The best literary agents are polymaths: nimble editors and fierce advocates, keen scouts and trusted guides, savvy dealmakers and, perhaps, earnest friends. Drawing on recommendations from veteran agents and others in the industry, we are pleased to present interviews with six such agents who reflect the best of a new cohort of talent, with a vision for evolving the industry and profound investment in their writers. Best of all? All six are currently open to queries; visit their agency websites for more details.
Angeline Rodriguez of William Morris Endeavor
wmebookdepartment.com/angeline-rodriguez
“I want to empower my clients to tell the story only they can tell,” says Angeline Rodriguez of William Morris Endeavor. Already in her three years of agenting—and drawing on an editorial career with Random House and Hachette—Rodriguez has earned a reputation for sterling taste and rigorous commitment to her clients, representing “literary and upmarket commercial fiction, speculative fiction, and platform-driven narrative nonfiction.”
What draws you to being an agent?
I love being the first member of the book club. That space where it’s just you, the author, and the endless potential of the idea—there’s nothing like it. Books are the purest way of transmitting a story to the world with as few interventions as possible—there are no focus groups; there are no studio notes. Getting to be one of the handful of people who are part of that journey is such a privilege. I work in this industry because I’m passionate about storytelling on a line level. I love facilitating a writer’s process, and I’ve found that agenting is the best place to do that.
What was your trajectory to your current position? And what experiences have shaped your approach to agenting?
I spent a number of years on the editorial side before making the switch to agenting, which has been formative in my approach. I cut my teeth on a variety of genres—from celebrity memoir to epic fantasy—and got to know the many segments of the business crucial to publishing a book well. Editing was always my favorite part of the job but one that there seemed to be less and less time for in the production schedule; dropping the title of editor, as luck would have it, gave me more time than ever to edit and think about the work deeply.
I’m also mindful that many of my experiences “in” publishing have, necessarily, been from its margins. My parents were immigrants who worked multiple jobs and had very little time for reading but had a great love of stories, and they encouraged this in me however they could—dropping me off at Barnes & Noble to read off the shelves was usually cheaper than finding a babysitter, in any case. A love of reading is the great common thread in this industry, but my other experiences looked very different from those of my peers. I arrived knowing absolutely no one in the business, and I couldn’t afford a publishing course or an unpaid internship. It took a lot of time and hardheadedness to break into the industry and even more to stay here. I’ve been lucky to have learned from so many brilliant colleagues along the way. I don’t take lightly that I’m now in a position to help others who don’t fit the typical mold to tell their stories—the most essential and gratifying part of my job is getting artists the resources they need to continue making art.
Ideally agent-writer relationships can last a lifetime; what do you think it takes to build that kind of successful partnership?
Like any long-term relationship, the needs both change and stay the same. Everyone needs something a bit different at different times, and I try to listen for what a client actually needs versus what I might assume they need. The best agent-client relationships are dynamic and evolve as you work and learn together—and as the industry inevitably changes. But certain fundamentals are evergreen; mutual respect, open dialogue, and shared vision are essential.
What’s at the top of your manuscript wish list right now?
I’m drawn to old stories told in new ways or from unexpected perspectives, really knowing your references so you can more effectively subvert them. I love to be surprised and my heart is always open to something truly out of the blue, but what I enjoy most are high concepts, big swings, and deep dives.
How do you see agenting, or publishing more generally, evolving, and are there particular parts of that evolution that you hope to effect?
It’s both harder and easier to publish a book than ever before. The industry has been heading in a more author-centric direction for a while, but the self-publishing boom has solidified it. The increasing importance of “author brand” often means writers need to do more self-promotion than ever, but it also means the idiosyncrasies that might’ve ruled your work out before are now your “special sauce.” It’s a feature, not a bug, and I hope to keep cracking the doors open for people who haven’t traditionally gotten a bite at the apple.
Aram Fox of Massie McQuilkin & Altman
Before he was a literary agent, Aram Fox was a brilliant book scout for publishers and film, leading his clients to publish works from such incendiary talents as Brit Bennett, Anthony Doerr, and George Saunders. Since coming to agenting in 2022 and joining MMQA in 2023, Fox has built a diverse fiction list “linked by extraordinary storytelling” and “narrative nonfiction and laser-sharp writing about culture, politics, history, natural history, and science.”
