Goldsboro Books as being their favourite London book store you know that it’s something very special…

Sometimes, religious or not, we feel the need to look up to the sky and thank God. I know Bob did in his line of work in the police force. When great police work, hard graft and determination wasn’t catching the perpetrator of the crime, but a lucky find/encounter did. Today Bob and I looked up to the sky and thanked him for finding us a great agent and we are looking forwarded to a long and happy career with David.

You can purchase Bob & Carol’s DI Dylan series here

Follow Bob and Carol on twitter: @RCBridgestock

Press Release: D H H Literary Agency now represents crime writers Robert and Carol Bridgestock


, , , ,

David H Headley welcomes Robert and Carol Bridgestock as clients to the D H H Literary Agency. Recently, The Gate Films have optioned the crime series featuring DI Jack Dylan (which begins with Deadly Focus) written as R C Bridgestock, to develop as a television series.

R C Bridgestock recently appeared at number 8 in the best crime and thriller authors of all time in a W H Smith poll voted by the public.

David Headley says, ‘When Carol and Bob approached me looking for representation, I immediately knew I wanted to represent them. They are a very talented writing team with a extraordinary passion for writing and have huge untapped potential.’


C. Bridgestock is the name that husband and wife co-authors Robert (Bob) and Carol Bridgestock write under. Bob spent many years working in the police force, taking charge of 26 murder cases and even working on the Yorkshire Ripper case, while Carol also worked for the police in the admin department. Between them they have nearly 50 years of police experience, offering an authentic edge to their stories. The writing duo created the character DI Jack Dylan, a down-to-earth detective, written with warmth and humour. Their author website is at

The books are published by Caffeine Nights:

All rights are with DHH Literary Agency.

For further information please contact:

D H H Literary Agency:  David H Headley: 020 7836 7376