What draws you to being an agent?
Where do I start? Seeing brilliant writing that could only have been written by that person is totally addictive. Working closely with writers—first, editorially, to get their work ready for submission, and then placing their work with the right editor and publisher—is deeply, meaningfully satisfying. And every day I get to read and hear—it’s possible I love talking to writers as much as I love reading their work—the most incredible, challenging, eye-opening new voices. It’s the best hard job in the world.
What was your trajectory to your current position? And what experiences have shaped your approach to agenting?
Ah, my zigzag of a career…. The years I spent as a book scout gave me an incredible education. My editorial point of view is directly connected to all those years when I had to read—and have a decisive opinion about—everything. Same goes for my relationships with editors and publishers in New York, many of whom I’ve been talking to about the agony and ecstasy of books for years. When I was twenty I bailed on grad school and fell into a job in the New York office of a Hollywood studio, which eventually led to a position at a major publishing house. From there I was hired by a literary scouting agency that represented international publishers and Hollywood film and television companies. I loved it so much that I left after a year and a half, when I was twenty-six, to start my own scouting agency, which I ran for over twenty years. And then, in 2022, I followed through on something I’d been obsessing about for a few years: moving to the agent’s side of the table and representing writers.
When you have that first call or meeting with a potential client, what signs tell you you’ve found someone you want to represent?
Before I offer representation I send the writer a set of editorial comments and suggest we have a call or a meeting to talk about which of my notes resonated and which ones didn’t. We don’t have to agree on everything—none of this happens unless I’m already crazy about their writing—but we have to be mostly in sync, and we have to feel comfortable mixing it up a little, having differences of opinion. If the feelings are mutual on all those fronts, we’re off to the races.
What are some of the most rewarding moments—either public-facing or more interpersonal—you’ve had in working with the writers you represent?
The agent-author relationship is intensely collaborative, but it’s not a collaboration. It’s the author’s book, and they always have complete creative control. The moment in a pre-submission edit when a writer doesn’t need my input anymore because they know exactly what they want to do and how they want to do it is a sign that we’re in the home stretch, and it’s completely thrilling.
What’s at the top of your manuscript wish list right now?
I love sophisticated relationship novels—families, couples, friends; I’m not picky about the configuration—that aren’t thrillers or genre novels but hint at a secret or show you an emotional time bomb that’s on the verge of going off.
Any advice to writers on the receiving end of an agent’s cold call?
There’s no expiration date on my interest when I like someone’s work—even if it’s a single story I came across online or a piece of long-form journalism—which is why there are no wrong answers (and no pressure!) to the question “What are you working on?” I’ve reached out to, and then signed, people who already had an amazing full manuscript or nonfiction proposal, and I’ve also kept in long-term touch with writers who weren’t quite ready to think about a book-length project, let alone sign with an agent. And of course it’s a two-way street: Writers should always feel free to ask me as many direct questions as they like.
Danielle Bukowski of Sterling Lord Literistic
Since 2015, Danielle Bukowski has worked as an agent at Sterling Lord Literistic, representing a dynamic mix of fiction and nonfiction writers that today includes Gina Chung, Edgar Gomez, Nancy Johnson, and Olivia Wolfgang-Smith. With a particular commitment to “narratives from writers traditionally excluded from the publishing industry,” Bukowski is seeking new clients writing “upmarket, smart book-club, literary, speculative and genre-bending” fiction as well as nonfiction grounded in personal experience and incisive research.
What draws you to being an agent?
I want to be a writer’s champion. Their advocate, their confidante, their support in navigating the publishing industry and publication process so they can focus on what they do best—writing great books. I like the solitary and social aspects of the job equally: reading and matchmaking, editing and negotiating.
What was your trajectory to your current position? And what experiences have shaped your approach to agenting?
I came to agenting through foreign rights. After some internships I started at SLL as the foreign rights assistant to Szilvia Molnar, who was a great mentor (as were, and still remain, all the agents more senior to me at SLL). Working in the foreign rights department was an incredible education in getting to see early on which books sell and to where in the U.S., which books are translated and into which territories, and how to tailor a pitch of a book to each specific market. Pitching a book in person at the book fairs was also a great education in rejection and how to pivot.
What did you take from those pitching experiences that shapes how you move through rejections with clients?
They taught me how to react diplomatically to a rejection, and in that scenario how to pivot to pitching a different book that takes into consideration why they turned down the last one. On the agenting side, when I receive rejections from editors of books I love and wanted them to buy, I don’t take it personally; I use the information within their “no” in planning my submissions for future books and use the information when relaying to authors how to edit or how to approach a next book. The thing about rejections is that for any one book, half the rejections can contradict each other, so it’s a skill to read between the lines and to take what’s useful and dismiss what’s not.
When you have that first call or meeting with a potential client, what signs tell you you’ve found someone you want to represent?
When I read something and it clicks and I love it, I want to talk to the person who created it immediately. I want to learn more about their inspiration, their vision, their goals for the book, and how they want it to be received. I want to make sure the author and I are aligned on the vision for the book, because their goals influence how I’ll advocate for the author and champion the book through publication. So understanding what the writer wants to achieve with the book is an important part of that first call.
What are some of the most rewarding moments—either public-facing or more interpersonal—you’ve had in working with the writers you represent?
It is my goal to represent writers for their entire careers, and now many authors I represent are writing and publishing their third, fourth books; getting to see how they’ve matured as writers, along with the themes and aspects of storytelling that remain important enough to return to in new ways, has been wonderful.
What’s at the top of your manuscript wish list right now?
It’s a tricky time to predict a new trend, but I always want to be surprised, to read a voice that feels fresh and inventive, to have my perception of the world enhanced, to feel I’ve learned something new. Maybe now more than ever I want to be immersed—in a voice, in a world, in a highly researched story.
Katie Greenstreet of Paper Literary
Katie Greenstreet’s allegiance to her authors runs deep: “Several of my early mentors had such strong relationships with their clients, some that spanned decades—as someone who really values deep relationships in my professional life, it’s a style of work I’ve tried to emulate.” Since moving to the world of agenting in 2015, Greenstreet has begun to build just such relationships, representing “exclusively adult upmarket fiction across all genres,” and has earned a reputation for scouting new talent and “incredible deals,” says her Paper colleague Catherine Cho.
What draws you to being an agent?
Agenting is a great match for both my personality and my skill set. I’m competitive to a fault and also deeply independent, so I love that the sky is the limit for my business and my clients. I also love the thrill of the chase and eagerly open my submissions inbox each morning desperate to find a new voice that I can’t stop reading. There’s also the enormous satisfaction of working on a story and with an author across both the life of the book and their careers. And finally, I love having a hand in all aspects of rights—the initial English-language deal, the excitement of bringing a story to readers across the world in translation—and as a lifelong film and TV junkie, cementing the Hollywood piece of the puzzle never ceases to thrill me.
What was your trajectory to your current position? And what experiences have shaped your approach to agenting?
I came to publishing in a slightly roundabout way, after a quick career as a corporate lawyer, working for large firms on Wall Street. A turning point came for me when I was working on a merger between two publishing companies. It hit me that I’d give anything to be the client in that scenario. Growing up without any connections in publishing, or really in New York, and graduating from a university with a heavy focus on science and finance, it didn’t seem like a feasible path for me. I decided to bet on myself, enrolled in the Columbia Publishing Course, and was lucky to land my absolute dream job as an assistant to the head of books at ICM Partners…. Fast-forward two years and my husband was offered a job in London…. We jumped at the chance to move on his visa, and I started at C&W (part of Curtis Brown U.K.) a few months later, where I worked for two amazing agents and began to build my own list. Shortly after Catherine Cho founded Paper, we began talks about my joining, and after five happy years with C&W, I joined Catherine and threw myself into helping her build the boutique agency of our dreams.
When you have that first call or meeting with a potential client, what signs tell you you’ve found someone you want to represent?
We have a no-jerks policy at Paper—so being a nice person is a prerequisite! But I also look for someone who is both enormously ambitious for the career piece of their writing to take off but who would also write happily, just for themselves, because they simply love the craft of storytelling…. I think the second an author becomes cynical, they’re in trouble. I’m also not looking to work with folks with just one great idea—I take the long-term career part of my pitch very seriously.
What are some of the most rewarding moments—either public-facing or more interpersonal—you’ve had in working with the writers you represent?
Some recent wins include helping my incredible author Kate Fagan transition from a successful career as a journalist and nonfiction author into a debut novelist with a laundry list of brilliant reviews and picks—and a second book deal. I’m also still buzzing from my client Rosanna Pike’s longlisting for the Women’s Prize, one of my favorite prizes run out of the U.K. because of its emphasis on both brilliant storytelling and beautiful prose. Her debut, A Little Trickerie, was not the most commercial prospect given the specificity of its voice and a historical setting outside of the time periods popular in publishing, so the critical acclaim has been a real reminder to trust my gut.
Ideally agent-writer relationships can last a lifetime; what do you think it takes to build that kind of successful partnership?
To me the ideal author-agent relationship is akin to a successful marriage. It requires good communication, trust in each other’s instincts, and a really collaborative mindset. And an understanding that both parties are human. I think when the teamwork mentality falls away, there’s ripe opportunity for strife—as there would be in any business relationship.
What’s at the top of your manuscript wish list right now?
I always say that literary suspense is my truest love, and as such I’m desperate for some character-driven thrillers to land in my inbox ahead of the summer. Liz Moore’s The God of the Woods was a real highlight for me last year—I would love to see a similarly layered family drama with a backdrop of crime or mystery come my way. Sense of place is also very important to me, so anything with a strong escapist setting—especially if that setting has elements of both glamour and decay, an underbelly—I’m sold! I also love a classic upstairs-downstairs story and would love to see a twist on that setup, again with a suspense-crime-mystery element. I realize in many ways I’m describing all three seasons of The White Lotus, so I should mention that as a comp that will always, always have me dropping everything to dive into a submission.
How do you see agenting, or publishing more generally, evolving, and are there particular parts of that evolution that you hope to effect?
I think agents need to fight harder than ever to protect their clients’ interest in what has become a bit of a rights land grab from publishers and also, of course, in the face of the changes to be wrought by AI. I’d love to see agents become more collaborative across/outside their own agencies, as unless you work for one of the big talent agencies, it can be difficult to dig in and win on important deal points. There’s strength in numbers, but the agency model doesn’t always lend itself to sharing information.
Natalie Edwards of Trellis Literary Management
trellisliterary.com/natalie-edwards
With a penchant for “accessible voices with a literary sensibility,” Natalie Edwards has championed books that “blur genre and defy easy categorization” as an agent at Trellis Literary Management since 2021. Edwards brings a unique depth of experience to her position: “Working for five different agents across almost seven years has allowed me to see many different styles of agenting and find out what works best for me,” says Edwards. She represents both fiction and nonfiction authors, including Adam Morgan, Alysia Li Ying Sawchyn, Emma Specter, and Aram Mrjoian, with care and dedication that run as deep as her talent.
What draws you to being an agent?
I love the process of discovering and shaping new work by talented writers, and it’s exciting to be a part of forging creative partnerships between authors and editors that I hope will last a lifetime. In my personal life I love connecting friends of mine with shared interests, and I think that part of my personality translates well to agenting. Plus, it’s really fun to get to know editors, scouts, foreign publishers, and other folks in the business to hear about what they’re looking for in their various fields.
What was your trajectory to your current position? And what experiences have shaped your approach to agenting?
I had no idea what a literary agent was until a college professor offered to introduce me to an agent friend of hers, and I ended up interning for him for two summers during undergrad. I was also able to intern at a children’s imprint on the publishing side, but I’d caught the agenting bug and chose to pursue that line of work. After completing the Columbia Publishing Course, where I met many friends I’m still close with, I got my first full-time agenting job at Curtis Brown, one of the oldest literary agencies in America, which taught me so much about the history of agenting and publishing at large. I also learned more about the legal and financial responsibilities agents owe to their clients in addition to the literary ones. I moved over to Janklow & Nesbit, where I made some of my closest industry friends and started co-representing clients with one of my bosses, Allison Hunter. When Allison left Janklow & Nesbit to form Trellis with her partners, she asked me to come with her, and I’ve since been able to continue co-agenting and start representing clients on my own.
When you have that first call or meeting with a potential client, what signs tell you you’ve found someone you want to represent?
When I meet with a potential client, I’m looking for someone who’s not just a talented writer, but will also be a great colleague. Big green flags for me include enthusiasm, openness to editorial feedback, a good sense of humor, and a vision for how they want their long-term career to look. Big red flags for me include entitlement, defensiveness, and assuming bad faith on my part as an agent. If I want to represent you, I want to use my expertise and excitement for your work to do right by you.
What are some of the most rewarding moments—either public-facing or more interpersonal—you’ve had in working with the writers you represent?
I’m so proud of all my clients and their work, but the first thing that comes to mind for me is actually a moment with one of my boss’s clients whose book I worked on. When I feel down or helpless in life and think, “It’s just books; I’m not saving lives,” I think about one of Allison’s clients who, because of the book deal we made for them, was able to get gender-affirming care they might not have otherwise had access to. We did change that client’s life, and I’ll never forget how rewarding it was to be a part of that book.
What’s at the top of your manuscript wish list right now?
I’m still on the hunt for a really beautiful queer historical novel. Two favorites I read last year are Yael van der Wouden’s The Safekeep and Alice Winn’s In Memoriam. I’m also always looking out for my next grounded speculative novel.
Has anything changed about how you approach agenting now, versus when you started?
I think one of the biggest things that’s changed for me over the course of working at several agencies is my approach to client care. When I first started taking on clients, I found myself being more formal and hesitant in my communications with them, wanting to appear professional and serious, since I was still so early in my career. Now that I’ve observed the confident and sometimes more casual relationships that my bosses have with their clients, I’ve built up my own confidence and learned to have more fun with my writers while also doing right by their work.
How do you see agenting, or publishing more generally, evolving, and are there particular parts of that evolution that you hope to effect?
Since I started interning in the industry almost ten years ago, publishing has definitely diversified across the board, though the business still has a ways to go. I think my cohort and the folks a few years behind me have made it our mission to make publishing less opaque and exclusive, demystifying what we do every day and giving advice and information about how to break into the industry. That said, though entry-level salaries have increased in recent years, they’re still prohibitively low for many people, and many publishing professionals still do freelance work on the side, including me.
The way the internet has evolved has changed publishing completely in the past twenty-plus years, both for writers and for people working in the business, and sometimes the volume of submissions and books can feel saturated and overwhelming, especially with the increasing popularity of self-publishing and the ever-evolving specter of AI. Even so, increased access to getting published and working in publishing has diversified both authorship and readership, and I think that’s a net good. I hope to be among those agents who continue growing their lists with a global and inclusive mind-set and amplifying underrepresented voices and stories.
Mina Hamedi of Janklow & Nesbit Associates
janklowandnesbit.com/people/mina-hamedi
“As an agent I’ve learned that you need to be able to switch roles and maintain relationships. To be a nexus and constantly moving,” says Mina Hamedi of Janklow & Nesbit. “To that end, you are also the face of your clients and your agency, and reputation is so important in this world.” Versatile, humble, and profoundly invested in her clients, Hamedi has worked as an agent since 2020, representing “adult literary and upmarket fiction and adult narrative nonfiction, along with some translation.”
What draws you to being an agent?
Above all: the people. It is the people who make this industry so exhilarating, fast paced at times, and seductive. I feel like I meet someone new or develop a meaningful bond based on shared histories and ideas every week. Sometimes twice a week. I thrive on social interactions not just with editors and fellow agents, but of course with my writers.
What was your trajectory to your current position? And what experiences have shaped your approach to agenting?
I moved to New York City when I was eighteen years old from Istanbul. I studied creative nonfiction in college, at NYU’s Gallatin School of Individualized Study, forming my own major that linked writing with exploring questions of global identity. Hesitant to enter the “real world” and not quite sure of my place in the U.S. or whether I would move back home, I applied to New York City–based nonfiction MFA programs. I attended the nonfiction MFA program at Columbia University. Through a friend in the program I began to work as a part-time intern for two agents…. My dear friend Melissa Larsen recommended the Writers House Internship Program, and the sage creator of the program, Michael Mejias, encouraged me to apply to an open position at Janklow & Nesbit, stating I would be a fool to not at least get my foot in the door with the institution that represented every writer I loved. That open position ended up being the assistant to cofounder Lynn Nesbit.
When you have that first call or meeting with a potential client, what signs tell you you’ve found someone you want to represent?
There needs to be chemistry. Despite this being a professional relationship and one you assume—and hope—will last for many years, if that spark isn’t there, it won’t work. When I read a submission and ask for the full manuscript and am dying to meet the writer, I set up an initial call. That call is an indicator of many things: if we are comfortable speaking with each other, if we can trade questions, if we can even laugh a little! I get a feeling for how I might work with the writer based on their reactions to my editorial thoughts. Generally if I can sense they are open to my ideas and expertise—to the extent that I understand how hard they have worked up to this point—I can imagine us working on not just one book together, but several.
What are some of the most rewarding moments—either public-facing or more interpersonal—you’ve had in working with the writers you represent?
The first two books I sold in fiction and nonfiction both became USA Today best-sellers. I received news of both via e-mail when I was in transit and just screamed out loud in the middle of the street. I remember a writer putting a down payment on their first home with a portion of their advance. It reminded me that it is so easy to get caught in the little everyday details but that this is truly a position where you can directly impact someone’s life, and you need to use your skills and knowledge honorably…. I will also add this: I still cannot believe I get to represent writers from Turkey and Iran, where I am from, and shape their stories and share them. I wish my grandfather had been alive to see that I am just as dedicated to the good parts of home as he was.
Ideally agent-writer relationships can last a lifetime; what do you think it takes to build that kind of successful partnership?
I’ve learned a lot about what long-term advocacy for clients looks like from my mentor, Lynn Nesbit. She is so attuned to the needs of her clients that it has become second nature and incredible to witness. Building that relationship takes a great amount of trust and communication, but if you are not going to be happy getting things done for others, agenting is not the job for you. There are days it can feel like you are playing the role of therapist, accountant, social media maven, attorney, editor, and publicist, but it is a delicate balance: You are there to fight for your writers, to spot and amend things they cannot, to direct them to the best editors, outlets, deals, etcetera, and you cannot take on so many roles if your heart is not in it.
Your writer needs to know you will represent them with respect and integrity. A mentor of mine has always said publishing is the strange marriage of creativity and business, and you need to be flexible and adaptable and retain a sense of humor. I also learned to be honest about my own shortcomings and failures with my clients and to trust them as much as they trust me.… It also helps to hop on a call occasionally and discuss absolutely everything except books and submissions and cultivate a separate relationship if it feels appropriate. It feels truly wonderful to laugh with your clients and remind yourselves you are all doing your best. I also tend to ask for a pet photo or baby photo from my clients as “tax” while I edit their work.
What’s at the top of your manuscript wish list right now?
I want more novels with genre elements whether horror, magical realism, or a touch of mystery. Stories that will linger with me after I turn the last page. Writing that really “goes there” and takes things to the extreme whether emotionally or stylistically. Horror with new twists and characters, set around the world. Upmarket fiction with unforgettable characters and meaning.
I want the writer’s imagination to bleed through, to have conviction. This also carries over to nonfiction. I want writing imbued with creative boldness and to continue representing writers who take action and are not okay with complacency. Of course I am passionate about international writers and the kinds of stories they want to tell, not what others dictate they should be telling. I also love translation and have so much respect for translators and want to do my part in bringing those stories into mainstream publishing.
How do you see agenting, or publishing more generally, evolving, and are there particular parts of that evolution that you hope to effect?
I’ve always tried to diminish the opacity of publishing and agenting more specifically. I want writers to make informed choices regarding their representation and careers and for all of us on either side of the table to understand this world is about the people in it and how we treat each other. We shouldn’t be afraid of our convictions, and we should continue to fight for fair wages across the board as well as diversity, health care, and better infrastructure to support everyone involved in this industry. I want a publishing world that doesn’t categorize translation as something “other” but embraces it. I want a publishing world where an editor does not tell me, “Oh, we already have a writer from that country.” This may be very sentimental of me, but aside from evolving, I hope we thrive, especially with all the atrocities being committed around the world and so many voices being silenced.
Emma Komlos-Hrobsky is a senior editor of Poets & Writers Magazine whose writing has appeared in Tin House, Conjunctions, Guernica, Hunger Mountain, Bookforum, and elsewhere. With the support of a grant from the Elizabeth George Foundation, she is at work on a novel about particle physics, motherhood, and the Alps.
Rodriguez: Marc Goldberg; Bukowski: Matthew Suen; Edwards: Sylvie Rosokoff; Hamedi: Lexi FrenchCorrection: A previous version of this article stated that Aram Fox lead his clients to option works by Brit Bennett, Anthony Doerr, and George Saunders. Fox scouted these writers for publisher clients.
